The Stray Cats, all three original members Brian Setzer on guitar and vocals, Lee Rocker on upright bass and vocals, and Slim Jim Phantom on drums and vocals; will wrap the summer leg of their 2026 tour with an August 18 appearance on The Tonight Show Starring Jimmy Fallon, performing one of the legendary group’s iconic hits. This marks the group’s first live late-night television performance in more than 35 years. Their last performance was in 1990 on The Late Show with David Letterman.
Later this year the band will return to the road with a month of fall dates kicking off November 9 in Grand Prairie, TX with stops in Nashville, Charlotte, Orlando, Atlanta and more, before wrapping December 6 at Foxwoods in CT. The group’s setlists will be highlighted by some of the iconic multi-million selling band’s massive hits including “Stray Cat Strut,” “Rock This Town,” “Runaway Boys,” “(She’s) Sexy + 17,” and much more. The group’s ongoing 2026 tour dates and tickets are available here.
Last year, the iconic multi-million-selling band released two new tracks via Surfdog Records. The loud, upbeat “Stampede”, which is unmistakably The Stray Cats and their cover of Eddie Cochran’s “Teenage Heaven.” These songs mark the first new music in six years. Pre-order the 7-inch “old school” 45 RPM vinyl record here, available on July 24. Both “Stampede” and “Teenage Heaven” were produced by The Stray Cats, mixed by Chris Lord-Alge, and recorded at The Terrarium in Minneapolis, MN & Laguna Sound in Laguna Beach, CA. “Stampede” was written by Brian Setzer, Peter B. Antonio, Wally Zober, Bert Salmirs, and Mike Himelstein, while “Teenage Heaven” was penned by Jerry Capehart and Eddie Cochran.
The Stray Cats, the band that put Rockabilly music back on the record charts in the early ’80s, scored several big hits on both sides of the Atlantic thanks to a striking visual 1950’s style brought “up to date” with exaggerated pompadours and colorful tattoos and as well as genuine musical chops that evoked the best players of rockabilly’s original heyday. Formed by guitarist/vocalist Brian Setzer, upright bass player Lee Rocker and drummer Slim Jim Phantom in the Long Island town of Massapequa, NY, in 1979, the trio shared a love for Rockabilly music. After banging around New York for a few months, in the summer of 1980, and seeing a pompadoured kid on the cover of UK magazine NME, they hopped a plane to London where a rockabilly revival movement was just beginning to emerge. Their massive hits and videos include “Runaway Boys,” “Rock This Town,” “Stray Cat Strut” “(She’s) Sexy + 17,” and “I Won’t Stand in Your Way.”
Renowned drummer, vocalist, songwriter, and multi-instrumentalist Brian Tichy is stepping into the spotlight with his latest musical venture, Led By Vultures, an explosive new band blending raw intensity, arena-sized hooks, uncompromising musicianship, and a fresh vision for modern hard rock.
Known for his powerhouse performances alongside some of rock’s most legendary artists, Tichy now takes center stage as the driving creative force and frontman behind Led By Vultures. The project marks a bold evolution in his career, fusing crushing riffs, thunderous rhythms, melodic aggression, and emotionally charged songwriting into a sound that is both timeless and urgent.
Drawing inspiration from the spirit of classic hard rock while pushing into fresh sonic territory, Led By Vultures delivers music built on unapologetic energy, powerful storytelling, and the electrifying chemistry that comes from decades of experience at the highest levels of rock performance.
The band’s latest single, “Waves,” showcases a more melodic and reflective side of Tichy’s songwriting. As he states, “Waves” is a song I’ve had for a long time. It’s a metaphorical idea about trying to find contentment as we travel through life. I had this “Floydian / Zeppish” chord progression I was messing with on an acoustic guitar tuned to open C. My bud Derek Sherinian, who co-wrote and played keyboards on it, heard me messing with it, dug it, and said, “That needs The Pipes of Pan!” He immediately came up with the first flute lines. I answered that with the arpeggiated guitar line and a rotary effect. From there we knew the chorus should get big and anthemic.”
Tichy continues: “We wrote the bridge for the guitar solo with the intent of taking you on a little majestic trip, away from the repetitive, hypnotic nature of the rest of the song. When I started making the Led By Vultures record, Derek brought Waves up as a contender. I instantly agreed and re-recorded it. It’s nice to have seen this song through! The video was shot at El Matador Beach in Malibu by Keita Hagiwara, who also shot the second Led By Vultures video, “Massivity.” We ended up with an overcast day, but I think in the end it worked out.”
The self-titled debut album from Led By Vultures arrives on August 28, 2026, delivering a dynamic collection of songs that capture the grit and fire of rock’s golden era while maintaining a distinctly modern edge. Fans can expect soaring vocals, blistering musicianship, and a relentless sonic attack designed to resonate with both longtime rock devotees and a new generation of listeners.
The album will be available on limited-edition purple vinyl, CD, and digital formats. A special bundle featuring a personally signed 10″ x 10″ album flat by Brian Tichy will also be available in limited quantities.
Pre-order the CD, vinyl, and exclusive bundles while supplies last here.
