Category: news

St. Louis-based independent artist Lost on the Metro is building significant momentum as 2026 unfolds. Known for a

Truck Violence have revealed that they have signed to The Flenser (home of the likes of Chat Pile and Agriculture) for their new full-length album.

It’s titled ‘The weathervane is my body’ and will be released on June 26.

The artwork looks like this:

Whilst the tracklisting is like this:

1. My dog would fuck the air
2. Jaundiced and reaching for a mother
3. Compelled by Christy
4. House caught fire
5. New Jesus
6. Your name, It’s walking
7. Stomach as a tower and the globules descending
8. Gerard, be quiet
9. Kindly, wash yourself

The band have also offered up a taste of what to expect from the record in the form of ‘New Jesus’, a wonderfully contorted and brilliantly wicked piece of noisy anguish. With flecks of hardcore punishment and lashings of angular alt-rock weirdness, it’s the sort of track that sticks to you like tar and refuses to wash off.

Vocalist/poet Karsyn Henderson had this to say about the track’s sentiments, stating, “’New Jesus’ is a rant about the blatant fascistic slide occurring both to the south of our border and on screen. It is loosely about the ABC—Trump settlement and the post-January 6th election fraud cases. The lack of any broader moral compulsions beyond centralizing power on the political right has led to a culture of post-truth, where there is no reward in accuracy unless it leads to an augmenting of one’s political capital, which it rarely does.” He continues, “This is as destructive in politics as it is in art. There is surprising apathy among young people in regards to this slide, who believe the acquisition of power and the subsequent lording over that occurs, is merely nature, essentially; what will happen, will happen. With these lines of thinking, you find more people sympathetic to this mode, if it is both natural and inevitable, why not acclimate and reap the rewards. Why not join the fascist grift, degenerate art through tiktok, etc…”

The band are set to make their way around Europe over the next few months. Here is where you can lose yourself in their art.

APRIL

18 – TILBURG Roadburn

JUNE

27 – MANCHESTER Outbreak Festival
28 – NEWCASTLE Zerox
29 – LONDON Windmill Brixton
30 – LONDON Windmill Brixton

JULY

02 – ROSKILDE Roskilde Festival
03 – MONTREUIL Le Chinois
04 – LEPER Ieper Fest
05 – ROTTERDAM Vessel 11
07 – NOTTINGHAM The Old Cold Store
08 – LEEDS Wharf Chambers
09 – WITHINGTON 2000trees
10 – NEWPORT Le Pub

The post Truck Violence Announce New Album ‘The weathervane is my body’ appeared first on Rock Sound.

Tim Nielsen of southern rock stalwarts Drivin N Cryin talks about how he keeps busy, what sustains the band financially, and what the band’s drummer eats most nights while on tour.

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The Rock & Roll Hall of Fame is finally inducting metal greats Iron Maiden. Here’s why that’s so great for metal.

The post Rock & Roll Hall of Fame Finally Gives Nod to Iron Maiden appeared first on Audio Ink Radio.

Tonight is a journey that started forty years ago. It started with the incredible Australian Made Tour that swept the county back in 1986/7. Hobart was the first show of that tour on boxing day 1986. It was also the year of release of Icehouse’s “Measure For Measure” album and Kate Ceberano was everywhere. Even if you didn’t know her by name you sure knew her by voice. From her time with I’m Talking to being the female voice that cut through so vividly on The Models “Out Of Mind, Out Of Sight” album and singles. Ian Moss still hadn’t found his solo voice, but would only three years later.

This was a time where Australian Music was at it’s absolute peak, it was so good and so dominant we almost didn’t need the outside world or international artists. We were overflowing and in the best way. That Australian Made Tour was unlike anything I was aware or witness too back then. Sure, I had seen bands like INXS, Midnight Oil, V Spy V Spy and The Angels live at that stage, but a tour like this in Tasmanian of all places was unheard of in 1986.

