The Recording Industry Association Of America (RIAA) now recognises the 2003 single, taken from the Arkansas five-piece’s debut album Fallen, as having gone Platinum 11 times over in the US, meaning it’s sold 11 million units or amassed an equivalent via streaming services. A song or album needs to ship 10 million units or equivalent to go Diamond.
The RIAA previously acknowledged the single as having gone three-times Platinum in 2019. The new recognition marks Evanescence’s second Diamond-seller, following Fallen itself, which received the honour in 2022.
A Platinum certification means an album or single has sold one million units, but streaming statistics are also taken into account. 10 permanent downloads via streaming services equal one physical “sale”. 150 streams of a song also equal a sale.
Released on January 13, 2003, Bring Me To Life was the lead single from Fallen and Evanescence’s first single overall. It topped charts in the UK, Italy, Australia, Chile and Colombia and reached number five on the US Billboard 200. Its popularity was boosted by its presence on the soundtrack to 2003 superhero blockbuster Daredevil, which came out on February 14, 2003: three weeks before Fallen.
In 2022, the music video surpassed one billion views on YouTube, and the song reached one billion streams on Spotify in 2024.
Bring Me To Life featured a vocal duet between frontwoman Amy Lee and guest singer Paul McCoy, of then-Wind-Up Records labelmates 12 Stones. McCoy’s rap section and backing vocals were not originally intended for the song, but were included as a compromise with Wind-Up, who wanted the band to have a full-time male co-vocalist.
Talking to The Forty-Five in 2020, Lee said that she was scared of being “dropped” from Wind-Up for turning the label down. She added that having McCoy on the track was “hard” because “I had to start out [Evanescence’s career] with our first song feeling like I made a sacrifice on my art”.
Evanescence released their sixth album, Sanctuary, via BMG and Columbia on June 5. It was met with positive reviews, including four stars from Metal Hammer. Writer Holly Wright called it “the most vital thing Amy Lee has made in decades”.
The band are currently touring North America and will play at the Bell Centre in Montreal, Canada tonight (June 30). They’ll hit Europe in September, starting with a run of UK shows from September 8 to 13. See the full list of upcoming dates and get tickets via their website.
Dead Poet Society have revealed that they are making their return to this side of the pond for a triumphant headline run.
The announcement comes hot on the heels of the band’s new single ‘Roach’, a pulsating, discomforting piece of disruptive modern rock that pushes and pulls at perception of the band in the most devlishly decadent manner.
The band had this to say about it:
“Resent. That is what this song is about. It’s about those who have wronged you, taken advantage of you, hurt you. Let the feeling fester and consume you.”
The tour will be kicking off the new year in some style, as the band make their way through 18 countries from the end of January to the start of March.
JANUARY 2027
21 – LISBON LAV Room 2 23 – MADRID Sala Wagon 24 – BARCELONA Razzmatazz 2 26 – PARIS Alhambra 28 – BRISTOL Electric 29 – NEWCASTLE Digital 31 – DUBLIN Academy
FEBRUARY 2027
02 – GLASGOW The Garage 03 – MANCHESTER Academy 2 04 – BIRMINGHAM O2 Institute 06 – LONDON Electric Ballroom 09 – ANTWERP Trix Main Hall 10 – UTRECHT TivoliVredenburg 12 – MUNICH Technikum 13 – WINTERTHUR Salzhaus 14 – MILAN Legend 16 – BUDAPEST Akvarium Klub 18 – VIENNA Simm City 19 – WARSAW Proxima 21 – PRAGUE Meet Factory 23 – BERLIN Metropol 24 – COLOGNE Essigfabrik 26 – HAMBURG Gruenspan 28 – COPENHAGEN Pumpehuset
MARCH 2027
02 – OSLO John Dee 03 – STOCKHOLM Debaser 05 – HELSINKI Tiivistämö
Losing Light are raw and heavy, fusing classic roots with dark, moody themes. With powerhouse vocals, crushing riffs, and a rock-solid rhythm section, their songs pack a punch and linger long after.
