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  • He lost his voice, music saved it: The Ian Moore Story

    Ian Moore has never had trouble letting his guitar do the talking, but singing is a different story. Moore lost his ability to sing.

    “I have the same thing RFK has, neurological,” says Moore.

    Ian found out he has spasmodic dysphonia. A few years later, the condition flipped, and Moore could sing, but has trouble speaking.

    “It is with my voice, but it’s my brain,” says Moore. “So when I sing, it’s freer. It’s weird.”

    Despite Moore’s world being turned upside down, giving up was not an option.

    “I choose to lean into it,” says Moore, adding, “It is hard to live in a world without really talking. But man, music is about getting inside of yourself and showing who you are, your uncomfortable sides. Here I am.”

    “We’ll be backstage, and he’ll be having his issues where it (voice) cuts out when he’s talking, and then we go up on stage, and he sings like Curtis Mayfield,” says Moore’s Texas Headhunters bandmate Jesse Dayton. “He’s doing incredible soul singing, falsetto stuff, and just killing it.”

    “He just rolls with whatever, and he comes out, and he sings his ass off every night, so it’s really cool,” added fellow Texas Headhunter Johnny Moeller.

    “When I’m playing on stage, it’s amazing. It’s so fun,” said Moore.

    Ian hopes his story can help inspire others battling adversity in life.

    “That’s part of why I’m doing it,” says Moore. “I think we all have something, everybody does, and we can get so caught up in what we think is holding us back. The reality is that you stand up for what you have, who you are. That’s your strength. So, to me, do I wanna deal with this crap? No, of course not. But I’m dealing with it, and I get up in front of hundreds, sometimes thousands of people, and rock ’em. And to me, I’m focusing on that. That’s the thing you gotta focus on, whatever you’re dealing with.”

    To Moore, there’s no other choice.

    “If you get in a corner where you think it’s so hard, you can’t do it, you’re done.”

    Moore and the Texas Headhunters will release their sophomore album, Rise and Shine, on October 9.

    The post He lost his voice, music saved it: The Ian Moore Story appeared first on Blues Rock Review.

  • Motionless in White Singer Ready to Be a Festival Headliner

    The Motionless in White singer discusses the 'Decades' album, his biggest influences, shares his favorite lyric and expresses what it means to headline the 2027 Bloodstock festival. Continue reading…

  • The Alternative Number Ones: Chumbawamba’s “Tubthumping”

    The post The Alternative Number Ones: Chumbawamba’s “Tubthumping” appeared first on Stereogum.

  • Gelli Haha Released New Single

    World renowned pop shapeshifter and  sonic acrobat GELLI HAHA is thrilled to announce her second annual Haha-Holiday Spectacular

  • A View From The Back Of The Church: Devin Townsend (Simon Black)

    Devin Townsend, The Gate Cardiff, 02.10.26



    For a man who spends a lot of his increasingly rare free time attending gigs and having lived in the fair city of Cardiff for nearly twenty years now, this is actually the first time I’ve been to The Gate. For those who have not had the experience, it’s a deconsecrated church in the back streets of Roath, so perfect for a takeaway on the way home afterwards if I wasn’t an old fart who has to watch his calorie intake nowadays. 

    As an increasingly arthritic old fart to boot, it’s also not the greatest of venues when it come to comfort. I don’t have an issue standing all night at gigs, but sitting on steely hard Victorian church pews that are clearly designed with no small amount of Presbyterian guilt and penitence in mind is no easy experience, and this is a long show.

    That said, the evening flies by…

    I am always aghast at quite how many albums the remarkably prolific Mr Townsend has actually created over the decades. 

    All told 28 studio albums, 6 EP’s and ten live releases across his various projects (not to mention all the box sets, reissues and compilations needed to exit label contracts) is quite a formidable level of output crossing the genre boundaries every other album and probably only beaten by the late Prince, who had a 17 year head start before his death a decade ago (but may continue to surprise since no-one knows for sure how much unreleased material is still sitting there). 

    The purpose of tonight’s performance is to take us on a whirlwind tour of as many of them as possible, linking the range and variety of his music with the deeply personal journey that culminated in the quite sublime The Moth.

