PROX Intake

Category: news

  • “This will be a homecoming”: Inside YUNGBLUD’s spectacular return to the stage – and his biggest UK tour ever

    Posted on April 6th 2026, 12:00p.m.

  • JOANNE SHAW TAYLOR Turns Love’s Highs and Lows Into Fire on New Single “The Trouble With Love”

    Photo: John Scott

    British blues-rock artist Joanne Shaw Taylor returns today with her latest single, “The Trouble With Love,” out now via Journeyman Records, alongside an accompanying official music video. The track stands as one of Joanne’s most emotionally resonant releases to date, capturing the intensity, contradiction, and addictive nature of love in all its forms.

    Built around a driving groove and lifted by Joanne’s signature guitar tone, “The Trouble With Love” moves between tension and release, mirroring the emotional push and pull at the heart of the song. Her soulful vocal performance carries the weight of that experience, while the arrangement builds into soaring moments that underline both the beauty and chaos that love can bring.

    “I always had this song as the heart of the album,” Joanne shares. “Love is such a powerful emotion that we’ve been writing songs about it for hundreds of years. For this song I wanted to try and document the push and pull of it, the highs and the lows. And yes, the trouble it can cause.”

    Anchored by a memorable hook and elevated by Joanne’s searing guitar work, the track balances introspection with energy, turning a deeply personal theme into something universally relatable. The accompanying video further brings that tension to life, visually capturing the emotional cycle that defines the song.

    “The Trouble With Love” arrives as the latest preview of Joanne’s forthcoming studio album, due out later this year. It follows recent singles including the defiant blues-gospel anthem “Hell Or High Water” and the collaborative standout “What Good Is My Love?” featuring Orianthi. Together, these songs point toward a body of work that continues to expand Joanne’s sound while staying rooted in the emotional honesty that defines her song writing.

    The upcoming album builds on the momentum of Joanne’s critically acclaimed Black & Gold, which drew widespread praise upon its release. Classic Rock awarded the album a 9/10 rating, while Powerplay Magazine highlighted its “pop appeal and smoothness.” Guitarist Magazine noted that it “reinforces Joanne’s place in the firmament of today’s brightest stars,” and American Blues Scene called it “a deeply personal experience, showcasing the depth of Joanne’s artistry.” Together with the Black & Gold (Deluxe Edition) and a run of acoustic reinterpretations, the album marked a defining chapter in Joanne’s career.

    The new single arrives as Joanne continues her Spring 2026 U.S. Headline Tour, now in its final stretch. The remaining dates will bring her electrifying live show through the Southeast, with upcoming stops in Greenville, SC, Cornelius, NC, Orlando, FL, West Palm Beach, and Ponte Vedra, before wrapping with a sold-out appearance at Sound Wave Beach Weekend in Miramar Beach. Known for her commanding stage presence, fiery guitar work, and emotionally immersive performances, Joanne continues to captivate audiences with a set that blends new material with fan favourites from across her catalogue.

    For more information and to purchase tickets, visit: www.joanneshawtaylor.com/tour

    Spring U.S. Tour
    April 3 – Greenville, SC – Peace Center
    April 4 – Cornelius, NC – Cain Center for the Arts
    April 7 – Orlando, FL – The Plaza Live
    April 9 – West Palm Beach, FL – Kravis Center for the Performing Arts
    April 10 – Ponte Vedra, FL – Ponte Vedra Concert Hall
    April 10-12     Miramar Beach, FL – Sound Wave Beach Weekend +
    +Sold Out

    Spring Europe Dates
    May 23 – Peer, BE – Deusterstraat 78
    May 24 – Schoppingen, DE – Schoppingen Blues Festival
    May 25 – Raalte, NL – Ribs & Blues Festival
    May 27 – Hanover, DE – Pavillon
    May 28 – Nuremberg, DE – Lowensaal
    May 29 – Eindhoven, NL – Muziekgebouw Eindhoven

    Summer U.S. Festival Dates
    June 27 – San Jose, CA – San Jose Fountain Blues & Brews Festival
    July 11 – Honesdale, PA – Dorflinger-Suydam Wildflower Concert Series
    July 25 – Fargo, ND – Fargo Blues Festival

    The post JOANNE SHAW TAYLOR Turns Love’s Highs and Lows Into Fire on New Single “The Trouble With Love” appeared first on The Rockpit.

