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Brymir have released their rendition of the Scooter‘s song “How Much Is The Fish?”. The latter will appear on the group’s forthcoming long player What We Leave Behind, due out this coming Friday.
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Together Again After Seventeen Years at STYGIAN SHADOWS FEST 6.66 29 August 2026 – Budapest, Supersonic Blue Hell & KVLT The Backstory In mid-March, the author of these lines was just beginning to recover at home from a rather unpleasant road accident. I had suffered a leg fracture involving nine bone fragments, undergone an operation […]

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Slipknot’s 2027 stadium tour went on presale this week, and the loudest reaction isn’t about Wembley, Fenway or SoFi. It’s about the six dates that have Marilyn Manson on them. According to Lambgoat, comments under the announcement range from fans vowing to skip every Manson show to others defending the booking outright, with one widely shared post reading: ‘Why you are offering support to someone as vile as Manson is beyond me. So disgusting.’

The Slipknot Marilyn Manson pairing covers Wembley Stadium on July 3 and all five South American stadiums in September, and not one of the thirteen North American dates. Manson has denied every allegation made against him, the Los Angeles District Attorney declined to file criminal charges in January 2025, and neither Slipknot nor Manson had responded to the criticism at the time of writing.

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Scott Penfold leads today’s Metal Breakdown Daily with the Slipknot fan revolt over Marilyn Manson — what the comments actually say, where the legal case really stands, and why the six dates Manson got tell you more than any statement the band hasn’t made. Plus Anthrax on retirement and the ex-Fear Factory project with a new name. Download the free Loaded Radio App on Apple iOS and Google Play and stream the show now.

What The Fans Are Saying

The routing dropped Monday, every date and opener is here, and within an hour the conversation had one subject.

The comment Lambgoat pulled is the cleanest version of the objection: ‘Why you are offering support to someone as vile as Manson is beyond me. So disgusting.’ Underneath it, the same two camps you’d expect. One group says they’ll buy tickets for any date without him and skip the six that have him. The other says he’s never been convicted of anything and a stadium bill isn’t a courtroom.

Both are right about their facts. That’s what makes this one hard to wave away.

What’s missing is a third voice. Slipknot haven’t said a word. Manson hasn’t either. Corey Taylor, who’s not shy about anything, hasn’t touched it. The presale went ahead Tuesday morning as scheduled, and the general on-sale is still Friday.

Where Manson Is, And Where He Isn’t

This is the part I keep coming back to.

Manson is on six of the nineteen dates. Wembley Stadium in London on July 3, then São Paulo, Buenos Aires, Santiago, Lima and Bogotá in September. Hatebreed are alongside him on all six.

He is not on a single North American date. Not Fenway. Not SoFi. Not Soldier Field. Not Toronto, not Montréal, not any of the thirteen stadiums where Slipknot’s biggest and most vocal audience actually lives. Those shows get Bring Me The Horizon and a rotating third act.

You can read that two ways. The generous version: it’s routing. Manson toured Europe and South America hard in 2026, his Antichrist Superstar anniversary run did real business there, and he draws in those markets. The other version: somebody in the Slipknot camp knew exactly what the reaction would be in the United States and kept him off every date where it would cost tickets.

I think it’s the second one, and I don’t think that’s a criticism of Slipknot. It’s a band being honest about its own audience — just not out loud.

Where The Case Actually Stands

Every time this story comes up, the legal picture gets flattened into one sentence, so here it is properly.

Multiple women have accused Manson of sexual assault and abuse since 2021. He has denied all of it, consistently, and says every relationship was consensual. After a four-year investigation, the Los Angeles County District Attorney declined to file criminal charges in January 2025, citing the statute of limitations on the domestic violence allegations and insufficient evidence to prove sexual assault beyond a reasonable doubt. No criminal charge has ever been filed.

The civil side is different. A jury trial in a lawsuit brought by his former personal assistant is scheduled for November 15, 2027, revived earlier this year under a California law that reopened a window for older claims. Manson’s attorney has said publicly the case will never reach a courtroom once their motion for summary judgment is heard. Manson’s own defamation suit against one of his accusers was largely dismissed; he dropped what remained in late 2024 and paid her legal fees.

Put the calendar together. Wembley is July 3, 2027. The trial date is November 15, 2027. Slipknot booked Manson for their biggest show ever four and a half months before he’s due in front of a jury — unless his lawyers stop it first, which they say they will.

He’s not without defenders in high places, either. Sharon Osbourne went on her own podcast in August to call him a friend and say she doesn’t believe the allegations. The fans commenting this week clearly aren’t persuaded.

Why Slipknot Booked Him Anyway

Here’s my read, and you’re free to disagree with it.

Slipknot in 2026 are a band remaking themselves in public. Sid Wilson is out, Eloy Casagrande is behind the kit, they’ve launched their own label, and Jim Root is telling fans the next album is going to hurt some feelings. Arsenal dropped with no warning. This is not a band in a careful mood.

Booking Manson fits that. He’s the most argued-about name in rock, he sells in the markets he’s been placed in, and if you’ve gone back through his catalogue in order lately you know the peak was real. From inside the Slipknot camp, this probably looked like a statement of independence: we book who we want.