For a quarter century, Michael Poulsen has fronted Volbeat, the Danish rock and roll juggernaut he’s steered through nine full-length albums, millions in sales and sold-out stadiums across the globe. Long before Volbeat existed, though, Poulsen cut his teeth in death metal band Dominus, cranking out four fast and vicious records in the mid-’90s.
All four of those Dominus full-lengths, View to the Dim (1994), The First 9 (1996), Vol. Beat (1997) and Godfallos (2000), are finally getting the vinyl treatment for the first time. Pressings are capped at 500 copies worldwide per title, with just 30 signed test pressings available for each, so anyone hunting one down shouldn’t sit on it. All four have been remastered specifically for vinyl and come with restored cover art.
The LPs and test pressings go live Sept. 4 at 3 p.m. CET / 9 a.m. EDT here, with copies also landing at local record stores that same day. Dominus merch is available on the site now as well, and the full back catalog is already streaming.
The vinyl news arrives alongside a look back at how Poulsen‘s other death metal outlet, Asinhell, came together. While working on Volbeat‘s 2021 record Servant of the Mind, Poulsen found himself stacking up death metal riff ideas on his phone that didn’t fit the album. Once that record wrapped, he dug back into those riffs and started building out what would become Asinhell‘s debut, Impii Hora (Latin for “Ungodly Hour”), released in September 2023 through Metal Blade.
Poulsen sings for Volbeat and sang in Dominus, but had no interest in handling vocals for Asinhell too. So in March 2022, he reached out to an old friend, former Morgoth vocalist Marc Grewe (also of Insidious Disease), to take the mic.
For drums, Poulsen looked past his contacts at bigger-name bands and landed on Morten Toft Hansen of Danish outfit Raunchy. Beyond his playing, Toft Hansen had the added benefit of living just a 10-minute drive away, and his daughter is close friends with Poulsen‘s.
Once the pair started rehearsing, they were knocking out a finished song almost every session. Grewe, based in Germany, couldn’t always make the sessions in person, so Poulsen sent him phone recordings from rehearsals to kick off the vocal writing process. Between the two musicians’ decades of experience and their shared itch to get back to something heavier, the songs came together fast.
What started as a loose idea turned into a finished album, Impii Hora, in roughly a year. Poulsen turned to Volbeat‘s management for help finding a label, and got a pleasant surprise when they suggested Metal Blade founder Brian Slagel would be into it. Slagel heard Impii Hora and immediately made Asinhell a priority signing.
Microtonal cardboard duo Angine de Poitrine are following their United States live concert debut at last month’s Newport Jazz Festival with their completely sold-out, first-ever US tour. The upcoming run includes multiple shows in a number of cities due to overwhelming popular demand. Dates begin tonight, with a sold-out two-night stand at Denver, CO’s Ogden Theatre August 12-13, and then continue into December.
Highlights include sold-out shows at Los Angeles, CA’s Teragram Ballroom (August 17-18), New York City’s Le Poisson Rouge (September 9-10), Washington, DC’s The Atlantis (September 15) and Lincoln Theater (September 17), Brooklyn, NY’s Brooklyn Bowl (November 16-18), Chicago, IL’s The Salt Shed (November 29-30), Minneapolis, MN’s First Avenue (December 1-2), Los Angeles, CA’s The Wiltern (December 4-5), Portland, OR’s McMenamins Crystal Ballroom (December 10-11), and Seattle, WA’s Showbox SoDo (December 12) and Paramount Theatre (December 13). For waitlists and complete information, please visit here.
With a chosen mission to support and champion the vibrant and largely undiscovered music scene of their home province, Angine De Poitrine will feature a rotating lineup of Quebec artists as opening acts throughout the fall, including psychedelic rockers Population II, electronic singer-songwriter Annie-Claude Deschênes, high-energy noise rock trio zouz, and Montreal guitarist, composer, and improviser René Lussier.
The eagerly awaited US tour continues an epic 2026 international live schedule for Angine de Poitrine that also features sold-out headline dates, festival performances, and more across the US, Canada, Japan, Europe, and the United Kingdom. US festival appearances include King Gizzard & The Lizard Wizard’s Field of Vision II in Buena Vista, CO (August 14), Seattle, WA’s The KEXP BBQ (August 22), Elizabethtown, NY’s Otis Mountain Get Down (September 11), Austin, TX’s Levitation (September 12), Chicago, IL’s Riot Fest (September 19), and Richmond, VA’s Iron Blossom Festival (September 20).
The sold-out US headline tour continues a momentous 2026 for Angine de Poitrine, a landmark year that has also seen the acclaimed release of the duo’s second full-length album, Vol. II, available here now. Following the highly anticipated U.S. physical releases of Vol. I and Vol. II in June, the band debuted at No. 1 on nine Billboard charts, including No. 3 on Top Album Sales, No. 2 on Vinyl Albums, and No. 2 on Indie Store Album Sales. Since their release, the albums have held the number 1 slot on the Indie Store Album chart for eight consecutive weeks.
Vol. II stretches the boundaries of Angine de Poitrine’s brisk, high-voltage approach with even bolder, more dynamic structures. Once again, three essential forces fuel the duo’s inspiration: acid techno, disco, and rock. Vol. II includes such fan favorites as “Fabienk,” which, true to Les Frères de Poitrine’s style, revolves around a single microtonal guitar loop that repeats, doubles, and evolves through a groove that is both insistent and liberating.