Their new track, “One Night Killer,” dives into temptation, desire, and the wreckage left in the wake of a one-night stand. I love the pace and the riffs. The song feels like it sits between a few genres, with a vibe that somehow reminds me of a mix between Judas Priest, Extreme, and Annihilator. It’s a really cool track, featuring catchy vocal lines, no unnecessary frills, and a technical guitar solo.
Give it a go by clicking on the Spotify player below and follow Losing Light, if you like what you hear.
Converge: Hum of Hurt Via Deathwish/Epitaph Records Vinyl | Download Out Now Hardcore genii and the hardest working band in showbiz release their second album of the year; its only comparison is its companion piece. Currently touring the EU, this is a near-perfect slab of political mass and yet another contender for Album of the […]
I headed down to the inaugural Blackbird Festival, part of the summer concert series at Cardiff Castle, to catch Cardinal Black, Florence Black, Mammoth, Skindred and Alter Bridge. With the blazing Cardiff sunshine beating down, it was an early start, but the weather couldn’t dampen the excitement surrounding what promised to be an incredible day of rock music.
First up were South Wales favourites Cardinal Black (7). Before the music began, Planet Rock’s Ian Danter took to the stage as compere for the day, getting the crowd fired up before introducing each band. The mention of Cardinal Black’s name was met with a huge roar from the audience, which only grew louder as the band walked on stage wearing broad smiles and carrying an unmistakable air of calm confidence.
Vocalist Tom Hollister got things underway with a cheeky “Alright?” before launching straight into Keep On Running, taken from the band’s outstanding 2025 album Midnight At The Valencia. Right from the opening notes, the band’s quality was obvious. Hollister’s smooth vocals blended beautifully with the rich keyboard textures, while guitarist Chris Buck once again proved why many consider him to be one of the finest guitarists in the world. His effortless playing was nothing short of mesmerising.
The band continued with songs including Tell Me How It Feels from their 2022 debut album, a beautifully melodic track that had plenty of people singing along inside the stunning surroundings of Cardiff Castle. Thankfully, although the sun continued to shine, the heat remained just about manageable, making for perfect festival conditions.
Cardinal Black simply ooze class. Their effortless musicianship, soulful songwriting and relaxed stage presence made them the perfect choice to open the festival. Everywhere you looked there were smiles, voices singing along and people completely immersed in the music. You really couldn’t ask for a better start to the day from such an impressively talented band.
After a short break for the changeover, everyone had the chance to rehydrate before the next dose of Welsh rock. Up next were Merthyr Tydfil’s own Florence Black (8), who walked onto the stage to a huge roar from the Cardiff crowd.
The trio wasted no time in getting things underway with Look Up from their 2024 album Bed Of Nails. From the opening riff, the band’s slick, hard rock sound immediately got the audience moving. Florence Black have a fantastic chemistry on stage, with vocalist and guitarist Tristan Thomas and bassist Jordan “Fozzy” Evans effortlessly switching sides throughout the set, while drummer Perry Davies never stopped moving behind the kit, his energy ensuring every corner of the stage felt alive. For a three-piece, they have an incredible ability to command such a large stage without ever looking out of place.
The reaction from the Cardiff crowd was superb from start to finish, with every song receiving a huge response. Although we only heard one track from the band’s latest release, The Pouring Rain from their 2026 album of the same name, it slotted seamlessly into the set alongside older favourites.
As the performance gathered momentum, Florence Black demonstrated exactly why they continue to establish themselves as one of the UK’s finest modern rock bands. Their set was packed with huge riffs, soaring melodies and plenty of crowd interaction, all delivered with an infectious sense of enjoyment that made it impossible not to get caught up in the moment.
The band closed with an excellent cover of Budgie’s Breadfan, before finishing on the ever-popular Sun And Moon from their debut album Weight Of The World. It was a slick and polished performance throughout, but one that never lost its sense of fun. The chemistry between the three musicians was evident from beginning to end, making for a thoroughly entertaining set that left the Cardiff crowd wanting more.
With enough time between sets to grab a drink and browse the merch stands, I made it back to the stage just in time to catch Mammoth (7). The American rock outfit received a warm Welsh welcome as they walked on stage before launching straight into The End, the title track from their 2025 album.
