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COUNTRY MUSIC HALL OF FAME AND MUSEUM PRESENTS:

HARDY SONGWRITER SESSION AT

COUNTRY MUSIC HALL OF FAME AND MUSEUM

IN NASHVILLE, TN ON 12/06/25

 

 

On December 6th, the Country Music Hall of Fame and Museum hosted a very special Songwriter Session with singer-songwriter Hardy in the museum’s CMA Theater.

Hardy who writes songs under his given name Michael Hardy Stated he felt more nervous performing on stage alone and acoustically than being on a stage with his band performing to

crowds ranging in the thousands.

Hardy told the audience about his humble beginnings in Mississippi and how it helped shape his lyrical content of his music. He spoke on how he felt when he didn’t think his songs were good enough but was proven wrong when they became country music number one hits. How working with artist Morgan Wallen started as two people writing music together to a life long friendship . Each song he played had an incredible back story and it was a privilege to be there. It was such a special occasion to Hardy that his wife, child, and his parents were in the audience to watch as well. He also told who important to his career it was to have Blake Shelton record “God’s Country” and how he will be forever grateful. It was definitely a performance worth attending.

On December 6th, the Country Music Hall of Fame and Museum hosted a special Songwriter Session featuring singer-songwriter HARDY in the museum’s CMA Theater. Performing under his given name, Michael Hardy, he admitted early in the evening that standing onstage alone with just an acoustic guitar made him far more nervous than performing with his full band in front of thousands.

 

 

Throughout the session, HARDY shared stories from his humble Mississippi upbringing and how those early experiences shaped the lyrical honesty and grit that define his music. He spoke candidly about moments of doubt—times when he wasn’t sure his songs were good enough—only to watch those very songs rise to Number One on the country charts.

One of the night’s recurring themes was friendship, especially the evolution of his relationship with Morgan Wallen. What began as two young writers collaborating on songs has grown into a lifelong bond, something HARDY spoke about with genuine warmth. Each song he performed came with its own vivid backstory, offering the audience an intimate look at the experiences, emotions, and people behind the hits.

 

 

Adding to the significance of the evening, HARDY’s wife, child, and parents were all in attendance, making the performance feel even more personal. He also expressed deep gratitude for the role Blake Shelton played in elevating his career by recording “God’s Country,” a moment HARDY said he will always be thankful for.

Overall, the session was an engaging and heartfelt celebration of songwriting, storytelling, and the journey that brought HARDY from Mississippi to the center of modern country music. It was unquestionably a performance worth attending.

The post Hardy Performs at the Country Music Hall of Fame and Museum appeared first on Mayhem Music Magazine.

THE MIGHTY DECIBEL SHOW – Dec 20, 2025 episode

As anticipation continues to build for Megadeth’s final studio album—out January 23, 2026, via Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label— the metal titans have released the latest single and video for “Let There Be Shred!”.

The track is a rapid-fire manifesto with jaw-dropping riffs and “a tsunami of sound,” to quote a lyric from the song. Directed by Keith Leman, the video features Mustaine participating in a mixed martial arts battle alongside live performance footage that highlights the track’s fretboard ferocity. Watch the video below.

“When Megadeth started, we said we would be fast and furious…we said so on the flyers we handed out,” Mustaine says. “This song is fast and furious. Know it! It has a very hooky chorus that draws you in, and you can’t help but play air guitar and headbang to this one.

“It’s the second video from the new record that we made with Keith [Leman], who also directed ‘I Don’t Care.’ It was a blast to make, and it’s a tribute to my first Sensei, Benny ‘The Jet’ Urquidez, and my Professor, Reggie Almieda. Everyone on the set was really stoked to see each of us do our stunts. In the end, we got the balance of shredding and ass-kicking just right!”

Pre-order the album here.

Megadeth — Mustaine, Teemu Mäntysaari (Lead, rhythm, and acoustic guitars), James LoMenzo (Bass guitar), and Dirk Verbeuren (Drums) — will release their forthcoming self-titled album in 2026. The record will also include a very special bonus track: a reimagined version of “Ride The Lightning,” which Mustaine co-wrote with Metallica’s James Hetfield, Cliff Burton, and Lars Ulrich and was the title track from the group’s 1984 album.

The new single follows “Tipping Point,” the album’s first single. The sonically explosive and lyrically unflinching song kicks off with a thunderous guitar solo before Dave’s iconic voice hauntingly kicks in. In the desolate but hopeful accompanying video, directed by Leonardo Liberti, Dave is locked up in a prison being tortured in extreme fashion, while the band performs in the same lock-up. In the end, he perseveres over evil and walks away into a new day.

