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Filmed In Sao Paulo last September.

The post Bruce Dickinson Shares Music Video For His Updated Version Of “Change Of Heart” appeared first on Theprp.com.

Foo Fighters played Huntington Bank Field in Cleveland on Monday night, August 11, 2026, running through nearly three hours of material in front of a not-quite-full stadium. Dave Grohl, 57, led a band he has fronted for 31 years — and did so with the particular weight of a northeastern Ohio native returning to his own corner of the country.

Stadium Scale and the Digital Culture Behind a Night Like This

According to cleveland.com, the show stretched close to three hours inside a major NFL venue — the kind of event whose production infrastructure and cultural footprint extend well beyond the crowd in the seats. The Geek.hr Team, a Croatian technology and geek-culture editorial desk, covers exactly this intersection: the sound engineering, the screen walls, the catwalk staging geometries, and the online fan communities that record, stream, and collectively relive a stadium night long after the last note fades. Those phenomena — the machinery of live rock at stadium scale and the digital ecosystems that distribute and preserve it — represent the beat that GEEK HR covers for readers who track how technology reshapes live entertainment.

“Do you like rock n’ roll music? Well, tonight we’re gonna kick your ass with rock and roll!”

That early crowd address from Grohl set the register for the evening. What followed was as much a cultural event as a concert — one whose resonances a technology-oriented desk would find as instructive as any rock fan.

Grohl’s Ohio Roots Give the Night Personal Weight

Grohl is a native of Warren, Ohio, a northeastern Ohio city not far from Cleveland, and the trip back carried meaning well beyond the performance. During the run-up to the show, he visited his grandparents’ graves in Warren and Niles for the first time in 26 years, remarking onstage that the entire experience had been meaningful. The grave visits were not schtick. They were the private counterpart to the public night.

The homecoming extended to regional comedy. That same morning, Grohl caught a Cleveland-area tribute band called The Foo Fathers on Fox 8 local news. He brought it up from the stage, calling it “The weirdest morning I’ve ever had!” and crediting the group with “Taking Dad rock to a whole new level.” The anecdote landed because it was local and verifiable — a detail that only works in the specific city you’re actually standing in. He also dedicated “Times Like These” to fathers in the crowd, asking fans to turn and embrace their dads in the moment. The dad thread, comic and sincere at once, ran through the night.

A Hit-First Setlist Built Around Omission as Much as Inclusion

The band opened with four consecutive rock radio staples — “All My Life,” “The Pretender,” “Times Like These,” and “Rope” — a sequencing choice that reads less like a warm-up than a declaration. No gradual build, no deep cut to test the room. The crowd was handed the biggest cards first.
What was absent mattered too.

Foo Fighters‘ 2026 album Your Favorite Toy did not appear anywhere in the set, despite being the band’s most recent record. The decision to leave new material off suggests a deliberate calculation: in a stadium still finding its footing emotionally after years of loss and lineup turbulence, familiar songs carry more shared weight than new ones.

Grohl kept younger fans oriented through banter that acknowledged the generational gap directly. Before playing “Big Me,” whose music video was a fixture on MTV’s “120 Minutes,” he gestured at the MTV-era references he’d been deploying and told the younger section of the crowd: “Kids, I know this sounds like Sanskrit, but it actually happened.” Then, practically, he told them to look sideways: “Look at your dad, and do what that 50-something-year-old (person) is doing!” The crowd mechanics were informal but precise — Grohl has been doing this long enough to know which levers to pull and when.

Memorial Threads Woven Into the Show’s Structure

The most structurally distinctive choice of the night was the band-introduction sequence. Rather than a conventional solo showcase, each member played a fragment from a former band. Guitarist Chris Shiflett drew from No Use For A Name‘s “Invincible.” Keyboardist Rami Jaffee recreated The Wallflowers‘ “One Headlight.” Pat Smear offered The Germs‘ “Manimal.” The format acknowledged history without sentimentalizing it — each member arrives from somewhere, and the band is the sum of those arrivals.

The memorial thread ran deeper. “Aurora,” one of the set’s deeper cuts, was dedicated to Taylor Hawkins, the drummer who died in 2022 and whose absence has reshaped the band’s emotional public identity ever since. The dedication was quiet and direct, without elaboration. The closing piece carried the most weight of the night. “The Teacher,” a 10-minute prog-rock-adjacent track drawn from the band’s grief-fueled 11th album “But Here We Are,” ended the set.

