Internationally acclaimed vocalist Alissa White-Gluz returns with “Checkmate,” a striking new single that marks a powerful evolution in both sound and creative vision.
Beloved for her commanding presence in extreme metal, White-Gluz steps forward here with a renewed sense of freedom, fully embracing the breadth of her vocal range and artistic identity. “Checkmate” showcases a dynamic fusion of melody, heaviness, and razor-sharp precision, delivering a track that is as catchy as it is emotionally resonant. The crushing new single was written by Alissa White-Gluz, Alyssa Day, and Dani Sophia, and mixed and mastered by Kile Odell.
“This is a song where everything just clicked,” says White-Gluz. “Checkmate is an extremely cathartic song for me. It was created in one of those flow states where the lyrics and melodies and rhythms just write themselves, and you get the feeling that you’re onto something powerful. It’s probably the heaviest thing I’ve written in terms of lyrics, and probably the lightest of what we have cooking in terms of sound. I wanted to share the intensity of these feelings with fans and give them something to hold onto. I’m so happy to see so much support for Blue Medusa already; fans can look forward to more dark, heavy, brutal, and haunting music very soon.”
Beyond the music, “Checkmate” also highlights White-Gluz’s expanding role as a visual storyteller. Co-directing the music video with Vicente Cordero of Industrialism Films – whom she previously collaborated with on high-ranking videos for “The Wolf You Feed” with Nita Strauss and “I Am a Machine” with Kat Von D – she brings a cinematic, detail-driven approach that elevates the track into a fully immersive experience.
Built around a unique, outside-the-box concept developed by White-Gluz, the video unfolds within a game of chess, where each move carries deliberate allegory and layered symbolism.
“I know what every frame is for,” jokes White-Gluz. “I’ll share that someday, but for now, I welcome fans to dive deeper into the meaning and develop their own interpretations. That’s what makes videos and movies fun and interesting, in my opinion.”
The result is a release that feels both familiar and refreshingly new, bridging the gap between longtime fans of her work and listeners discovering her for the first time. “Checkmate” balances melody with intensity, offering a thought-provoking and emotionally charged entry point into what promises to be a bold new chapter.
Dave Mustaine has a date with the bookshelf. His next memoir, In My Darkest Hour, is set for release on 09/08/2026 through Da Capo, the newly relaunched music-focused imprint under Grand Central Publishing. The book will chronicle the Megadeth frontman’s seven-year reckoning with squamous cell carcinoma — a cancer of the tongue that threatened to take his voice, his band, and his life.
Mustaine broke the news of his diagnosis in 06/2019, telling fans that doctors had given him a 90% chance of survival. What followed was a grueling course of 51 radiation treatments and nine rounds of chemotherapy — all while he continued writing and recording what became Megadeth‘s sixteenth studio album, The Sick, The Dying…And The Dead! He returned to the stage in early 2020, just weeks before the COVID-19 pandemic shut touring down worldwide.
In a statement to Rolling Stone, Mustaine laid out exactly what kind of book this is — and what it isn’t: “One of the most harrowing experiences of my adult life has been my seven-year journey through cancer treatment and onward into remission. This story is considerably more than just, ‘Go to the doctor, get diagnosed, get treatment, and hopefully I live happily ever after.’ This was a journey of me saving myself, staying alive, keeping my family together, and continuing to make music through it all.”
Da Capo executive editor Ben Schafer echoed that framing. “‘In My Darkest Hour’ is Dave Mustaine at his most revealing, vulnerable, and true,” he said. “With lacerating honesty and soulful reflection, he speaks to the universal human experience of facing serious illness and how it changes a person, their family and friends, and one’s relationship with creativity.”
The memoir was co-written by New York Times journalist Joe Layden, a long-standing collaborator who previously worked with Mustaine on Mustaine: A Heavy Metal Memoir (2010) and with original Kiss guitarist Ace Frehley on No Regrets: A Rock ‘N’ Roll Memoir. Layden is also the author of The Last Great Fight, which documents James “Buster” Douglas‘s stunning tenth-round knockout of Mike Tyson in 1990 — widely regarded as the biggest upset in boxing history.
