From Dublin clubs to stadiums around the world, U2 built one of rock music’s most enduring catalogs. This complete A to Z guide covers every officially released U2 song, including studio recordings, soundtrack contributions, collaborations, B-sides, and later reinterpretations. Under the Dublin sky in 1976, a group of ambitious teenagers answered a call for musicians that would forever change the face of rock music. This was the beginning of U2, an iconic band formed by Bono (Paul Hewson), The Edge (David Evans), Adam Clayton, and Larry Mullen Jr. Hailing from Ireland, they channeled their youthful energy into creating a sound
“Let the Sunshine Burn” is the new EP from Lovestruck, released in 2026. This marks their third project, following an album and a previous EP.
I love the riffs, the catchy solos, and the overall vibe of the song “Fake It Till You Make It.”, track number three of the EP that embodies the spirit of 80s hard rock, featuring memorable riffs, strong vocals, and fantastic solo sections. A very cool one, very well performed by the band and with the right sound as well.
Give it a go by clicking on the Spotify player below and follow Lovestruck on social media if you like what you hear.
There’s a new boyband in town. Los Skeepers (Juan Andrés Paiz, Alex Olivares, Joaquín Flores, Juan Pablo Nájera, Danniel Díaz Contreras, and Jeremy Sandoval) formed in Guatemala City and released their debut single “Luismigirl” in June 2025. On Friday, they released a new single “NADA MÁS+” which pacifies an itch for sunny alt-pop.
Blac Corset deliver a captivating slice of dark synthpop with Lonely Wolf, blending shimmering electronic textures, pulsing beats, and cinematic atmospherics into an irresistibly immersive experience. The track balances moody verses with infectious hooks, while expressive vocals add emotional depth to its sleek, polished production. Rich synth layers and dynamic arrangements create a sense of constant momentum, making the song equally suited for late-night drives and dimly lit dancefloors. Stylish, melodic, and emotionally charged, Lonely Wolf highlights Blac Corset’s ability to fuse modern electronic pop with a brooding, nostalgic edge.
“You’d think there was a football match on!” grins Bruce Dickinson as he looks out over 50,000 giddy Iron Maiden fans having a thoroughly lovely time in the hazy evening sunshine. In just over three hours from now, England’s men’s team will have confirmed their place in a World Cup semi final, but here at Knebworth, there are far more pressing matters: celebrating 50 years of this country’s most storied heavy metal band.
A year on from a historic homecoming gig at West Ham’s London stadium, you’d be forgiven for assuming that Eddfest – Maiden’s first ever curated, multi-day festival – is little more than a fist-pumping victory lap for a band that are well into the second year of their Run For Your Lives world tour. Nope. From the second you walk onto the festival grounds, you feel less like you’re at Yet Another Iron Maiden Show and more like you’ve just stumbled into a fanatic Maiden fan club member’s fever dream.
At the top of the site is an open air mini-museum boasting props and costumes from five decades of touring. Everything from Paul Di’Anno’s 80s leather jacket to OG Pharaoh Eddie and Dance Of Death grim reapers are on display, and fans of all ages are gravitating to attractions from their favourite era; everyone has that Maiden tour that means something to them.
Around the corner is ‘Maidenville’, a bespoke mini-fest of its own featuring Eddie-fied attractions, a Maiden-themed tattoo parlour, an Eddie dive bar and its own stage which, last night, Maiden alumni Blaze Blayley headlined. We’re in Maiden heaven here, basically, and the main event hasn’t even got going yet.
Eddfest’s main stage eventually kicks off courtesy of some well-received pub rock boisterousness from The Almighty and Airbourne, but it’s The Hu who really crank things up a notch. Their unique Mongolian folk metal stomp sounds huge, and the band look genuinely blown away to be here and at the reception they receive.
The Darkness arrive next, and while their decision to start their set with a cut from last year’s decent but lesser known Dreams On Toast album warrants a relatively muted response, they quickly make amends with a riotous showing packing plenty of bangers from legendary debut Permission To Land, a cheeky Led Zeppelin jam and a welcome drop of the title track from the vastly underrated One Way Ticket To Hell…And Back.
The Hu’s Galbadrakh “Gala” Tsendbaatar (Image credit: Jim Dyson/Getty Images)
It goes down very well, but nothing can compare to the reaction that greets the PA blasting UFO’s Doctor Doctor about 40 minutes later, signalling the arrival of this weekend’s grand finale. The huge LED backdrop that has given Maiden a thoroughly modern upgrade on this tour flickers into life, and suddenly Knebworth is bathed in the gloomy, amber hue of 80s East London, a rollocking Murders In The Rue Morgue kicking off the gritty but anthemic four-track run plucked from the band’s Di’Anno era.
Stomping around in a biker jacket, long hair pulled tight into a slick ponytail, Bruce Dickinson sounds on fine form as he screeches his way through a lairy Number Of The Beast next, Steve Harris‘ propulsive bass lines thundering along under his wails as the band are surrounded by bursts of fiery orange flame.
“This is the first time we’ve played this song in 38 years,” Dickinson notes before Maiden launch into much-requested, Seventh Son-era fan favourite Infinite Dreams. “Well…technically it’s the first time since Tuesday night in Lisbon, but don’t worry about that,” he corrects himself to a few thousand chuckles. The atmosphere here is as warm as the weather, and the metal veterans seem to be enjoying the hell out of themselves.