It was the perfect introduction to the band, immediately showcasing the blend of melodic hard rock and technical musicianship that has become Mammoth’s trademark. From the opening guitar riff, the influence of the Van Halen legacy was unmistakable, but rather than relying on nostalgia, the band quickly demonstrated that they have carved out a sound that is very much their own.
Wolfgang Van Halen looked completely at home on stage, delivering powerful vocals while effortlessly handling guitar duties throughout the set. Backed by an excellent live band, Mammoth powered through a collection of songs that balanced soaring melodies with crushing riffs, keeping the Cardiff crowd engaged from beginning to end.
A particular highlight came with Same Old Song, another track from the band’s latest album. During the song, the audience opened up the day’s first circle pit, prompting Wolfgang to remark afterwards that it was the first one Mammoth had ever received. The comment was met with a huge cheer from the Cardiff faithful, who clearly appreciated the band’s reaction as much as the music itself.
The energy continued to build as Mammoth tore through the remainder of their set, seamlessly shifting between melodic rock anthems and heavier, foot-stomping moments that had the crowd bouncing throughout. They rounded things off with the acclaimed Don’t Back Down from their self-titled debut album, bringing an excellent performance to a fitting close.
By the end of the set, the audience was fully warmed up for the evening ahead. Mammoth delivered a polished, energetic performance that highlighted exactly why they are regarded as one of the most exciting modern rock acts on the scene today.
I’ll do my best not to let my admiration for our next band show too much, but when it comes to Skindred (8), that’s easier said than done. I’ve been following Benji Webbe’s career since first seeing Dub War back in 1998 at the legendary TJ’s one-off festival in Newport. From Skindred’s earliest shows right through to today, I’ve watched the band grow into one of the UK’s most respected live acts. Being from the same city as Benji, I’ve also seen first-hand what a genuine ambassador he is for Newport and the wider Welsh music scene.
As far as today’s performance was concerned, the anticipation had been building long before the band even stepped onto the stage. The moment they appeared, the atmosphere inside Cardiff Castle shifted up another level.
Opening with This Is The Sound from the band’s UK Number One album You Got This, Skindred immediately had the crowd bouncing. Looking around the castle grounds, it was almost impossible to find anyone who wasn’t either singing along, dancing or grinning from ear to ear. The band’s infectious energy spread through the audience within moments, setting the tone for another unforgettable festival performance.
One of Skindred’s greatest strengths is the depth of their catalogue. It genuinely doesn’t seem to matter what song comes next; the vast majority of the crowd know every lyric and every beat. Benji remains one of the finest frontmen in rock, effortlessly controlling the audience with his trademark humour, charisma and crowd interaction. Whether he’s joking between songs or encouraging another wave of bouncing, he has thousands of people in the palm of his hand from start to finish.
The set reached another level when the band rolled back the years with Ratrace from 2007’s Roots Rock Riot. Circle pits erupted once again as the relentless energy refused to let up. The balance between older favourites and songs from the latest album was spot on, giving long-time fans and newer listeners plenty to enjoy.
There were also plenty of memorable moments throughout the set, including snippets of tracks by hip-hop legends Pharoahe Monch and Dr. Dre, before the entire castle joined together in a spine-tingling rendition of Queen’s Don’t Stop Me Now. Hearing thousands of voices singing in unison against the backdrop of Cardiff Castle was one of the standout moments of the entire festival.
To close, the band delivered the formidable trio of Nobody, Gimme That Boom, and, of course, Warning. It simply wouldn’t be a Skindred show without the now legendary Newport Helicopter, and the sight of thousands of people waving shirts, hats and anything else they could find above their heads was something to behold.
Adding to the occasion, Florence Black frontman Tristan Thomas joined the band on stage to perform Jacoby Shaddix’s guest vocals, earning one of the biggest cheers of the day.
More than 25 years into their career, Skindred continue to prove why they remain one of the best live bands in Britain. Their ability to unite people through music, positivity and sheer energy is unmatched, and today’s performance was another reminder that they have no intention of slowing down anytime soon.
