August Burns Red and The Amity Affliction will hit the road this coming spring for the Spring Horizons Tour. It kicks off April 10 in Worcester and runs through May 17 in Philadelphia. Boundaries and Heavensgate will serve as support.
“We’ve been talking in the background about touring with August Burns Red for years at this point,” says Amity’sJoel Birch. “It’s so awesome that it’s finally happening. We can’t wait to get back to our second home and bring what we feel will be one of the best tours we’ve been a part of to all the cities we’re hitting. The lineup is amazing, the venues are amazing, and we couldn’t be more hyped for it — see you there.”
“We’re pumped to be joining forces with The Amity Affliction for what’s sure to be the can’t miss metal tour of the spring,” says August Burns Red. “ABR will be debuting a few brand new songs and bringing the shred alongside Boundaries, Heavensgate, and Dreamwake. We’ll see you all this April and May for the Spring Horizons Tour!”
Pre-sale and VIP packages are available here. VIP packages will include meet and greet, signed screen printed poster, a photo with the band, early merch access (when venues allow), and a collectible tour laminate.
General tickets go on sale on Friday, December 5 at 10am local time. All dates are below, including an appearance at Sonic Temple.
August Burns Red + The Amity Affliction Tour with Boundaries & Heavensgate Dates:
4/10 — Worcester, MA — The Palladium* 4/11 — New Haven, CT — College Street Music Hall* 4/12 — Pittsburgh, PA — Stage AE 4/14 — Charlotte, NC — The Fillmore 4/15 — Atlanta, GA — Tabernacle 4/16 — Orlando, FL — House of Blues 4/18 — New Orleans, LA — The Fillmore 4/19 — Dallas, TX — The Bomb Factory 4/21 — Houston, TX — House of Blues 4/22 — San Antonio, TX — Vibes Event Center (Outdoors) 4/24 — Phoenix, AZ — The Marquee 4/25 — San Diego, CA — Soma 4/26 — Anaheim, CA — House of Blues 4/28 — Sacramento, CA — Channel 24 4/29 — Garden City, ID — Revolution Concert House 5/1 — Salt Lake City, UT — The Union Event Center 5/2 — Denver, CO — The Fillmore 5/3 — Omaha, NE — The Astro Theater 5/5 — Minneapolis, MN — The Fillmore 5/6 — Milwaukee, WI — The Rave 5/8 — Chicago, IL — Riviera Theatre 5/9 — Royal Oak, MI — Royal Oak Music Theatre 5/10 — Toronto, ON — History 5/12 — Montreal, QC — Mtelus 5/13 — Brooklyn, NY — Brooklyn Paramount 5/15 — Baltimore, MD — Nevermore Hall 5/16 — Columbus, OH — Sonic Temple** 5/17 — Philadelphia, PA — The Fillmore *With Dreamwake, No Heavensgate **Festival Date (ABR + TAA Only)
Alan Morse is a multi-faceted artist whose career has been defined by continually giving audiences what they never knew they wanted. Best known as the lead guitarist and co-founder of Spock’s Beard, Alan has spent decades captivating fans with an entirely singular approach to music, art, and life.
A true polymath, Alan is not only a guitarist but a patented inventor, producer, songwriter, singer, entrepreneur, electronics designer, and visual artist. His creativity stretches far beyond conventional boundaries – he enjoys, as he puts it, “playing in a lot of sandboxes.”
A lifelong musician, Alan can play almost any stringed instrument placed in his hands. His recordings and performances span sitar, bouzouki, mandolin, pedal steel, electric sitar, slide guitar, cello, bass, and even the musical saw and theremin. “I like toys!” he says, summing up his playful, exploratory spirit.
Between touring and recording with Spock’s Beard and as a solo artist, Alan has recently been on a deep dive into photography and digital art, and even clothing design. His latest invention, The Psychlotron, an interactive, intuitive animation toy, has wowed attendees at Bequinox, Burning Man, and other art festivals.