“For The Working Class Man” was Jimmy Barnes’ second solo album and the one that has been certified 7 x Platinum. No mean feat by any standard. The album itself is a part of Australian cultural history.

With this tour spilling over from 2025 into now the last show of the tour, you knew you were going to get one heck of a show and this show is unique in being the only indoor date of the run. So how did it all play out? Read on.

The ever glowing Kate Ceberano was the first artist for the night. Ceberano joined by the super talented Katheen Halloran and Harts on guitars and bass make up the trio that has dropped jaws on Ceberano’s Australian Made Tour which ran through 2025 and will have an encore run later this year. Tonight’s set was a much abbreviated version of that tour. Ceberano’s thirty minute seven song set was sublime mixing in her own hits like ‘Pash’, ‘Brave’ & ‘Bedroom Eyes’ along with covers of songs by Models, Mental As Anything, Split Enz and James Reyne.

This trio is simply sublime. I was lucky enough to catch the opening night of Kate’s Australian Made Tour theatre tour last year. The chemistry on that night was next level and tonight it levelled up again. The musicianship and connective magic that came from that stage into Rod Laver Arena tonight just pulled you in, it engaged you, moved you and rocked you. The only down side was it was over before you knew it, but warmed up we were in another display of why Kate Ceberano, Kathleen Halloran and Harts are a power trio to be reckoned with, the combined flexibility and ability of each of them shines so brightly. Based on this performance alone I can’t wait to do it all again this year when her Australian Made Tour 2026 kicks off. If you haven’t seen this tour, I urge you to treat yourself when. It comes your way.

Ceberano stayed on stage while we witnessed one of the world’s fastest change overs. Ceberano acting as an MC of sorts as her keyboards were removed from the stage and was prepared for Ian Moss.

Ian Moss, what can I say about Mossy that hasn’t been said before. Ian Moss has to be one of the most consistent if not the most consistent performer I have ever seen. Every solo performance I have seen is a journey within itself. You get lost in his feel, his voice and the songs. Tonight we celebrated his incredible “Matchbook” record with ‘Such A Beautiful Thing’, ‘Telephone Booth’ and ‘Tuckers Daughter’ along with three Cold Chisel classics ‘My Baby’, ‘Choir Girl’ and ‘Bow River’. This short set of six songs just had all of the feels. It immersed you and had you singing along the whole way through. His band is perfect and the execution of this set is everything you would expect from one of this countries most beloved performers. Moss has lost nothing vocally and playing wise leaving me wanting another run of solo shows so that I can just bathe in the mastery of this man again. He is ageless and timeless in every sense.

Icehouse, now here is a band that just never disappoints. I mean how can they with a songbook as broad and textured as theirs is. Seeing Icehouse tonight is this shortened set just piledrives the impact of what an Icehouse performance is. Visually stunning, full of iconic songs and all of them delivered with the passion and energy that just proves age is just a number. Iva Davies is all smiles and charm, singing better than he ever has and his right hand man Paul Gildea (Guitar) shines on every riff, lick and solo. The rhythm section of Steve Bull (Bass) and Paul Wheeler (Drums) are as tight as ever. This iconic core line up of Icehouse truly do have a magic about them. However, it is the younger member of this band that put that magical icing on Icehouse live most notably Hugo Lee who has taken his role as saxophonist in Icehouse to another level. Michael Best on Keyboards and additional guitars is incredibly solid too. Tonight was a stunning performance and for me was the set of the night although it’s been incredibly difficult to pick a favourite. Icehouse are incredibly consistent live and tonight I think they gave one of their best performances of the last decade.

It’s hard to believe that it’s been forty-one years since “For The Working Class Man” captivated us and had us fall in love with Jimmy Barnes all over again. Not only did it re-establish Jimmy, but it took him to heights that I think surpassed Cold Chisel at their peak. The album itself is a part of the Australian musical tapestry, iconic and bold. Musically it’s a melting pot of styles that work incredibly well together. The players and writers on the album are truly the who’s who of the music world and the delivery is on point.