As darkness began to fall over Cardiff Castle, it was finally time for the evening’s headliners, Alter Bridge (8). The Florida rock giants took to the stage to a thunderous reception before launching straight into Silent Divide, the opening track from their latest self-titled album. From the very first note, both the band and the crowd were completely locked in, creating an electric atmosphere that would only grow stronger throughout the set.
The band’s trademark blend of soaring melodies, crushing riffs and flawless musicianship was on full display. Myles Kennedy was in exceptional form, delivering stunning vocals while effortlessly switching between singing and guitar duties. Alongside him, Mark Tremonti’s impeccable guitar work once again proved why he is regarded as one of modern rock’s finest players, while bassist Brian Marshall and drummer Scott Phillips provided the rock-solid foundation that gives Alter Bridge their unmistakably huge live sound.
The classics soon followed, with Addicted To Pain and Cry Of Achilles, both taken from the outstanding 2013 album Fortress. Every song was met with an incredible response from the Cardiff crowd, who sang back almost every word while the band delivered one powerful performance after another. Guitar solos came thick and fast, accompanied by the kind of heavy, headbanging riffs that fans had been waiting for all day.
This was my first time seeing Alter Bridge live, and I have to say they exceeded every expectation. The performance was incredibly polished without ever feeling over-rehearsed, and the chemistry between the four musicians was evident throughout the set. As the evening wore on, the backdrop of Cardiff Castle became an increasingly spectacular setting, adding even more atmosphere as darkness settled over the historic venue.
The highlights kept coming with Ghost Of Days Gone By from AB III, a song that united thousands of voices in one unforgettable singalong. It was one of those special festival moments where the connection between band and audience was impossible to ignore.
The atmosphere reached fever pitch when the unmistakable opening riff of Metalingus, from the band’s 2004 debut One Day Remains, rang out across the castle grounds. The crowd erupted instantly, with mosh pits opening once again and fans bouncing from the front barrier right to the back of the field.
To close the evening, Alter Bridge delivered the emotional masterpiece Blackbird, a breath-taking seven-minute epic that showcased everything the band do so well. They then signed off with Isolation from AB III, bringing an unforgettable day of music to a perfect conclusion. Even after almost ten hours of live music, the Cardiff crowd still had plenty left in the tank, singing every word and throwing themselves into one last round of bouncing and circle pits.
It was a fitting end to an outstanding inaugural Blackbird Festival. Five excellent bands, a stunning setting and an atmosphere that never dipped made for a truly memorable day. Hearing Myles Kennedy confirm from the stage that the festival will return next year was the icing on the cake.
We’ve reached that time in the lunar cycle where Peter Gabriel shares his latest single. This time it’s the slow-building, jazzy I Belong To The Sky, which comes with artwork from Dutch visual artist Berndnaut Smilde.
As he did with 2023’s i/o album, Gabriel is releasing a new track every full moon. I Belong To The Sky is the seventh track he’s released ahead of his upcoming album, o\i, which is due out later this year.
“It’s another song which has taken a while to grow,” says Gabriel of the new single. “It was a candidate, in some form, for the i/o record, but didn’t get finished off, but it was always one of my favourites.
“The starting point of the song was the timpani tom-tom pattern which was inspired by an old film called Jazz On A Summer’s Day and also a wonderful drummer called Chico Hamilton. I think he was the pioneer of the use of timpani sticks on the toms and I always loved that sound; calm and hypnotic. It set a really strong mood for me and the song grew up around it.
“I’m a strong believer that reality is more malleable than we imagine and that if you really make strong pictures of something happening, you really affect the chances of it materialising. Visualising… how dreams leave their nest, is the main topic of the song.
“One of the things that the technological revolution is doing is accelerating the time for thoughts to become material things. The time it takes to transform an idea into something material is being radically cut. In the song, the verses have a more dreamlike ‘on your back and look up at the sky‘ feeling and then in the chorus it’s about the execution, the materialising.
