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  • LIVE REVIEW: Bright Eyes Mesmerizes Omaha for Third Hometown Show this Year

    ALEX GRYCZANOWSKI | Go Venue Magazine

    Indie folk-rock band Bright Eyes has played their fair share of homecoming shows in Omaha, Nebraska. Their Tuesday return was nothing short of a celebration of their roots, seen throughout the large crowd of local fans, songs about playing music and growing up in Nebraska, and in pre-show parties.

    On Oct. 20, 2026, Bright Eyes made their third return of the year. Their other Omaha shows this year included Maha Festival in August and their intimate pre-Riot Fest performance at The Waiting Room Lounge earlier this month.

    Before The Admiral’s doors even opened, PLUS1, Omaha ForUs and Poison Oak Project partnered to host a pre-show backyard barbecue from 4:30-7:30 p.m. and provided free food, drinks and merch to select fans drawn from a list of RSVPs. The only requirement? To bring an item to donate to Omaha ForUs.

    Lullaby for the Working Class took the stage first at 7:30 p.m., featuring members of Bright Eyes as well. Ted Stevens sang and played guitar, Nate Walcott played keys, A.J. Mogis plucked an upright bass, Megan Siebe played cello and mandolin, Mike Mogis strummed a banjo, Shane Aspergren held it down on the drums and Tiffany Osborn played violin. 

    Lullaby for the Working Class’s set was tastefully well-mixed live, warming The Admiral’s nostalgic ambiance while Mike Mogis’ banjo strums stuck out over the myriad of instruments among the band.

    Conor Oberst, Bright Eyes’ vocalist and guitarist, joined Lullaby for the Working Class on stage for “Queen of the Long-Legged Insects” and “Hypnotist (Song for Daniel H)” to close out the band’s set.

    Between sets, Oberst took a moment to speak and invited Nebraska’s independent candidate for U.S. Senate, Dan Osborn, to take the stage. Osborn was also campaigning at the show with an information booth set up by the merch. Osborn encouraged attendees to vote in the midterm elections this year.

    “Democracy is at stake,” Osborn said. “In the great words of Conor Oberst, ‘I’m not sure how all this got started, but I’m goddamn certain how it’s gonna end.’ It’s going to end with us taking our democracy back.”

    Bright Eyes came on stage soon after Osborn’s speech, opening with “Don’t Know When But a Day is Gonna Come,” “False Advertising” and “Classic Cars.” “Classic Cars” was played live for the first time since 2009 earlier this year at Maha Festival, and fans were ecstatic to hear it again, bursting in cheers when the song began.

    Bright Eyes featured a similar arrangement of a band as Lullaby for the Working Class, this time with Oberst fronting rather than Stevens, who sang backup vocals and played guitar throughout Bright Eyes’ set.

    With both bands having early roots in the establishment of Saddle Creek Records and collaborating throughout the evening, it felt like watching a group of friends celebrate their Nebraskan roots through their craft. It made the set beautifully relatable as fans got lost in the music.

    Mike Mogis stood out throughout the night, putting so much passion into the riffs he played on stage as he danced around behind Oberst.

    Bright Eyes’ songs are organized incredibly, and they shone live, starting slowly while building up to an emotionally charged breakdown where members of the band riffed on their instruments, letting the built-up emotions created from a song ring throughout The Admiral.

    As the set began to wrap, Oberst interacted with fans and tossed flowers from a bouquet into the audience. 

    “I’d expect nothing less, Omaha,” Oberst said after fans sang back to him during “Laura Laurent.”

    During Bright Eyes’ four-song encore, Stevens joined Oberst at the front of the stage to perform “Fiery House,” a new song from Lullaby for the Working Class.

    Bright Eyes

    [See image gallery at www.govenuemagazine.com]

    Lullaby for the Working Class

    [See image gallery at www.govenuemagazine.com] All images © Alex Gryczanowski


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    The post LIVE REVIEW: Bright Eyes Mesmerizes Omaha for Third Hometown Show this Year appeared first on Go Venue Magazine.