Now, after years of anticipation, Alan is set to release his long-awaited second solo album, So Many Words, scheduled for release in late January 2026. The album features contributions from an impressive roster, including his brother Neal Morse, Simon Phillips, Tony Levin, and members of Spock’s Beard. Musically, the collection explores the fringes of progressive rock, noise, loud guitars, and traditional influences, with Alan handling lead vocals on most tracks and performing a substantial portion of the instrumentation.
Alan currently resides in Monrovia, California, with his wife and family, where his constant flow of creative projects continues to expand into new artistic realms.
Good Day Noir Family,
Jax Fleming steps into his new EP, I’ll Be Fine, with a sense of clarity and direction that signals an artist ready to define his lane.
I’ll be Fine is Jax Fleming’s Ep Out Now
Although each track moves through its own space, the EP as a whole feels unified by a dark shimmer—an alternative-leaning pulse that plays with tension, release, and a slightly nocturnal mood.
The opening track, “Superficial,” introduces that aesthetic with style. The beat is dance-friendly, yet the atmosphere leans toward late-night introspection. Reverberated guitars trail across the rhythm like neon reflections on wet pavement, giving the track a cinematic edge. It is energetic, but not chaotic; instead, it creates a steady surge that invites you deeper into Fleming’s sonic world.
“I’ll Be Fine” shifts the tone while keeping the momentum alive. Driven by its tight strumming pattern and confident cadence, the song carries an emotional weight without turning heavy. The chorus moves with a subtle lift, reinforcing Fleming’s ability to write hooks that feel grounded while still striking. His vocal delivery remains steady and expressive, guiding the track with understated control. It’s modern alternative pop but shaped with personal identity rather than borrowed traits.
Then comes “3 am.” A trembling guitar texture introduces a kind of dream-state feeling, soon joined by a rhythm that pushes forward with urgency. The track sits between shadow and light, giving it a mysterious quality. Fleming plays with space effectively, allowing each musical element to appear, fade, and reappear as if emerging from fog. His work hints at noir influences without falling into imitation.
The closing track, “HiLo,” brings the EP to a strong conclusion. Its structure leans on contrast: quiet moments stretch into wider crescendos, and echo-laden phrases drop into heavier melodic lines. The song feels like a final descent into the EP’s atmosphere, and it manages to stay emotionally open without becoming overwhelming. It wraps the project with intention, offering a last look at Fleming’s balance of introspection and forward drive.
Overall, I’ll Be Fine presents Jax Fleming as an artist with a defined creative vision. His production choices feel thoughtful, his writing shows confidence, and his sonic world remains distinct—modern, moody, and beautifully unclassifiable
I’ll be Fine is Jax Fleming’s EP out Now!
Nocturnal!
Raised on the rural outskirts of Henderson, Kentucky, Jax Fleming always felt pulled toward something bigger—something different. That spark ignited the day he stumbled across a video of a 30 Seconds to Mars festival performance and immediately texted his dad, “This is what I want to do.”
Jax first brought that dream to life on some of southern Indiana’s biggest stages—including the Ford Center and Victory Theatre—as the frontman of Atlas of the Dogs. Now, with a renewed vision and a sound that’s entirely his own, the alt-indie singer and songwriter steps forward under his own name, driven by a sharpened artistic identity and unwavering conviction.
Good Day Noir Family,
“Tamoo Trance” doesn’t walk into the room — it bursts through the door with a grin, a snarl, and a guitar riff sharp enough to slice through concrete.
Tamoo Trance is The Baby Seals’ Single Out Now
The Baby Seals channel the kind of chaotic charm that defined the most unpredictable corners of the ’90s underground, yet they do it with a modern swagger that feels entirely their own.
Their new single hits with the immediacy of a basement show where sweat drips from the ceiling and every instrument threatens to combust in real time.
The opening riff is gritty and confident, then quickly paired with a distorted bass line that grates in the best possible way. Each note pushes the track forward and gives the drums the perfect terrain to stomp on. Meanwhile, the vocal delivery steals plenty of attention. It’s unruly, witty, and fiercely charismatic, echoing the raw edge of Wet Leg but turned up several notches. There’s a delicious sense of not caring about perfection — only about truth, energy, and bite. That attitude gives the track its entire personality.