“For many years now I let the ends run on every song because what often happens, which I found so frustrating, is you get to the end of a song and the band have just really locked in the groove, relaxed and it then all of a sudden, it stops… and the best feeling for a musician is when you’re in the pocket, in the groove, and it’s all happening around you. Consequently, I now let these endings loose and wonderful things happen.
One of the things I love about this track is that these amazing musicians let themselves loose and really take off – with Manu (Katché) driving. It’s just great.”
Speaking of Smilde’s Nimbus de Toekomst 1, 2019, which has been used for the single artwork and you can see below, Gabriel says, “I loved this image of the sky,” adds Gabriel. “The cloud brought inside – that mixture of outside and interior worlds. I think that’s what the song is all about. This mix between the interior and the exterior and the transition between them. So, I was very happy that we were allowed to use this image.”
Further details on the release plans for o\i through Real World will follow.
Heavy music has splintered into two non-overlapping cultures. A growing underground and a decaying mainstream.
Every few months, there seems to be an article about the collapse of concert tours due to rising costs of, well, basically fucking everything. A recent article by writer Bob Rose called Empty Seats, Rising Costs and Burnout: Why So Many Tours Are Suddenly Falling Apart had this passage near the top:
“In recent months, an unusually wide range of artists — from legacy superstars to younger streaming-era acts — have either postponed, downsized or outright canceled major tours, exposing growing instability inside an industry that once viewed touring as the safest revenue stream in music. What began quietly after the pandemic has now become impossible to ignore. Entire runs are disappearing. Amphitheater dates are shrinking into theaters. Arena tours are quietly being rerouted or abandoned altogether.“
Stop. Bob Rose exposed himself in the first sentence. He belongs, at least loosely, to the tribe of rock journalists who are mired in their own dad-rock gatekeeping. Sorry, but the phrase “unusually wide range of artists” with the example cited “from legacy superstars to younger streaming-era acts” doesn’t exactly scream the word wide.
It screams–ironically– the death rattle of some of the bands/tours that Rose implies are the only ones thriving in this economic and musical landscape.
Spoiler alert: That will all be dead soon. And, not to be morbid, but literally.
And, when it does, the myopic mainstream will write article upon article eulogising the lost culture of rock ‘n’ roll. As these false tears spill all over the world from people who stopped listening to new music soon after getting their high school diploma, rock ‘n’ roll concerts and festivals will still be happening all over the world.
Here is the deeper lament. The Bob Roses of the world do not want the world to change. They do not want to find new music. They do not want to know that the world moved on without them. They do not want to be in Alvin Toffler’s 1970 book Future Shock.
The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn.
Alvin Toffler
The impolite term for Dad Rock is really Musical Illiteracy. Those who have been self-incarcerated in this rock prison simply cannot accept that rock ‘n’ roll moved on and grew without them–subversively and quickly.
They simply cannot learn anything new about the current status of it. They are unconscious laggards, swimming around in a stagnant pool of decaying rock music–celebrating like their high school prom is still happening.
Uh, fuck no.
What he and other people my age are unwilling to learn is that they are missing a whole, global scene of underground heavy music that, while not being completely immune from the current economic strife hitting the whole planet, is still having music festivals without any noticeable downturn in attendance.
Roadburn 2025 – Redefining Heaviness
Two heavy music festivals, on opposite sides of the world, concluded this past April. Roadburn, now in its 27th year and Heavy Underground Farm Report Fest in its first.
While Tilburg and Denver are more than 7800 km apart, their physical distance is dwarfed by their philosophical closeness. While one is international and held all over the downtown core of Tilburg, the other one was generally local with some healthy out-of-state support from bands like Blue Heron, Violet Rising, and Shadow Of Jupiter.
The motto for Roadburn for the last few years has been something they do better than any festival on the planet–constantly redefining heaviness.
And, the birth of a new micro-festival in Denver by S. Patrick Brooks had a great mix of bands that emphasised the new heaviness of this decade.
HUFR FEST – Mile High Riffs 2026
There is a lot of irony here to unpack.
