Armored Saint will join Metal Church for a North American co-headlining tour this Fall! The Metal Saint Tour 2026 will commence on November 2nd in San Juan Capistrano, California and runs through November 21st in Agoura Hills, California. Additional support will be provided by LiveKill. Comments Armored Saint vocalist John Bush, “Two classic metal bands […]
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Ever since Donald Trump announced he was renaming the Kennedy Center after himself, the pushback has been relentless. Philip Glass, Renée Fleming, Chuck Redd, and Kristy Lee were among many acts to cancel events at the “Trump-Kennedy Center,” and the Washington National Opera left the venue after 55 years. In February, Trump revealed he was closing the center for two years for renovations. Today, a federal judge ordered Trump’s name off the Kennedy Center and blocked the planned closure.
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Bb trickz is tearing it up. Last week, the Spanish musician released her first single on Columbia Records, “Le Le,” produced by Hudson Mohawke. Today, she’s already back with a follow-up: “A La Mala,” also produced by Hudson Mohawke. This time, she leans even harder into a chaotic, high-energy palette, built around a sample of…
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Men Are Like Potato Chips is the kind of song that announces its thesis before you press play. The title alone tells you the track will be funny, flirtatious and built around a metaphor that could easily collapse under its own novelty. But Anni Piper is too seasoned a performer, too sharp a songwriter and too technically grounded a musician to let that happen. Instead, the title track from her first album in six years turns a cheeky one-liner into a full-bodied blues-country-cabaret performance about appetite, autonomy and the pleasure of refusing to edit yourself down. Piper’s backstory matters here because the track sounds like the work of someone who has earned the right to be this relaxed.
An Australian-born, US-based vocalist, songwriter and bassist, she has been called the First Lady of Blues in her homeland, won Best New Talent at the Australian Blues Music Awards, toured widely across Australia, Canada and the United States, and developed a reputation for smoky vocal authority and serious bass command. Men Are Like Potato Chips does not strain to prove any of that. It simply moves like it knows. The opening groove is immediately persuasive. Drums establish a sensual pocket, and the arrangement builds outward with piano, tuba, percussion and Piper’s bass creating a sound that feels both vintage and slyly contemporary. There is country-blues swagger here, but also a cabaret sensibility: a sense of the singer not just delivering a song, but controlling the lighting, timing and audience reaction. The piano-led feel and brass texture make the song more distinctive, giving its double entendre a wider musical stage. Lyrically, the song sits squarely in the blues tradition of innuendo, but its perspective is crucial.
Piper is not being coy about desire, nor is she dressing it up as victimhood, heartbreak or male fantasy. She is writing from a woman’s point of view with wit and control, turning men into snacks, champagne and irresistible bad decisions. The line between joke and manifesto is thin, and Piper understands how to dance on it. Her vocal performance carries the entire thing. She sings with a smoky, amused authority that suggests both command and play. Men Are Like Potato Chips is not trying to become an anthem by announcing itself as one. It becomes memorable by being specific, embodied and musically alive.
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Alex Mather’s Plead The Fifth understands the most important rule of the current country-pop moment: the hook has to arrive like it has already been living in your head. There is no long preamble, no precious scene-setting, no attempt to prove authenticity by underplaying the song’s commercial instincts. Instead, Mather opens with muted guitar and a thin glimmer of slide, establishes the weather, steps into the verse, and then sends the whole thing into a chorus so immediate it feels less written than engineered for mass recall. That could sound cynical. It is not. Plead The Fifth works because Mather has the vocal presence to humanise the machinery. His voice is polished without becoming anonymous, relaxed without turning limp, and charismatic enough to make the song’s central joke land.
The premise is classic country trouble: he has made mistakes, the night got blurry, the liquor did some of the talking, and now he is being cross-examined by someone who is probably too smart to believe him. The legal phrase becomes a drinking pun; the drinking pun becomes a chorus; the chorus becomes the entire moral universe of the track. It is not exactly a song about innocence. It is a song about plausible deniability as a lifestyle choice. That is where the writing has its bite. The production, from Liam Quinn, is big without feeling bloated. The guitars have a bright contemporary-country edge, the drums push hard, and the harmonies give the chorus the lift it needs. The bridge and guitar solo do useful work, breaking the song’s forward charge just long enough to reset the emotional stakes before the final chorus comes in with renewed force. It is all extremely functional, but in pop-country that can be a virtue.
The track knows what it is built to do, and it does it cleanly. Mather’s broader positioning is obvious: Australian country-pop with international ambition, borrowing some of the scale and swagger of modern Nashville while refusing to sound like a tribute act. The references are legible — Morgan Wallen’s grit, Luke Combs’ muscle, the streamlined melodic instincts of crossover pop — but Plead The Fifth is strongest when it leans into Mather’s own easy-going Australian confidence. He sounds like someone who understands that country is no longer a fixed geography but a set of emotional and musical codes that can be translated across borders.
