Good Day Noir Family,
A renegade tone kicks open the door of “Devils Got Your Soul”, and suddenly you feel thrown into a dusty, lawless corner of the country-rock blues universe.

Devils Got Your Soul is Mangy Mutt’s Single Out Now

Right away, the track brings to mind the gritty swagger of ZZ Top, yet it also feels like a scene pulled straight from a Coen Brothers movie, where every character has a story and every shadow hides something crooked.

However, Mangy Mutt does not lean on nostalgia alone. Instead, he takes those roots and twists them into something raw and alive.

The groove carries sly, irreverent energy, and the song walks with a crooked grin. You can hear hints of New Orleans blues, but at the same time the music suggests wide, deserted Australian landscapes where the road seems endless and danger feels close. That contrast gives the track a strange charm, because it moves between sweaty barroom grit and lonely desert horizons without losing its focus. The drums and bass lock in tightly, and because of that the song never drifts, even when the guitar starts to roam.

Mangy Mutt’s vocal performance stands out with its direct and honest tone. He sings as if he has lived every word, and that makes the story believable. Also, his phrasing carries a playful menace, which fits perfectly with the idea that the devil might just be lurking nearby. When the guitar solo arrives, it feels like a call from the blues itself, and you cannot help but follow it.

Furthermore, the whole track feels like a pirate gathering in a forgotten bar, where everyone drinks too much and laughs too loud. That image sticks, because the music builds a world rather than just a tune. Every riff and every drum hit lands with purpose, and that gives the song its strong backbone.

At the same time, there is a sense of freedom running through the track. It does not try to please trends or chase modern tricks. It plays by its own rules, and that independence gives it bite.

Mangy Mutt delivers a blues-soaked ride that mixes grit, humor, and danger. Music for lost souls, road dogs, and anyone who enjoys a good story told through dusty chords and rough edges.

Devils Got Your Soul is Mangy Mutt‘s Single Out Now!

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Renegade!

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Mangy Mutt, hailing from Newcastle, Australia, is a songwriter whose music embodies raw honesty, mythic imagery, and satirical bite. Through years of writing poetry and enduring personal struggles, Mangy Mutt found solace and expression in songwriting. With a poignant voice that reflects lived experiences, Mangy Mutt’s collaboration with producer Gareth Hudson has resulted in a body of work that balances vulnerability with sharp, satirical edges, shaping a sound that resonates with resilience and storytelling.

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The post Devils Got Your Soul is Mangy Mutt’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Written by Kep

I’m gonna be honest, folks. I fucked up when it comes to Eximperituserqethhzebibšiptugakkathšulweliarzaxułum. I’ve been avoiding their music for years, primarily because of that unwieldy name, which has always felt like a gimmick and I’m pretty sure led to me mixing them up with XavlegbmaofffassssitimiwoamndutroabcwapwaeiippohfffX, a band whose music I’ve simple never cared to hear. Eximperitus (which is the only way any sane person bothers to write it) say their name “entirely reveals the unutterable name of the antiuniverse. When divided into fragments, it creates the magic spell of the formless Lords of the prior Darkness” and to that I respond: *wanking motion* okay bro. But! a trusted source recently told me to give Meritoriousness of Equanimity a shot—and they *are* on Willowtip, who are as trustworthy a source of quality riffs as it gets—so I did, and then I did my back-catalogue research, and I can admit it. I fucked up. These guys have the juice. 

The anonymous Belarusian outfit’s third full-length is a continuation of the slower, more cerebral material of 2021’s Šahrartu, which moved away from the more traditional tech brutality of their debut, the lengthy sesquipedalian name of which I won’t bother to write here. Meritoriousness of Equanimity feels esoteric and thoughtful, wholly immersing the listener in atmosphere in an almost cinematic way. That isn’t to say it won’t beat you to a bloody pulp, though; there’s material on this record as fast and brutal as their early releases, and plenty of drawn-out passages designed to utterly wreck your neck even as they transport you to eerie obelisks half-buried in desert sands. 