Per the official book description from Da Capo, In My Darkest Hour will track Mustaine “from the treatment room to the studio,” detailing how the diagnosis pushed him deeper into both his faith and his artistry. The record that came out of that period, The Sick, The Dying…And The Dead!, was shaped directly by what he was living through — radiation and chemo appointments running parallel to hours-long recording sessions.
This will be Mustaine‘s third book. Mustaine: A Heavy Metal Memoir debuted at No. 15 on the New York Times “Hardcover Nonfiction” bestseller list upon its release in 08/2010. His second, Rust In Peace: The Inside Story Of The Megadeth Masterpiece, arrived via Hachette Books in 09/2020 and offered a deep dive into the making of Megadeth‘s 1990 landmark album.
Shinedown guitarist Zach Myers has opened up about why the band quietly pulled the plug on pre-show meet-and-greets — and it has nothing to do with not caring about the fans. If anything, it’s the opposite.
Speaking on the Beardo & Weirdo podcast, hosted by Five Finger Death Punch bassist Chris Kael and comedian Craig Gass, Myers was asked whether it blows his mind that Shinedown‘s music carries the same deep emotional weight for fans as his own musical heroes did for him growing up. His answer got unexpectedly honest.
“Yes. But it also at times doesn’t feel real, because it’s true,” he said (via Blabbermouth). “Your music does mean as much to you as Bruce Springsteen meant to me, or U2 meant to me, or Stevie Ray Vaughan, or whatever. But when it’s you, it’s hard to… I get a lot of imposter syndrome, so it’s hard to go, ‘Oh.’ Like when people say, ‘Dude, your song saved my life,’ the computer just stops working for me.”
Myers went on to explain that those moments — the ones that hit the hardest — are exactly why meet-and-greets became unsustainable. Unlike the quick photo-line format many bands use, Shinedown did things differently. He and singer Brent Smith would work one end of the room while bassist Eric Bass and drummer Barry Kerch took the other, spending a genuine five minutes with each person.
“We’ve toured with bands — they do 150 people in 30 minutes,” Myers said. “It took us 90 minutes to do 40 people.”
The weight of those conversations eventually became too much to carry into a show. Myers described fans sharing devastating personal stories — a seven-year-old boy lost to cancer — and finding himself unable to switch off the emotional response once he hit the stage: “‘Man, I’ve got a seven-year-old boy. He died of cancer.’ And I’m, like, under my shirt, texting my wife, like, ‘Take our kid to the hospital right now.’ She’s, like, ‘What? He’s on the trampoline.’ I’m, like, ‘He might have cancer.’ And God bless those people, and I want our songs to help them.”
“I am man enough to admit I don’t have the emotional barricade to not walk on stage with that,” he continued. “By the end of it — I think [it was] 2019 when we stopped doing meet-and-greets — I walked out of 11, just walked out. Because I was literally, like, I would start to tear up. And you go to the guy next to you, and he’s, like, ‘Dude, [I’ve] seen you guys 25 times, bro. Stoked to be here.’ And you’re, like, ‘Sorry, man. I can’t turn this off. I’m gonna think about this kid for a year.’”
He’s clear that stepping away from the format wasn’t about putting up walls — it changed the nature of fan encounters for the better. “When you meet people out on the street, it becomes more real,” Myers said. “It’s not this formulative thing, the construct of a meet-and-greet. It’s, like, they get to see the real you.”
Shinedown‘s eighth studio album, Ei8ht, arrives 05/29 via Atlantic Records. The band has also announced the “Dance, Kid, Dance Act II” world tour — 54 dates across 11 countries — with support from Coheed And Cambria, Black Stone Cherry, From Ashes To New, DJ Rock Feed, and Those Damn Crows on various legs.