Hailed by The Guardian for their “hypnotic riffs and grooves, whose proggy time shifts are all in astonishing lockstep, making this as much party music as it is prog,” the Mantra-Rock Dada Pythagorean-Cubist Orchestra known as Angine de Poitrine gaze in wonder at hot dogs, pyramids, and rock music in all its glorious excess. In just two years, time-traveling space-voyagers Khn de Poitrine (microtonal guitars, vocals) and Klek de Poitrine (percussion, vocals) have surpassed the earthly rock stars they once emulated, earning critical acclaim, millions of streams, and countless new fans worldwide. Structured around a dynamic interplay of adding and removing sound patterns in a constant state of metamorphosis, Angine de Poitrine’s repertoire makes hearts race and bodies move with ecstatic abandon. Through tight, pulsing drum grooves and intricate tangles of double-necked microtonal guitar, the noble brothers summon swirling vortices of hypnotic sound and vision.
Having spent much of the past two years in the eye of an ever-growing storm of enthusiasm from audiences and critics thanks to their asymmetrical, dissonant music and electrifying performances – including a stunning Live on KEXP session that has quickly amassed over 18M views and counting – Angine de Poitrine unveiled Vol. II in April 2026 to worldwide applause from such prestigious publications as the New York Times, Pitchfork, The Guardian, Paste, and more. The duo marked the album’s arrival with virtually non-stop touring around the globe, selling out venues worldwide within minutes, often months in advance. Highlights thus far include a one-night-only show supporting Jack White at Toronto, ON’s RBC Amphitheatre and a free headline show during the Montreal International Jazz Festival, which drew record turnout in excess of 80,000 fans.
French ritualists Skáld lift the veil to reveal another glimpse into our ancient destiny. “Himinbjǫrg,” the second single off of their upcoming album, Ørlǫg coming on September 25 via Napalm Records, reaches far out to the edge of Asgard, the realm of the Gods. At the eponymous castle in the sky, Heimdall keeps watch for invaders at the rainbow bridge, Bifröst. Skáld lend Asgard’s guardian an assertive voice, letting the song serve as an emphatic yet reassuring guide through our sometimes-clouded destiny. The drum-driven song extends the folk musicians’ invitation to step into ancient times and dance among reawakened spirits.
Skáld comments about “Himinbjǫrg”: “‘Himinbjǫrg’ invites us to step onto the threshold, to the gateway at the edge of the sky, to face the guardian’s gaze—are we ready to be judged as we reach the end of the bridge? These cliffs in the sky are a mirror of our actions, our ambitions, our Ørlǫg; it is a long journey toward something greater — let us ride on without fear.”
Ancient spirits come alive as Skáld extend an invitation into times long gone but not forgotten. Ørlǫg, coming September 25, 2026, is their first album via Napalm Records, and it is our destiny. As the Norns weave our future, this album is a fascinating passageway into our pristine origins and the consequences of our choices. Ten new songs as stepping stones, Ørlǫg is an offering to listen, to dwell, to reflect—and to find something within yourself previously unknown. Skáld don’t just play music; they awaken ancient ways.
A staple band in the genre, Skáld delivers a striking work of art with their latest album, deferentially using their sources to keep old spirits alive and form the enchanting world of Ørlǫg. The language might sound unfamiliar, but the music still touches the soul.
Skáld comments about the album: “Ørlǫg is the cosmic web that influences the world and every person. Part of our Ørlǫg is determined by our birth, our past actions, and our upbringing, but Ørlǫg is not set in stone; our daily choices are constantly shaping it. What we do now and what we have done in the past determines what will happen to us in the future; we cannot escape the consequences of our actions. This album makes us question our choices—both individual and collective—and the patterns we accept or reject. The Norns weave our destiny, but we can take control of certain things: travel, ride worlds, and grow. Each song on this album describes a situation, a place, a choice to be made. Let’s take hold of our Ørlǫg.”
The atmospheric journey to claim direction starts within the dreamscapes of “Draumakona,” an expressive look at the female side of shamanic prophecy. The French band constructs their Nordic folk melodies to be particularly catchy, shifting powerfully between female lead singing and multilayered vocal arrangements to create an antiphony between individuum and community. Inspired by Skaldic poetry, Skáld use instruments fitting of the time: Ørlǫg is shaped by Nordic fiddles, different forms of harps and lyres, horns, kannels, and whistles, among others, as well as three lead vocalists to bring the arrangements to life. “Myrkviðr” picks up on the opening track’s persuasive energy, with male vocals taking the lead this time.
Further spreading their message is “Ratatoskr,” intonated by clattering sounds and throat singing, channeled into hauntingly repetitive chants of the eponymous squirrel’s name. For “Dǫkksalir,” Skáld unwind their melodies to form a gentle song, sweet-talking almost like a lullaby—and therefore fitting the concept of the charming yet also frightening sirens lurking in the dark. “Útgarðr” contrasts the different voices compellingly by the passages being sung simultaneously with alternating focus and a goosebump-inducing climax—instantly opposed by “Ek skald rida” which makes use of similar techniques, but is the most tranquil track on the album. “Himinbjǫrg” reaches far out to the edge of Asgard, where Heimdall guards the rainbow bridge, Bifröst.