As the song unfolds, tension grows through unexpected rhythmic accents and moments where the guitars tighten around the vocal phrasing. The chorus practically lunges at the listener, infectious without pandering, and wild without losing clarity. Furthermore, the band’s ability to shift between grunge-leaning aggression and punk-driven mischief keeps the momentum blazing. The production embraces saturation instead of avoiding it, which suits the band perfectly. Nothing feels polished for safety; instead, everything feels alive.
Yet “Tamoo Trance” is only half of the experience. The music video elevates the track with a brilliant mix of humor, psychedelia, and controlled chaos. The trio shapeshifts through personas — hippies, older ladies, glam eccentrics — and each costume adds another layer to their fearless personality. Bright colors, frantic cuts, and surreal imagery make the video look like a cult-classic short film waiting to happen. It reflects the song’s spirit: unfiltered, witty, theatrical, and defiantly original.
The Baby Seals deliver a track that feels like a jolt to the system. It’s bold, cheeky, and full of character. Moreover, it shows a band with a crystal-clear artistic direction and the confidence to ignore every rule in the book.
Tamoo Trance is The Baby Seals’ Single Out Now!
Psychadelic!
Initially formed in 2014 over a spontaneous chat about taking a trip to Hunstanton to see the seal pups, The Baby Seals — Kerry, Amos and Kate — have spent nearly a decade unleashing their joyful, high-energy punk spirit across stages and studios alike. Praised by Clash, Louder Than War, Joyzine and Get In Her Ears, and championed on BBC 6 Music by Deb Grant, Tom Ravenscroft and Tom Robinson, the trio have shared stages with Billy Nomates, The Raincoats, The Go! Team, Headswim and Bow Wow Wow, while lighting up festivals like Rebellion, Boomtown and Cro Cro Land.
Evanescence has announced a world tour for 2026. The trek will kick off on June 11, 2026, in West Palm Beach, Florida, and run through the end of October. Evanescence will perform in North America in June and July, before heading over to Europe, and wrapping things up at the Red Rocks Amphitheatre in Colorado. Support on the trek will come from Spiritbox, Poppy, K. Flay, and Nova Twins across select dates.
Speaking to Rolling Stone about the tour, Evanescence singer Amy Lee said, “It’s going to be a blast. I got all my ladies in. I have an excellent band beside me. When we go out on tour, we have fun together and challenge each other to be the best that we can be. It’s taken time to grow and build and change into that band. I definitely have more energy for everything Evanescence than I did 10 years ago. Because of that, we fuel each other. So I am very excited about the tour.”
Lee elaborated regarding the choice of Spiritbox, Poppy, K. Flay, and Nova Twins as openers: “I’m very excited to be touring with such amazing women and bands. It’s going to be awesome. This has been a big year for me, and for the band when it comes to collaborations and working with people. I’ve loved working with Poppy and Courtney on the ‘End Of You’. We still haven’t gotten to do it live yet. I’m hoping that comes out of this at some point. The same goes for our song with K. Flay, ‘Fight Like a Girl’. I just kind of want to bring all of us together as much as I can and bring it to life on the stage.”
“I haven’t worked with Nova Twins, but I’m a fan of them. We’ve done festivals together in the past couple of years, and seeing them really inspired me. Everything that [bassist Georgia South] turns the bass into is phenomenal. Emma [Anzai, Evanescence‘s bassist] and I will go stand side stage and just be like, ‘What is she doing right there? Figure out what that is. Go ask her after,” Lee added.