Two former Porcupine Tree members are taking the long road back. Voyage 35 — the new project from Porcupine Tree bassist Colin Edwin and longtime touring guitarist John Wesley — have announced a new single and a run of European and UK dates this September.
The band takes its name from Voyage 34, Porcupine Tree‘s 1992 debut EP — a deliberate nod to the era they’re stepping back into. Their focus is the early Delerium Records and Snapper Records material, roughly 1992 to 2000, a body of work built on extended improvisation, hazy psychedelia, and cosmic drift. Much of it has never been performed live or hasn’t been heard on a stage in over two decades.
The first release under the Voyage 35 banner arrives 04/03: an eight-minute reimagined cover of a track from On the Sunday of Life, Porcupine Tree‘s sprawling 1992 debut, complete with an accompanying video. An atmospheric, formative era piece, the recording leans into the space rock and bedroom psychedelia that defined the band’s earliest work.
Equally significant is what’s coming with them on tour: the original Fruit Salad Lightshow, Porcupine Tree‘s iconic visual experience that was central to the immersive atmosphere of those early shows. London audiences have been promised a few unspecified special guests at the Shepherd’s Bush Empire date.
The project’s origins are unusual. Edwin traces it to a chance reunion with former Porcupine Tree manager and Delerium Records founder Richard Allen and the band’s original booking agent Glenn Povey. “Richard and I met up after many years of no contact,” Edwin recalled. “And the idea of forming a band and touring was more of a joke about how it might happen amusingly. Having been asked many times over the years if performing the old repertoire was a possibility, I always responded that it was firmly locked in a drawer marked ‘No.’”
That position eventually shifted. “There was a certain energy, naivety, and spirit to the band’s early years that I am very fond of,” Edwin said, “and I know that many fans share that nostalgia from the large amount of correspondence I have received over the years. Although I am not usually one for the rear-view mirror, I am very much looking forward to performing that music again and bringing a new energy to it, in a live environment.”
There’s also a more pointed context here. Edwin was famously absent from Porcupine Tree‘s 2021 reunion — the band having reassembled without him after a decade on hiatus. He was their bassist from the very first show in 1993 at The Nag’s Head in High Wycombe through to the 2010 hiatus. “For several reasons, I’d long considered Porcupine Tree a thing of the past,” he said, “not least because it was made clear to me that there was ‘no role for me’ in the band.”
Wesley, who played live with Porcupine Tree from 2002 to 2010, didn’t need much convincing. “I realized deep inside that I really missed playing that music,” he said, “so an opportunity to go out with Colin and an amazing set of musicians to perform music I deeply cared about was not something I was going to miss.”
European tickets are on sale now. UK tickets go on sale at 10 AM this Friday.
Carnivore A.D. is stepping out from behind the legacy with their first original material. The New York hardcore and metal outfit — featuring bassist/vocalist Baron Misuraca (Sheer Terror, Darkside NYC), guitarist Chuck Lenihan (Crumbsuckers, Christian Death), and drummer Joe Cangelosi (Kreator, Massacre, Whiplash) — has shared “I Stand Alone”, the second single from their debut studio EP Transmutation, due 03/27 via Apostasy Records. A lyric video for the track is now streaming.
Formed as a tribute outfit built around the explosive catalogue of Carnivore and co-founded with the full endorsement of original drummer Louie Beateaux, Carnivore A.D. has spent years keeping Peter Steele‘s primal vision alive on stages from Hellfest to Maryland Deathfest. Transmutation marks the point where that mission shifts — not by erasing the past, but by building something new from it. The EP, also dedicated to the memory of Keith Alexander, represents the band’s first attempt at original songwriting: material that doesn’t try to replicate the Carnivore legacy so much as grow out of it.
Beateaux puts it plainly: “Think of Carnivore A.D. as a renowned dining establishment where its chef passed on years ago, but the recipes remain, and folks still want to dine there instead of cooking the food themselves. And Chef Pete wouldn’t mind because his friends are making it with love.”