Skáld lends him an assertive voice, so the song serves as an emphatic yet reassuring guide through our sometimes-clouded destiny. “Heiemo og Nykkjen,” a rendition of a traditional medieval folk ballad from what is now Norway, takes a more provident approach to both instrumentation and vocal delivery, while “Veit barnit” calls upon the knowledge of children and uses a child’s voice alongside their usual harmonies to reflect that. The grim finale, “Eldr ok iss,” Old Norse for “fire and ice,” again calls on contrasts as well as referencing part of the creation myth in which the primordial being Ymir emerged from Muspelheim—the realm of fire—colliding with icy Nilfheim in the beginning of times. SKÁLD build an appropriate arc of suspense with a formidably sinister atmosphere.
Ørlǫg will be available here in the following formats:
Produced by Rock & Roll Hall of Fame inductee and Grammy Award-winning drummer MattSorum, the 2,000-copy collector’s edition benefits Adopt the Arts Foundation while preserving an unforgettable night of legendary performances.
Rock & Roll Hall of Fame legends Paul Rodgers and Geezer Butler are honored on Sound & Vision Live, a limited-edition all-star double vinyl album recorded during the inaugural Palm Springs Sound & Vision Awards at the historic Plaza Theatre on March 2, 2026.
Today (August 12), Adopt the Arts Foundation announced the release of Sound & Vision Live, along with the official pre-sale and details for the Sound & Vision Live Record Release Celebration & Concert Film Screenings, taking place Sunday, September 13, 2026, at the Plaza Theatre in Palm Springs.
The recording features performances by Paul Rodgers (Free, Bad Company) and Geezer Butler (Black Sabbath), joined by an all-star lineup including Corey Taylor (Slipknot), Lzzy Hale (Halestorm), Glenn Hughes (Deep Purple), Nuno Bettencourt (Extreme), Charlie Starr (BlackBerrySmoke), Phil X (Bon Jovi), Steve Stevens (Billy Idol), Matt Sorum (Guns N’ Roses, Velvet Revolver), Robert DeLeo (Stone Temple Pilots), Stevie Salas (Mick Jagger), Mike Mangan (TheCult), and Paul Ill (Alicia Keys).
Every participating artist donated their time and talent in support of Adopt the Arts Foundation and its mission to restore and sustain music education in underserved public elementary schools.
“I never went into that night thinking we were making a record,” said Matt Sorum. “I originally had the show recorded and filmed because I wanted to preserve the experience for myself. But when I listened back, I realized we had captured something truly magical—the energy in the room, the performances, and the spirit of all these incredible artists coming together for the kids. Through Experience Vinyl, we had an opportunity to turn that moment into something people could hold onto while raising meaningful support for music education.”
The initial pressing will be limited to 2,000 double-vinyl albums, priced at $99.98. Sound & Vision is available to pre-order here.
Of the total pressing, 250 Plaza Theatre Collector’s Editions will be available for the September 13 Record Release Celebration. Pressed on color vinyl, these collectible editions feature artwork unavailable on the standard online release.
The remaining albums will be available exclusively through Experience Vinyl, with the official pre-sale beginning August 3, 2026.
Experience Vinyl is donating its services so that proceeds from album sales directly benefit Adopt the Arts Foundation. Philanthropic supporters also provided the funding necessary to mix, master, and complete the album and companion concert film.
“Experience Vinyl is about preserving the moments in music that deserve to live beyond a single night,” said Seth Frank, Founder of Experience Vinyl. “From the performances to the purpose behind them, Sound & Vision Live is exactly the kind of project we want to help bring into the world. We are proud to donate our work and platform so that proceeds directly support Adopt the Arts and help provide children with access to music education.”
The album was recorded by Kemble Walters and Miguel Sosa, mixed by Walters at GoodnoiseStudios in Palm Springs, and mastered for vinyl by Grammy-winning mastering engineer Howie Weinberg and Will Borza.
Internationally acclaimed photographer and creative director Glen Wexler created the album artwork and liner notes. The deluxe package features archival photography, original artwork, and extensive liner notes celebrating the performances and the enduring legacies of Paul Rodgers and Geezer Butler.
The project was made possible through the generous support of Executive Producers Jackie and Joby Pritzker and Co-Executive Producers Dale Lawrence, James Malachowski, and SamSenigaglia.
More than a celebration of rock history, Sound & Vision Live helps create the next generation of musicians.
Founded in 2012 by Matt Sorum and Emmy Award-winning actress Jane Lynch, Adopt the Arts Foundation restores and sustains music education in underserved public elementary schools.
Today, the Foundation serves more than 4,000 students annually throughout Los Angeles and the Coachella Valley by providing music instruction, instruments, curriculum, teacher support, artist mentorship, and meaningful performance opportunities.
“Every artist who stepped onto that stage understood why we were there,” Sorum said. “We came together to celebrate two legends, but the real encore is every child who discovers music because of this record.”