  • That long-awaited documentary about Fleetwood Mac will finally premiere early next year

    Apple TV’s long-awaited documentary about Fleetwood Mac is finally ready to hit the small screen. Fleetwood Mac: The Chain, which was announced in November 2024, will premiere on Apple TV on January 29, 2027, and features contributions from Mick Fleetwood, John McVie, the late Christine McVie, Lindsey Buckingham and Stevie Nicks.

    The release is timed to celebrate the 50th anniversary of the band’s best-selling Rumours album – which came out on February 4, 1977 – and is named after The Chain, the only song on the album to be credited to all five members.

    The film is directed by Frank Marshall, who also worked on The Bee Gees: How Can You Mend a Broken Heart (2020), Jazz Fest: A New Orleans Story (2022) and The Beach Boys (2024).

    “I am fascinated by how this incredible story of enormous musical achievement came about,” said Marshall in 2024. “Fleetwood Mac somehow managed to merge their often chaotic and almost operatic personal lives into their own tale in real-time, which then became legend. This will be a film about the music and the people who created it.”

    The film tells the story of Fleetwood Mac from the point when Mick Fleetwood invited Lindsey Buckingham – and then Stevie Nicks – to join the band after being played Frozen Love from their Buckingham Nicks album at Sound City Studio in Los Angeles in late 1974.

    “Lindsey’s style was so stunning and unique,” Fleetwood told Rolling Stone. “It was what hit me first, and it hit me hard. That hour and a half spent in Sound City changed everything.”

    The dramatic story of the band’s pre-Rumours years, which include the loss of guitarists Peter Green and Jeremy Spencer (the first to mental decline, the second to the cult organisation Children of God), the firing and subsequent destitution of guitarist Danny Kirwan, dwindling popularity, a break-up in 1973 and the strange story of the “Fake Fleetwood Mac”, will have to wait for another day.

  • IRON MAIDEN & KORN Lead a Loaded Sonic Temple 2027 Bill That Takes Over Columbus in May

    Sonic Temple Art + Music Festival has unveiled its biggest lineup yet. The four-day event takes over Historic Crew Stadium in Columbus, Ohio, May 13-16, 2027, with nearly 150 acts spread across five stages.

    Each day has a trio of headliners:

    Thursday, May 13: Blink-182, The Offspring, Turnstile
    Friday, May 14: Iron Maiden, A Perfect Circle, Alice in Chains
    Saturday, May 15: Falling in Reverse, A Day to Remember, Beartooth
    Sunday, May 16: Korn, $uicideboy$, Faith No More

    “Sonic Temple has become one of those special weekends where the whole rock community comes together,” says Chamie McCurry, general manager of festival producer Danny Wimmer Presents. “We build each lineup to celebrate the artists who shaped this music, the bands driving it forward, and the next generation that will define it.

    “There’s incredible energy in rock right now, and Sonic Temple reflects that. Columbus has embraced this festival in a way that means a lot to us, and we’re ready to give fans another unforgettable four days.”

    Music is only part of the draw. Towering art pillars feature renowned visual artists, muralists paint live Art Walls on site, and the Art Mart offers a curated marketplace for one-of-a-kind souvenirs. Organizers will share details on the 2027 art programming soon.

    Every pass type, including Single Day and 4-day GA, GA Plus, VIP and Premium Experiences, can be put on layaway for as little as $1 down, with more than six months to pay the balance. Rock Royalty sits a notch above VIP, with exclusive photo ops, curated memorabilia displays and a luxury lounge. The Columbus Owners Club tops the chart, offering mainstage field access, stadium seats and entry to the VIP Lounge, Rock Royalty Lounge and the private COC Lounge. That last space has air-conditioned indoor areas, an elevated viewing deck, free food and drinks, and upgraded restrooms. Fans looking for a private setup can also book one of Historic Crew Stadium’s suites.

    Students with a valid .edu email address can grab a $125 Single-Day GA Stadium Pass through FEVO, fees included, with the offer arriving in 2026. Danny Wimmer Presents has again teamed with GOVX to offer discounted passes, including 4-day GA Stadium and Single Day GA Stadium, to military members, nurses, firefighters, and police personnel who verify their eligibility. Official festival hotel and admission packages with daily re-entry are available through Jampack, and camping and parking can be purchased as well.