Over the past years, Carnivore A.D. has appeared at established metal festivals (including Brutal Assault and Hellfest) as well as stages at events like Rock Hard Festival, Lisbon Tattoo RockFest, Ruhrpott Metal Meeting, and Maryland Deathfest, reinforcing its reputation through consistent live performances and international presence.
Transmutation was recorded and mixed at Soundlodge by Jörg Uken, with artwork by Simon Bossert. The five-track EP runs as follows:
Prologue
Transmutation
I Stand Alone
Social Decomposition
Mine Is the Hand
The band has a run of live dates lined up across the US and Europe through April, including a stop at Inferno Festival in Oslo on 04/02. Full dates below.
Geoff Tate has some generous words for the man who took his place in Queensrÿche — and an unexpectedly warm story to go with them. Appearing on the 03/17 episode of SiriusXM’s Trunk Nation With Eddie Trunk, the former Queensrÿche frontman opened up about watching his old band perform live for the first time — without him — and the surprising front-row moment that came with it.
Tate revealed he caught the band’s set in Gothenburg, Sweden, in early 2025, when both acts happened to be in the same city on the same night. He and several of his own bandmates had the evening off and decided to go check them out.
“We just showed up,” he said (via Blabbermouth). “We happened to be in the same city. And we had the night off, and so a bunch of us in the band went to see ’em play and check ’em out.”
He made his way to the front row — and didn’t go unnoticed: “Oh, yeah. Oh yeah. I spent the entire time getting photos and signing autographs.”
But the real moment came from the stage itself. Current Queensrÿche singer Todd La Torre spotted Tate at the barricade and didn’t hesitate.
“I know there’s a lot of weird press about myself and Todd La Torre, but I have to say mass respect for the guy for stepping into my shoes, for one. And when I went to Copenhagen, I was standing on the barricade there. And the first thing he did when he came out was straddle the barricade and fistbump me, acknowledging that I was there. And he said, ‘Hey, good to see you, man. Stick around. I’m gonna blow you away.’ [Laughs] And he did. He was great. He was wonderful being on the stage that night. It was just really a treat seeing him play.”
Tate was candid about just how strange the whole experience felt — hearing his own music performed by someone else, and performed well.
“It’s so weird. Yeah. It’s so weird. For one, it’s my music [laughs], and so [Todd is] singing me. So, yeah, it’s strange. And he’s a really wonderful singer, he’s really good, very technically adept, so he does a really good job of being me. But he’s also, over the years, he’s kind of, I guess, worked on his own personality. And they have music that they’ve written together, and they have their own thing as well. But when the band and he play my music, it’s just — I don’t know. I can’t even describe it. It’s just like an otherworldly experience [laughs], ’cause he sounds a lot like me. So I’m hearing me, kind of, through him playing my stuff, and it’s just — I don’t know. It’s weird. I can’t quite put my finger on how to describe it.”
It wasn’t the first time the two men had been in the same room. Back in June 2017, both Queensrÿche and Tate — performing separately — appeared at Rock Fest Barcelona, where Tate was a special guest of Avantasia. La Torre recounted that encounter in detail during his own appearance on Trunk Nation in August of that year.
When La Torre came offstage, Tate approached him, extended his hand, and told him it was the first time he’d actually heard him sing.
“And he said, ‘Wow! You’re amazing!’” La Torre recalled. “And I said, ‘Well, thank you very much. That’s nice to hear.’ And I was complimentary of him. I said, ‘Listen, for what it’s worth, I have defended you. I know that sometimes the media and people can try to stir the pot, and for what it’s worth, as far as I’m concerned, you’ve done it all. I was kind of just expressing the sentiment, like, ‘You don’t have anything to prove in my book. You’ve already done it all.’ And I said, ‘I’m doing the best job that I know how.’ I told him that the Empire material is actually more difficult for me. I expressed to him that he’s always had a very smooth control over those vocal parts, and that’s more difficult for me. Now the older stuff is easier for me.”
La Torre later reflected on what it meant to receive that validation from the man he was essentially filling in for.