  • Soulfallen – ‘Flesh Unearthed’ Single Debuts

    Finland’s Soulfallen have released a lyric video for “Flesh Unearthed”, the second preview tune from their upcoming fourth long player. The latter will be their first one since 2012. More details coming soon.
    Read more…

  • A View From The Back Of The Room: NØ MAN (Spike)

    NØ MAN, Birdwitch, Grim Harvest & Tethered, The Holloway, Norwich 29.03.26



    There is a specific, claustrophobic magic to The Holloway when the “Sold Out” sign is taped to the door. With close to a hundred people packed into a space that usually feels like a basement even when it’s empty, the boundary between the stage and the floor simply ceases to exist. It’s the kind of environment where the music isn’t just heard; it’s a physical presence that rattles your teeth. 

    Last Sunday wasn’t just a gig; it was a documented riot, a four-band descent into punk, hardcore, and the beautiful, bruised-rib honesty that sits right at the centre of the protest song.

    The night ignited with Tethered (8). Now, I’ll stick my hands up here, I wasn’t aware of this lot and couldn’t find much pre-gig but after this I’ll be digging hard to find their stuff. As an introduction to a bill this heavy, they were a masterclass in establishing a pulse. 

    They move with a rhythmic persistence that suggests they’ve spent a lot of time internalizing the more abrasive corners of the post-punk lexicon. It was a sharp, high-velocity start that immediately unified the room, proving that even the opening slot at The Holloway can feel like a headlining set if you bring enough grit to the monitors.

    The weather shifted toward the “bloody furious” with Grim Harvest (9). This local lot had a bit of a nightmare early on with the bass header and amp connection, but once they sorted the plumbing, they absolutely exploded. 

    Their performance was a ritual; the band spent most of the set in a semi-circle facing their drummer, inviting the audience to peek into a private, chaotic ceremony. Sonically, it felt like being beaten up, a savage blend of parched gurgles and blasting riffs. It was unruly, technical, and when they lobbed in the odd cheeky melodic sections, it felt like a brief, desperate gasp for air before the next assault.

    The momentum reached a tipping point with Birdwitch (9). Again they were a first for me and as they describe their sound as “Dream Violence,” I was hooked. It’s a tag they’ve earned. It’s an emotional melting pot of doomgaze and post-metal that feels like a heavy, distorted ache. 

    As a disciple of the original shoegaze blueprint, I loved the way they mashed together pained, introspective melodies with the tectonic weight of sludge. It was a sophisticated bit of songwriting delivered at a heart-attack pace, the kind of set that leaves you feeling like you’ve been through a cleansing fire.

    By the time D.C.’s NØ MAN (9) hit the stage, the venue felt like a pressure cooker. This is a band with a serious pedigree, Matt Michel, Pat Broderick, and Kevin Lamiell essentially helped build the foundations of screamo in Majority Rule but Maha Shami is the undisputed heart of the operation. Her presence is a physical jolt. 

    As she noted during a brief moment of clarity, this was a night of punk and protest. And we NEED both of these things at the moment. From my point of view the best thing about protest songs is the love that surrounds the rage.

    That love was evident, but the rage was a “tornado in your living room.” Shami’s vocals, particularly on new cuts like Poison Darts are the most vicious of her career, fuelled by the systemic violence she’s witnessed first-hand in Palestine. 

    It’s an alchemizing of the personal and the political that doesn’t just ask for your attention; it demands your soul. It’s holding up the “ugly mirror” and making absolutely certain you cannot look away. This is what protest songs with a heavy dose of hardcore look, feel and sound like. The set was a masterstroke of controlled fury, a cathartic inferno that left the audience swamped in a wall of feedback and urban defiance.

    It was an exhausting, pained, and utterly professional bit of work. NØ MAN didn’t just headline; they provided the definitive proof that the underground is currently operating at a world-class level. They managed to balance a white-hot aggression with a melodic soul, proving that you can scream at the world and still have something beautiful to say. 

