In the past few days, Josh Homme has appeared on two extremely different new songs, Shania Twain’s “Faded Blue Jeans” and Mastodon’s “Snakes For Dinner.” Now, his band Queens Of The Stone Age return with a surprisingly gorgeous and non-heavy new single called “Easy Street,” which doesn’t sound anything like “Faded Blue Jeans” or “Snakes For Dinner.” Perhaps Homme has more range than we realized.
The post Queens Of The Stone Age – “Easy Street” (Feat. Nikki Lane) appeared first on Stereogum.
Review & photos by Ron Lyon
The Pacific Amphitheatre in Costa Mesa was nearly full long before Willie Nelson took the stage. Merchandise lines were busy, cowboy hats filled the aisles, and a crowd spanning multiple generations settled into their seats knowing they were about to see one of the last true giants of American music.
This wasn’t part of Nelson’s larger Outlaw Music Festival tour. Instead, it served as the first stop of a short California run before he resumes a busy summer schedule. That distinction gave the evening a more intimate feel. Fans weren’t there for a multi-artist festival. They were there for Willie Nelson & Family.
Opening the evening was Oklahoma singer-songwriter Caroline Grace, making her first California appearance. Grace and her four-piece band drove nearly twenty hours from Fort Worth to reach Costa Mesa, but there was little evidence of road fatigue during their energetic 40-minute set.
Blending traditional country influences with modern Americana, Grace quickly won over an audience that with her music. Songs such as “Blue Mountain Highway,” “Old Cowboy,” and the standout “The Man with the .45” showcased both her songwriting and vocal abilities. Her version of “Blue Moon of Kentucky” connected particularly well with the crowd, earning one of the night’s earliest standing ovations. By the time she exited the stage, she had gained more than a few new fans and proved herself a worthy choice to open this California run.
At 9:15 p.m., anticipation finally gave way to reality.
A large Willie Nelson banner covered the front of the stage, concealing the band from view. When it dropped, there was no dramatic walk-on or elaborate entrance. Nelson was already seated at center stage on a small, cushioned stool, surrounded by his Family band and holding his legendary guitar, Trigger. The crowd immediately rose to its feet in appreciation.
The first thing most fans likely noticed was Nelson’s physical condition. At 93 years old, he appeared frail and remained seated for the entire performance. Yet within moments it became clear that what matters most remains intact. His voice still carries the unmistakable phrasing, warmth, and emotional honesty that have made him one of the most recognizable singers in American music.
The show opened with “Living in the Promise Land.” From there, Nelson led the audience through a 21-song journey that touched nearly every chapter of his remarkable career.
Among the evening’s highlights was “Still Is Still Moving To Me,” which brought a burst of energy and showcased Nelson’s enduring ability to command a crowd with little more than a guitar and a melody. “Mammas Don’t Let Your Babies Grow Up to Be Cowboys” inspired one of the loudest audience singalongs of the night, while “On the Road Again” delivered exactly the joyful reaction one would expect from a Southern California crowd seeing Willie Nelson in person.
“Georgia on My Mind” demonstrated that Nelson’s interpretive gifts remain as strong as ever. Meanwhile, “Me and Bobby McGee” and “Roll Me Up and Smoke Me When I Die” reminded fans why he became one of the defining voices of the outlaw country movement.
Perhaps the evening’s most emotional moment arrived during “Always on My Mind.” Slower and more reflective than some earlier versions, the song transformed the amphitheater into a sea of quiet attention. Thousands sang along softly, creating one of those rare concert moments where performer and audience seem completely connected.
Visually, the stage setup for the show had a pared-down look and feel. There were no elaborate stage effects or over-produced video screens competing for attention, just a giant American flag backdrop behind the band, creating an image that felt perfectly suited to an artist whose career has become woven into the fabric of American culture itself.
The Family band once again proved why it remains one of the most respected groups in live music. Harmonica master Mickey Raphael, who has been a key part of Nelson’s sound since 1973, delivered the signature harmonica lines that fans know by heart. Bassist Kevin Smith, drummer Billy English, and keyboard legend Booker T. Jones provided a solid musical foundation throughout the evening.
