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Featuring a return to their classic dual-guitar lineup

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The decision capped a five-day preliminary hearing in which prosecutors detailed how and why they say the musician killed the 14-year-old Celeste Rivas Hernandez.

Joe Bonamassa was born in New Hartford, New York, and raised in Utica. His father introduced him to the guitar and to British blues rock recordings by musicians including Eric Clapton and Jeff Beck. Bonamassa began performing at a young age, studied with guitarist Danny Gatton, and opened shows for B.B. King while still a child. Before beginning his solo career, Bonamassa played in Bloodline with Berry Oakley Jr., Erin Davis, and Waylon Krieger. He released his debut solo album, A New Day Yesterday, in 2000. Produced by Tom Dowd, the record combined original material with songs associated with artists

The post Complete List Of Joe Bonamassa Songs From A to Z appeared first on ClassicRockHistory.com.

The footage captures the band performing the song in Gothenburg, Sweden

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An 18-date North American trek this November with support from Aeternum.

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Boston-based blues trio GA-20 paired up with the legend and harmonica virtuoso Charlie Musselwhite for a brand new album titled Blues Now. The 10-track record was produced by the band’s Matthew Stubbs, and will be released via New West Records on July 31, 2026. It fuses the old-school with the modern, experience with fresh perspectives, pure feel with raw energy.

“Crazy Love” is a crazy ride. Crazy, infectious rhythm, with crazy harmonica riffs and solos throughout. Penned by Willie Dixon and first recorded by Buddy Guy, if there’s a song on this album that will get crowds up on their feet, it’s this one. “I Can’t Hold Out,” on the other hand, is a mean blues shuffle tune with guitars fuzzed to the max, and slide parts to make your head spin. Got to love these old school, upbeat blues tracks. Following on, “I’ll Change My Style” is a warm, major-key, 60s-style ballad, with nothing but a sprinkle of blues on top added by Mr. Musselwhite’s harmonica.

“Big Starts Falling” is a lazy-paced blues number, featuring some jazzy guitar parts, before moving on to “Universal Rock”. The fast and rushing tempo in this instrumental brings the “Got My Mojo Working” type of vibe to the mix. A classic slow blues titled “Blues Never Die” follows. Guitar and harmonica converse throughout the tune while the lovely bass line swings and rolls along the subtle drum beat. In contrast, “Strange Land” has almost got a North Mississippi quality to it. Built upon a hypnotic rhythm and a single chord. Drums steadily pump the energy, while guitars sound like they’ve been drenched in motor oil.

“Stroll Out West” – tasty production techniques bring the vocals to the forefront, with that slight distortion and a lot of slapback on the voice. The ending is the highlight of this song, though. The way it all crumbles and ‘falls apart’, but it’s all 100% intentional. Considering the album has been recorded live makes it that much more special. It takes great band chemistry and non-verbal communication to make things like that sound this good. “Short Dressed Woman” picks the pace right back up before bringing it all the way down for the final track of the album, a somewhat mysterious and nostalgic slow-burning instrumental titled “Cristo Redentor” – which definitely sounds like the soundtrack to a film’s closing credits, very fitting!

The energy of great musicians playing their hearts out and having fun in the process oozes out of this record. Speaking about the recording process, Musselwhite said: “We’re so good we have to make mistakes on purpose. Everything went smoothly. Making this album was as easy as falling off a log”. All that feel, responsiveness, and tiny imperfections make Blues Now special; it’s blues in its purest form.

The Review: 9/10

Can’t Miss Tracks

– Crazy Love
– I Can’t Hold Out
– Strange Land
– Stroll Out West

The Big Hit

– Strange Land

The post GA-20 with Charlie Musselwhite: Blues Now Review appeared first on Blues Rock Review.

Featuring a week of special Chicago events

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Limited edition picture disc available for pre-order via Nuclear Blast

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The tour follows a busy summer on the road and features support from Liam St. John on select dates

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You carry the weight at night
No secrets in the light
There’s nowhere left to hide
Exposed in the day exposed in the night 

Rani Sharone’s dark alternative solo project And it was Night presents What’s Beyond the Light? as a nocturnal crossing where landscape, memory, and perception keep changing places. Written after moonlit walks and drawing from The Cure, Echo and the Bunnymen, The Church, My Bloody Valentine, and The Mission, the song moves with a steady club pulse while guitars dissolve at the edges and electronics cast a dim, narcotic sheen across the mix. Beneath its poised surface lies a persistent unease, as though each familiar street has shifted from where it stood yesterday.

That dislocation becomes the governing principle of the accompanying video, filmed and edited by Sharone himself. Wandering through open terrain, climbing stairs, and performing amid blurred natural forms, he places the body inside unstable spaces. Glitches rupture the image, repeated gestures lose their ordinary meaning, and forward motion begins to feel circular. The camera keeps seeking an exit while the edit folds the route back into itself. What begins as an evening walk gradually assumes the character of a private trial, with every path offering revelation and misdirection in equal measure.

The video’s strongest passages come from its willingness to let simple actions acquire psychological weight. A staircase becomes a threshold without a promised destination. Trees and roadside textures appear less as scenery than as active witnesses. Familiar locations are altered through framing, repetition, and digital fracture until the everyday begins to look conspiratorial. The song’s guide through darkness may offer companionship, yet the images preserve uncertainty about where the journey leads and whether illumination can be trusted.

Sharone’s performance is embedded within the montage rather than elevated above it, which suits a song concerned with guidance, doubt, and perception slipping out of alignment. The visual language draws from experimental music television, home-video abstraction, and the soft distortions of a dream recalled too quickly after waking.

“Short form videos have always proved to be a fun and creative way to give my music a visual pairing, so jumping into a full length video was an amazing exercise and challenge,” says Sharone. “I set out to create a dreamy and sometimes disorienting video filled with movement, nature, and things that directly inspired my lyrics for the song, including sights from my own neighborhood.”

Watch the video for “What’s Beyond the Light?” below:

Rani Sharone’s wider career supplies useful context without overwhelming the work: he has toured and recorded with Puscifer and Stolen Babies, collaborated with film composers, written for animation, and contributed to the music team behind K-Pop Demon Hunters. Here, those experiences converge in pop whose visual imagination carries the greatest force, turning a moonlit walk into a restless study of desire, fear, and the unreliable architecture of night.

Listen to What’s Beyond The Light? below and order the single here.

Follow And It Was Night:

• Bandcamp
• Instagram
• Facebook

The post “There’s Nowhere Left to Hide” — LA Darkwave Project And It Was Night Shares Video for “What’s Beyond the Light?” appeared first on Post-Punk.com.