Evanescence 2026 World Tour Dates:
06/11 – West Palm Beach, FL @ iTHINK Financial Amphitheatre 06/12 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre 06/14 – Alpharetta, GA @ Ameris Bank Amphitheatre 06/15 – Nashville, TN @ Bridgestone Arena 06/17 – Raleigh, NC @ Coastal Credit Union Music Park at Walnut Creek 06/18 – Charlotte, NC @ PNC Music Pavilion 06/20 – Camden, NJ @ Freedom Mortgage Pavilion 06/21 – Mansfield, MA @ Xfinity Center 06/23 – Saratoga Springs, NY @ Saratoga Performing Arts Center 06/24 – Wantagh, NY @ Northwell at Jones Beach Theater 06/26 – Holmdel, NJ @ PNC Bank Arts Center 06/27 – Bristow, VA @ Jiffy Lube Live 06/29 – Toronto, Ontario @ RBC Amphitheatre 06/30 – Montréal, Quebec @ Centre Bell 07/08 – Tinley Park, IL @ Credit Union 1 Amphitheatre 07/09 – Noblesville, IN @ Ruoff Music Center 07/11 – North Little Rock, AR @ Simmons Bank Arena 07/12 – Kansas City, MO @ MORTON Amphitheater 07/14 – Albuquerque, NM @ Isleta Amphitheater 07/15 – Phoenix, AZ @ Talking Stick Resort Amphitheatre 07/17 – Chula Vista, CA @ North Island Credit Union Amphitheatre 07/20 – Mountain View, CA @ Shoreline Amphitheatre 07/22 – Ridgefield, WA @ Cascades Amphitheater 07/23 – Auburn, WA @ White River Amphitheatre 07/25 – Salt Lake City, UT @ Utah First Credit Union Amphitheatre 07/28 – St. Louis, MO @ Hollywood Casino Amphitheater 07/30 – Cuyahoga Falls, OH @ Blossom Music Center 08/01 – Cincinnati, OH @ Riverbend Music Center 08/02 – Clarkston, MI @ Pine Knob Music Theatre 09/08 – Leeds, UK @ First Direct Arena 09/10 – Manchester, UK @ Co-op Live 09/11 – Birmingham, UK @ Utilita Arena Birmingham 09/13 – London, UK @ The O2 09/16 – Brussels, Belgium @ Forest National 09/18 – Paris, France @ Accor Arena 09/19 – Frankfurt, Germany @ Congress Center Messe Frankfurt – Festhalle Frankfurt 09/20 – Dortmund, Germany @ Westfalenhallen Dortmund 09/22 – Amsterdam, Netherlands @ Ziggo Dome 09/23 – Hamburg, Germany @ Barclays Arena 09/25 – Berlin, Germany @ Velodrom 09/ 26 – Munich, Germany @ Olympiahalle 09/28 – Bologna, Italy @ Unipol Arena 09/29 – Zurich, Switzerland @ Hallenstadion Zurich 10/01 – Barcelona, Spain @ Palau Olimpic Badalona 10/02 – Madrid, Spain @ Palacio Vistalegre 10/04 – Lisbon, Portugal @ MEO Arena 10/26 – Morrison, Colorado @ Red Rocks Amphitheatre
Two of music’s biggest bands, legendary multi-Platinum rockers Chicago and Styx, got their start in Chicago, and now they’re joining together for their first-ever co-headlining tour, bringing the best of the Midwest to venues nationwide with “The Windy Cities Tour – All The Hits…Your Kind of Tour” that kicks off July 13 in West Palm Beach, FL and wraps September 6 in Los Angeles, CA.
Styx and Chicago will be offering their own exclusive pre-sales along with VIP packages beginning Tuesday, December 2, at 10 am local time. Mastercard* and Citi cardmembers will also have access to presale tickets in the U.S. beginning December 2 at 10 am and 12 pm local time, respectively. Additional presales will run throughout the week ahead of the general onsale beginning Friday, December 5, at 10 am local time atLiveNation. (Mastercard presales are only available for Austin and Kansas City shows.)
“We are excited about the summer tour,” says Chicago trumpeter Lee Loughnane. “Chicago has never toured with Styx before, so it’s going to be a lot of fun; we’re looking forward to it.”
“In my early days of live performing, I had several mentors who were kind enough to let me join in and play with them despite not being able to read charts,” adds Styx singer/guitarist Tommy Shaw.