    A portion of every pass sale goes to the DWP Foundation, which backs local nonprofits and charitable efforts in the communities that host DWP festivals. In 2025, DWP announced a five-year extension of its deal with Historic Crew Stadium, which locks Sonic Temple into Columbus through at least 2030. The company says the festival pumps tens of millions of dollars into the local economy by drawing rock and metal fans from across the country and abroad.

    Sonic Temple Art & Music Festival is produced by Danny Wimmer Presents, one of the largest independent producers of destination music festivals in America. More details are at sonictemplefestival.com.

    For more information and to purchase tickets, check here.

    The post IRON MAIDEN & KORN Lead a Loaded Sonic Temple 2027 Bill That Takes Over Columbus in May appeared first on Sonic Perspectives.

  • QUEENS OF THE STONE AGE Announces U.S. 2027 Tour Dates

    Queens of the Stone Age has a U.S. tour lined up for May 2027 behind its upcoming album, Perfecth. The run kicks off May 1 at Viejas Arena in San Diego and hits big rooms like Kia Forum in Inglewood, Calif., and TD Garden in Boston. Outdoor stops at Red Rocks and American Family Insurance Amphitheater in Milwaukee are also on the schedule. Pixies and Wheelchair Sports Camp are supporting on every date.

    Pre-sale tickets open Oct. 28 at 10 a.m. local time, and the general public can buy starting Thursday, Oct. 29 at 10 a.m. local time.

    The tour announcement follows a busy week for the band. On Wednesday, Queens returned to NBC’s The Tonight Show Starring Jimmy Fallon to play “Where the Goth Girls At?” live for the first time. The song comes from Perfecth, due Oct. 30 through Matador Records. Earlier singles from the record include “Insignificant Other,” which Uncut labeled a “deliciously callous kiss-off,” and “Easy Street,” featuring Nikki Lane, which DIY called “decidedly surreal.”

    Halloween gets a rebrand as HalloQueen. On Oct. 31, participating retailers around the world will host release celebrations where fans can listen to the album, pick up exclusive merchandise and grab a very limited Perfecth picture disc while supplies last. Costumes are encouraged.

    Josh Homme and bandmate Michael Shuman produced Perfecth, which takes its cue from kintsugi, the Japanese practice of mending broken pottery with gold so the repair becomes part of the beauty. The album’s nine songs examine different kinds of love, including family, friends, and partners both significant and insignificant, along with the kinds that wreck you and the kinds that put you back together. Sessions took place in locations ranging from New Orleans to Los Angeles, and the resulting music swings between moody, menacing, gentle and strange.

    “Every song sounds like it’s from a different world,” Homme says. “And that’s on purpose, because it’s trying to stitch together all these emotions revolving around love, lust, foolishness, and the sort of wisdom that comes as a gift from all that.”

    The U.S. dates join previously announced stops in Iceland, Australia, New Zealand, Japan, Hong Kong and Singapore, plus the three Latin American editions of Lollapalooza. More headline shows will be announced in the coming weeks, and fans can sign up at qotsa.com for updates.

    The post QUEENS OF THE STONE AGE Announces U.S. 2027 Tour Dates appeared first on Sonic Perspectives.

  • DEEP PURPLE Shares Title Track & Music Video For “Splat!”

    Deep Purple has put visuals to the title track of its latest album, Splat!, which landed July 3 through earMUSIC. The clip is out now, so go ahead and give it a spin.

    Splat! is the sixth time the band has teamed with producer Bob Ezrin, who has manned the board for every Deep Purple record since 2013’s Now What?! A press release pegs the new one as “the heaviest Deep Purple album in many years.”

    Four singles have been pulled from the record: “Diablo,” “Arrogant Boy,” “Guilt Trippin’” and the title cut. “Diablo” comes with a guest, as Grammy-winning guitarist, singer and songwriter Keith Urban adds a second guitar to the track.

