It’s official: Ella Langley’s monster country smash “Choosin’ Texas” is in a chart-history class of one. “Choosin’ Texas” first reached #1 on the Billboard Hot 100 back in February — already an amazing feat for a relatively untested performer, especially in country, where radio famously gives short shrift to female artists. Other songs have knocked “Choosin’ Texas” out of the #1 spot in the weeks since then, but only for a week or two at a time. The song has come to rule the Hot 100 for most of 2026. Last week, the song tied Mariah Carey’s holiday perennial “All I Want For Christmas Is You,” sharing the record for longest-reigning #1 hit in the 68-year history of the Hot 100. Today “Choosin’ Texas” breaks that tie as it notches its 23rd non-consecutive week at #1.
If a band can stay in the business for more than four decades, that usually takes more than just a few good songs. It takes a loyal audience, plenty of determination, and the ability to keep moving forward. Stryper are a case in point. Formed in 1983, the Christian rockers are still on the road… Continue Reading →
First circulated in limited quantities under the title Thrashquake, WHIPLASH’s eighth studio album will receive its official worldwide release as ROAR on November 27, 2026, via Time To Kill Records. The New Jersey thrash veterans have introduced the release with “Bullet Train,” its first single. Led by founding guitarist and vocalist Tony Portaro, the track […]
Nothing about the Australian singer-songwriter Julia Jacklin really screams “Las Vegas,” but that’s where Jacklin shot the video for her new song “If I Had The Hand Of God.” This was a very good decision. For the clip, regular collaborator Nick Mckk filmed Jacklin wandering around Vegas — a voyage that encompasses the Sphere, the Caesar’s Palace ceiling, the windswept desert hills around the city, the anonymous hotel hallways, and plenty of other aesthetically arresting aspects of that particular city. Sometimes, she wears a showgirl headdress. It looks awesome, and it pairs beautifully with the song.
HELLOWEEN brought their world tour to a close on Saturday with a wildly acclaimed show at the sold-out Suhai venue in São Paulo.
Under the banner of their “40 Years Anniversary”, this German power metal institution thrilled fans across the globe, from major arenas in Europe, North America, and Asia to Latin America, complemented by appearances at Europe’s most significant summer festivals in 2026.
The tour was far more than just a series of high-energy concerts: HELLOWEEN took fans on a musical journey through 40 years of band history. Featuring a setlist that spanned everything from early, defining tracks and all the fan favorites to brand-new material from their current album Giants & Monsters, the show combined hits from every era, delighting fans across generations.
Visually, too, the show set new benchmarks, elevating the standard of modern metal productions. The elaborate stage show, combined massive screens, spectacular lighting and video effects, pyrotechnics, and a carefully especially crafted production design into a comprehensive audiovisual experience that underscored the music and showcased the band members in impressive fashion.
HELLOWEEN played in sold-out arenas before tens of thousands of fans, including the largest headlining show in the band’s history in Mexico City and the O2 Arena in Prague and captivated international audiences on major European festival stages. In total, the world tour took the band through 28 countries across three continents, reaching an audience of over one million people.
From the tour’s kickoff in Europe to the final concerts in Latin America, HELLOWEEN’s extraordinary enduring appeal was once again evident: songs like “Eagle Fly Free,” “Future World,” “Dr. Stein,” and “I Want Out” have made history and are essential parts of the metal soundtrack.
The “40 Years Anniversary” tour concludes with the concert in São Paulo. However, HELLOWEEN’s journey is far from over! The story of this exceptional septet is far from fully told, and major festivals for the summer of 2027 are already booked!
New York alt-metal mainstays Prong are making their Napalm Records debut, and they’re doing it loud. New single “Fear The Sun” leans into the band’s hometown roots, the kind of track built to spark pit chaos straight out of the old CBGB playbook, backed by frontman Tommy Victor‘s sharp, biting pen.
Breaking down “Fear The Sun,” Victor explains, “I think we went back into time on this song. It’s a modernized version of the groove metal basics Prong laid a foundation for back with ‘Beg To Differ’. Lyrically ‘Fear The Sun’ reflects upon living with no seasonal changes, metaphorically.”
Closing in on four decades in the game, Prong has stayed a fixture on the touring circuit, hitting stages at heavyweight festivals like Wacken Open Air, Alcatraz and Brutal Assault, and stacking up a catalog that’s stayed in rotation across TV, radio and streaming for the better part of its run.
The upcoming record, Prong, packs 11 tracks that lean into the band’s full range, pulling from industrial, thrash, alternative rock and classic New York hardcore.
Victor previously called it a landmark effort, saying: “This could be the best Prong album to date. It’s definitely the best-sounding Prong album ever, with the incredible Andy Sneap mixing and mastering it! This record represents a new lease on life for Prong with a new label, a fresh attitude with faster and heavier songs, bigger hooks and top-notch sound quality. That’s why it’s self-titled; it’s a redefining episode for Prong!”
Of everything that came out of CBGB’s storied scene, Prong stands alone. The band formed during the club’s late-’80s resurgence, running alongside hardcore staples like Gorilla Biscuits, Madball, Sick Of It All and Biohazard, but carved out its own identity through melodic instincts on early records like Beg To Differ (1990) and Cleansing (1994), which turned the band into regulars on MTV Headbangers Ball. That mix of New York hardcore grit, addictive grooves and industrial texture would go on to influence groove metal, industrial metal and crossover thrash for years afterward.