Sound & Vision Live Information:
Format: Limited-edition all-star double vinyl album Pressing: Limited to 2,000 copies Price: $99.98 Pre-Sale Begins: August 3, 2026 Record Release Celebration: September 13, 2026 Online Availability: Exclusively through Experience Vinyl Beneficiary: Adopt the Arts Foundation
Roger Taylor is gearing up for album number seven. The Queen drummer, songwriter and singer has announced Violence Insane in a Beautiful World, due out Sept. 18 via Columbia Records.
The record’s second single, “I See You Now,” arrives with a companion video, streaming below.
The song had its first spin on Vernon Kaye‘s BBC Radio 2 show earlier today, opening with the line “We’ve been together for some time now, through all kinds of weather, but we’re still dreamin’.” Taylor explained the inspiration behind it: “It’s a love song. It’s really about my wife. We’ve been together for quite some time, and I think when you really get to know someone, at first you really don’t see everything about them, but when you really get to know someone, it’s, ‘Oh, I see you now.’ That’s it.”
The video itself, shot in elegant black-and-white, comes courtesy of Taylor‘s wife, Sarina Taylor, working alongside longtime collaborator Simon Lupton. The one splash of color in the frame is Taylor‘s bright red hi-tops.
Violence Insane in a Beautiful World is Taylor‘s seventh solo album dating back to 1977, and his first since 2021’s Outsider, which cracked the Top 3 and earned strong reviews across the board. He’ll support the release with a run of U.K. dates in September.
The album isn’t built around a single narrative, but Taylor said it does carry a consistent thread: “There is a theme, you know, it’s in the title really, what a beautiful world we live in, don’t fuck it up. There seems to be all this insanity at the moment. The violence in the world seems to be as bad as it ever was, at any point, and certainly in my lifetime. It’s just horrific, a lot of insane violence. And we do seem to be fucking up the world, plastics in the sea, you know, and all these awful wars everywhere and hatred born of different religions.”
Despite that grim framing, Taylor said the record ultimately lands somewhere hopeful: “It’s a beautiful world, you know. And kindness is very important, I think, it seems to be forgotten quite a lot. So, that is basically the sort of underlying theme.”
Taylor wrote, produced, sang and played nearly everything on the album himself, aside from a cover of “Jealous Guy,” which he called “one of the greatest, ballads ever written.” He got extra help from longtime collaborator Joshua J. Macrae, members of his live band, and, on three tracks, the Ndlovu Youth Choir out of Limpopo, South Africa. On working with the choir, Taylor said, “I was really happy when I became aware of this amazing South African choir, who sing in Zulu. They’re just wonderful. They did the most incredible cover version of “Bohemian Rhapsody”, and it’s fabulous. I couldn’t believe it when I saw it. So we suddenly had the bright idea of asking them to sing on some of the tracks, which they did, and I think it’s transformed those songs. It gives them a whole new dimension. I’m really thrilled with their work on that.”
There’s also an odd bit of cosmic timing tied to the album’s cover art. While Taylor was finishing the artwork, the Artemis II mission, en route to the far side of the Moon, ended up photographing Earth from a distance, and according to Taylor, the Queen fans working at NASA in Houston reportedly thought the timing felt like “definitely kismet.” Taylor described the concept behind the cover: “Well, the cover is really the story of the lead song, which is “A Beautiful World”, and it’s really an old idea, but in a way, it’s just written from the view of an alien in a spacecraft literally orbiting the world and thinking how beautiful it is. On close observation, he sees there are problems, there’s infection, all the violence and horrors that occur, and then there’s a list of all the great things about the Earth. It’s really rather strange because it was done before we got those wonderful pictures from Artemis II.”
He continued, “NASA approves! They’re very nice people. We’ve been there. Obviously. Brian knows them very well. We went whilst we were on tour in Houston. We had a fantastic tour of the whole NASA site. It’s quite something just to be sitting in the control room with all these guys and screens, and they’re actually talking to the space station, controlling it. Yeah, hell of a thing.”
Taylor‘s solo output has never shied from politics, and tracks like “Chump” continue that streak. Asked whether he feels optimistic about where things currently stand, he didn’t hold back: “To be honest, no, with Nigel Garage (sic) looming, no. My wife says she’s leaving the country if he gets in, and I don’t blame her. It’s like Trump, really. You can’t believe how popular he was. I’m not sure he’s quite as popular now; people are finally coming to their senses, but I can’t believe how popular Farage, who is intrinsically a horrible man, is, but he’s a populist, demagogue, politician appealing to the lowest sort of ideals.”
Musically, the album keeps up Taylor‘s longstanding habit of jumping between styles rather than sticking to one lane. “I like the idea of eclecticism,” he said. “I like the idea of different things, you know? I mean, the great example being The Beatles. I always thought that their albums were very eclectic, especially the later albums from Revolver onwards. You never knew what the next track was going to be, and it was totally different to the track before it. We always tried to do that in Queen. We tried to make a lot of different things and fearlessly tread where no sane man would. Yeah, I think people are really going to like the surreal stuff.”