This show wasn’t just a celebration of “For The Working Class Man” it was a celebration of the career of Jimmy Barnes. Hearing the entire “FTWCM” album played live is something I didn’t think I would get the opportunity to experience. A lot of my favourite songs from the album weren’t the singles. Well, that’s not entirely true, I guess. Most of my favourite songs were on the debut from Mr. Barnes. The “Bodyswerve” record had this raw magic to it for me. It had all the grit of the Cold Chisel sound that I loved. “FTWCM” polished those songs and gave them a second chance, who says lightning doesn’t strike twice. 

Tonight was much more that just nostalgia, it was a reminder that whatever life throws at you there 

There are rock n roll survivors and then there is Jimmy Barnes. The man had had more lives than a cat. He has been to the very top of it all and been at the very bottom as well. His health in the last decade has taken on some serious battles and nothing has or can dim his light. I think the last time I saw Barnsey live was on one of the Cold Chisel reunion tours, solo it would have to have been maybe eight years ago, so it’s been a while and a lot has happened to the man in this time. What is obvious is that Jimmy simply loves being on stage is something that still satisfies his soul and lights a fire within, that is obvious tonight. 

At near seventy years old, what Barnes has in spades is youthful energy, presence and a playfulness that many fail to deliver at half his age. His voice is rough in all the right ways, the rasp, the grit and gravel we have all come to love is still there and at times has a little more bite than it did forty years ago. Then there is the tender, softer, soulful side of his voice that is magical.

The band, well god damn, this is one hell of a band, part family, part youth and a ton of experience. Let’s start with family first Jimmy’s wife Jane is keeping up with her younger backing singers and in perfect stride with their dance moves. Not only that but Jane is brought front and centre to play bagpipes on a couple of occasions. Jane is just as much an icon as her husband is and so valuable to the performance. Jane and Jimmy’s son Jackie has been the formidable powerhouse behind the kit for well over a decade and an essential part of the band providing backing vocals as well. I am forever in awe of watching Jackie do his thing live. Mahalia Barnes while not a part of the band tonight made an incredible contribution to ‘Too Much Ain’t Enough Love’ giving the song the soul, power and depth that brought it to life tonight. We move another generation and see Ruby Rodgers, Jimmy’s granddaughter take the stage and own the iconic ‘Flame Trees’ with a performance that wowed the crowd. The rock n roll bloodlines here are strong. Make no mistake about it there is a musical royalty about every Barnes generation.

Then you have the guitarists and keyboard player. Firstly Clayton Doley on keys is a phenomenal player, his parts are true to the recordings with a little of his own flair. Again a wonderfully selected player who gels with the rest of the band. Guitarists Danny Spencer, what a gifted player who stylistically fits perfectly, his slide contributions are immaculate and his ability to drive the guitar heavy stuff is incredible, his voice is a perfect addition to the Barnes choir. Ben Rogers is the perfect right hand man for Spencer and adds such a different approach to the songs. Both guitarists understand their parts and play off each other incredibly well and within each song. Bassist Angus Radley is so damn solid and locks in with Jackie Barnes so perfectly. Australian rhythm sections don’t get any better than this. The surprise for me tonight was seeing Michael Paynter on stage not only adding his magical vocals to the Barnes choir but also adding some great acoustic rhythm guitar. I first discovered Paynter with Icehouse and seeing Paynter share vocals with Barnes and Iva Davies on ‘Good Things’ was a treat.

Tonight’s show was more than just a celebration of “FTWCM”, it was a reminder that Jimmy Barnes is Australian rock n roll royalty. There will never be another. The songs are all engrained in our lives. While at times I found Jimmy to perhaps put a little too much grit on some of the songs, you have to wonder how he still does it, how he still has his voice and throat intact, but I guess that’s what makes him so great and so iconic and sets him apart from anyone else.