“We all have different ‘tipping points’ and they may vary from day to day,” says Mustaine. “I think we’re all being pushed to the edge right now, and it’s easy to lean into that feeling. But it’s important not to let things get you down.”

The post MEGADETH Release New Single/Video For “Let There Be Shred!” From Their Upcoming Self-Titled Album appeared first on Sonic Perspectives.

Photo Credit: Johnathan Sohn

Edited by Anselm Anderson

Rambling Man introduces Toronto’s melodic punk lifers Wasting Time. They returned last week with their new single “Ripped Blue Jeans” via People of Punk Rock Records. It’s an anthemic, pop-punk track, reminiscent of 90’s MTV bands like Green Day and Weezer. The track captures that feeling of late 90s freedom and dreams of becoming a big rock band, selling out arenas everywhere.

The highly anticipated new single “Sitting on a Snowflake” by Box of Shamans is out today, marking the start of an ambitious new chapter for the band.

“Sitting on a Snowflake” kicks off what Box of Shamans call their Monthly Ritual, a commitment to releasing one new song every month. This steady stream of music will offer fans new and old an ongoing connection to the band’s evolving creative vision while building momentum toward their forthcoming second album.

The band reveals they already have at least 20 new tracks completed, including an expansive 17-minute epic, signaling the bold scope of what lies ahead. Fans can expect a consistent flow of fresh new material beginning now, with “Sitting on a Snowflake” serving as a bold look into the upcoming musical journey.

About Sitting on a Snowflake

The song began taking shape after Mike relocated to the snowy mountain regions outside of Los Angeles, where he found himself immersed in an unfamiliar yet inspiring landscape. From that setting, he sent an early demo to Ken and Ron, capturing the quiet isolation and reflective mood of mountain life.

Ken responded by crafting a new bridge along with the verse melodies and lyrics, envisioning Mike snowed in but content, embracing the stillness, beauty, and novelty of his high-altitude surroundings. The words came together quickly, driven by that vivid image.

Building on the wintry atmosphere, Ron completed the song by writing a soaring chorus melody and lyrics that perfectly complemented the verses, tying the entire piece together and giving “Sitting on a Snowflake” its emotional center.

Box of Shamans are:

• Michael Matier – Electric and acoustic guitars, lap steel guitar, classical guitar, sitar, keyboards
• Ron Lapine – Lead vocals, backing vocals
• Ken Francis – Lead vocals, backing vocals, bass, electric guitar, keyboards, percussion
• Mark Wickliffe – Drums, percussion, vocals

About The Band
Box of Shamans is a Los Angeles, California–based progressive rock project with deep roots in the global prog music scene. Renowned for their distinctive sound, rich musical textures, and thoughtful approach to composition, the band blends classic progressive sensibilities with a modern, forward-looking edge.

The reformed lineup unites original members with musicians from several highly respected progressive acts, including Ten Jinn, Never Wasn’t, Heliopolis, and AmuZeum. This cross-pollination of veteran artists has forged a dynamic creative force, one that honors the genre’s traditions while continually pushing its boundaries. With a shared commitment to musical depth, emotional resonance, and sonic exploration, Box of Shamans stands as a compelling presence in today’s progressive rock landscape.

Box of Shamans Links

Facebook: https://www.facebook.com/profile.php?id=61579399805788
Website: https://mrrmusic.com/project/box-of-shamans/
Bandcamp: https://boxofshamans.bandcamp.com/
T-Shirts and other fine Merch: https://progrockwest.printify.me

Melodic Revolution Records Online

https://li.sten.to/mrrshopnmore

Finnish metal icons Amorphis have revealed their new single, “Crowned In Crimson,” a powerful and emotionally charged new song, which also serves as the main theme song for the upcoming action feature Son of Revenge – The Story of Kalevala, premiering in Finland on January 16, 2026.

A striking father–daughter vocal collaboration between Amorphis frontman Tomi Joutsen and his daughter Iida, “Crowned In Crimson” presents the band at their most cinematic. The track’s sweeping dynamics and melodic depth echo the sonic identity of Amorphis’ massively successful 2025 studio album Borderland, while introducing a new layer of intimate storytelling that fits seamlessly into the band’s unmistakable sound world. The lyrics, penned by long-time collaborator Pekka Kainulainen, bring the tragic hero Kullervo to life with vivid emotion and mythic weight.

For decades, Amorphis‘ music has breathed new life into the ancient stories of the Kalevala for fans around the world, and now, with Son of Revenge – The Story of Kalevala, audiences will finally see those mythic visions brought to life on the big screen.