Grohl dedicated it to his late mother Virginia, named her hometown of Boardman, and credited Ohio specifically with being a central force in sustaining the band across 31 years. The closer grounded the entire night in place and loss — not in spectacle or catalog dominance, but in the specific geography of grief that brought Grohl back to northeastern Ohio to stand in front of a not-quite-full stadium and mean every word of it.

The post FOO FIGHTERS Bring a Three-Hour Rock Homecoming to Cleveland’s Huntington Bank Field appeared first on Sonic Perspectives.

Norwegian progressive black metal pioneers ENSLAVED will release their 17th studio album, Mið, on October 30, 2026, through Nuclear Blast Records. The announcement arrives alongside “Solar Will,” a new single accompanied by an official video created by longtime Bergen-based collaborators Kolibri Media. Watch the official “Solar Will” video Stream “Solar Will” Derived from an Old […]

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ALEX GRYCZANOWSKI | Go Venue Magazine

Big Thief delivered an ethereal set at the Val Air Ballroom on Aug. 17, 2026, in Des Moines, Iowa, that had the crowd literally stomping their feet and begging for more. The audience came alive when Big Thief came on stage and everyone had their own moments to the music, whether it be holding their partner, screaming lyrics or simply swaying and enjoying the moment.

Big Thief is an indie folk band composed of vocalist-guitarist Adrianne Lenker, guitarist Buck Meek and drummer James Krivchenia. The band was also joined by their touring bassist, Joshua Crumbly, who was credited for bass in Big Thief’s latest album, Double Infinity.

The band was accompanied by opener Ben LaMar Gay, whose set was vibrant and uncategorizable. Though the genre is near impossible to name, the long, stark songs were reminiscent of a hybrid of jazz and folk, most notable in the drums and guitar played throughout Gay and his homies’ jam session. Gay utilized various onomatopoeias, a trumpet with a plunger mute and bells to build a creative ambiance.

Music is a form of art, but Gay’s performance and composition was more than the art itself. It felt as though Gay was painting a canvas with his music and creative lighting decisions throughout his set. It almost felt as though the music Gay and his band made grew brighter toward the end, as if “making a sound in a dark world,” Gay said, was a sound that brought light to life in a dark world.

Big Thief’s setlist has been different each stop of the Somersault Slide 360 Tour. The group walked on stage ablazing, opening with “God is Good,” a Vic Chesnutt cover. The entire crowd intently watched the band perform. It felt peaceful in the Val Air Ballroom.

Lenker’s voice shined throughout the evening, with a sort of Midwestern drawl to her range that felt just right, especially for a show in Iowa. The venue’s reverb built upon Lenker’s vocals as they rang out and it had the audience in a chokehold. Some fans were shouting “I love you Adrianne!” between songs, hoping to get her attention with their praise.

Of course, the band had incredible moments on stage. There were songs where each member of the band had a beautiful, soulful solo on their respective instrument. There were a few songs where distortion was used on guitars. With the band’s heavily acoustic-based sound, it was exhilarating to hear their incorporation of it in their sound.

When Big Thief played “Vampire Empire” the crowd sang along. In certain parts of the song, such as the chorus, Lenker stopped singing and let the crowd take over instead. It felt as though every single person was singing along with their entire heart. It was not only a beautiful performance, but a beautiful intimate moment with the crowd too.

Big Thief walked off the stage and the audience wanted more. The crowd clapped and begged for one more song. They grew so desperate that they started stomping on the ballroom floor, and it echoed like thunder throughout the venue until the band came back on stage to perform “Masterpiece” and “Incomprehensible.”

What’s most impressive about this tour is Big Thief’s set length: nearly 2 hours. It is incredible to see Big Thief play a set that long, considering that they perform nightly and also switch up the setlist every night. Big Thief should be applauded that their energy never noticeably wavered throughout the night.

If anyone has the chance to see Big Thief, they should seize the opportunity. Their performance brought the entire crowd together and had them begging for more. Their indie folk songs that are packed with an emotional punch need to be heard live to feel their impact.

Big Thief’s setlist included the following songs:
God is Good (Vic Chesnutt cover) | Rock and Sing | Born for Loving You | Sadness as a Gift (Adrianne Lenker) | Trade Tomorrow | 6-7-8-9 She’s Fine | Spud Infinity | Contact | Flower of Blood | Simulation Swarm | Christmas Day | Not | Shark Smile | Vampire Empire | Mary | Love So High | Cattails | Spatchcock Chickenshit Bingo | Masterpiece | Incomprehensible

Big Thief

[See image gallery at www.govenuemagazine.com]

Ben Lamar Gay

[See image gallery at www.govenuemagazine.com] All images © Alex Gryczanowski

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The post Emotional Lyrics, Intimate Moments Highlight Big Thief at Iowa’s Val Air Ballroom appeared first on Go Venue Magazine.