“Of course, there are some people who are divided still, the purist type of mentality, and I’ve heard it all: I suck, and I don’t sound anything like that, blah blah blah. And so I thought, what better testimony that the band is on the right track, the vocals sound worthy, than to hear that from the original singer… I don’t like to use the word ‘endorsement,’ but certainly acknowledging that the vocals sound great, the band sounds tight. I just thought, ‘Wow, that’s kind of an interesting perspective,’ if you look at it from what I’m mentioning, where some people say, ‘Oh, it doesn’t sound right,’ or this or that. And you say, ‘Well, the original singer seems to think that it sounds excellent,’ and what better testimony do you need?”
La Torre also shared that he’d been a Queensrÿche devotee long before any of this became his reality. In 2019, he posted a decades-old photo of himself with Tate — taken at an in-store signing — along with a caption that read: “As a huge fan of Queensrÿche, I waited in line for an hour + to meet the band at an in-store signing. Here is a pic of Geoff Tate and me, I have kept private for decades. Little did I know that 20+ years later, I would become the singer for Queensrÿche. Crazy.”
Black Veil Brides are back with their seventh studio album, Vindicate, set for release on 05/08 via Spinefarm. To mark the announcement, the band has dropped the title track — a statement of intent that opens with a haunting calliope intro before detonating into a wall of guitars and vocalist Andy Biersack‘s signature scream.
The record spans 14 tracks, running from the organ-laden soliloquy of opener “Invocation To The Muse” through to the closing “Eschaton.” The full lineup — Biersack, guitarists Jake Pitts and Jinxx, bassist Lonny Eagleton, and drummer Christian Coma — produced the album themselves, with Biersack and Pitts at the helm.
The album’s themes are built around revenge, resilience, and the double-edged nature of vindication. Biersack explained the concept in a statement accompanying the release: “This record is rooted in the feelings of revenge and vindication. These are emotions that can either push us forward or hold us back. There’s a duality to them. They can fuel growth, drive ambition, and help us rise above what’s tried to break us, but they can also become destructive if we let them consume us.
“Each song explores a different side of that struggle. Sometimes it’s about getting even with someone else, sometimes it’s about confronting ourselves and our past, our pain, or the things that were done to us. At its core, though, this album is about resilience. It’s for anyone who’s ever had their dreams doubted or their fire challenged by people who couldn’t see their vision. We’re all born with that spark. The world will try to take that away at times, but this record is about holding on to it, fighting back, and turning those struggles into something powerful.”
“This record is one that we’ve made on our own,” Biersack recently told Rock Feed, “This record was primarily made here in Florida by the band. Jake and I produced it. And it’s the kind of record that we wanted to make without any other cooks in the kitchen. And I think it’s really representative of where we’re at as a band.”
In support of the new album, Black Veil Brides will embark on their first North American headline tour of 2026. The 24-city run kicks off April 25 in Riverside and concludes May 30 in Worcester. Along the way, the tour will make stops in Seattle (April 28), Houston (May 5), Detroit (May 17), and New York (May 28), among others.
Support on the tour will come from From Ashes To New, TX2, and As December Falls. Information on tickets and VIP packages can be found here, and the full trek itinerary is detailed below.