The supporting tour kicks off in Newcastle on Sept. 21, with early ticket access going to anyone who pre-orders the album. Taylor‘s touring band includes keyboardist Spike Edney, drummer Tyler Warren, multi-instrumentalist Tina Keys, bassist Neil Fairclough and guitarist Christian Mendoza. The run continues through Edinburgh, Birmingham, Manchester, Swansea and London’s Roundhouse, a venue Taylor has played before, back in 2011 as a guest of Foo Fighters.
Taylor has spent more than five decades as one of the driving forces behind Queen, one of the most commercially successful bands ever to exist. Along the way, he’s helped push more than 300 million albums, leaving his stamp on songs like “Bohemian Rhapsody,” “Under Pressure” and “Another One Bites the Dust,” while writing hits including “Radio Gaga,” “A Kind of Magic” and “These Are the Days of Our Lives,” among many others.
Taylor formed Smile with guitarist Brian May in 1968. Within three years, that lineup had morphed into Queen with the addition of singer Freddie Mercury and bassist John Deacon, launching one of the most influential runs in popular music history.
Taylor‘s songwriting and playing left a mark across all 15 of Queen‘s studio albums. He kicked off his solo career in the late 1970s, eventually putting out six albums under his own name plus three more with side project The Cross.
Queen‘s story got the big-screen treatment in 2018’s Bohemian Rhapsody, on which Taylor served as co-executive music producer. The film went on to gross close to $1 billion worldwide, making it the highest-grossing music biopic ever made.
In 2011, Taylor and May brought Queen back with singer Adam Lambert, launching a string of major international tours that continue to this day. He’s balanced that ongoing work with his solo career, including 2021’s well-received Outsider. Taylor received an OBE for services to music in 2020.
More recently, Taylor and May put together a Collector’s Edition reissue of Queen‘s 1974 album Queen II, featuring a new 2026 mix along with unreleased studio audio, outtakes, demos, live tracks and radio sessions.
Music aside, Taylor has plenty of other interests. Queen‘s 1975 track “I’m in Love with My Car” doubled as a nod to his lifelong car obsession, one he’s indulged through an extensive personal collection over the years. He’s also been a dedicated sailor since the 1980s, owning a series of yachts and sailing everywhere from the Caribbean to full round-the-world routes. More recently, he’s taken a hands-on role with Queen Côtes de Provence Rosé, another extension of his taste for the finer things.
Mercury Studios commemorates the 25th anniversary of legendary progressive rock band Yes’s 2001 album Magnification with a dynamic half-speed remaster, available on September 18. Combining the Rock & Roll Hall of Fame band’s signature progressive rock sound with sweeping symphonic arrangements, Magnification will be released on vinyl for the first time as a 2LP set, alongside a limited-edition 500-unit cassette release available in the U.S. and U.K.
Originally released in September 2001, Magnification is Yes’s 19th studio album and the first recorded as a four-piece, featuring the classic core lineup of Jon Anderson (lead vocals, MIDI guitar), Chris Squire (bass, backing vocals, lead vocals on “Can You Imagine”), Steve Howe (acoustic, electric & pedal steel guitars, backing vocals), and Alan White (drums, piano, backing vocals). There was no dedicated keyboard player on the sessions, and perhaps the harmonic freedom this provided inspired an adventurous musicality that harkened back to the band’s early days.
Compositions such as “Dreamtime” and “In the Presence Of” feature extended instrumental sections, while songs including “Can You Imagine” and “Time Is Time” reflect Yes’s post-1980s pop sensibility. Seamlessly woven throughout the album are ambitious orchestral arrangements performed by the San Diego Symphony Orchestra under the direction of three-time Emmy Award-winning film composer Larry Groupé. Magnification marked only the second time Yes had recorded with a full orchestra, following 1970’s Time and a Word. The band supported the album with its acclaimed Yessymphonic Tour, where songs including “Magnification,” “Don’t Go,” and “In the Presence Of” were brought to life with a full orchestra onstage.
Magnification also represents a pivotal chapter in the band’s history. Keyboardist Igor Khoroshev had departed the previous year; Rick Wakeman would return to the band in 2002, and Magnification ultimately became founding member Jon Anderson’s final studio album with Yes.
This anniversary edition of Magnification was cut to lacquer at half-speed and pressed on two 180-gram LPs to deliver a highly detailed playback. The intensive half-speed remastering process brings forth high frequencies, expands dynamic range, and improves stereo imaging and detail. The Magnification album art was a departure for Yes as they opted to work with Bob Cesca instead of longtime creative collaborator Roger Dean. The remaster’s double gatefold package features a newly designed LP-exclusive cover by Bob Cesca and new art based on his original 2001 packaging illustrations.
World Class Music Content. Working with a global network of creatives and artists, MercuryStudios develops, produces, distributes, and invests in award-winning content. We are filmmakers in the world of music.
Headquartered in London, current and recent projects include One to One: John & Yoko directed by Academy Award-winning director Kevin Macdonald, Grammy-winning, Academy Award and BAFTA award-nominated American Symphony, directed by Matthew Heineman for the Obamas’ Higher Ground Productions/Netflix; Reggaeton: The Sound That Conquered The World / NBC Peacock, and If These Walls Could Sing, directed by Mary McCartney for Disney+.