With nine bonus tracks.

The post Bush Announce Newly Remastered Deluxe 15th Anniversary Edition Of “The Sea Of Memories” appeared first on Theprp.com.

French black metal band TAUFPATIN have revealed “L’Affront,” the second track from their forthcoming debut album, Les Malfaisances de la Taufpatin. The record will be released internationally on October 7, 2026, through Antiq. Following the previously released “L’Attente,” the new song opens another chapter in the unusual story at the centre of the album. Les […]

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Today, Girish and The Chronicles are thrilled to announce the release of their new studio album, Disintegrate, out on November 20th via Frontiers Music Srl.

Following the recent release of the latest single “Generation Coward,” the band now shares the title track, along with an official video, available below.

The band comments: “Disintegrate is about things falling apart, whether it’s relationships, dreams, or just life in general, and trying to keep going when they do. We don’t want to talk too much about what the songs are all about. We’d rather let everyone take their own meaning from them.”

As the title track, “Disintegrate” sits at the heart of the album and offers a glimpse into a different side of Girish and The Chronicles.

Over the last few years, Girish and The Chronicles have evolved from one of India’s best-kept hard rock secrets into a truly international force. Fueled by extensive European touring and a widely acclaimed appearance on the hit American television show “America’s Got Talent,” the band has experienced remarkable growth, expanding its audience far beyond its homeland and earning recognition among rock fans across the globe.

Now, with their highly anticipated new album for Frontiers Music Srl, Girish and The Chronicles take another step forward. While staying true to the melodic hard rock and classic heavy metal foundations that have always shaped their sound, the band has also explored some new territory on ‘Disintegrate.’

The band comments: “With this album, we just wanted to play around with the sound a bit. It’s heavier, groovier, and darker in places, with some alternative elements coming through, but it still feels like GATC. We didn’t want to overthink it. We just went with what sounded good.

They continue: “There are definitely some different sides of us on this record, both musically and lyrically, and we just want our old and new fans to hear it for themselves.”

At the heart of it all is frontman Girish Pradhan, whose unmistakable voice continues to set the band apart. Possessing a rare combination of power, range, grit, and emotion, Girish channels the spirit of the great rock singers of the past while maintaining a personality and charisma that are entirely his own.

This new release captures a band continuing to grow while staying true to the spirit, passion, and songwriting that have defined Girish and The Chronicles from day one.

Disintegrate is the sound of Girish and The Chronicles moving forward while remaining true to who they are.

Disintegrate is available to pre-order here.

Girish and The Chronicles are:

Girish Pradhan / Vocals and Rhythm Guitars
Yogesh Pradhan / Bass, Keyboards, and Production
Suraz Sun / Lead Guitars
Nagen Nags / Drums

The post GIRISH AND THE CHRONICLES Announce New Album “Disintegrate” & Shares Official Video For Title Track appeared first on Sonic Perspectives.

Beabadoobee was already a big star before this year — she wouldn’t be booked in arenas and amphitheaters otherwise — but the singles from next month’s Pylon have suggested a leveling up. After whetting our appetites with the swooning non-album teaser “All I Did Was Dream Of You,” Beatrice Laus gave us the raucous pop-rocker “Sun Has Set” and the sumptuous trip-hop slow jam “Switchblade.” Now comes “Memories,” a dreamy rocker that manages to move with brisk momentum despite its many layers of beauty. “The smell of rain on the pavement/ It’s 3 a.m. and I thought of you,” she sings, before pleading, “Just stay a little while.”

The post Beabadoobee – “Memories” appeared first on Stereogum.

Directly following their run with Suffocation, Ingested and Eternal.

The post Undeath Announce Fall 2026 European/UK Headlining Run With Slimelord appeared first on Theprp.com.

German extreme metal band FIRTAN have released an official video for “Ascension,” the second preview of their forthcoming fifth studio album, Helios. The record will arrive internationally on October 2, 2026, through AOP Records. Named after the personification of the sun in Greek mythology, Helios explores enlightenment not as an escape from hardship, but as […]

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