    I know I’ve barely scratched the surface of his material, having only really listened to his releases from this decade, but the small but dedicated audience here tonight all seem to be familiar with the gamut he runs this evening. 

    He’s done these evenings before, and I was curious as to why an artist that can easily pack good sized halls and headline festivals around the world would want to stand there on his own for 2 hours, given the costs involved in going on tour nowadays to play (sold out) venues of less than 500 people for months on end. 

    The answer is obvious after a couple of minutes – because he’s absolutely in his element, and his pained emotive delivery touches each and everyone here instantly, which is why the queue for merch during the interval is longer than the one for the loos…

    What starts as a very low-key affair, becomes deeply emotional and personal from the get-go. It’s almost entirely an acoustic affair, and despite an array of six strings littering the stage, ninety per cent of the performance is delivered through one hard working acoustic guitar – even when he bashes out the power chords of the most angsty Strapping material. 

    The same happens vocally, and although the expectation is that he will stay within the clean tenor range that he’s easily capable of scaling, we get plenty of screams and growls as well and whoever is on the mixing desk clearly knows their stuff in this acoustically unfriendly environment, as the vocal switches and twists he throws out are perfectly presented for the ear of the listener.

    Then there’s the banter. If you know Devin Townsend, you will be well aware that as well as being one of the most talented musicians currently walking the boards, he’s also a remarkably quick wit and would put many a professional stand-up comedian to shame. 

    Even when things go wrong technically, he manages to turn a five-minute hiatus courtesy of a laptop choosing precisely the wrong moment to present a blue screen of death into a segment that left everyone laughing so hard with him, that it really was just as well that it happened right before the interval. 

    When the tech did finally creak into life, it gave us an epic one-man rendition of Lightworker – a track that would have been a challenge to deliver live with a full band on a conventional tour, but he manages it solo with that acoustic effortlessly.

    Having gone back and relistened to his live release from a previous one-man tour back in 2019, it’s clear that this is a more confident and seamlessly fluid performance tonight. 

    Dealing with pain and emotional discomfort on stage has oft been the artist’s way through, but to do so with such an intense and focussed theme rather than just running through the greatest hits takes guts, and we love him for it. 

    I have no idea what comes next musically, and this musical coda to the deeply emotive and autobiographical The Moth does feel like the end of an era. Whatever it is, I suspect it’s going to be absolutely brilliant, because everything else we touched up across the three decades of his output have been.

    Full marks simply doesn’t feel quite adequate.. 10/10

  • Glenn Hughes, Lee Aaron and more pay tribute to Sass Jordan, dead at 63

    Glenn Hughes, Lee Aaron, and Mike Garson are among the musicians who’ve paid tribute to Canadian rock star Sass Jordan following her death, aged 65.

    News of the singer’s passing on October 2 was shared by her family on her social media channels.

    The statement reads: “On Oct 2 2026, surrounded by her loving family, Sass Jordan peacefully crossed over to the other side.

    “She remains in our hearts, an inimitable force of nature. An irreplaceable being of light and joy!”

    In a statement, the singer’s PR Eric Alper said, “Over four decades, she gave Canadian rock one of its most recognizable voices, carved out space for women in a genre long dominated by men, and opened doors for the young musicians who came through her band.”

    Born in Birmingham, England, in 1960, Jordan moved to Montreal with her family aged three, and began performing with bands in her adopted hometown in her mid-teens. The singer’s debut album, Tell Somebody, was released on Atlantic Records in 1988, with singles Double Trouble and Tell Somebody peaking just outside the Top 10.

    “They played the Tell Somebody video on Much Music a lot,” Jordan recalled. “I remember going in two weeks from relative obscurity to being recognized as the girl in the video.”

    In 1990, Jordan moved to Los Angeles and released her best-known album, Racine, two years later. She played shows with AC/DC, the Rolling Stones, Aerosmith and more, with future Foo Fighters star Taylor Hawkins on drums.

    In 2003, Jordan was hired as a judge on TV talent show Canadian Idol, a position she held for six seasons.