    Early reviews have been kind. Uncut described the album as “distilled, high-octane Purple at its finest,” while Classic Rock credited it with delivering “everything that makes Deep Purple one of the greatest acts in hard rock.”

    The concept behind Splat! originated with singer Ian Gillan. The record treats the end of humanity as a transformation instead of a wipeout, imagining a metamorphosis into something beyond physical existence rather than a standard-issue apocalypse.

    As for the résumé, Deep Purple has sold more than 120 million albums since forming in 1968 and has packed arenas around the world for decades. British station Planet Rock once ranked the band as the “Fifth Most Influential Band Ever.” Deep Purple also picked up the “Legend Award” at the 2008 World Music Awards and went into the Rock and Roll Hall of Fame in 2016, which is the sort of thing that earns a band the label “rock royalty.”

    The group’s catalog stretches across seven decades. The classic MKII lineup of Gillan, Roger Glover, Ian Paice, Jon Lord and Ritchie Blackmore built a run of defining early-’70s rock records, among them Made In Japan, widely considered one of the most important live albums ever cut. The band has kept touring and landing No. 1 albums ever since, rarely stopping to catch its breath.

    Recent studio work includes =1 (2024), Whoosh! (2020), inFinite (2017) and Now What?! (2013), all produced by Ezrin, whose résumé also features Kiss, Pink Floyd, Lou Reed and Alice Cooper. During the pandemic in 2021, Deep Purple and Ezrin also teamed up on Turning To Crime, a covers collection the band tracked from its members’ homes. That was a notable change of routine for a group that normally records live in the same room.

    The post DEEP PURPLE Shares Title Track & Music Video For “Splat!” appeared first on Sonic Perspectives.

  • She’s In Charge | Mary Anning: The Woman Who Unearthed An Old World

    There was a time when discovering something extraordinary wasn’t necessarily enough to make you a scientist. In nineteenth-century England, the scientific world was largely a gentlemen’s club, populated by educated men with the money, connections, and social standing to pursue their interests. Women were generally expected to occupy themselves elsewhere, and those born into poverty had even less chance of being taken seriously. Never mind that nature had no particular preference for wealthy men. The institutions studying it certainly did. And somewhere along the southern coast of England, a young woman named Mary Anning was about to give those gentlemen quite a lot to think about.

    Mary was born in 1799 in Lyme Regis, a coastal town in Dorset, where her father, Richard Anning, worked as a carpenter and collected fossils to sell to visitors. He taught Mary and her older brother Joseph how to find and clean the strange objects that washed out of the surrounding cliffs. The family had very little money, and when Richard died in 1810, things became considerably worse. Mary had received little formal education, but she’d spent much of her childhood searching the coastline with her father. Fossils were a source of income, though she was becoming increasingly interested in understanding what they actually were.

    In the autumn of 1811, Joseph found the skull of an enormous prehistoric creature. Mary went looking for the rest and, in 1812, began excavating a skeleton roughly five metres long. She was only twelve years old. The animal was an ichthyosaur, a marine reptile that had lived millions of years earlier, and the specimen became one of the first largely complete examples to attract serious scientific attention. It was an extraordinary find for anyone, let alone a child who had learned her trade on the beach. While established scientists had libraries, collections, and academic connections at their disposal, Mary was digging through the cliffs of Lyme Regis and discovering creatures that nobody alive had ever seen.

    And she was only getting started.

    On December 10, 1823, Mary discovered an almost complete plesiosaur skeleton. Unlike the ichthyosaur, this creature had a remarkably long neck, a small head, and proportions that seemed almost impossible. So impossible, in fact, that Georges Cuvier, one of Europe’s leading naturalists, suspected the skeleton might be a fraud, assembled from pieces of different animals. The discovery attracted considerable attention, and in February 1824, the Geological Society of London gathered to examine and discuss the specimen. Mary wasn’t there. She had found it, excavated it, and supplied the drawings that helped scientists study it, but women weren’t admitted to the Society’s meetings.