The pacing on this record is damn well pristine, its track lengths and overall flow remarkably varied and well-balanced. Songs flow into one another seamlessly, while the album’s two interludes are smartly placed, each providing a necessary pensiveness and sense of rumination. The meatiest portion of Meritoriousness of Equanimity’s runtime lies between these interludes, in its center three tracks. Mid-tempo grind “Finding Consistency in the Fourth Quadrant of Eternity” decorates a short descending stairstep riff with mystical clean tone swirls and passages of lamenting clean vocals before dropping into a deeply satisfying groove in its final stretch. Lead single, album centerpiece, and longest track “The Untimely Fruit of the Unsaid” is like discovering an ancient city after a long march: heavy mileage from an extremely satisfying riff that evolves as it goes, unearthing wonders both technical and melodic. “Golden Chains for the Construction of Individual Greatness” is a pummeler, highlighted by a central moment of blissful liquid calm that reappears at its end, and a screaming, ascending solo. 

As they weave scenes of violence, woe, and the mysteries of existence, Eximperitus are lifted by some truly excellent production. Meritoriousness of Equanimity sounds crisp without sounding clean or processed, crunching guitars sawtoothed on one end with surprising depth beneath. A profusion of solo and clean tones add color, and the bass is hefty but ripples brightly when it stabs upward for accent. The drums in particular sound fantastic, with a nice popping snare as their star, and though they don’t dabble in it until the final track, the symphonic keyboard effects are compelling in bringing the album to an enormous, epic conclusion. 

The thing that impresses me the most about Eximperitus is their ability to “disguise” the technical aspects of their playing behind immersive songwriting and atmosphere. No track on this record feels overly complex, and yet a keen ear tells you there’s a wealth of intricate, demanding playing in nearly every moment, and the riffs and themes develop so deftly that at times it’s easy to miss that they’ve transformed as if by magic. That mood, the brooding arcane mystery and impenetrable mysticism of the occult, the sense of feeling insignificant and half real next to a monolith inscribed with unknowable symbols: that’s what the listener walks away with in their head. Twisting, soaring solos, crunching chugs and tight angular riffs, guttural chesty roars, driving double bass, steely bass jabs, grooves and assaults alike: all are in service of the atmosphere, and it’s mesmerizing. 

THE BOTTOM LINE

So yeah, I admit it wholeheartedly: Eximperitus are a great band, and Meritoriousness of Equanimity is a hell of an album to boot. I’ve been missing out—I guess that’s what happens when you judge a book by (the outlandish title on) its cover—but no more, and now it’s my duty to make sure you don’t make the same mistake I did. Fire up this record on January 30 and be prepared to leave this earthly plane for a place far more ancient and strange.

The post Album Review: Eximperitus – “Meritoriousness of Equanimity” (Technical/Brutal Death) appeared first on Noob Heavy.

Trailblazing metal collective Metal Allegiance has returned with their brooding new single, “Black Horizon”. Their first release of original music since 2018, the song features roaring opening riffs from guitarist Alex Skolnick (Testament) and vocalist William Duvall’s (Alice In Chains) ominous howls, painting an apocalyptic scene.

Mark Menghi (King Ultramega) on bass and Mike Portnoy (Dream Theater) on drums keep the dread looming low in the sky, ready to explode with ferocity at any moment. Systems fail, shadows fall, and the doomed cry for salvation in this desolate world. Gloomy, minimalistic verses bookend thunderous choruses, chronicling a desperate flight for survival.

“Who would have thought we’d be here 12 years later with new Metal Allegiance music? Very excited to have one of my favorite vocalists from one of my favorite bands on the first new Metal Allegiance music in 8+ years, which opens up a new era for the band. As the saying goes, you can’t kill what doesn’t die,” explained Mark Menghi

“I was pleasantly surprised and absolutely honored to be asked to contribute to this song, and I’m very happy with the result.” William DuVall said.