For just on two hours Jimmy Barnes proved that he is defiant, resilient and most of all incredible live. With a career that spans over five decades and shows no signs of slowing down. His performance was one for the books and had Rod Laver Arena singing with him, dancing in their seats and having the greatest time. There were too many highlights to single them all out, as a performance it was everything you would expect and then some.

As a package this tour is something to behold, the artist selection perfect and a true celebration of great Australian music and artists. I can’t wait to see what’s Barnsey has instore for us next as there are some pretty iconic records celebrating anniversaries soon.

Setlist : I’d Die To Be With You Tonight, Ride. The Night Away, American Heartbeat, Thick Skinned, Daylight, Promise Me You’ll Call, Paradise, Vision, Without Your Love, No Second Prize, Boys Cry  Out For War, Working Class Man, Last Frontier, Lay Down Your Guns, Too Much Ain’t Enough Love, That’s What You Do For Love, Merry-Go-Round, Flame Trees, Good Times, Khe Sanh.

Encore : Driving Wheels, Shutting Down Our Town, Resurrection Shuffle, Goodbye (Astrid Goodbye)

Photos by Shot By Slaidins Photography
A huge than you to MG Live & Face To Face for the access and acreditaion.

Gallery

The post LIVE REVIEW: JIMMY BARNES Working Class Man 40th Anniversary Tour appeared first on The Rockpit.

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Readers, welcome to the 9th edition of Under The Fretboard, where we share hidden gem artists that live outside the assembly line of modern music machinery. Like many in this series, Dwayne Haggins has been playing mostly in a regional circuit. He is in the New England area, with a home base in Framingham, Massachusetts. He has ventured out to sea on a pair of Joe Bonamassa’s Keeping The Blues Alive at Sea cruises, where I first enjoyed his genre-blending talents and vocal versatility. Between land and sea, he’s shared stages with artists like Joe Bonamassa, Keb’ Mo’, Ronnie Earl, Samantha Fish, and Eric Gales, placing him firmly within the modern blues rock touring network, but stylistically, he sits slightly outside it, pulling just as much from country, soul, and Americana as he does from blues and rock.

Under The Fretboard: Dwayne Haggins — Where Country Meets Soul and the Blues Bleeds Through

For Haggins, the journey didn’t start in a church choir or growing up in a musical family. It started on a couch in 2014, watching Sturgill Simpson entrance a late-night stage on Conan. That performance lit the fuse. Within a few years, he was writing his own songs, performing regularly, and developing a sound rooted in country storytelling, soul phrasing, and blues grit.

That random flash of a start might explain part of what makes Haggins compelling. There’s no sense of overthinking in his playing or singing; it’s instinctive, emotional, and direct. His voice, often described as warm, smooth, and powerful, carries the influence of Sam Cooke, Otis Redding, Marvin Gaye, and Elvis Presley, while his songwriting leans toward the narrative tradition of Hank Williams, Johnny Cash, and Willie Nelson.

Like many artists we’ve featured, Haggins’ discography has been built independently and supported by touring. His band’s lineup has been fluid, with the primary lineup featuring guitarist Ahren Shreeve, bassist/engineer Will Woyda, and drummer Jahnu. Together, they play a crucial role in shaping the modern edge of Haggins’ sound.

His debut album, Heavenly Rose (2018), captured the raw, early version of this sound: stripped-down, rootsy, and built around songs his early fan base already knew from live performances. The slow ballad “Vivian” managed some early traction on streaming platforms with its familiar “my sorry, travel, beautiful love song” theme. Other standout tracks include the stripped-back electric rocker “Don’t Have to Cry” and “Ball O’Man,” a rockabilly jam where you can hear Haggins surfacing his inner Elvis. However, it is “D.W.T.” (Devil’s Welcome Trail), a dark, brooding, nearly 9-minute rock anthem with hints of Sabbath, that will make its way onto my playlist.