Prong leans fully into that history. Opener “The Banner” moves from thrash-heavy sections into full, melodic choruses before “New Commission” cranks the intensity up further still. “The Uprising” brings back the band’s industrial leanings, layering gritty synths over a driving two-step groove, and “Uncertain Truth” shows off the band’s softer melodic side with a genuinely sweet hook. Then “Fear The Sun” hits like a gut punch, tailor-made for classic New York hardcore pit chaos. Victor‘s guitar and vocal work take center stage on “Proportionate Response,” a slow-burning call for justice, before “Simulated Drowning” kicks the pace back into high gear. Closer “Our Continuance” ends things on a heavy note, all discordant breakdowns and a methodical, crushing pulse, tied off with a soaring chorus and swelling synths.
Andy Sneap handled mixing and mastering at Backstage Studios, giving the record a tight, punchy finish, while Victor‘s lyrics stay confrontational throughout, digging into questions of truth, self-limitation and altruism. Bold, purposeful and melodically sharp, Prong stands as a fitting tribute to the band’s staying power.
On lead single “The Banner,” Victor had this to say: “We are unbelievably excited to share the first single, ‘The Banner’, from our upcoming self-titled record. Andy Sneap‘s mix and master is absolutely blistering and ferocious. This is just the beginning and we hope you enjoy it.”
The album will be available across a range of formats, including a Black LP, Inkspot Cristallo/Red LP, White Label LP, digital release, and a CD featuring both bonus cuts, “Out Of Body” and a cover of Bananarama‘s classic “Cruel Summer.” Two cap bundles — one tied to the CD, one to the LP — round out the offerings.
REVIEW BY DAVID TAYLOR AND PHOTOS BY PAM WHISENHUNT | Go Venue Magazine
On Sunday, September 20, 2026, thousands of people packed the Mid-America Center in Council Bluffs, Iowa to see two legends of 2000s modern rock, Breaking Benjamin and Chevelle, performed their extensive catalog of songs. Both bands have not played this venue since 2007, so it was a throwback for the ages. It was also nice to see a concert back at the MAC since my last one there was in October of 2016. Couldn’t ask for a better night for live music.
Kami Kehoe from Los Angeles opened the show. She came all the way from the Louder Than Life festival in Louisville, KY, which was quite a drive, so it was kinda a rush for her to set the equipment on stage. But they showed up to warm the crowd up and that’s what they did. Turns out, she is also a drummer and was excellent behind the kit. I’m always here for more women in rock music and I’m glad to see that continue. There is a ton of potential for her and getting to open up for a band like Breaking Benjamin is one of those stepping stones of making it big. Be sure to check out her latest album, Love is a Weapon.
Starset was up next. This was my fifth time seeing these guys, but it hasn’t been since 2018 and I feel like so much has changed for the group. I love that the band still wears astronaut costumes. They leveled up production, added a member or two, singer Dustin Bates was in a box for the first couple of songs. It was incredible. The crowd was really impressed. They deserve to headline arenas. I hope with their upcoming album, they can fulfill that dream because their production deserves it. Dustin Bates continues to sound incredible vocally, singing and screaming. Towards the end of the set while shouting out the acts on the tour, he jokingly said, “Make some noise for 311!” He also kept calling the crowd “Omaha”, which you got to love. It sounds like a new album is coming soon, led by singles, “Paradoxic” and “Annihilation”, so keep an eye for that.
Chevelle was the direct support for the night. This was my fourth time seeing them live, but my first seeing them in an arena. And they crushed it. They were so tight rhythmically. The audience was so enthusiastic for them, hearing loud cheers when Pete Loeffler would break into a guitar solo. Just hearing those older songs like “The Clincher” or “Send the Pain Below” transported me to when they played here in 2007. It must have been the same feeling nearly twenty years ago. I’m so glad I got to see them in an arena this time around because it’s much better than seeing them play in a smaller sized venue because of the thick heavy sound they produce. Check out their latest album that came out last year, Bright as Blasphemy.
Breaking Benjamin was ready to melt the crowd’s faces. This was my eighth time seeing them and they never disappoint. They had this opening video of a Microsoft desktop opening up LimeWire and downloading Breaking Benjamin songs and then eventually getting a virus. It was pretty amusing and fun. The band just nails every note they play. The crowd was so loud, singing all the lyrics to their big songs. I was curious about their new drummer, Brian Medeiros, but he crushed it behind the kit. Benjamin Burnely, who had a great vocal performance, was very appreciative of the fans, saying they’re lifeblood of the band. They seem to love what they do and I’m glad to see them play at this level. I really hope we get that seventh album very soon. And I think Mid-America Center should host more concerts. It was a good test run and let’s keep on bringing more acts to fill that arena.
The very name “Primitive Blast” implies a brief but explosive existence. You probably don’t pick that band name if you expect to last a long time. The Australian hardcore crew Primitive Blast has been around for more than a decade, which would seemingly undercut that band name. But Primitive Blast still play like a band called Primitive Blast; it’s hard to imagine two better words to describe their new EP D.I.D.