“This song is a gift from the ghost of Metal Allegiance past. It’s salvaged from a stockpile of riffs we’d started long ago but never quite finished. Now, in combination with a first-time voice for the band – the great William Duvall – we are pleased to announce a brand new track, forged from what once was, here to kick off a new era. Check it out!” added Alex Skolnick

“After having recorded these drum tracks some time ago, I’m stoked that they finally get to see the light of day! Thanks to William for finishing it up for us, and welcome to the Metal Allegiance family! \m/” said Mike Portnoy.

The post METAL ALLEGIANCE (Featuring TESTAMENT, ALICE IN CHAINS & DREAM THEATER Members) Stream Apocalyptic New Single, “Black Horizon” appeared first on Sonic Perspectives.

The official video for “Name In Blood,” the newest release from Black Label Society, is available to watch below. The clip was directed by Black Label Society’s longtime visual collaborator Justin H. Reich of Three Thirty-Three Creative.

“Name In Blood” is the fourth advance single from Black Label Society’s upcoming album Engines Of Demolition, arriving March 27 via MNRK Heavy. The follow-up to 2021’s Doom Crew Inc. features 15 tracks, including the previously released songs “Broken And Blind,” “The Gallows,” and “Lord Humungus.” It also includes “Ozzy’s Song,” which appears to be a salute to Black Label Society guitarist/vocalist Zakk Wylde’s longtime bandmate, Black Sabbath legend Ozzy Osbourne.

Stream and pre-order the album here.

Zakk Wylde formed Black Label Society in 1998 and has kept the band active while also spending many years touring and recording with Ozzy Osbourne, whose backing band he first joined nearly four decades ago.

A charismatic heavy metal marauder recognized worldwide as a living legend, Wylde rose to prominence when Ozzy chose him as his loyal axeman, based on a cassette he mailed in as a teen. Guitar World put Zakk on the magazine’s cover more than a dozen times in recognition of his work on multiplatinum albums by the icon he called “the Boss” and more than two decades of music made by BLS.

Black Label Society quickly became a touring juggernaut and has gone on to release nearly a dozen successful studio albums, which have sold more than a couple of million copies in total.

The post BLACK LABEL SOCIETY Shares Music Video For New Single “Name In Blood” appeared first on Sonic Perspectives.

Good Day Noir Family,
Benjamin Corson joins forces once again with Australian vocalist Tim Pitchford for their new original EP, Here For You.

Here For You is Corson/Pitchford’s EP Out Now

The duo continues to refine a partnership built on balance and mutual understanding.

Corson handles composition, arrangement, and mixing, while Pitchford delivers heartfelt lyrics and soulful vocals, resulting in a focused and emotionally resonant release.

The EP opens with “Butterflies,” and the first thing that hits is a clean, honest guitar strum that feels warm and slightly nostalgic. Soon after, Pitchford’s voice enters, carrying echoes of Chris Cornell’s rich and expressive tone. What truly stands out is how he uses that vocal color to guide the song through subtle harmonic shifts. The ballad grows and recedes naturally, and because of that, the emotional arc feels genuine rather than forced. Those harmonic variations elevate the melody, allowing the chorus to breathe in a way that lingers.

The EP then moves into the title track, “Here for You,” which opens with a gentle piano arpeggio that feels bucolic. It brings to mind opening a drawer filled with old Polaroids, each image holding a memory that still glows softly. The piano leans toward a vintage character, adding warmth to the arrangement, yet the song does not rely solely on nostalgia. It builds patiently, layer by layer, until the sense of closeness becomes almost tangible. The track feels intimate while still reaching toward something broader.

What makes Here for You particularly engaging is Corson’s compositional restraint. The minimal instrumentation keeps the focus on the stories being told. You can hear the space around each note, and that space allows the lyrics to land with clarity and intent. Nothing feels overcrowded, and every element serves the emotional core of the songs.