Songwriter and guitarist Esa Holopainen comments: “Director Antti Jokinen got in touch with us and briefly told us about his ambitious film project. We arranged a meeting with him, during which we were able to see visual material from the film and go through the script. Antti hoped that Amorphis would create the film’s theme song — a project we agreed to immediately.”

Director Antti Jokinen adds: “Amorphis’ music feels like strength wrapped in beauty – heavy enough to shake the landscape, yet poetic. Their music really lifts my spirit into the world of Kalevala myths and its characters. Exactly what I was lookingfor, when thinking about the theme song for my film. I’m very pleased they agreed to do it.”

With its haunting vocal interplay, soaring melodies, and unmistakable Amorphis atmosphere, “Crowned In Crimson” stands as a monumental addition to the band’s catalogue and a compelling preview of the cinematic world of Son of Revenge – The Story of Kalevala.

The post AMORPHIS Shares Music Video For New Single “Crowned In Crimson” From Upcoming Movie “Son Of Revenge – The Story Of Kalevala” appeared first on Sonic Perspectives.

If you come into Greg Howe’s conversation with Rodrigo Altaf expecting a victory lap about chops, you’ll get something else: an artist who keeps dragging the discussion back to intent. Yes, the new Darwin album, Distorted Mirror, has the kind of playing people shorthand as “shredding.” But the first thing Howe does is try to remove the word from the center of the story: “I like to not think of it as shredding. I really try not to. I just try to play things that feel like the song needs that… but I suppose it’s inevitable that that comes out.”

When he explains how he builds solos, it’s the same mindset—less about flexing vocabulary, more about whether the part belongs. He likes the “storyline” arc (slow start, build, peak, conclusion), but he’s careful not to turn it into a rule.

“I think that… that storyline approach… is often a good… It’s an effective way to sort of see a solo. I don’t know that it’s always appropriate… I mean, sometimes… mayhem is what it calls for. For me, it’s more about hearing the part and feeling like… if I’m a listener and I don’t play guitar… so I’m not thinking about scales.

“And what is it that feels like it belongs here? Really? That’s… foundational. I really try to step outside of being a musician and ask myself what kind of… accessorizing to this part could we do? With a guitar that’s gonna… take the whole vision and make it even more… more accurate,” Howe offers.

Then he says the quiet part out loud: for all the reputation built on facility, he’s still chasing restraint. He hears players who can say more with less, and he envies it—plainly, without the performative humility.

“Truth be told, I often really envy guys who are able to do that without all the craziness… I really do envy that. There are just certain guitarists and just musicians in general who can say so much without needing to do all that, and I’m still working on that. I would love to get to a point where I really feel great about big statements made with fewer notes.”

The interview also lands right on the unavoidable 2025 question: AI. Because Distorted Mirror is framed around “man vs machine.” Howe hasn’t used AI to write music, but he’s not dismissing it either. He sounds wary, curious, and practical in the same breath:

“I have not done that. I really haven’t done that. At some point, I’d be curious just to see what that’s about. I don’t necessarily look forward to the world that… we’re heading to now, but I certainly don’t want to be left behind. If you’re going to survive in it, you’d better stay up on what’s happening.”

But the most revealing detour is the one where Howe explains what he’s actually been trying to do with his career: move toward a vocal band, be the rhythm guy, take the short solo, step back. He even tells a story involving The Aristocrats and Guthrie — how he was asked, but turned it down because he was chasing something else with Marigold.

“My ultimate goal is to be in a vocal band,” he reveals. “I had just put Marigold together, and I just got the singer, and we were starting to write when they called me. I was like, ‘I don’t think I’m available for that guys’… I’m trying to pursue something, I’m trying to go the other way…”

Then he delivers the punchline that doubles as a thesis for how he’s perceived versus how he sees himself: “I’ve always wanted to be in a vocal band. Being the guy in the back, play rhythm guitar, have 16 bars for a solo and then go back, it doesn’t work for whatever reason… the universe keeps putting me out front.”

That same “restless” personality shows up when he talks about making albums. He admits he sometimes envies artists who can lock into a lane and repeat it, because it makes everything easier. But when he hears himself echoing his own past, it hits him like a physical reaction.

“I actually envy people. There are artists who put album after album out… and they all kind of sound the same. For me, I can’t; I get almost uncomfortable. It’s almost physically painful when I hear myself doing something that reminds me of the song on my last album, I’m like no no no stop, I’m slapping my wrist.”

And finally, the quote that explains why so much of his playing feels “vocal” even when it’s undeniably technical—because guitar, to him, is secondary. Song is the agenda. Everything else is decoration.