One of the night’s biggest surprises came during the band introductions, when Nelson revealed actor and musician John Stamos on bongos and Green Day drummer Tré Cool on washboard and shakers. Many in the crowd had not recognized the pair during the performance, making the reveal one of the evening’s most memorable moments and drawing one of its loudest ovations. Their appearance reinforced Nelson’s unique ability to bridge musical generations and genres. Few artists can draw admiration from country legends, classic rock fans, punk musicians, and mainstream entertainers alike. The evening came to an end with Caroline Grace returning to the stage to join Nelson on “Will the Circle Be Unbroken?” and “I’ll Fly Away”.
What ultimately made the evening memorable was not technical perfection. Nelson’s guitar playing occasionally wandered, and age has understandably altered aspects of his performance. But none of that seemed to matter to the audience. The crowd responded to every song with enthusiasm, encouragement, and gratitude. They weren’t simply watching a concert. They were spending an evening with an artist whose music has accompanied their lives for decades.
As the final notes faded and fans slowly made their way toward the exits, there was a shared sense that nights like this have become increasingly precious. Willie Nelson may no longer move around the stage, but he still possesses the rare ability to bring thousands of people together through the power of song.
More than 60 years after he first emerged as a songwriter and performer, Willie Nelson remains what he has always been: an American original.
Concert Rating: 8/10 – Not because the performance was flawless, but because seeing Willie Nelson in 2026 feels less like attending a concert and more like witnessing a living chapter of American music history.
“‘Godkiller’ is all gas. It’s basically the equivalent of driving a bulldozer into Hell.”
The post Crown Magnetar Launch “Godkiller” Music Video, Reveal September Release For Their New Album “The Hollowing Of Godflesh” appeared first on Theprp.com.
Satan-loving doo-wop duo Twin Temple have announced the forthcoming release of their third album, Doomed Lovers, and shared its title track.
The Los Angeles-based husband-and-wife, Zachary and Alexandra James, will release the album, produced by Shooter Jennings at LA’s legendary Sunset Sound studio, on October 9 on their own label, Pentagrammaton Records.
“We poured everything into this new record,” the duo say. “We wanted to push ourselves creatively and expand the production further than we have before, drawing inspiration from the lush orchestral productions of Roy Orbison, The Ronettes and The Shangri-Las and added in some Countrypolitan flair. We brought in some incredible musicians like Matt Chamberlain and Jay Bellerose and a 37-piece orchestra. We wanted to make something as beautiful as we possibly could – of course with our dark spin on things.
“The truth is, this album was made during one of the darkest periods of our lives,” the pair reveal. “We had been struggling with grief, health issues, addiction, and depression. But day by day, going into Sunset Sound, making music with incredible people who believed in us, and being surrounded by that creativity slowly brought us back to life.”
As a taste of what to expect from the record, Twin Temple have shared its title track.
“This is the philosophical centerpiece of the album,” they say, “a theatrical and confessional take on all or nothing love, the dark side of devotion and centuries old mythic literary Romantic themes. It longs for a love so enduring and eternal that it ultimately consumes, obliterates, and drives one to madness and death. At its core, it asks the question, ‘What happens when your lover dies?’ But what makes the song unique is that it rejects the conventional and culturally accepted answer – ‘I know I should tell you to find someone new/ – in favor of raw, unfiltered and selfish desire, things that would be shameful to speak in mundane reality.”
Last week, Twin Temple made headlines when they were kicked off two shows with country musician Charley Crockett, due to the headline act’s opposition to their Satanic presentation.
They then made further headlines when Jack White got in contact via social media to invite them to open for him at an upcoming LA show.
White wrote: “Twin Temple, would you like to open my show in L.A. on September 29th at the Hollywood Palladium? Let me know. Get in front of me Satan!” he added, a nod to The White Stripes’ 2005 album Get Behind Me Satan.
Twin Temple responded to the offer on White’s Instagram, writing: “Unholy hell…. Sir Jack, you have no idea what this means to us. Lifelong fans- dead leaves on the dirty ground was one of the first songs I (Alex) ever learned on guitar. We were actually planning on coming to this show. It would be a most infernal pleasure to play the devils music with you.”
Asked by Rolling Stone if they are genuine Satanist, Alexandra James replies, “Hell yeah! To us, Satan is a metaphor for exploring all of these things in our art. It’s the images that have always resonated with us. For me, growing up a mixed-race woman [of Korean and British descent], first generation in America, I’ve always felt a little bit like an outsider. And Satan’s the original outlaw, right? He’s a rebel angel. He’s the one who questioned authority, fought for himself, refused to bow down or conform, and was like non serviam. That was a metaphor that resonated very strongly with me.”
