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The heavy metal community is officially celebrating a massive new arrival. Renowned solo artist and long-time Alice Cooper guitarist Nita Strauss is officially a mom, introducing her newborn son to the world in a deeply personal reveal alongside her husband and manager, Josh Villalta. Breaking the news through an emotional social media statement and an exclusive national feature, the 39-year-old virtuoso has completely shifted gears from shredding arenas to navigating the chaotic world of first-time motherhood, completely captivating rock fans globally.

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The heavy metal universe just got a little louder and a whole lot sweeter. Nita Strauss, the powerhouse guitarist famously known for her electrifying work with Alice Cooper and her chart-topping solo career, has officially entered a brand-new chapter. Strauss and her husband, Josh Villalta—who pulls double duty as both her manager and solo band drummer—welcomed a healthy baby boy into the world on May 28.

The couple chose to announce the birth of their first child through a visually stunning, exclusive photo shoot and feature with People magazine. According to official reports, baby Maxwell James arrived at exactly 8:00 PM local time, weighing in at a healthy 7 lbs., 6 oz. The birth marks a monumental milestone for the 39-year-old guitarist, who first took her massive global fanbase by surprise when she went public with her pregnancy in an emotional social media announcement back on April 13.

The Emotional Reveal: “Destined For Greatness”

Wasting no time sharing her joy with the rock community, Strauss took to Instagram to post the very first public photos of baby Maxwell, introducing him to millions of eager followers. The guitarist’s message radiated pure gratitude and maternal pride as she looked toward the future.

“He came into this world surrounded by so much love and he’ll be loved even more with every passing day,” Strauss shared in her heartfelt message. “Max is already so special and we truly believe he’s destined for greatness.”

• Child’s Full Name: Maxwell James Villalta
• Birth Date: May 28
• Birth Weight & Time: 7 lbs., 6 oz. at 8:00 PM local time
• The Parents: Nita Strauss & Josh Villalta (Manager/Drummer)
• Media Debut: Exclusive family feature with People Magazine

The Story Behind the Name: A Deeply Personal Rock & Roll Legacy

Every aspect of the newborn’s name carries intentional, high-weight meaning for the musical power couple. Strauss closed out her viral Instagram announcement with a powerful charge to her son: “May you always live your life to the MAX, little man.”

As it turns out, that specific phrase represents the exact mindset she and Villalta held onto throughout the entire selection process. Villalta explicitly told People magazine that the goal was to give their son an ambitious title, stating, “Whatever he does in his life, we hope he does it to the max.”

The child’s middle name, James, carries an even deeper emotional resonance for the family, serving as a direct tribute to Nita’s father, James Strauss. The rock pedigree runs strictly in the bloodline; James Strauss was a highly accomplished bass player in the 1970s rock and jazz-funk outfit Jiva. Showing just how deep the musical roots go, Jiva holds the historic distinction of being the very first American band officially signed to George Harrison’s iconic Dark Horse Records roster back in 1975.

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What’s Next For Nita Strauss? Motherhood on the Tour Bus

For the immediate future, the world-renowned shredder is stepping away from the stage lights to soak in every single moment with baby Max, openly admitting that she is learning the ropes of newborn care completely on the fly as a first-time mother.

However, fans wondering how this will impact her relentlessly busy touring schedule got a definitive answer. Strauss has no intention of leaving her career—or her son—behind. She has already boldly laid out plans to adapt her career to motherhood, revealing that baby Max will absolutely be getting his own bunk on the tour bus just as soon as she is physically ready to get back out on the road.

“We’re excited for every phase of this new chapter, from right now as we’re learning to care for a newborn to bringing our son along for the ride on tour when the time comes,” Strauss declared enthusiastically. “It’s going to be amazing, chaotic and exciting and we wouldn’t have it any other way.”

 

 

 

 

 

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FAQ: Nita Strauss Pregnancy & Baby Details

When was Nita Strauss’s baby born?

Nita Strauss gave birth to her son, Maxwell James, on May 28 at 8:00 PM local time.