“Rod Henley, Ricky Parsons, Bobby and Larry Moore, Eddie Wohlford, Wimpy Jones, Country Boy Eddie, and others gave me a shot. And I am thankful for that. By the time Chicago released their first album, I had enough experience to begin learning their amazing music on my own. Now, the idea of Styx touring with Chicago is a major thrill all on its own. We can’t wait to spend the summer with them!”
With more than 100 million albums sold worldwide, in addition to being in the Rock And Roll Hall Of Fame, the multi-Grammy Award-winning Chicago has been hailed by Rolling Stone magazine as one of the “most important bands in music since the dawn of the rock and roll era.” The legendary rock and roll band with horns, Chicago, came in as the highest-charting American band in Billboard magazine’s Top 125 Artists Of All Time.
Chicago received The Recording Academy’s Lifetime Achievement Award from the Grammys and was previously inducted into the Grammy Hall of Fame in 2014. They’ve earned two American Music Awards, been named Founding Artists of the John F. Kennedy Center for the Performing Arts, and have a star on the Hollywood Walk of Fame, a Chicago street dedicated in their honor, and keys to and proclamations from an impressive list of U.S. cities. Band members Robert Lamm and James Pankow were inducted into the Songwriters Hall of Fame in 2017. Further to that, the band has 21 Top 10 singles, five consecutive Number One albums, 11 Number One singles, and five gold singles, with a total of 49 gold and platinum awards.
Chicago have toured every year since the beginning; they’ve never missed a year. The original three band members are Robert Lamm on keyboards and vocals, Lee Loughnane on trumpet and vocals, and James Pankow on trombone. The band lineup also includes Ray Herrmann on sax and flute, Wally Reyes, Jr. on drums, Neil Donell on vocals, Ramon “Ray” Yslas on percussion, Tony Obrohta on guitar, and Eric Baines on bass and vocals.
From the signature sound of the Chicago horns, their iconic vocalists, and a few dozen ever-classic songs, this band’s concerts are celebrations. 2026 marks the band’s 59th consecutive year of touring.
Creating and recording new music is often considered the lifeblood of any band — an ethos AOR torchbearers Styx continue to embody with the highly anticipated release of Circling From Above, the 18th studio album in their formidable catalog via the band’s label, Alpha Dog 2T/UMe.
Spanning 13 tracks, the album navigates the complexities of the human experience through the intersecting lenses of technology and nature. Circling From Above — hailed by critics as their third “masterpiece” album in a row, following 2021’s Crash Of The Crown and 2017’s The Mission — features contributions from all seven members of the band, including founding guitarist/vocalist James “JY” Young (affectionately known as “the godfather of Styx“), guitarist/vocalist Tommy Shaw, original bassist Chuck Panozzo, longtime drummer Todd Sucherman, keyboardist/vocalist Lawrence Gowan, guitarist/vocalist Will Evankovich and bassist Terry Gowan.
The seven men comprising Styx have committed to rocking the Paradise together with audiences far and wide, and each one of them is committed to making the next show better than the last. They draw from over five decades of barn-burning chart hits, joyous sing-alongs, and hard-driving deep cuts.
Like a symphony that builds to a satisfying crescendo, a Styx set covers a wide range of stylistic cornerstones. From the progressively sweeping splendor that is “The Grand Illusion” to the hunker-down fortitude of all that is the “Blue Collar Man”, from the majestic spiritual love for a special “Lady” to the seething indictment of preening, primping pageantry for pageantry’s sake of “Miss America”, from an individual yearning for true connection as a “Man In The Wilderness” to a soul-deep quest to achieve what’s at the heart of one’s personal vision in “Crystal Ball”, from the regal reach-for-the-stars bravado of “Come Sail Away” to the grainy all-in gallop of that rugged “Renegade” who had it made, the band draws on an unlimited cache of ways to immerse one’s mind and body in their signature sound.