    I’ve come away from this gig with a list of back catalogues that need urgent excavation, and a ringing in my ears that feels entirely earned. The abyss might be loud, but at The Holloway, it felt like home.

  • A View From The Back Of The Room: NØ MAN (Spike)

    NØ MAN, Birdwitch, Grim Harvest & Tethered, The Holloway, Norwich 29.03.26



    There is a specific, claustrophobic magic to The Holloway when the “Sold Out” sign is taped to the door. With close to a hundred people packed into a space that usually feels like a basement even when it’s empty, the boundary between the stage and the floor simply ceases to exist. It’s the kind of environment where the music isn’t just heard; it’s a physical presence that rattles your teeth. 

    Last Sunday wasn’t just a gig; it was a documented riot, a four-band descent into punk, hardcore, and the beautiful, bruised-rib honesty that sits right at the centre of the protest song.

    The night ignited with Tethered (8). Now, I’ll stick my hands up here, I wasn’t aware of this lot and couldn’t find much pre-gig but after this I’ll be digging hard to find their stuff. As an introduction to a bill this heavy, they were a masterclass in establishing a pulse. 

    They move with a rhythmic persistence that suggests they’ve spent a lot of time internalizing the more abrasive corners of the post-punk lexicon. It was a sharp, high-velocity start that immediately unified the room, proving that even the opening slot at The Holloway can feel like a headlining set if you bring enough grit to the monitors.

    The weather shifted toward the “bloody furious” with Grim Harvest (9). This local lot had a bit of a nightmare early on with the bass header and amp connection, but once they sorted the plumbing, they absolutely exploded. 

    Their performance was a ritual; the band spent most of the set in a semi-circle facing their drummer, inviting the audience to peek into a private, chaotic ceremony. Sonically, it felt like being beaten up, a savage blend of parched gurgles and blasting riffs. It was unruly, technical, and when they lobbed in the odd cheeky melodic sections, it felt like a brief, desperate gasp for air before the next assault.

    The momentum reached a tipping point with Birdwitch (9). Again they were a first for me and as they describe their sound as “Dream Violence,” I was hooked. It’s a tag they’ve earned. It’s an emotional melting pot of doomgaze and post-metal that feels like a heavy, distorted ache. 

    As a disciple of the original shoegaze blueprint, I loved the way they mashed together pained, introspective melodies with the tectonic weight of sludge. It was a sophisticated bit of songwriting delivered at a heart-attack pace, the kind of set that leaves you feeling like you’ve been through a cleansing fire.

    By the time D.C.’s NØ MAN (9) hit the stage, the venue felt like a pressure cooker. This is a band with a serious pedigree, Matt Michel, Pat Broderick, and Kevin Lamiell essentially helped build the foundations of screamo in Majority Rule but Maha Shami is the undisputed heart of the operation. Her presence is a physical jolt. 

    As she noted during a brief moment of clarity, this was a night of punk and protest. And we NEED both of these things at the moment. From my point of view the best thing about protest songs is the love that surrounds the rage.

    That love was evident, but the rage was a “tornado in your living room.” Shami’s vocals, particularly on new cuts like Poison Darts are the most vicious of her career, fuelled by the systemic violence she’s witnessed first-hand in Palestine. 

    It’s an alchemizing of the personal and the political that doesn’t just ask for your attention; it demands your soul. It’s holding up the “ugly mirror” and making absolutely certain you cannot look away. This is what protest songs with a heavy dose of hardcore look, feel and sound like. The set was a masterstroke of controlled fury, a cathartic inferno that left the audience swamped in a wall of feedback and urban defiance.

    It was an exhausting, pained, and utterly professional bit of work. NØ MAN didn’t just headline; they provided the definitive proof that the underground is currently operating at a world-class level. They managed to balance a white-hot aggression with a melodic soul, proving that you can scream at the world and still have something beautiful to say. 

    I’ve come away from this gig with a list of back catalogues that need urgent excavation, and a ringing in my ears that feels entirely earned. The abyss might be loud, but at The Holloway, it felt like home.