4/25 — Riverside, CA — Municipal Auditorium 4/26 — Reno, NV — Grand Sierra Resort 4/28 — Seattle, WA — Showbox SoDo 4/30 — Salt Lake City, UT — The Union 5/1 — Denver, CO — Fillmore 5/2 — Omaha, NE — ASTRO 5/4 — Dallas, TX — House of Blues 5/5 — Houston, TX — House of Blues 5/6 — San Antonio, TX — The Aztec 5/8 — Atlanta, GA — Tabernacle 5/9 — Daytona Beach, FL — Welcome To Rockville 5/11 — Greensboro, NC — Piedmont Hall 5/12 — Norfolk, VA — The Norva 5/14 — Philadelphia, PA — Fillmore 5/15 — Pittsburgh, PA — Stage AE 5/16 — Columbus, OH — Sonic Temple 5/17 — Detroit, MI — The Fillmore 5/19 — Indianapolis, IN — Egyptian Room 5/21 — Minneapolis, MN — The Fillmore 5/22 — Chicago, IL — Ramova Theatre 5/23 — Madison, WI — The Sylvee 5/25 — Toronto, ON — History 5/26 — Montreal, QC — M-Telus 5/28 — New York, NY — Palladium Times Square 5/29 — Silver Spring, MD — Fillmore 5/30 — Worcester, MA — The Palladium
^ Promoted by Live Nation * Festival appearance # Not a Live Nation date
Gus G. is gearing up to drop his fifth solo record, Steel Burner, on 04/24 via Metal Department Records. The Greek guitar maestro has today unveiled the official video for “Nothing Can Break Me,” a collaboration with heavy metal royalty Doro Pesch that’s been a long time coming for both artists.
The track is exactly what it sounds like: a full-throttle metal anthem built around perseverance, powered by Doro‘s unmistakable voice and Gus‘s signature blend of precision and fire.
Doro didn’t hold back on her enthusiasm for the pairing. “It was awesome to work with Gus,” she said. “We’ve been friends for a long time. He’s such an amazing guitar player. We always planned to do something together, and now it has finally happened. I’m totally excited about the song.”
Gus was equally effusive. “Doro is an icon, the metal queen. Everybody knows that. Having the opportunity to collaborate with her on a track is something I have long wished for. ‘Nothing Can Break Me’ is a powerful metal anthem about perseverance. I’m really proud of this one.”
Steel Burner arrives five years after Gus G.‘s last solo outing and marks a deliberate return to his own vision after years of relentless post-pandemic touring. The album walks the line between pure instrumental showcase and vocal-driven collaboration — and the guest list is stacked. Matt Barlow (of Iced Earth and Ashes of Ares) appears on “Dancing With Death,” tackling addiction through an epic metal lens. Dino Jelusick (Whitesnake, Trans-Siberian Orchestra) lends his voice to “No One Has to Know,” a hard rock dig at social media artifice. And Ronnie Romero (Rainbow, Vandenberg, Michael Schenker Group) — whose relationship with Gus was forged on a recent joint world tour — contributes to two tracks.
Gus framed the album’s direction in his own words: “This is my first solo album release in five years. As I’ve been pretty busy in the post-pandemic world with heavy touring, I always had the idea to put out another solo album at some point. This time around, I felt I wanted the best of both worlds — being able to explore guitar instrumental music, but also collaborate with singers I love and am a fan of.”
The album’s title, fittingly, traces back to an industrial machine used to shape metal. That commission became the album’s cornerstone and ultimately its name.
Production duties were handled by Dennis Ward (Helloween, Pink Cream 69), delivering a clean, punchy result that does justice to both the instrumental depth and the vocal performances across the record.
Stick Men guitarist Markus Reuter has issued a statement detailing a major theft that hit the band during their recent tour of Chile. The group’s luggage was targeted by what Reuter describes as an organized operation, with equipment and personal belongings taken from their suitcases while in the care of the airline.
The gear losses are substantial. The band lost two Quad Cortex units and a sample pad belonging to drummer Pat Mastelotto. More difficult to replace are three hard drives belonging to Reuter — containing dozens of in-progress music projects, archival recordings, and more than 300 unreleased live recordings spanning the past decade.
The personal toll runs deeper still. Those same drives held Reuter‘s only complete archive of photos and videos of his daughter from birth.
The band is not soliciting direct donations, but Reuter pointed fans toward their Bandcamp pages as the most practical way to offer support: purchases of digital downloads from their Bandcamp page and the Bootlegs page will help offset what he called “the severe financial and emotional blow of this loss.”
Stick Men are also appealing directly to their Chilean fanbase. If any of the stolen gear or personal items surface — whether in circulation or being traded — the band is offering a reward for information leading to its recovery.