Slaughter To Prevail have announced a headlining North American tour — their last run before a planned 2027-2028 hiatus, not a breakup — and the support lineup is a genuine “wait, what?” moment: Three 6 Mafia’s DJ Paul joins for select dates, with rising deathcore act Rev3rent opening most of the run. Tickets go on sale July 17 for the trek, which kicks off September 10 in Houston and runs through November 23 in Myrtle Beach.
STREAM THE METAL BREAKDOWN DAILY NOW:Catch Scott Penfold every weekday morning breaking down the latest hard rock and heavy metal news on the Metal Breakdown Daily. Download the free Loaded Radio App on Apple iOS and Google Play to stream it live.
Context matters here, and it’s worth being precise about it: this is not a breakup. This North American run is part of the “one last massive global tour” Slaughter To Prevail already announced before frontman Alex Terrible takes the band into a planned two-year hiatus starting in 2027 — with an explicit intention to return afterward. Terrible has said he wants the break to focus on his family and write new material, telling fans directly, “if you want to see and hear us live, 2026 will be the best time.” That framing makes this fall’s North American dates a genuine last call for U.S. and Canadian fans before the band steps away.
The pairing is less random than it looks on paper. Slaughter To Prevail’s own camp has pointed to hip-hop as a real sonic influence before — guitarist Jack Simmons has described channeling “Three 6 Mafia and Björk” while shaping the band’s sound, a detail that predates this tour by years. DJ Paul brings a résumé that needs no introduction in either genre: an Academy Award (Best Original Song, “It’s Hard Out Here For A Pimp”), multiple Grammys, and a founding role in one of the most influential groups in Southern hip-hop history. He’ll join Slaughter To Prevail for the tour’s opening Texas-and-Arizona stretch — Houston, Dallas, San Antonio, and Phoenix — before Rev3rent carries the support slot solo for the rest of the run.
For anyone unfamiliar, Rev3rent are worth paying attention to beyond this tour. The Apple Valley, California deathcore act — fronted by a vocalist who was still a teenager when the band signed its first deal — inked with Deep Love Recordings this past June, a new Atlantic Records imprint launched by industry veteran Cody Verdecias, whose past work includes Turnstile. Their new single “Last One Here” was produced by Drew Fulk, who’s also worked with Knocked Loose and Disturbed. Sharing a bill with Slaughter To Prevail is a serious platform for a band still building its name.
With DJ Paul and Rev3rent:
09/10 Houston, TX @ Bayou Music Center
09/11 Dallas, TX @ The Bomb Factory
09/12 San Antonio, TX @ Boeing Center at Tech Port
09/14 Phoenix, AZ @ Arizona Financial Theatre
With Rev3rent:
09/15 Anaheim, CA @ House Of Blues
09/17 Las Vegas, NV @ Pearl Theater
09/19 San Diego, CA @ SOMA
10/02 Sacramento, CA @ Aftershock (no Rev3rent)
10/09 Orlando, FL @ Hard Rock Live
10/11 Birmingham, AL @ Furnace Fest
11/10 Richmond, VA @ The National
11/11 Raleigh, NC @ The Ritz
11/13 Bethlehem, PA @ Wind Creek Event Center
11/14 Wallingford, CT @ The Dome at Toyota Oakdale Theatre
11/15 Montreal, QC @ MTELUS
11/17 Toronto, ON @ Great Canadian Toronto
11/18 Ottawa, ON @ History
11/20 Milwaukee, WI @ The Rave / Eagles Club
11/21 Newport, KY @ MegaCorp Pavilion
11/23 Myrtle Beach, SC @ House Of Blues
Tickets go on sale July 17
No. DJ Paul joins for select dates only — Houston, Dallas, San Antonio, and Phoenix — while Rev3rent supports most of the remaining tour.
No. This North American run is part of the tour the band announced ahead of a planned two-year hiatus starting in 2027 — frontman Alex Terrible has said the break is to focus on family and writing new music, with the band intending to return.