    Cuvier eventually accepted the specimen as genuine after further evidence was presented. Mary’s plesiosaur was real, no matter how improbable it looked. To be fair, questioning an unusual discovery is exactly what scientists should do. Cuvier had every reason to investigate a creature unlike anything previously known. The strange part is that the woman with firsthand knowledge of the fossil couldn’t take part in the discussion. Her discovery could enter the room, apparently. She couldn’t.

    By then, Mary had become much more than someone who collected unusual objects to sell. In 1828, she found the first pterosaur skeleton identified outside Germany. She discovered fossil fish and helped researchers understand coprolites, which are fossilized droppings. They might not sound particularly glamorous, but they provided valuable evidence of what prehistoric animals ate. Her knowledge of anatomy and the fossils found around Lyme Regis grew through years of observation, and scientists began visiting her to examine specimens, discuss discoveries, and purchase fossils for their collections. Some travelled considerable distances because Mary knew things they wanted to learn.

    Yet the Geological Society of London remained closed to her. It wasn’t until 1919 that women could become Fellows, seventy-two years after Mary’s death. The men who worked with her weren’t all dismissive, of course. Henry De la Beche, a geologist and longtime friend, respected her work and helped her financially. Others sought her advice and acknowledged her expertise. But some researchers published findings based on fossils she had discovered without properly crediting her. Whatever individual scientists thought of Mary, the rules governing their institutions were another matter. She could contribute to the work, provide the evidence, and answer their questions. Becoming one of them was apparently asking too much.

    Mary wasn’t always content to let the published experts have the last word, either.

    In 1839, Edward Charlesworth, editor of the Magazine of Natural History, published a description of a fossil shark called Hybodus. Mary had discovered the fossil jaw he was discussing, and when Charlesworth asked her for information, she pointed out that the feature being described was hardly new. She had encountered similar specimens before and discussed them with the naturalist Louis Agassiz. Her response was published in the journal, making it the only scientific contribution known to have appeared under her name during her lifetime. Charlesworth replied rather dismissively, suggesting that her interpretation was mistaken. One can only imagine how much that impressed a woman who had spent decades examining the very fossils under discussion.

    The exchange was relatively small, but it says something about Mary that her famous discoveries alone cannot. She wasn’t merely supplying specimens for better-educated men to interpret. She understood what she was finding and had developed opinions based on her own experience. When she believed a published account needed correcting, she said so. She had no university degree to lend authority to her words, although considering what she had already discovered, that seems a rather poor way to measure what she knew.

    For all her accomplishments, Mary never enjoyed much financial security. Fossil hunting wasn’t a hobby she could afford to abandon whenever business was slow. It was how she earned her living, and even the most remarkable discoveries didn’t necessarily pay enough to keep her comfortable. Friends and supporters helped her during difficult periods, but money remained a concern. There was a rather cruel imbalance between the scientific importance of her work and the financial rewards she received for it. Fossils that would eventually become treasured museum specimens had first passed through the hands of a woman trying to earn enough to live.

    Mary died of breast cancer on March 9, 1847, at the age of forty-seven. Henry De la Beche later paid tribute to her in the Quarterly Journal of the Geological Society, giving recognition to a woman who had never been eligible to join the institution. Her discoveries continued to inform the developing science of paleontology, particularly the study of prehistoric animals and extinction. By the time the Geological Society finally admitted women as Fellows in 1919, Mary had been dead for more than seven decades.

    It’s tempting to look at her story and celebrate how far science has come. And there certainly is something worth celebrating in the life of a woman who taught herself to understand creatures buried for millions of years beneath the English coast. But that doesn’t make the circumstances of her career any less frustrating. Mary didn’t spend her life campaigning to change the rules of scientific institutions. She was busy working, learning, and earning a living. Her discoveries were enough to attract the attention of some of the most respected scientists in Europe, yet they couldn’t open the doors that her sex and social class kept closed. She left behind evidence that changed what people knew about the history of life on Earth. The people in charge were fortunate she never waited for their permission.