Infinite Dreams is the only tweak from last year’s setlist (and a welcome one at that; what took them so long?!), meaning that many here already know what to expect from hereon in. Not that it matters; whether they’re dropping urgent heavy metal ragers like 2 Minutes To Midnight and Powerslave or prog metal epics like Rime Of The Ancient Mariner and a stunning Seventh Son Of A Seventh Son, Maiden are putting on a masterclass in heavy metal history, and everyone is lapping it up.
These lads rarely miss live, though. What really sets this performance aside is that it’s brought to a close a whole weekend that has allowed one of metal’s most passionate fanbases to immerse themselves in Maiden’s world. Iron Maiden won’t be here in another 50 years’ time, but their legacy will. What a triumph.
Rena Angel delivers a hauntingly beautiful meditation on love and self-preservation with Leaving Heaven. Built around delicate piano, ethereal production, and an emotionally charged vocal performance, the track gradually unfolds into a powerful slow-burning crescendo that never loses its intimate core. The songwriting captures the fragile space between devotion and heartbreak with remarkable honesty, while the airy arrangement allows every emotion to resonate naturally. Cinematic, vulnerable, and deeply evocative, Leaving Heaven is a captivating alt-pop ballad that transforms emotional turmoil into a strikingly beautiful listening experience.
Monty! delivers a refreshing dose of conscious hip-hop on Sail Off, a laid-back anthem that celebrates self-acceptance, gratitude, and finding peace in your own lane. Built around breezy production, smooth flows, and an effortlessly catchy hook, the track radiates warmth without sacrificing lyrical substance. Monty!’s relaxed delivery perfectly complements the sun-soaked instrumental, creating an uplifting atmosphere that feels genuine rather than forced. Balancing thoughtful introspection with feel-good vibes, Sail Off is an engaging reminder that fulfillment comes from embracing your own journey, making it an easy track to keep on repeat.
Mesh Kimono makes a striking statement with Permanent Death, an ambitious art/ synth-pop composition that blends classic songwriting with adventurous arrangements and modern production. Rich harmonies, shimmering synths, glam-tinged melodies, and unexpected twists keep the track constantly evolving, while the expressive vocal performance anchors its philosophical reflections with warmth and conviction. Every section introduces fresh textures without disrupting the song’s natural flow, culminating in a memorable saxophone passage that adds another layer of character. Thoughtfully crafted and melodically rewarding, Permanent Death is a sophisticated debut that showcases Will Berman’s impressive songwriting instincts and fearless creative vision.
In the early 60s in El Paso, Texas, Bobby Fuller was a local hero, a renaissance man – or kid. He had his own club, Bobby Fuller’s Teen Rendezvous, led his own band, The Fanatics, ran a label, Exeter Records, and booked tours for his band and other artists. Fuller was an impresario in the making.
By 1965, burning ambition lured him to Los Angeles, where he got drawn into the Mob-tied music business. The Fanatics fell in with Bob Keane, a smooth operator with links to guys named ‘Handsome Johnny’ and ‘The Chin’, signing with his label Del-Fi Records and rechristening themselves The Bobby Fuller Four. But chasing the brass ring meant compromise, in the form of payola, favours, tie-ins and endless back-scratching.
Their second single, a cover of Sonny Curtis’s I Fought The Law – released at the end of 1965 but not making an impact until the start of 1966 – gave them a US Top 10 hit and made their name. Fuller described his style as “the border sound”. Indeed it had echoes of Texas, Mexico and California – lean rockabilly, Tejano rhythms and twangy surf guitars – but it was also a response to The Beatles. Fuller was proud that he never imitated the Merseybeat style, and even wore a surfer’s cross as a symbolic amulet against the British Invasion.
Bobby Fuller (centre) onstage with The Bobby Fuller Four in 1966 (Image credit: Michael Ochs Archives/Getty Images)
In summer 1966, the Fuller Four had just come off a gruelling three-month tour. They were exhausted and sick of each other. And Bobby was sick of how Keane was adding unwanted flourishes such as syrupy strings to his records without his consent, and grooming him as a solo pop singer. Bobby made it known that he was ready to pull the plug on everything and go back to his El Paso empire.
On July 16, the band and Keane were set for a big meeting to hash out the future. That afternoon, though, Fuller was found dead by his mother in her Oldsmobile, parked outside his apartment. There were smears of dried blood around his chin and mouth. His usually perfect clothes and hair were messed up and soaked with gasoline. His right hand was clutching a rubber siphoning tube. According to a dashed-off autopsy report, 23-year-old Fuller used that tube to commit suicide by swallowing half a gallon of petrol.
That explanation satisfied the local police, who closed the case without even dusting for fingerprints. But questions remained. The car hadn’t been in the parking lot 30 minutes before his mother found it, so why was Fuller’s body in a state of advanced rigor mortis? Why did Keane take out an $800,000 life insurance policy on Fuller a month before his death? How deep were Keane’s ties with the Mob? And how much did they know about Fuller’s plan to split? And wasn’t it worth exploring that Fuller was the third artist under Keane’s charge, after Richie Valens and Sam Cooke, to die in strange, disputed circumstances?
Of all the big ‘what ifs’ in rock history, there is none more tantalising than ‘What if Bobby Fuller had escaped that LA scene and gone back to Texas?’ Like his hero Buddy Holly, who also died criminally young, there was surely more amazing music to come. Maybe Bobby Fuller would have become a kind of Lone Star Sam Phillips and 1966 would now be famous for his American Invasion of Britain?