  • Malhkebre – Announce ‘B.A.M.N.’ Full Length Effort

    Later this month, on April 30th, French black metal unit Malhkebre will put out their third studio album dubbed B.A.M.N. via Battlesk’rs Productions. Recorded by R.H. at Heldscalla Studio. To taste a first piece of the new music output, give a spin to the first single “To Those Who Forged Us”.
    Read more…

  • Former King Crimson drummer Michael Giles returns with Shadows/Solo, his first album for 25 years

    Michael Giles’ Shadows/Solo kickstarts a series of archival releases which incudes work with Jamie Muir and a five-disc box set

  • Knumears Release Outsanding New Album “Directions” Via Run For Cover

    Rising screamo revivalists, Knumears, recently joined Run For Cover Records and Summer Shade (the RFC imprint spearheaded by Fury’s

  • Teratoma – Longing Voracity Review

    Death metal’s primary function is, or perhaps should be, to whip the listener into a good old-fashioned frenzy with riffs aplenty. On Longing Voracity, their sophomore effort, Germany’s Teratoma zealously commit to and meet this core purpose.

    Release date: March 25, 2026. Label: Me Saco un Ojo Records.
    Longing Voracity is, if nothing else, a riffs-based album. And not just rhythmically; the leads, too, are central to its mission. This tenet, this respect for the riff, is hardly rare. That Teratoma embrace it as wholeheartedly as they do while delivering it as melodically as they do is rare enough, though.

    There’s something embedded in Teratoma’s approach that feels hypernatural. As a listener, your inclination may be—and I know mine was—to frame Longing Voracity initially in terms of what it is not. It is not clinical. It is not overproduced. It is not grandiose or overly complex. Longing Voracity is, instead, refreshingly direct, rich in the few elements that make great death metal, well, great. Principally, I enjoy this one the same way I enjoyed the more recent Witch Vomit records. Or Tomb Mold’s Planetary Clairvoyance. Or the last Hyperdontia record. Simply put, it crushes.

    Longing Voracity’s richness really comes from the distillation of those few elements into nine tightly written songs—songs that are largely devoid of the sort of excess that tends to drag lesser albums. It doesn’t hurt, of course, that the first song (after the intro track) is about four and a half minutes of dense, melodic, and punishing hypnotism.

    There’s a purpose, an ethos, in the above-mentioned hypnotism that weaves its way through most of Longing Voracity. That uniformity of purpose—mostly to crush you into an intense state of hypnosis (see, e.g., “Chaotic Bewilderment”)—belies what is at its core a notably diverse death metal album with well-defined and distinguishable songs, searing leads, and a bulldozing pace. In that sense, the aforementioned “Chaotic Bewilderment,” “Festering Realm,” and the title track are emblematic of the Teratoma’s approach here.

    Though they may not be the first to make the statement, Teratoma certainly prove with Longing Voracity that new OSDM doesn’t have to be purely reverential to succeed. Sure, there’s an eclectic mix of the elements you’d otherwise find in most OSDM—gutturals, doomier riffs, a generally murky atmosphere and raw production—but the album sits somewhere between Swedish, Finnish, and American tendencies, played by musicians who bring their own individual influences to the table, some of them more modern than others.

    Of all the metals, death metal presently sits somewhere near the top, if not at the very top, of the heavy metal hierarchy. And we are direct beneficiaries of its excesses. That in this bountiful period of death metal riches Teratoma’s Longing Voracity stands out amongst its peers is not only commendable but something close to a miracle.

    The post Teratoma – Longing Voracity Review appeared first on Last Rites.

  • An Interview With Bones Hewson Of Tailgunner

    Bones Hewson, bassist of the darlings of the modern heavy metal scene, Tailgunner, keeps it very simple when asked what he hopes for most: “We wanna be huge,” he tells ClassicRockHistory.com. With a ringing endorsement from K.K Downing, who called Tailgunner “the next big thing,” and a massive response to their first two records, 2023’s Guns for Hire, and 2026’s Midnight Blitz, it does appear that Tailgunner will, in fact, “be huge,” if they aren’t already. The band’s decidedly old-school vibe, which Hewson and his bandmates say comes from their view that when it comes to metal, “that’s just how

    The post An Interview With Bones Hewson Of Tailgunner appeared first on ClassicRockHistory.com.