Although the EP is brief, it feels complete. “Butterflies” carries a subtle rock-driven energy, while “Here for You” leans into reflection. Together, they reveal two sides of the same artistic vision. Corson’s songwriting never aims to impress through excess. Instead, it prioritizes connection, and that choice pays off. Pitchford’s vocal delivery, paired with Corson’s guitar work and overall artistic direction, creates a powerful and cohesive musical blend.

Here for You comes across as a personal statement rather than a simple release. It feels like a small window into Corson’s inner world, and that honesty gives the EP its weight. Listeners drawn to expressive vocals, thoughtful arrangements, and emotionally grounded rock ballads will find something here worth returning to.

Here For You is Corson/Pitchford’s EP Out Now!

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Intimate!

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Here For You is Corson/Pitchford’s EP Out Now

Benjamin Corson, hailing from Melbourne, Florida, joins forces with Australian vocalist Tim Pitchford for their latest original EP release, “Here for You.” The collaboration between the two artists, who have previously worked together on projects like “Mirage” and “Gemini,” showcases a seamless blend of their distinct talents. While Benjamin brings his expertise in composition, arrangement, and mixing, Tim contributes with heartfelt lyrics and soulful vocals. This EP features two emotionally charged tracks that span a wide range of genres and sentiments.

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The post Here For You is Corson/Pitchford’s EP Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Good Day Noir Family,
Aranda return with “You Don’t Wanna Know” in a way that makes it clear this band still knows how to blend muscle and melody into something that feels dramatic.

You Don’t Wanna Know is Aranda’s Single Out Now

 The track opens with big guitars and sharp, almost futuristic keys, and right away the atmosphere takes on a slightly dystopian edge.

Instead of drowning in effects, the arrangement keeps its focus, so every element has room to hit with intent. The singer’s voice cuts cleanly through the mix, and because of that the emotional weight of the lyrics lands without any distraction.

What stands out, though, is the band’s rhythmic and melodic strength. Some moments recall Linkin Park, especially in the way the verses sit on a tight groove before opening up into larger hooks. At the same time, there are touches of Muse in the soaring lines and in the sense of scale that the chorus brings. Yet Aranda do not feel like imitators. They use those references as colors in a much bigger picture, and that keeps the song feeling fresh.

The production also plays a huge role. It feels polished but not sterile, and it moves with the song rather than flattening it. Moreover, the dynamics shift in smart ways. When the bridge arrives, the rhythm changes and everything pulls back just enough to create a moment of tension. Then, right after that pause, the final chorus hits with extra force. Because of this, the track never becomes predictable, even though it sticks to a clear rock structure.

The guitars deserve special mention. They sound heavy and bright at the same time, which gives the song grit and clarity.

“You Don’t Wanna Know” also benefits from its confident delivery. The band sounds like they believe in every note they play, and that confidence translates into energy that listeners can feel.

Aranda offer a powerful piece of music that balances emotion, strength, and forward-thinking style. It is the kind of song that works just as well blasting through speakers as it does on headphones late at night.

You Don’t Wanna Know is Aranda‘s Single Out Now!

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Explosive!

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Aranda is a hard rock/post-grunge band from Oklahoma City, formed in 2001 by brothers Dameon and Gabe Aranda. Blending raw emotion with strong hooks, they broke through with their 2008 self-titled debut, scoring Active Rock hits “Still in the Dark” and “Whyyawannabringmedown,” later covered by Kelly Clarkson.

Their peak release Stop the World (2012) delivered three Top 40 singles, followed by Not the Same (2015), which debuted at #12 on Billboard’s Heatseekers chart. After going independent, they released Recollections of a Painted Year (2022) and returned to the charts in 2025 with “Punch Out” featuring A.D.A.M. Music Project.

With seven Top 40 Active Rock singles and years of touring alongside major rock acts, Aranda remain a powerful and enduring presence in American rock.