Who is Nita Strauss’s husband?

Nita Strauss is married to Josh Villalta. In addition to being her husband, Villalta serves as her professional talent manager and performs as the live drummer for her solo musical project.

Is Nita Strauss leaving Alice Cooper to raise her baby?

No. While she is currently taking essential time off to bond with her newborn, Strauss has explicitly stated she plans to bring baby Max on tour with her once she returns to the road.

What is the significance of the middle name James for Nita Strauss’s son?

The middle name James honors Nita’s father, James Strauss, who was a prominent ’70s bass player for the jazz-funk rock band Jiva, signed to George Harrison’s Dark Horse Records.

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STAY LOUD: Drop your congratulations for Nita and Josh in the comments below! Do you think baby Max is going to grow up to play the guitar or the drums? Let us know your thoughts and be sure to bookmark Loaded Radio for more exclusive rock and metal breakdowns!

TL;DR:

Shred queen Nita Strauss and husband Josh Villalta have officially welcomed their first child, a baby boy named Maxwell James, born on May 28. Weighing in at 7 lbs., 6 oz., “Max” is already capturing the hearts of the metal community. Backed by a stunning exclusive feature with People magazine, Strauss revealed the touching family history behind her son’s name—including a heavy nod to her ’70s rockstar father—and confirmed she is already planning to bring the newborn along for the ride on the tour bus when she officially hits the road again.

The post Nita Strauss Welcomes First Child: Alice Cooper Guitarist Shares Emotional First Photos of Baby Boy appeared first on Loaded Radio.

In November, Zach Bryan announced a stadium tour with openers like MJ Lenderman, Dijon, Alabama Shakes, Ben Howard, and more. Today, Lenderman announced he’s dropping off the bill. The run kicked off in March, with the indie rocker’s shows slated for late July to early September.

The post MJ Lenderman Drops Off Zach Bryan Tour appeared first on Stereogum.

The group’s addition to Motionless In White’s fall tour has seen considerable pushback.

The post Dark Divine Address Past Allegations Amid Growing Calls For The Band To Be Kicked Off Motionless In White’s Fall Tour appeared first on Theprp.com.

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Some say imitation is the sincerest form of flattery, but Geoff Barrow definitely wouldn’t. The Portishead member was not flattered when he accused the Weeknd and Phantogram of plagiarism over a decade ago, nor when he alleged that Lil Pump sampled him without permission in 2019 and then made the same claim about Kanye West and Ty Dolla $ign in 2024. Now, he says composer Harry Escott’s new score for ITV’s Gone rips off his and Ben Salisbury’s 2020 Devs score.

The post Geoff Barrow Says <em>Gone</em> Composer Admits To Ripping Off His <em>Devs</em> Score appeared first on Stereogum.

Sage Elsesser is a skateboarder, artist, and model, but this is a music blog, so around here he’s known for rapping. As Navy Blue, Elsesser has carved out a space within the heady, abstract underground hip-hop landscape. In March he guested on a track with Cavalier, Quelle Chris, and Denmark Vessey, and he’s since followed that with “Ocean Light (Phase 1: Prelude),” which seemed to be a warning shot for a project to come. Indeed, there’s a new Navy Blue record called Sir Render dropping this Friday, and its guest list is formidable.

The post New Navy Blue Album <em>Sir Render</em> Feat. Ka, Earl Sweatshirt, Armand Hammer Out This Friday appeared first on Stereogum.

Joey Luna captures the warmth and relief of finding genuine connection on Only The Best, a heartfelt pop track built around vulnerability, trust, and emotional healing. Blending smooth melodies with an intimate vocal delivery, the song reflects on the experience of finally lowering one’s defenses after enduring heartbreak and disappointment. Its relatable message is matched by polished production and a laid-back atmosphere that feels perfectly suited for late-night drives and quiet reflection. Honest, comforting, and effortlessly melodic, Only The Best shines through its sincerity and emotional authenticity.

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Strauss already has plans for baby Max when it's time to head back out on tour. Continue reading…

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.¹ From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”² suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

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Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

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