“The Windy Cities Tour – All The Hits…Your Kind Of Tour” Dates:
07/13 – West Palm Beach, FL 07/15 – Tampa, FL 07/17 – Alpharetta, GA 07/18 – Charlotte, NC 07/20 – Bristow, VA 07/21 – Camden, NJ 07/23 – Wantagh, NY 07/25 – Gilford, NH 07/26 – Mansfield, MA 07/28 – Toronto, ON 07/30 – Grand Rapids, MI 08/01 – Rosemont, IL 08/02 – Noblesville, IN 08/05 – Cuyahoga Falls, OH 08/06 – Cincinnati, OH 08/19 – Austin, TX 08/20 – Houston, TX 08/24 – St. Louis, MO 08/25 – Kansas City, MO 08/28 – Denver, CO 08/30 – Salt Lake City, UT 09/01 – Phoenix, AZ 09/02 – Palm Desert, CA 09/04 – Concord, CA 09/06 – Los Angeles, CA
In the early ‘90s, there was a wave of progressive metal bands inspired by the likes of Queensrÿche, Fates Warning, and the then initial success of Dream Theater that inspired a generation of hopeful fans influenced to create their own brand of melodic yet challenging material.
Dover, New Hampshire’s Divine Regale were one of the strongest and most striking candidates, as evidenced by their two demos, 1992’s ‘Window” and 1994’s especially popular Horizons. That EP actually led them to an opportunity to appear on Metal Blade Records’ Metal Massacre XII and the eventual signing to Metal Blade to bring you 1997’s coveted classic Ocean Mind, before disbanding by the end of the decade. Until 2017, when stories of their reformation began, an occasional social media post or live show would occur, and over the years, even a new song, “Pieces,” was uploaded with an accompanying video.
Divine Regale has inked a new deal with M-Theory Audio, which begins with the January 16thlimited vinyl issue of the band’s classic first two recordings on 200 copies on colored vinyl, including an insert with extra pics and personal liner notes. Pre-order it now, here.
This will be followed later in 2026 with the release of the band’s brand-new album, the eagerly anticipated Ghost in Every Room. “We’re excited to announce our signing with M-Theory Audio! The MTA team has been very supportive of DR, and we are looking forward to our debut label release, Ghost In Every Room, reaching you in 2026,” cites drummer Chris Anderson.
“While we continue wrapping production on the new album, M-Theory Audio will be releasing our ‘Window’ and ‘Horizons’ recordings on vinyl. From 1992, Window solidified our following and garnered an opening slot for Dream Theater on their ‘Images and Words’ tour. Horizons is still one of the most highly regarded independently produced progressive albums of the 1990s, and brought the band to worldwide attention. The reissues feature images, reviews, and insight. We hope you enjoy a look back at these early recordings.”
On Friday, November 28, 2025, Swedish progressive metal masters Opeth returned to Tokyo for the first time since 2019, ending a six-year absence that had only intensified anticipation among Japanese fans. With just two Tokyo dates scheduled at Ex Theater Roppongi, tickets sold out quickly, once again proving the band’s enduring popularity in Japan. I had the privilege of photographing Opeth and covering their long-awaited return.
The tour arrived in support of The Last Will and Testament, the band’s fourteenth studio album. Unlike its predecessor, In Cauda Venenum, the new record marks the return of Mikael Åkerfeldt’s growled vocals, much to the delight of longtime fans. The lineup featured founding member Mikael Åkerfeldt on vocals and guitars, alongside Martín Méndez on bass, Fredrik Åkesson on guitars, Joakim Svalberg on keyboards, and drummer Waltteri Väyrynen, who joined the band in 2022.
The stage setup was stripped down to the essentials, with no backdrop or excess decoration, allowing the focus to remain entirely on the music. The show began almost exactly at 7:00 p.m. with “§1” from The Last Will and Testament. Although the venue was fully seated, the audience immediately rose to their feet, welcoming Opeth with loud cheers as dramatic lighting and thick smoke filled the room, setting a solemn and cinematic tone.