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The post You Don’t Wanna Know is Aranda’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

After nearly five decades as one of rock’s most recognizable bassists, Flea is stepping into a very different spotlight. He will release his first full-length solo album, Honora, on March 27, 2026 via Nonesuch Records, marking a long-awaited return to his earliest musical passions: jazz and trumpet. With time finally on his side, the project reflects a personal and creative shift that has been quietly building for years.

In support of the album, Flea and the Honora band will head out on an international tour this May, performing in smaller, intimate venues across select cities.

Named after a cherished family member, Honora was composed and arranged by Flea, who also plays trumpet and bass throughout the record. He is joined by a group of respected modern jazz musicians, including producer and saxophonist Josh Johnson, guitarist Jeff Parker, bassist Anna Butterss, and drummer Deantoni Parks. The album also features vocals from Flea, along with contributions from Thom Yorke and Nick Cave. Additional collaborators include Mauro Refosco, known for his work with David Byrne and Atoms For Peace, and Nate Walcott of Bright Eyes, among others.

The record consists of six original compositions, including one co-written by Flea, Johnson, and Yorke. It also includes reinterpretations of songs by George Clinton and Eddie Hazel, Jimmy Webb, Frank Ocean and Shea Taylor, and Ann Ronell, giving the album a wide emotional and stylistic range.

Ahead of the release, he has shared today the official visualizer for “Traffic Ligths”.

Reflecting on the creation of Traffic Lights, Flea says: “Deantoni and I played what became “Traffic Lights” the first day. Something about it reminded me of Atoms For Peace, so I sent it to Thom. Just knowing him, I thought it would be a rhythm and a sensibility that he would relate to. And I was right, he did”.

Expanding further, he adds: “With a gorgeous melody and the words, you know, about living in the upside down and how do you make sense of things when we’re getting all this fake shit and real shit? Everyone has their ways of dealing with the world. But he’s just the warmest, free-flowing, jamming motherf*cker”.

Best known as a founding member and bassist of Red Hot Chili Peppers, Flea was introduced to live jazz at an early age. Family friends would gather to play music in his living room, an experience that left a lasting impression.

“It was the greatest thing I ever saw”, he recalls. “The wildness, warmth and we of it. Straight Bebop. Boom. I knew there were higher things on this earth, way above the pettiness that had left me disheartened. The holy trifecta of my life, music, sports and nature was complete”.

Although he dreamed of following in the footsteps of jazz icons like Dizzy Gillespie, Miles Davis, and Clifford Brown, his life took a different direction when he joined Red Hot Chili Peppers.

Still, the idea of a deeply personal instrumental record lingered. In 1991, during the height of the band’s rise and while acting in Gus Van Sant’s film My Own Private Idaho, Flea confided to a friend: “I want to make an instrumental record with deep hypnotic grooves, trippy melodies layered on top, meditations on a groove”.

The only condition, he knew, was that he would need to truly commit to relearning the trumpet.

As he approached his sixtieth birthday, Flea realized that if he didn’t return to the trumpet then, he might never do it. He committed to practicing daily for two years, even while balancing a stadium tour with Red Hot Chili Peppers and life at home with a wife and newborn. At the end of that period, he promised himself he would make an album, no matter where his abilities stood.

Until Honora, Flea admits he had never been afraid of making music. He worried the accomplished musicians around him might see him as a non-playing motherf*cker, charlatan, rock poseur or fan.

But, he says: “It turns out they were all the most genuinely supportive people, moving me deeply and daily with their generous spirits … Sitting in a room and playing the music with them made me feel like I was on drugs. I was buzzing, tripping and floating around the studio. I love them, they truly gave of themselves. I bow all the way down”.

The post RED HOT CHILI PEPPERS Bassist FLEA Shares Newest Single “Traffic Lights” From Upcoming Solo Album appeared first on Sonic Perspectives.

Rock Fest, widely known as the largest three-day rock music and camping event in the United States, is set to return from July 16–18 with what organizers describe as one of the deepest and most diverse lineups in the festival’s history.