In 2025, Mercury Studios also hosted world premieres at the Tribeca Festival for Metallica Saved My Life and Just Sing.
Mercury Studios represents the world’s leading catalogue of music-related content, consisting of thousands of hours of premium music-driven film and television programming.
Asia has confirmed Indigo as the title of its next studio album, due out Nov. 6, 2026 via Frontiers Music Srl. The record marks the first full-length outing from the band’s current lineup of Geoff Downes (keyboards), Virgil Donati(drums), John Mitchell (guitar) and Harry Whitley (bass, vocals).
The official video for “Echo of You,” the album’s second single, is streaming below.
Downes broke down the track’s evolution: “This song was part of the main writing sessions between Harry and I. It took on a whole different angle in the latter stages of development with more of a focus on electronica and a spacey production. It’s a happy, uplifting tune, despite the nostalgic overtones of the lyrics, a love song with a twist. It all ends in a chaotic mix of counter themes, chord changes, and features a good old-fashioned fadeout as a nod to nostalgia, and I believe is a very fitting conclusion to the album, Indigo, hopefully leaving the listener on a high.”
More than 40 years removed from helping define melodic progressive rock, Asia returns with an album that ties its past to its present without losing a step. With Downes now leading a refreshed lineup, the band is moving forward while still leaning on the legacy that built its name.
Downes traced the record’s long road to completion: “The initial writing period began in 2015, following the release of our previous album Gravitas in 2014. John Wetton and I started putting our ideas together, aiming to get into the studio once more. It was with great sadness that John became seriously ill, during this time, and we had put on hold our plans, and sadly John passed away before we could continue and complete it. So, it was always in my mind that at some point it would be a shame not to finish off some of these songs and finally release them as part of an Asia album.
“In 2023, when the tribute concert for John took place, I was so encouraged by the response to Asia‘s music that I viewed this as the perfect opportunity to re-establish not only the band, but also to reunite with our long-time supportive label, Frontiers, paving the way for us to get back in the studio.”
He continued, detailing how the current lineup fell into place: “So, Asia was back in the room, so to speak, and we were very fortunate to have recruited Virgil Donati and John Mitchell, both of whom had worked extensively with John before, as well as our new vocalist and bassist, Harry Whitley. The tours followed to great success throughout 2024 and 2025, and finally we sat down towards the end of last year to record the album. Working with these fine musicians was a great privilege and the music just seemed to flow.
“The album was really a joy to make. I forged a close writing relationship with Harry, and I felt how great was to be working with someone who had very similar musical influences and taste once again, just as I did with John. I feel that this is one of our best albums to date. The songs are deep in musicality, with a powerful and original performance, dynamics and strong lyrical undertones, it’s an album that hopefully our fans will widely appreciate, and support our cause to put Asia back on the map. Enjoy the ride!”
Recorded across 2025 and produced by Downes and the band, with Mitchell handling mixing and mastering, Indigo keeps the band’s signature sound intact while giving it a noticeably fresh charge.
The album carries real emotional weight tied to Asia‘s history. It includes two of the final compositions from the late John Wetton, “Tattoo Indigo (Parts 2 & 3)” and “Chesapeake Bay,” giving the record a direct link to the band’s past. Whitley‘s vocal performance adds to that connection, with a tone and phrasing that echo Wetton‘s in ways that feel far from coincidental.
Sonically, Indigo builds on Asia‘s modern-era catalog while pulling in touches of the band’s earliest records. Expect the same mix of big melodies and dense arrangements that made “Heat of the Moment” and “Only Time Will Tell” into staples. The tracklist also brings in some notable guests: Steve Howe adds acoustic guitar to “Chesapeake Bay,” while Mike Portnoy of Dream Theater appears on the bonus cut “Tattoo Indigo (Part 3).”
Downes also touched on lead single “The Traveller (Into the Light)”: “The first track off the album is a high-power-energy piece with a few elements of prog trickery but retaining the accessible-chorus block, which was always a signature of Asia‘s music from the very beginning.
“Harry and I started working on this as one of the early ideas that seemed to come together very organically. Virgil‘s dynamic and innovative drums parts drive the piece along, while John‘s soaring guitars keep the momentum. Harry‘s vocals are commanding and my keyboard parts hold the wall of sound together. It’s a song of great optimism, mainly about looking forward to the future and travelling ‘into the light.’ Play it loud!”
Off the back of a busy stretch of touring across the U.S., Japan and Europe, Asia is gearing up to hit the road again.
Ritchie Blackmore is coming out of retirement, at least for one song. The 81-year-old guitarist confirmed he will join Deep Purple onstage Wednesday night (August 12) at the Northwell at Jones Beach Theater in Wantagh, N.Y., marking his first appearance with the band in more than three decades.
Blackmore, who parted ways with Deep Purple in 1993, broke the news during an Instagram Live session with his wife, Candice Night, on Tuesday (August 11).
Blackmore said in part (transcribed by Blabbermouth), “There is something we wanted to mention about tomorrow night… Well, it is a secret and I don’t want anybody to know, but I’m probably get up and do an encore with the band, Deep Purple. But you can’t tell anybody, and I know that this is gonna be kept a secret. And will it? I suppose so.”