    On September 1, Jordan canceled her scheduled 2026 shows, citing “a serious medical condition.”

    Following the announcement of the singer’s passing, Glenn Hughes posted, “Gab and I are totally in shock, RIP my dear friend Sass.”

    “A true friend. We had so much love, joy and laughter, and music together. RIP My Sasseroonie Girl.”

    Fellow Canadian rock singer Lee Aaron posted, “Oh man…unexpected and crushing…my heartfelt condolences go out to Sass Jordan’s family, bandmates and loved ones. ❤️The world has lost a formidable talent. RIP Sweet rock’n’roll sister…I thought we’d have many more years of making music and getting silly backstage together.”

    Singer Bif Naked wrote, “It’s so Heartbreaking.”

    David Bowie’s long-time keyboard player Mike Garson posted:

    “I’m heartbroken to hear of the passing of Sass Jordan.

    “Sass and I had the joy of working together on our A Bowie Celebration tours. She was an extraordinary singer, but what I remember just as much was the person behind that unmistakable voice.

    “She had a great heart, a wonderful spirit, an incredible feel for the music, and a wicked sense of humor. She was an absolute joy to work with, both onstage and off.

    “When Sass joined us, she said that performing Bowie’s music every night felt like “playing a love letter to his memory.” It was an honor to share those nights and that music with her.

    “My deepest condolences to her family, friends, fellow musicians, and everyone who loved her.

    “Sass was one of a kind, and she will be deeply missed.”

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  • Album review: unpeople – we are unpeople

    Posted on October 5th 2026, 2:00pm

  • Why Alice Cooper Had to Destroy the Alice Cooper Group

    "I don't want Alice to die. So I'm going to keep Alice going." Continue reading…

  • Zeronic Release New Album “Modernism”

    Austrian three-piece zeronic recently returned with their comeback single “The Hope and the Enemy,” marking the band’s first

  • HOL1D4Y: Topology Review

    The Rival Sons guitarist Scott Holiday has released his first ever solo album, Topology, under the new creative identity HOL1D4Y on September 25th. The record represents a big step outside of the comfort zone as it grew out of a private writing practice following a serious bike accident. It poses a larger question about what remains of us when life bends, stretches, and changes our shape. The very idea that gives this album its title.

    It starts with a psychedelic track aptly titled “Holotropic”. Bold guitar effects, synths, dissonant harmonies, and spoken words all contribute to a very trippy opening track that sets the scene perfectly for the journey ahead. Driving groove, dreamy vocals, and guitars in reverse make up “Panoptic”. A change of tonal polarity creates tension and high mood contrasts.

    The intro to “Veridream” is wrapped in Pink Floyd influences; however, the guitar licks and delivery of verses possess that authentic Rival Sons vibe. “Autonomatic” brings more punch in instrumental parts, heavy fuzz on the guitar, and drums pumping energy into a killer exotic-scale riff; the chorus however, calms everything down before moving into an instrumental track titled “Constellations” that defies any and all genre boundaries.

    A heavier track called “Metacognition” follows. An introspective number that plays with the flow of time itself with its floaty rubato parts. This is sandwiched by another instrumental, “CRISM,” that feels warm and mysterious at the same time, reintroducing the Pink Floyd vibe. “Equanimity” follows with some haunting vocal harmonies, before closing off with a beautiful acoustic instrumental titled “Love of Separation”.

    Aside from the aforementioned Pink Floyd influences, the tracks on this record are occasionally giving Muse as well as Democracy-era Guns n’ Roses vibes. Whether that’s a purposeful nod to these artists, a subconscious influence, or just a subjective feeling on my behalf, I’ll leave it up to you to decide. Scott Holiday definitely made it his own and bravely explored new horizons with Topology. This artistic, cinematic, atmospheric concept album sounds more like a futuristic psychedelic rock symphony that your standard blues rock record. It’s musical therapy and bold artistic statement rolled into one.

    The Review 8/10

    Can’t Miss Tracks

    – Autonomatic
    – CRISM
    – Love of Separation

    The Big Hit

    – Autonomatic

    The post HOL1D4Y: Topology Review appeared first on Blues Rock Review.