Rev3rent is a rising deathcore band from Apple Valley, California, recently signed to Atlantic Records’ Deep Love Recordings imprint.
The tour kicks off September 10 in Houston, Texas, and runs through November 23 in Myrtle Beach, South Carolina.
DJ Paul and Slaughter To Prevail on the same bill — genius crossover or genuinely bizarre pairing? Let us know in the comments. Follow Loaded Radio for daily rock and metal news.
The post Slaughter To Prevail Announce Last North American Tour Before Multi-Year Hiatus appeared first on Loaded Radio.
The October Effect captures the carefree spirit of the weekend on “Friday is Mine.
Delivering a bright, infectious track that radiates optimism from the opening moments. A subtle Latin influence adds warmth to the arrangement, while lively trumpet flourishes inject bursts of energy that perfectly complement the song’s relaxed groove. Every musical element feels thoughtfully placed, creating a sound that’s both polished and effortlessly inviting.
The smooth vocal performance glides across the rhythm with confidence and charm, carrying a melody that’s easy to embrace without overpowering the instrumental backdrop. The percussion maintains a light, steady pulse, allowing the horns and vibrant instrumentation to shine while keeping the momentum moving forward.
There’s an undeniable sense of joy woven throughout the song, making each verse and chorus feel like a celebration of leaving the workweek behind. “Friday is Mine” balances catchy songwriting with tasteful musicianship, resulting in a refreshing release that captures the excitement and freedom that arrive when the weekend finally begins.
Check out The October Effect “Friday is Mine” below. Stay Global my Friends!
The post The October Effect – Friday is Mine appeared first on .
Orphaned Land vocalist Kobi Farhi will see his autobiography released in English this fall. Lemon Soul Publishing has acquired the U.K. rights to The Jewish Muezzin: Radical Sanity In An Orphaned Land, with the book set to arrive on October 7, 2026. Pre-orders are already available through Waterstones, Amazon, and other major booksellers, while Lemon Soul is also offering a limited number of signed and personalized copies.
Speaking about the upcoming release, Kobi said: “In the midst of an endless conflict that has drawn in so much of the world, I am grateful to be a musician who, for the past 35 years, has tried to shine light and promote peace through the complexity, the pain, and the wounds of the Holy Land — the homeland I have long called The Orphaned Land.
“I am truly delighted that my memoir is finally making its way into the world in English,” he continues. “I believe the stories it tells, and the small miracles we have been fortunate enough to witness over the years, offer a powerful lesson in music’s ability to heal, to create dialogue, and to foster friendship, brotherhood, and compassion across divides. Even today, after all these increasingly bloodied years, with some artists choosing to promote division over unity, I remain convinced that music is one of the greatest forces for bringing people together, and the finest medicine for humanity”.
The Jewish Muezzin follows Kobi Farhi‘s journey from growing up in Jaffa during years of conflict to forming Orphaned Land, a band that became one of the Middle East’s most distinctive metal acts. The memoir traces how music became his way of challenging division and encouraging dialogue across political, religious, and cultural boundaries.
Throughout his career with Orphaned Land, Kobi has used the band’s platform to advocate for peace and cooperation. Rather than accepting cultural barriers, the group has worked alongside artists viewed as adversaries by their respective governments. Among those collaborations was taking Palestinian band Khalas on the road during the band’s 2013 European tour and later sharing its Metal Hammer Golden God Award with them.
The book also explores the impact Orphaned Land has had on fans across the region. Kobi reflects on bringing together audiences from opposing sides of long-standing conflicts, years before public gestures such as wearing the keffiyeh became widely associated with activism. The memoir also recounts the risks some supporters faced, including one fan who was imprisoned because of his connection to the band and others who permanently marked themselves with Orphaned Land‘s banned lyrics and symbols.
Farhi’s story focuses on the role music has played in creating dialogue where politics often has failed, documenting moments when Palestinians and Israelis stood together through a shared passion for metal.
To mark the publication of the book, Kobi will perform an “Evening With” show at London’s Water Rats alongside Israeli singer-songwriter Geva Alon. The acoustic event will also include appearances from additional guests, with further details expected to be announced at a later date. Tickets are available here.
The post ORPHANED LAND’s Vocalist KOBI FARHI Announces English-Language Edition Of “The Jewish Muezzin” Memoir Book appeared first on Sonic Perspectives.