The birth of heavy music redefined rock ‘n’ roll. Bands like Black Sabbath, Led Zeppelin, Cream, Blue Cheer, MC5, etc, were the early pioneers of their unique brand of heavy. However, unlike today, they quickly rose out of their underground status to mainstream acceptance.
Much like in English Football, if you are good enough, you could get promoted to a bigger platform (higher division), having more exposure and prominence.
That is no longer possible in heavy music. They have not only been abandoned by the whole music/streaming industry, but they have also been abandoned, for the most part, by the big bands that made it.
Those heavy bands that are successfully touring right now are not exactly bringing out the best of this underground. Iron Maiden and Metallica might be giants in Metal, but the days of them being on top of the heavy music scene are long gone. They got too busy making money.
Just look at the Back To The Beginning lineup last summer. All the bands that played were rich rock stars. Not one band who symbolises the sound and attitude of Black Sabbath from the underground were present.
Cough. None. Were invited.
What is the mainstream of heavy left with 2026? Metallica at The Sphere and Monster of Rock Cruises hosted by Eddie Trunk.
Those My Generation lyrics did not age very well. “Hope I die before I get old”.
For me, the lyrics would be “Hope I die before I go sip drinks out of neon mugs on a ship with a Slaughter reunion.”
Enough of the depressing stuff about the death rattle of dad rock/Metal. What about the underground festivals that keep the youthful spirit and curiosity of rock ‘n’ roll alive?
Here is a list of what I think are the premier heavy music festivals in the world. They all have killer, evolving music, a deep sense of community, perfect size, and often a setting related to nature/water.
They are meticulously crafted to maintain intimacy with a chill, no ego vibe among bands and fans. The fact that bands mingle constantly with fans before and after the show–after all, they are fans as well–should not be lost here.
Those monster-sized festivals that have multiple headliners of millionaire bands are all glitz, no grit. The only way you get backstage to have the same vanilla experience as dozens of others is if you cough up generally hundreds of dollars to artists who do not need the money.
But they need the stroking of ego. Kill ‘Em All? Pfff. Fuck ‘Em All
Sorry. Not going to ever catch me at a festival where acts whose bank accounts are inversely proportional to musical relevance in 2026. In these economic times, it is not where your money should be going.
You should be going, if possible, to any of these festivals of heavy happiness!
Dunajam, Sardinia (est. 2009)
Anyone who has been anyone in the stoner/doom scene the last 15 years has played this multi-day festival in Sardinia. The exact location, bands playing, and how to get invited to this small gathering is a well-guarded secret. I finally got invited to the 2026 event, but have postponed my attendance until 2027.
The vibe and community–c’mon, it’s on the beach in Sardinia–is only rivalled by Roadburn.
Sonic Blast, Portugal (est. 2011)
Another great festival that takes advantage of the scenic coastline of Portugal to bring thousands every year for a consistently amazing lineup of the best of the old and new from the scene. If you have an Aftermovie, you are doing something right.
Freak Valley, Germany (est 2012)
Literally in the middle of nowhere, but every year, thousands make the trek to see some of the best stoner psychedelia bands on the planet. Some of the greatest sets by bands like King Buffalo and 1000mods have taken place here.
Their motto of No Fillers-Just Killers is now part of the stage branding. Also, they have a booth near the entrance for people to report any discrimination or feelings of being unsafe at the festival.
Bear Stone Festival, Croatia (est 2021)
Even if you mute the music in the link below, you would want to come to the festival. Dogs, young children, turquoise water, great food, and a pop-up community of happy campers.
Up In Smoke, Switzerland (est. 2013)
This mini two-day festival in Prattein, just outside of Basel, has been running strong for over 10 years now. It maximises its one indoor stage and one outdoor stage to consistently draw a balanced lineup of big-name international artists and those that are more local to its geographic location.
Keep It Low, Germany (est. 2013)
There is no coincidence that this festival started the same year as Up In Smoke, as they are festivals all under the umbrella of the booking agency Sound of Liberation. Great name. The one-off album by Che (Brant Bjork), Sounds Of Liberation, is one of my favourite albums of all time. The company specialises in stoner/doom/psych.