“Composition is everything. Guitar playing is a lot of fun, but it’s a distant second. If they outlawed guitar playing in the world, I would still very much be into music and creating, because it’s the creative process that keeps me inspired. Guitar playing is sprinkles. It’s the icing… it’s fun. But the actual song is everything to me,” Howe reflects.

Even when the conversation turns to touring realities — mid-level artists getting squeezed as Live Nation buys venues — his tone stays matter-of-fact. He talks numbers (300–500-cap rooms, “pretty much sold out” on most nights), then shrugs at the bigger machine behind it.

“The venues, three to five hundred seaters, and we were pretty much sold out with 90% of them. It’s good for me. I’m not a guy that’s doing 1,200 per room. You know the way of the world, the big corporate entities eventually buy up everything, and it usually doesn’t work out for most of us.”

That’s Greg Howe in a nutshell: acknowledging the world as it is — industry, tech, expectations — while quietly insisting on one priority that never changes. Not “guitar first.” Not “shred first.” The song first.

The post GREG HOWE Explains Why Guitar Playing Isn’t The Main Event For Him: “It’s Sprinkles, It’s The Icing, But The Actual Song Is Everything To Me” appeared first on Sonic Perspectives.

Late-career records can go a lot of ways. Sometimes you get a polite, comfortable listen that’s clearly made for the artist. Other times, a veteran catches a real spark; songs that sound like they need to exist, not just fill a release schedule.

Peter Criss’ new solo album, Peter Criss, arrived today, Friday, December 19, and what jumps out immediately is how much he’s framing it as a band record, not a nostalgia product.

The hard rock crowd has heard plenty of “comeback” talk over the years, so it’s worth focusing on what’s concrete here: the people involved and the intent. On paper, the lineup reads like someone deliberately building a studio gang to keep things muscular and musical: players who can lock into groove, add bite, and still leave space for songs to breathe.

And Criss isn’t being subtle about what he thinks he captured, and he told Billboard as much: “I put my heart and soul into it. My voice, I’m still singing like a bird. Boy, am I lucky. I felt I was in control, and I was enjoying myself; you can hear me laughing on the record. We all had a great time, and we all had a part in it. It was like having a dream band. You can feel it in the music. It was just really wonderful. I haven’t had the experience of doing a record like that since maybe Kiss‘s first album. I felt like I was 20 years old again.”

That’s a big comparison. Kiss’ early chemistry is practically its own genre of lightning-in-a-bottle mythology, and most fans will take a “prove it” stance until they’ve actually lived with the tracks. Still, there’s something metal and hard rock listeners understand instinctively: you can hear when a record is made by people feeding off each other instead of stacking parts in isolation.

The co-production credit matters too. Criss teamed with Barry Pointer, whose resume touches everyone from Ozzy Osbourne to John 5, plus Mötley Crüe, Steve Stevens, Pearl Aday, and Dolly Parton. That range doesn’t guarantee heaviness, but it does suggest someone who knows how to capture performance, and performance is what Criss keeps pointing to.

Then there’s the personnel. Bass duties are split between Billy Sheehan and Matthew Montgomery (Piggy D.), guitars come from John 5 and Mike McLaughlin, and Paul Shaffer is on piano. Backing vocals include Dennis and Sharon Collins, plus Cat Manning of Cat 5. For hard rock fans, that’s an interesting mix: shred-ready hands, a bassist with serious firepower, and enough texture in the supporting cast to keep it from turning into a one-color modern rock template.

It also helps that this isn’t a quick follow-up. This is Criss’ first solo release since 2007’s One For All, and that gap can cut two ways: rust, or hunger. If he’s right about feeling “in control,” that second option starts to sound plausible. What’s equally interesting is where he says he’s aiming lyrically and stylistically: less “museum tour,” more “living person with opinions,” which can be risky but also more honest.

“There’s a little bit of everything in there. Now that I’m a senior citizen or whatever, I wanted to write a little about politics, a little good ol’ rock ‘n’ roll. Music is so powerful, as you know. You can really pour your heart and soul into something…and I did. I hope my fans love it. I promised them I would do a rock album after One For All, and I kept my promise,” he shared.

The other hook here is the possibility – just a possibility – of shows. That’s where talk gets real for rock fans, because the stage is where reputations either hold up or get rewritten.

“If the album really knocks the fans out, would I go out? Sure. I wouldn’t mind getting back on stage, getting the guys together to do a couple of shows. Why not? I’m in pretty good condition for an old guy; everything is working, maybe a little bit of arthritis here and there, but I still play the drums a few times a week. So, yeah, I hope it does get to that point. I’m just gonna let it flow and see how my fans accept it,” Criss mused.