    Sources and Footnotes

    1. Natural History Museum, London. “Mary Anning: The Unsung Hero of Fossil Discovery.” Biographical information, early life, fossil discoveries, and financial circumstances.
      https://www.nhm.ac.uk/discover/mary-anning-unsung-hero.html
    2. The Geological Society of London. “Mary Anning and the Geological Society.” Historical records concerning her relationship with the scientific establishment and the research based on her discoveries.
      https://www.geolsoc.org.uk/the-library/online-exhibitions/mary-anning-and-the-geological-society/
    3. The Geological Society of London. “Plesiosaurus dolichodeirus.” Details of the December 1823 discovery, the February 1824 meeting, and Georges Cuvier’s initial doubts.
      https://www.geolsoc.org.uk/the-library/online-exhibitions/mary-anning-and-the-geological-society/reconstruction-of-life/plesiosaurus-dolichodeirus/
    4. Natural History Museum, London. “Mary Anning Fossils: Seven Highlights from the Jurassic Coast.” Anning’s major discoveries, including the pterosaur and her scientific publication.
      https://www.nhm.ac.uk/discover/mary-anning-fossils.html
    5. The Geological Society of London. “Magazine of Natural History.” Archival documentation of Mary Anning’s 1839 response to Edward Charlesworth concerning Hybodus.
      https://www.geolsoc.org.uk/the-library/online-exhibitions/mary-anning-and-the-geological-society/bibliography-mary-anning/magazine-of-natural-history/
    6. Oxford University Museum of Natural History. “Mary Anning.” Overview of her scientific contributions and exclusion from the Geological Society.
      https://www.oumnh.ox.ac.uk/learn-mary-anning-0

    The post She’s In Charge | Mary Anning: The Woman Who Unearthed An Old World first appeared on FemMetal – Goddesses of Metal.

  • FLEETWOOD MAC Hand Apple TV the Keys to Their Own Story in “Fleetwood Mac: The Chain” This January

    Fleetwood Mac is finally handing the microphone to the people who lived the story. Fleetwood Mac: The Chain, a fully authorized documentary from Apple Original Films, arrives globally on Apple TV on Friday, January 29, 2027, and it is the first time the band’s members have narrated their own history on film.

    Frank Marshall, a five-time Academy Award nominee and winner of the Irving G. Thalberg Memorial Award, directs. The film is produced by The Kennedy/Marshall Company and White Horse Pictures. It pulls together the recollections of Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks, all Rock and Roll Hall of Fame inductees and Grammy winners.

    The title is a nod to “The Chain,” the lone song on Rumours with writing credits shared by all five members. Apple pitches the track as a fitting symbol for a group that stayed bound together through chaos, and the film’s release lines up with the 50th anniversary of that album.

    The story starts with the lineup’s 1974 meeting and runs through the band’s 50-plus-year history to the present day. Expect never-before-seen footage and new interviews with the members. The documentary digs into how personal grit and serious musical chops produced songs that have outlasted their era, and it examines what kept pulling the group back together when pressure from inside and outside the band threatened to tear it apart. By Apple’s count, the band has sold more than 220 million records worldwide.

    Behind the camera, Marshall is joined by White Horse Pictures’ Nigel Sinclair, Nicholas Ferrall and Jeanne Elfant Festa, along with Kennedy/Marshall’s Aly Parker. Cassidy Hartmann of White Horse and Tony Rosenthal of Kennedy/Marshall are executive producers. Mark Monroe of Diamond Docs is the writer and also an executive producer.

    Fleetwood Mac: The Chain joins an Apple Original Films documentary slate that includes Still: A Michael J. Fox Movie from Davis Guggenheim, Selena Gomez: My Mind & Me and Steve! (Martin) A Documentary in 2 Pieces, which features Steve Martin. For more information, visit here.

    The post FLEETWOOD MAC Hand Apple TV the Keys to Their Own Story in “Fleetwood Mac: The Chain” This January appeared first on Sonic Perspectives.

  • Review TONY IOMMI “From the Dark”

    Anyone landing on this blog already knows Tony Iommi. The legendary guitarist didn’t just influence an entire genre with his riffs, playing, and passion—alongside Black Sabbath, he helped lay the foundation for heavy metal itself. As we all know, Black Sabbath eventually called it a day after the The End tour and their final, historic… Continue Reading →