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Love At First Shot knows exactly what it is doing before the first chorus lands. Grayson’s lead track from Round By Round is a contemporary country single with no interest in pretending to be anything else: polished, efficient, hook-forward, lyrically accessible and built around a title that practically arrives with its own neon signage. But what keeps the track from sliding into formula is the way Grayson treats its central joke not as a gimmick, but as a doorway into something warmer and more lived-in. The setup is classic: a bar, a narrator, a collection of bruised strangers, the faint promise of romantic rescue.
The opening image—broken people gathered together under the flattering blur of alcohol—does more work than it first appears to. This is not just another country party track about drinks and attraction. It is a song about the need to be surprised out of your own resignation. Grayson walks into the bar already half-defeated, already committed to staying put, already watching the room through the soft-focus logic of another round. Then someone walks in, orders whiskey, and suddenly the night rearranges itself. Musically, Love At First Shot is sharply contoured. The intro is full enough to create impact but concise enough to avoid unnecessary theatrics.
Grayson’s voice is the centre of the record. Grayson sings with the ease of someone who understands both the stage and the studio. There is a conversational quality to his delivery that suits the lyric’s barroom intimacy, but there is also enough polish to make the chorus feel properly elevated. As the lead track for Round By Round, Love At First Shot feels like a smart calling card. Grayson brings a formidable backstory to it: Australian roots, Nashville residence, country/Americana credibility, chart success across territories, five studio albums, more than 100 US venues and extensive work as a producer and session guitarist.
Love At First Shot works because it delivers on the essential country contract: melody, character, emotional clarity, a memorable turn of phrase, and just enough ache under the good time to make the whole thing feel honest.
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Scarborough rockers This House We Built continue their momentum with the release of Desires, the sixth single taken from their second album Get Out Of The Rain, released last November to outstanding reviews across the rock press.
Classic Rock Magazine awarding the album an impressive 9/10 and calling it: “Songs that are hummable, emotive, memorable and fresh” Meanwhile, Rock N Load gave the record a perfect 10/10, declaring “Please do not sleep on this one, it’s brilliant.”
Desires showcases another side of the band’s song writing while maintaining the powerful hard rock edge that has become their trademark. The track evolved organically in the studio, with each member helping shape the final version.
Vocalist and guitarist Scott Wardell says about the track: “This one was an ‘all hands-on deck’ job, I had put it together for the band as a demo but i wasn’t 100% sure of the chorus. It came to life when we kicked it around in the studio. Dave Boothroyd again put his magic twist on things and Wayne came up with some incredible bass riffage throughout the verses of the song, doing this ‘on the spot’ as he does. Desires has a different vibe to it, and I really like this, it was a challenge, as were all the songs. We wanted to have another album of different styles of songs but keep the heavy undertone, we hope you like this one.”
The band lineup features Scott Wardell (vocals/guitar), Andy Jackson (guitar/vocals), Chris Mayes (drums/vocals), and Wayne Dowkes-White (bass). Following a hugely successful run of shows, the band are set to continue their rise throughout 2026 with festival appearances and headline dates across the UK. Tour Dates will be announced soon.
With Get Out Of The Rain continuing to gather momentum Classic Rock Magazine may have summed the band up best when they said “This House We Built are simply a great rock band, with even better songs.”
Get Out Of The Rain — OUT NOW on all platforms HERE
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GRAMMY nominated guitarist and songwriter Samantha Fish is pleased to announce the release of her new live single ‘Paper Doll Live‘ taken from the album of the same name. The single is released today and is accompanied by a live performance video that can be viewed on YouTube. ‘Paper Doll Live‘, the album, will be […]
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“…I ended up having to kick him off the tour, which broke my heart, but he kind of forced my hand.”
The post Marcus King Recalls Urine-Soaked Incident That Forced Him To Kick Brent Hinds (Ex-Mastodon) Off A 2025 Tour: “He Was Just Partying A Little Too Much” appeared first on Theprp.com.
Paul McCartney is 83 years old, and he is awfully active right now. Back in March, McCartney announced his new album The Boys Of Dungeon Lane, which includes his first-ever duet with his old bandmate Ringo Starr. Since then, McCartney has been on a promo-tour tear. He played the SNL season finale. He played the final episode of Colbert. He interviewed Paul Mescal, the guy who’s playing him in the upcoming Beatles biopics. Today, the album is here, and so is the most important part of McCartney’s promo tour.
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