For his follow-up, 2019’s China Ruby, Haggins went big. Inspired in part by Joe Cocker’s Mad Dogs & Englishmen, the record leaned into a bigger ensemble sound, with multiple vocalists and a more ambitious, soul-driven arrangement style. Six of the 11 tracks on the album exceed five minutes in playtime, with a pair: “Glory Socks,” a full-band soul revival jam that pushes the 18-minute mark, and the nearly 14-minute “Hey Darlin’,” a melodic, semi-psychedelic sermon that slowly accelerates into a jamming rock crescendo. Other standouts include the opener “22 Candles,” a fast-paced, howling jam with a dash of Elvis; “We Ain’t Cryin’,” with its stripped-back acoustic, soulful blues; “Where It Wants,” an electric guitar- and sax-forward, toe-tapping rockabilly tune; and the shortest track on this album of epics, “Khalyla,” a heavy, riff-laden, haunting electric chant. Where Heavenly Rose introduced the songwriter, China Ruby introduced the bandleader.

No better way to follow a studio album filled with performance tracks than a live album. Dwayne Live documents a March 2020 performance at Sanctuary in Maynard, Massachusetts. This album captures the improvisational nature of his shows, with extended versions of songs that stretch into blues-rock and soul jam band territory. “Where It Wants” and “Glory Socks” are reimagined from China Ruby. The album also features a great rendition of Sleepy John Estes’ “Floating Bridge,” famously covered by Gregg Allman and Eric Clapton, along with top Spotify streamer “I Get Sad.”

During the pandemic in 2020, Haggins released a series of three singles: “Butcher Creek Blues” in August, “Plastic Wow” in September, and “Blood and Fur” in October. Each one features a different flavor of his genre-crossing talents: folk/country in “Butcher Creek Blues,” slow melodic soul in “Plastic Wow,” and somber electric blues rock with “Blood and Fur.”

For his next full-length release, 2022’s Call Me Boston, Haggins ventured into the world of labels, signing on with Verdict Music. This album leans more Americana/alt-country but still bleeds blues. Refreshed versions of “Vivian” and “Khalyla” appear from earlier releases, with the latter adding a full eight minutes of extended soul/blues jam to its predecessor’s playtime. There’s more polish and less improv on the remaining nine tracks. Standouts include the title track “Call Me Boston,” a straightforward rock and roll tune; “Line My Casket with Cannoli,” also released as a single, which is a fun, catchy tune Jimmy Buffett would be proud of; and top streamer “Black Hat Woman,” an infectious country rock tune that was made for airplay. With the wider reach of a label, the record elevated Haggins’ profile from regional favorite to an emerging Americana and blues-rock contender.

In spring 2025, Haggins ventured back into the studio as an independent artist, posting: “After being with record labels in the past and realizing that’s not for me, this time around has felt that much better to just make music that me and the friends involved are happy with. Love the people involved.” Straggler was released in September 2025, with a fun surprise for his mother, posting prior to the release: “Mom doesn’t even know that her high school yearbook pic is the cover of our next record.” Coincidentally (or not), the album has a very throwback folk/R&B/soul feel to it, with each track sounding like something from the late ’60s and early ’70s. Standout tracks include the single “Color in Your Eyes,” an R&B throwback reminiscent of Marvin Gaye; “Trixie,” also with a classic R&B sound but with a more bluesy flavor; “Penguin Parade,” which is rife with hippie rock nostalgia; and “Run & Cheer,” a fast-paced rocker with the feel of a ’60s punk protest song.

In an era where many artists are chasing trends, Dwayne Haggins is doing something different: he’s chasing a sound that feels timeless. His music spans the genres of blues, country, soul, R&B, and rock and roll, which makes him difficult to categorize but easy to remember. He can play a folk festival, a blues cruise, a rock club, or a songwriter round and still sound like he belongs there.

Dwayne Haggins still feels like a discovery, the kind of artist people talk about by saying, “I saw him before everyone else figured it out.” He’s part of that long tradition of road-built musicians whose careers grow city by city, room by room, song by song. And that may be exactly how his music is meant to travel.

The post Under The Fretboard: Dwayne Haggins appeared first on Blues Rock Review.

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