Despite the setback, the band confirmed they will be back on the road next week.
“Hi everyone, keeping it as short as possible: I’m writing to share a difficult update regarding our recent travels in Chile. Unfortunately, we (Stick Men) were victims of an organized theft where much of our gear and personal items were stolen from our suitcases while in the custody of the airline.
“The loss is significant. While I still have my primary instrument, we lost essential equipment, most notably including two of our Quad Cortex units and Pat‘s sample pad. More devastatingly, three of my hard drives were taken, containing dozens of music projects, archival data, and over 300 unreleased concert recordings from the last decade. On a personal level, these drives also held the only complete archive of photos and videos of my daughter since she was born.
While we are not asking for direct donations, many of you have asked how you can help. If you would like to support the band during this time, the most effective way is to visit our Bandcamp pages and purchase digital downloads. Supporting our digital catalog helps us recover from the severe financial and emotional blow of this loss as we continue our tour next week.
“And if any of our Chilean friends hear of our equipment and personal items being traded, we’re very interested in recovering what was stolen from us, and we offer a reward for that.
“Despite this setback, we will be back on the road next week and look forward to seeing many of you at the upcoming shows. Thank you for your ongoing support and for standing by us.”
This Thursday (March 19th), intergalactic shock rock legends Gwar returns to destroy stages across the United States on The Gor Gor Strikes Back Tour, a massive spring run featuring Soulfly as direct support and King Parrot opening every night. The carnage begins in their adopted hometown of Richmond, VA, and rampages through April 29th, ending in Charlotte, NC. A complete list of dates is below. Armed with fresh atrocities, new victims, and the unstoppable might of Gor Gor himself, Gwar are promising their most crushing live spectacle yet.
Lead Vocalist The Berserker Blothar gives a preview of what fans can expect nightly: “Gwar, Soulfly and King Parrot. This tour will be a ritual orgy of death, sex, violence and rock and fu**ing roll!! Let the severed heads rain, bouncing down the pyramid onto a heap of human skulls. Be there humans, or be left to suffer on this planet while we party in the stars!”
The Gor Gor Strikes Back 2026 Tour Dates:
3/19 – Richmond, VA @ The National 3/20 – Reading, PA @ Reverb 3/21 – Albany, NY @ Empire Live 3/22 – Huntington, NY @ The Paramount 3/24 – Hartford, CT @ The Webster 3/25 – Wilmington, DE @ The Queen 3/26 – Sayreville, NJ @ Starland Ballroom 3/27 – Boston, MA @ House Of Blues 3/28 – Buffalo, NY @ Town Ballroom 3/29 – Columbus, OH @ Newport Music Hall 3/31 – Louisville, KY @ Mercury Ballroom 4/1 – St. Louis, MO @ The Pageant 4/2 – Chicago, IL @ Concord Music Hall 4/3 – Fort Wayne, IN @ Piere’s 4/4 – Saginaw, MI @ The Vault 4/5 – Green Bay, WI @ EPIC Events Center 4/7 – Minneapolis, MN @ First Avenue 4/8 – Des Moines, IA @ Val Air Ballroom 4/9 – Tulsa, OK @ Cain’s Ballroom 4/10 – Lawrence, KS @ The Granada 4/12 – Grand Junction, CO @ Mesa Theater 4/14 – Portland, OR @ Roseland Theater 4/15 – Boise, ID @ Treefort Music Hall 4/17 – Sacramento, CA @ Channel 24 4/18: Los Angeles, CA @ The Belasco 4/19 – San Diego, CA @ House of Blues 4/20 – Tucson, AZ @ Rialto Theater 4/21 – Albuquerque, NM @ Sunshine Theater 4/23 – Austin, TX @ Emo’s 4/24 – Houston, TX @ Warehouse Live 4/25 – Mobile, AL @ Soul Kitchen Music Hall 4/27 – Chattanooga, TN @ The Signal 4/28 – Asheville, NC @ The Orange Peel 4/29 – Charlotte, NC @ The Fillmore