Once again taking over the hayfield in Cadott, Wisconsin, Rock Fest 2026 will feature a powerful blend of international headliners, long-standing crowd favorites, and 21 national acts making their festival debut.

According to festival promoter Wade Asher, this year’s lineup reflects the core identity the event has maintained for decades: “This lineup reflects what Rock Fest has always stood for, the artists who helped build this festival alongside bands that continue to carry rock forward”.

He added, “For more than three decades, Rock Fest has been a place where fans come together for loud music and long nights, to amplify their soul. Our MotherFest’n Family keeps this tradition alive year after year, and we’re proud to welcome them back to the hayfield”.

Ticket sales are now underway, offering both three-day and single-day general admission options, as well as individual artist pit passes. Several premium options have already sold out, including VIP packages, Reserved Lawn access, Black Hole Ammo Top Tier Lounge passes, three-day pit passes, Electric Camping, and The Dark Side Campground. The Heathens’ Hwy Campground is close to selling out, with only limited space still available.

For tickets and camping information, visit here.

Thursday, July 16

Gojira
I Prevail
Machine Head
Hatebreed
Set It Off
Magnolia Park
Lacuna Coil

Friday, July 17

Limp Bizkit
Body Count
Insane Clown Posse
Static-X
Des Rocs
Miss May I
Bones UK

Saturday, July 18

The Offspring
Halestorm
The Pretty Reckless
Hollywood Undead
Badflower
Story Of The Year
Ill Niño

Wednesday, July 15 – Bonus Bash (exclusive to three-day ticket holders)

Candlebox
Buckcherry
Dying Wish

+more unannounced artists

The post ROCK FEST Announces 2026 Lineup Featuring GOJIRA, LIMP BIZKIT, THE OFFSPRING And More appeared first on Sonic Perspectives.

Charlotte Wessels and her band The Obsession are stepping into a new creative phase with the release of “After Us, The Flood”. The track marks their first new material following the lengthy The Obsession album cycle in 2024 and highlights the evolution of the project into a fully realized band. The former Delain vocalist once again leans into her strength as a storyteller, pairing vivid themes with a sound that feels both familiar and newly sharpened.

Musically, “After Us, The Flood” unfolds with a slow, atmospheric pull before expanding into a forceful metal finale. Symphonic textures and intimate moments gradually give way to an explosive climax, all anchored by Charlotte Wessels’ expressive and commanding vocal performance. The song carries a sense of urgency, drawing listeners into its emotional arc rather than overwhelming them with excess.

Discussing the meaning behind the track, Wessels explains: “”After Us, The Flood” is a song about climate change, told through the eyes of someone who has convinced himself it isn’t real. He feels protected within the walls of his own home while the world outside quietly begins to fall apart”.

She continues: “As the song unfolds (spoilers!) that sense of safety proves to be an illusion; the decay he’s ignored eventually finds its way inside”.

Expanding on the creative process, she adds: “We poured a lot of heart into this track, shaping a sonic story about denial, dread, and the fragile comfort of looking away. The video doesn’t literally follow the lyrics, but instead imagines the consequences of that mindset, offering a symbolic glimpse of a world where wealth loses all meaning once the planet as we know it is gone”.

Following a busy period on the road with Scandinavian progressive metal outfit Vola and a successful summer festival run, Wessels is preparing to return to live stages. Recent appearances included major events such as Belgium’s Graspop Metal Meeting, France’s Hellfest, Germany’s Summer Breeze, and the Netherlands’ Dynamo, among others.

Live performances resume this Friday, January 16, as Charlotte Wessels’ The Obsession joins Amaranthe and Epica on the Arcane Dimensions tour. The lineup features Charlotte Wessels alongside Joey Marin de Boer on drums, Timo Somers on guitars, Otto Schimmelpenninck Van Der Oije on bass, and Nina van Beelen on keyboards. Kicking off in Cologne, the tour will travel across Europe, stopping in 29 cities before wrapping up in Frankfurt this March.