No grand promises; more like a door left cracked open. And honestly, that reads as more believable than the usual hype cycle. If Peter Criss has the energy he’s hinting at, a couple of well-chosen shows could feel less like a victory lap and more like a proper statement: an old-school rocker proving there’s still fuel in the tank, and doing it with musicians who can actually hit hard.

The post PETER CRISS Says His New Solo Record Had “Dream Band” Vibes: “I Haven’t Had That Experience Since Maybe The First KISS Album” appeared first on Sonic Perspectives.

Reunion culture is everywhere in hard rock right now: anniversary runs, “one night only” sets, surprise guest spots designed to light up social media and sell a few thousand extra tickets. So when the idea of Steve Morse popping back in with Deep Purple comes up, it’s an easy fantasy for fans to build a whole tour around in their heads.

But Morse isn’t playing along with the idea. Not because the music wouldn’t work, and not because the fans wouldn’t show up. His answer is a lot more human, and, honestly, a little messy.

He’s already hinted at how the gig could feel creatively limiting, saying only “one out of 20” of his ideas “might get used,” which aligns with how a legacy band protects its core identity night after night. Still, for nearly three decades, Morse managed to leave fingerprints all over Deep Purple’s modern era: the harmonic detours, the quicksilver picking, the moments where the band sounded like it had new corners left to explore.

And yet, by Morse’s telling, not everyone in the room valued that extra color, especially as some members aimed back at old-school rock “roots.”

Here’s what he said to Guitar Interactive when asked about possible future one-offs: “I think if the band felt differently, I would feel differently. But I think that there’s a couple of guys in the band that were really glad for me to be gone, because they were sort of heading back to their roots and wanted just to be a rock band, and ‘don’t give me any of that fancy crap.’”

“And when you look at me as a writer, I definitely give you that fancy crap. I can’t help it. [Laughs] So I think the band’s happier the way they are, and it would be kind of a step back for them to wanna do something like that… Anyway, they’re happier and better off. And I think the same here,” he added (via Blabbermouth).

If you’re a heavy rock lifer, you’ve seen this split before: one camp wants the band as a tight, familiar machine; the other wants the version that takes chances, even if it risks a wrong turn. With Morse, Deep Purple got a guitarist who could play the classics, but also couldn’t resist upgrading the language when the song opened a door.

That tension has always been part of the Deep Purple conversation, dating back to the shadow of Ritchie Blackmore — and the diehards who never stopped treating the post-Blackmore years like a debate to be won. Some fans accepted Morse as the guy who kept the band vital; others never stopped measuring every solo against a memory.

Still, Morse wasn’t an awkward fit with everyone. One relationship in particular mattered, and it’s the one longtime fans still speak about with real warmth: his musical chemistry with Jon Lord. Morse didn’t come in trying to cosplay the past; instead, he connected with the part of Deep Purple that always had a bit of classical muscle under the riffs.

“Jon Lord had that classical-meets-rock connection. That’s why we gelled so well when I first got with the band; Jon‘s improv with me was what was driving me to be laughing and smiling at the end of our jam session,” he remembered.

That’s the version of Deep Purple some listeners miss: the one that could be heavy, bluesy, and sophisticated in the same breath: not “prog” in a precious way, just a band with enough confidence to stretch.

Then real life hit hard. In July 2022, Steve Morse stepped away to care for his wife as she battled cancer, and Deep Purple moved forward with Simon McBride. After his wife’s passing, Morse has been gradually finding his way back, focusing mostly on Steve Morse Band, which just released Triangulation — their twelfth studio album, and the first since Out Standing in Their Field.

And even that comeback hasn’t been simple. Alongside grief and a massive career reset, he’s been adapting to arthritis and reworking the most basic mechanics of how he plays.

“So, that’s a big challenge when you talk about losing your wife, losing your band for 28 years, and starting over with a new technique. I changed my picking position about 10 years ago, to include three different ways of holding the pick so I could change the angle and [adjust to] the pain level,” he shared.

So if you’re still hoping for a surprise walk-on, it might be time to let that one go. Not in a bitter way, more like a grown-up way. Deep Purple gets to chase the version of itself it wants to be right now. Steve Morse gets to protect his peace, his hands, and whatever music comes next.

And for the rest of us? We’ve got the records, including the era where “fancy crap” showed up in a band that was never supposed to need it, and somehow made them feel wider.

The post STEVE MORSE Shuts The Door On One-Offs With DEEP PURPLE, And The Reason Isn’t Subtle: “A Couple Of Guys In The Band Were Really Glad For Me To Be Gone” appeared first on Sonic Perspectives.

THE YEAR IN METAL SHOW – 1977