Asked how the guest slot came together, Blackmore described reaching out to Deep Purple frontman Ian Gillan through a rather modern method: “I actually called up… I didn’t call him up, I sent my A.I. pigeon to [Deep Purple singer] Gillan in Portugal, where he lives at the moment. And I said, ‘How would you feel about if I got up just for an encore? Just one of the songs. I don’t want to intrude.’ And I said, ‘No pressure, just kind of [for] old times’ sake.’ I’m 81 now. So he seemed to love the idea, put it to the band, got a thumbs up, and it looks like we might be doing that.”
Blackmore is already thinking through logistics for Wednesday’s show.
“I have my roadie there kind of now, setting up my amplifier,” he said. “But I’ll be using a small amplifier, but it’s very loud. It’s what I use when I record. I hope I can compete with the [current Deep Purple] guitar player [Simon McBride], ’cause I can see that he has very big amplifiers behind him.
“So, it’d probably just be the one number, as it’s been a while. I changed my strings on my Strat, which I haven’t done in over 25 years… I hope the guy out in the front can turn me up. I’ve got my roadie there for a soundcheck.”
Night noted that the song won’t be “Highway Star,” since Deep Purple is opening the show with that track, according to Blackmore.
Blackmore also spoke candidly about the physical toll of getting back onstage, referencing a severe vertigo attack in late 2025 that forced him off the road, along with ongoing battles with gout, arthritis in his fingers and feet, and past heart trouble.
“I did have my injection in my lumbar area yesterday,” Blackmore said. “It’s a special injection I have that enables me to stand in one spot, because if I’m playing a Strat on stage, I have a hard time with the shoulders and the lumbar area. I’ve got four herniated discs, if anybody wants them.
“And I had my injection yesterday of a steroid which helps me get through standing up on stage. But I do have a kind of a stool there just in case I start toppling over or something. But I know that Ian Gillan has his maladies too with his eyesight, I think. And so as you get older, you collect all these things… And fusion is out of the question. That’s too big a job. But the stem cell stuff looks interesting.
“So I’m kind of recovering from that at the moment. I’m on steroid. And it’s very hard to sleep when you’re on steroids, but I’m on one steroid. And thanks to the doctors at Stony Brook [University Hospital]; they were excellent. I didn’t feel hardly any pain. But I think we’ve all got something to complain about. I just have more things to complain about than usual. And if don’t complain, I’ll find something to complain about.”
Turning back to Wednesday’s reunion, Blackmore had kind words for the two guitarists who filled his shoes in Deep Purple: “[Simon] is a very good guitar player. As was, and is, [former Deep Purple guitarist] Steve Morse, is a great guitar player.
“So, that’s gonna be interesting. I have not played rock music in 25 years, actually.”
That claim glosses over the fact that Blackmore put his post-Deep Purple project Blackmore’s Night (which also features Night) on hold in 2016 to reform Rainbow for a run of shows, his first rock dates in 19 years.
“It’ll be good to see the old guys again,” he continued. “I think we’ll all be on crutches and wheelchairs and things, although I think the rest of them are okay. But, yes, it’s kind of frightening. I haven’t played rock in 25 years… I’ve been playing acoustic guitar for 25 years, and at first I was very uncomfortable playing it, but I got used to it, and now I’m used to playing the acoustic more so than the electric.”
Blackmore said he wanted to get word out ahead of time because, in his words, “I just thought it might be an idea to let a few people know ’cause I think a lot of people would like to see that. So hopefully my guitar stays in tune, and I can play whatever song is going to be played. It’s just the one song, I think.”
Blackmore’s Night‘s catalog leans into what the pair calls Renaissance or medieval music, with Night typically writing lyrics and Blackmore composing the melodies. The couple and their two children live on Long Island near Port Jefferson.
Blackmore co-founded Deep Purple and penned several of the band’s signature riffs, including “Smoke on the Water,” but hasn’t performed with the group since leaving in 1993. During his years away, he launched the neo-classical outfit Rainbow, which started out blending baroque influences with hard rock before drifting toward a more radio-friendly pop-rock sound.
Blackmore stepped away from Blackmore’s Night in 2016 to run a short Rainbow reunion with an entirely new lineup: singer Ronnie Romero, Stratovarius keyboardist Jens Johansson, Blackmore’s Night drummer David Keith, bassist Bob Nouveau (born Robert Curiano, formerly of Blackmore’s Night), and backing vocalist Lady Lynn, alongside Night herself on backing vocals.
Two of those 2016 Rainbow shows in Germany were filmed and released that November as Memories in Rock – Live in Germany.
After his final split from Deep Purple in 1993, Blackmore had already reformed Rainbow once before, releasing Stranger in Us All in 1995 and touring behind it until wrapping up in Denmark in 1997.
Blackmore skipped Deep Purple‘s 2016 induction into the Rock and Roll Hall of Fame, previously claiming the band’s manager kept him from attending, an explanation he leaned on for his absence. He still got plenty of mentions during his former bandmates’ induction speeches that night. Metallica drummer Lars Ulrich, who handled the induction, singled out “Ritchie fucking Blackmore” for crafting one of rock’s most iconic riffs on “Smoke on the Water.”