The band quickly looked back at their catalog. “Master’s Apprentices” from Deliverance lifted the energy instantly, followed by “The Leper Affinity” from Blackwater Park. The return of growled vocals drew an especially strong reaction, underscoring how powerful this material remains in a live setting. Åkerfeldt’s ability to move seamlessly between clean and harsh vocals — and the dramatic contrast between them — was one of the night’s most exciting highlights.
Each member brought something distinctive to the performance. Méndez, wearing a wool cap adorned with braided tassels, delivered thick, articulate bass lines, his fingerstyle playing cutting clearly through the dense arrangements. Åkesson’s precise and technical guitar work added sharpness and clarity, while Väyrynen confidently held everything together, navigating the band’s intricate rhythms with ease. When a spotlight fell on Svalberg, his elegant keyboard melodies felt almost divine, adding atmosphere without ever overpowering the music.
Returning to the new album with “§7,” Åkerfeldt paused to speak with the audience, sharing humorous anecdotes — including references to Ian Anderson of Jethro Tull and the band’s general avoidance of click tracks. This relaxed moment flowed naturally into “The Devil’s Orchard” from Heritage, prompting sections of the crowd to start headbanging. Damnation’s “In My Time of Need” followed, transforming the venue into a sea of gentle motion beneath purple smoke as many fans sang along quietly.
The intensity surged again with “The Grand Conjuration,” where aggressive lighting and growled vocals created a commanding, almost ritualistic atmosphere. Åkerfeldt continued joking between songs, explaining that he could not afford a proper lyric prompter and instead taped handwritten notes to the stage floor — which he could barely read anyway since he was not wearing his glasses. Laughter rippled through the venue before Opeth launched into “§3” from The Last Will and Testament, followed by the ferocious “Demon of the Fall” from My Arms, Your Hearse. As the set progressed, Åkerfeldt, Åkesson, and Méndez stepped closer to the front of the stage, increasing the sense of connection before closing the main set with “Ghost of Perdition” from Ghost Reveries.
The encore followed almost immediately after persistent calls from the audience. Åkerfeldt entertained various song requests, briefly teasing parts of classics such as “Closure,” “Windowpane,” and “Harvest.” The performance concluded with the epic “Deliverance,” its lengthy and hypnotic progression bringing the nearly two-hour show to a powerful and satisfying close.
Although only three songs from the newest album were included, the return of growled vocals allowed Opeth to draw evenly from across their catalog. The result was a remarkably well-balanced set, where heavy and quiet moments — as well as old and new material — coexisted naturally.
While the audience came primarily for the music, Åkerfeldt’s stage banter proved to be an equally important part of the experience. His stories, often touching on Japanese record shops, along with his dry and self-deprecating humor, kept the mood light and welcoming. Despite common concerns about language barriers in Japan, Åkerfeldt’s clear and accessible delivery made his English easy to follow, earning consistent laughter from the crowd. His personality alone is one of the reasons fans are eager to see Opeth live again and again.
Known for his love of analog gear and records, Åkerfeldt also spoke about the band’s preference for performing without click tracks. This approach allowed subtle communication between band members to remain visible, giving the show a sense of human warmth rarely found in modern productions.
Japanese audiences are often described as quiet and attentive, yet this night revealed something far more expressive. Fans headbanged during heavier sections, clapped along, waved their arms like conductors, sang together, or simply sat back and absorbed the music. Some appeared visibly moved to tears. Åkerfeldt’s relaxed presence encouraged everyone to enjoy the performance in their own way.
Opeth are unquestionably serious musicians creating emotionally weighty music, but Åkerfeldt’s lighthearted approach brought an ideal sense of balance. The constant shift between intensity and ease made the experience deeply satisfying — even addictive. After traveling through New Zealand and Australia before reaching Japan, the band delivered a remarkable show far from their home in Sweden, leaving the Tokyo audience grateful and eager for their next return.
Good Day Noir Family,
Guild Theory return with “The Statesman,” a track that leans into an understated intensity and delivers a refreshing take on alternative folk-rock.
The Statesman is Guild Theory’s Single Out Now
The opening strummed guitar feels unfiltered, almost like an intimate unplugged session from the early ’90s.