The post CHARLOTTE WESSELS Shares New Single “After Us, The Flood” From Her Latest Album “The Obsession” appeared first on Sonic Perspectives.

Satellite Touring and GLM Artists have confirmed that British/American metal trio Raven is heading back to North American stages for a wide-ranging tour scheduled to run from March through May this year. The outing will include more than 35 dates across the continent, with Slackjaw set to provide support throughout the run.

Emerging from the early ’80s New Wave of British Heavy Metal movement, Raven carved out a reputation that extended well beyond the U.K. The band became especially known in the United States for its relentless touring during that era, helping introduce American audiences to rising acts such as Metallica and Anthrax, who gained some of their earliest touring experience alongside them.

Much of Raven’s legacy is tied to a run of influential releases that helped shape heavier styles of metal. Albums like Rock Until You Drop, Wiped Out, and All For One played a key role in laying the groundwork for both speed metal and power metal. Throughout those records, the band consistently pushed boundaries while maintaining a distinct sound and aggressive edge — qualities that translated even more powerfully to their live performances.

The group’s most recent release is the EP Can’t Take Away The Fire, which arrived in February 2025 through Silver Lining Music. The project marked a fresh chapter for the band and set the stage for their return to touring.

Looking ahead to the upcoming shows, Raven vocalist and bassist John Gallagher states:
“After our medical gap year of 2025, we are hungry and itching to get back to doing what we do best — cranking out the megawatts and putting on a Raven metal show for the lunatics out there”.

He continues: “We have a killer band Slackjaw out with us as special guests on these shows and it’s gonna be a take-no-prisoners full-out affair!”

With a long history of high-energy performances and a renewed drive to hit the road, Raven’s latest North American tour is shaping up to be a notable moment for longtime fans and new listeners alike.

Dates Announced With More To Come:

March 18 – Louisville, KY @ Goodwood Whiskey Row
March 19 – St. Louis, MO @ Red Flag
March 20 – Kansas City, MO @ Westport Brewery
March 21 – Oklahoma City, OK @ 89th Street Live
March 22 – Dallas, TX @ RBC
March 26 – West Hollywood, CA @ The Whisky
March 28 – San Francisco, CA @ Above DNA
March 29 – Reno, NV @ Club Underground
March 31 – Portland, OR @ Dante’s
April 1 – Vancouver, BC @ Rickshaw Theatre
April 2 – Seattle, WA @ The Funhouse
April 4 – Salt Lake City, UT @ Aces High Saloon
April 5 – Denver, CO @ The Federal Theatre
April 7 – Lincoln, NE @ 1867 Bar
April 8 – Cudahy, WI @ X-Ray Arcade
April 9 – Chicago,IL @ Reggie’s Rock Club
April 10 – Columbus, OH @ The King of Clubs
April 11 – Lakewood, OH @ Mercury Music Lounge
April 12 – Hamtramck, MI @ Sanctuary
April 14 – New Kensington, PA @ Preserving Underground
April 16 – Toronto, ON @ Horseshoe Tavern
April 17 – Ottawa, ON @ Rainbow Bistro
April 18 – Quebec City, QC @ L’Anti Bar & Spectacles
April 19 – Montreal, QC @ Piranha Bar
April 21 – Albany, NY @ Empire Underground
April 22 – Old Town, ME @ The Old Town Theatre
April 23 – Manchester, NH @ Jewel Music Venue
April 24 – Clifton, NJ @ Dingbatz
April 25 – Harrisburg, PA @HMAC
April 26 – Richmond, VA @ Ember Music Hall
April 29 – Raleigh, NC @ Chapel Of Bones
April 30 – Greenville, SC @ Radio Room
May 1 – Nashville, TN @ Exit/In
May 2 – Atlanta, GA @ Boggs Social & Supply
May 3 – Bradenton, FL @ Oscura

The post RAVEN Announces North American 2026 Tour “Can’t Take Away The Fire” appeared first on Sonic Perspectives.