Desertfest, Europe (London, Berlin, Antwerp, and Oslo)
Nothing screams the title of this article more than the now “franchised” Desertfest. Europe, as you can tell by now, is already jam-packed with festivals.
But the ground zero for the growing demand for this subculture all started around 2009 with UK guitarist Reece Tee. He was promoting shows of bands in this scene, and one year later, was helped by the band Steak, which, not surprisingly, plays right within the core sound of the scene–fuzzy, gritty, bluesy rock and fuckin’ roll.
Through his company Desertscene, the first Desertfest was launched in London in 2012. A natural partnership with Sonic Liberation took place, and similar festivals in Berlin and Antwerp were launched by 2014. Oslo joined the party in 2024.
There are already over 100 years of festival history in the stoner/desert/doom scene. To say that the scene is growing was perhaps an understatement.
There was an adverb missing. It has been growing feverishly. And yet, somehow, none of this is known to supposedly the torch bearers of all that is heavy. People like Eddie Trunk.
And, no. I will never be able to write enough articles to keep throwing that man underneath the journalistic bus for his constipated knowledge of heavy music.
While over here in North America, we are not nearly as rich with the number of long-established underground festivals, we do have a few that draw artists and fans from Europe. Here is the absolute cream of the crop!
Planet Desert Rock Weekend, Las Vegas (est. 2018)
In terms of a festival that is limited to only one indoor venue, this is as good as they come. And, that is primarily due to the booking alchemy of founder/curator of PDRW, John Gist. The 2027 lineup is once again a great balance of International bands as well as those located here in North America.
People should crawl on broken glass from where they live to Las Vegas, just to see Italy’s Black Rainbows, without a doubt one of the greatest bands of this century.
Planet Desert Rock Weekend, Las Vegas
RippleFest, Austin, Texas (est. 2021)
Founded by Ryan Garney, lead singer of the high-octane and ridiculously well-travelled band High Desert Queen, this festival is regarded as one of the premier underground heavy festivals in the world–and rightly so!
The four-day festival is bookended by performances at the indoor venue Sagebrush, which hosts the pre- and post-party festivities. The main festival is held over 2 days at the super cool The Far Out Lounge, which has two outdoor stages–with zero overlap of band performances.
I was there in 2024, and I still haven’t recovered from the awesomeness of the bands, fans, and overall love-in of the underground community!
The 2026 edition looks like it’s going to be a cracker!
Mojave Experience, Joshua Tree (est. 2026)
It only made sense that one day everything in terms of festivals would go back to the roots where it all began in this scene–the desert. And what better person to be behind it than Patrick Brink of the band Volume–a band that was part of the first wave of fuzzed-out and buzzed-out stoner bands from the early part of this century.
And, I could be wrong, but it’s the only stage set up I know where the band is surrounded by fans on all four sides, heightening the intimacy and overall fan and band experience. Look for this festival to grow considerably in the coming years, with many making the pilgrimage to the raw elements of the desert to connect, dare I say, spiritually to where it all began.
Emissions From The Monolith, Youngstown, Ohio (est. 2000)
On a personal note, I saved this one for last. On May 27, 2004–having turned 40 on that day–I drove by myself to see bands I had never seen and people I had only known online through the now defunct stonerrock.com community.
Those four days changed my life. Forever.
So, the tenth edition is later this year. Yes, the math isn’t “mathing”. That’s because there was a long hiatus from 2010 to 2026, and the founder/curator of Emissions, Greg Barrett, to the utter joy of so many people, resurrected the festival for 2026.
I will be there, covering the whole event for Metal Talk.
Rock ‘n’ roll is alive and well. Support your local, underground bands. Buy their music and merch, and go to their shows. Help keep the history of this scene alive for a sustainable future of great music and great festivals.
In 1976, Rainbow released their album Long Live Rock ‘n’ Roll.
It did, and maybe where it always belonged–to the eternally disenfranchised living forever in the underground.
Majak has found a new label home. Cruz Del Sur Music has announced the official signing of the German blackened-heavy metal occultists and promise to unleash their most ambitious chapter yet in 2027. Read more…