That immediate rawness creates the atmosphere for a song that thrives on sincerity rather than ornamentation. Nothing feels forced. Instead, the band embrace a natural flow that creates an intriguing emotional pull.
As the vocals enter, the mix brings them forward in a way that feels purposeful. The slightly hazy texture recalls Blind Melon’s warm, organic approach, yet the phrasing has flashes of something more theatrical. In certain moments, the melodic choices bring David Bowie to mind, especially in the subtle shifts that stretch the harmony into unexpected corners. These references don’t overshadow the band’s personality, though. Rather, they highlight how confidently Guild Theory shape their influences into something distinctly their own.
Each guitar layer adds color without overwhelming the core progression. Because the song avoids excess, the listener is able to focus on the movement between chords, which carries a hypnotic quality. Furthermore, the rhythm section joins with restraint, giving the track a heartbeat strong enough to support the mood while still protecting its softness.
Midway through the piece, the emotional temperature rises. However, it never explodes; the band choose subtle evolution over dramatic peaks. This approach strengthens the song, since the tension remains steady and encourages the listener to lean in more closely. The chorus, though understated, delivers a striking lift that lingers long after it dissolves back into the verse.
What stands out most is how honest this track feels. Guild Theory make music that seems handcrafted. “The Statesman” moves like a late-night confession—quiet, immersive, and sincere—proving that simplicity, when handled with intention, can be as powerful as any grand gesture.
The Statesman is Guild Theory’s Single Out Now!
Hypnotic!
Guild Theory is a British alternative rock band duo consisting of Matt Smith (vocals and lyrics, synths) and Rob Lewis (music, multi-instrumentation). Formed in February 2022, Matt and Rob began recording music together remotely after the two met on a music forum. The two musicians have been working together since, creating their unique blend of alternative, progressive, and Post rock.
Good Day Noir Family,
“Starry-Eyed” by Tinderbox arrives with the kind of quiet confidence that signals a duo with a clear artistic direction.
Starry-Eyed is Tinderbox’s Single Out Now
The track opens in a gentle shimmer: a bright, ringing arpeggio that falls like a soft spring drizzle, creating a sense of expectation without ever forcing it.
Yet the moment the vocals enter, the atmosphere deepens. The singer’s tone is distinctive and warm, carrying an emotional weight that doesn’t need exaggeration.
Because of this, the song builds naturally. The lower phrases convey a grounded presence, while the falsetto glides upward and adds a delicate glow to the melody. This contrast gives the track an elegant lift, and it also sets the band apart. Although influences of British icons such as Keane or early Radiohead surface here and there, Tinderbox shape these echoes into something distinctly their own.
Additionally, the rhythm section brings important color. The drums deliver an insistent but never overwhelming pulse, keeping the song in motion while leaving space for the guitars to expand. Those guitars open wide in the chorus with airy chords and subtle lines that introduce a faintly American hue, especially in the way the harmonies bloom. It is a clever mix: the introspective charm of British indie paired with the open-sky ambition of modern alt-rock.
The duo reveals their ability to craft progression without excess. Each section transitions with purpose. The chorus, in particular, stretches the initial mood and transforms it into something more luminous, hinting at a sense of discovery. Meanwhile, the overall production remains clean and tasteful, letting the emotion breathe.
Ultimately, Starry-Eyed feels like the arrival of artists who know where they want to go. The song’s refinement, combined with its youthful spark, suggests a duo ready to evolve and confidently shape their future.
Starry-Eyedis Tinderbox‘s Single Out Now!
Refined!
Starry-Eyed is Tinderbox’s Single Out Now
Tinderbox is an alt-rock duo from Bristol, UK, formed by brothers Jake (22) and Harrison Ellis (19). Their music delivers a double punch to head and heart, blending soul-piercing lyrics, soaring guitar lines, and expressive percussion into a sound that’s raw, beautiful, and emotionally charged. Exploring the paradoxes of modern life—anxiety, anger, longing, and connection—Tinderbox create songs that linger, walking the line between the romantic and the dystopian.