The problem is the fans didn’t sign up for a statement. They signed up for a stadium show. And a meaningful number of them just said, in public, that they’ll spend their money on the other thirteen dates instead.

What Happens Next

Nothing, probably, in the short term. Bands almost never pull an opener over comments, and Manson’s dates are eight to twelve months away. The general on-sale is Friday, October 2, at 10am local time, and the Wembley date will be the first real test — it’s the one show where Manson is on the bill in a market where the objection is loud.

If Slipknot say anything, it’ll come from Clown, and it’ll be about art and freedom. If Manson says anything, it’ll be a line about his accusers. Neither will change a mind in the comments.

What might is the number on Wembley’s ticket report in October. Bands read those.

Why you are offering support to someone as vile as Manson is beyond me. So disgusting. Anyone going and supporting this is a weirdo.

— Emily (@EmilyG_____) September 28, 2026

TL;DR

• Slipknot fans are pushing back on Marilyn Manson’s spot on the 2027 stadium tour, with some vowing to skip his dates. Others are defending the booking.
• Manson is on six of nineteen dates: Wembley Stadium, July 3, and all five South American shows in September. He is not on any of the thirteen North American dates.
• Manson denies all allegations. The LA District Attorney declined to file criminal charges in January 2025 after a four-year investigation.
• A civil jury trial brought by a former personal assistant is scheduled for November 15, 2027, four and a half months after Wembley. His lawyers say it will never get that far.
• Neither Slipknot nor Manson has responded. General on-sale is Friday, October 2.

FAQ

Would you skip a Slipknot show because Manson’s on it, or is a stadium bill not the place to have this argument? Tell us in the comments. Follow Loaded Radio for daily rock and metal news.

The post Slipknot Fans Turn On Marilyn Manson Booking And He Isn’t On A Single US Date appeared first on Loaded Radio.

NYC fantasy-doom sensations Castle Rat have announced their largest UK headline performance to date, taking over London’s iconic Electric Ballroom in Camden on 27th May 2027. Fronted by vocalist and rhythm guitarist Riley Pinkerton (“The Rat Queen”), the theatrical quartet – featuring lead guitarist Franco Vittore (“The Count”), bassist Charley Ruddell (“The Plague Doctor”), and … Continue reading Castle Rat announce biggest London headline show to date at Electric Ballroom

Punk rock collective Fake Names share new video for single “If You Could See Me Today” ahead of

Following the international success of their critically acclaimed album ‘Wilderness Of Mirrors‘ and a triumphant first leg of their European tour featuring numerous sold-out shows, Tunisian-French progressive metal visionaries Myrath unveil their bold new interpretation of Sting‘s timeless classic ‘Shape Of My Heart‘. Few songs possess the universal appeal and enduring legacy of “Shape Of […]

The post Myrath Releases New Single ‘Shape Of My Heart’ Ahead Of UK/EU Tour appeared first on ROCKPOSER DOT COM.

Band:	Kraftwerk
Date:	15th September 2026
Location:	Bregenzer Festspiele
Promoter:	Barracuda Music
Photos:	Patrik Transcended

The great David Bowie once said: “Without Kraftwerk, all the music of the ’80s and ’90s would not exist in the form we know it today.” And he was right. Without Kraftwerk, electronic music in all its different forms and facets would probably not exist as we know it today. But there is more to it than that: As paradoxical as it may initially sound, the four white, cool and almost stiff-looking musicians from Düsseldorf played a significant role in shaping the development of African-American street culture in the South Bronx from the 1970s and, particularly, throughout the 1980s. Kraftwerk’s visionary use of drum machines and synthesizers had a profound influence on the emerging sound of hip-hop. To this day, countless artists continue to use samples from Kraftwerk songs in their own music.

Why am I writing all of this? Because I was absolutely thrilled when I heard that Kraftwerk would be playing practically right around the corner from where I live. And not just anywhere, but at one of the most beautiful venues for art and culture on Lake Constance: the Bregenz Festival stage, which some of you might recognize from the James Bond movie Quantum of Solace. And when you consider that Kraftwerk has existed since 1970 and that Ralf Hütter is now a remarkable 80 years old, it was clear to me that I simply had to seize the opportunity. Who knows whether I would ever get another chance?

One thing that positively surprised me even before the concert began was the incredible diversity of the audience. There were elderly people with walking sticks standing alongside visitors whose clothes immediately revealed that they came from all kinds of different subcultures. I even spotted a guy wearing a full metal battle vest. Young and old, smartly dressed and alternative, die-hard Kraftwerk fans and probably more than a few curious newcomers – they had all come together. Just in time for sunset, the band finally took the stage.

Going into individual songs or moments would, in my opinion, do the concert a disservice. Kraftwerk has to be experienced as a Gesamtkunstwerk – a complete work of art. Few bands manage to merge music and imagery into such a seamless unity. The visual effects accompanying “The Man-Machine,” the use of colors and symbols during “Radioactivity,” or the audiovisual treatment of “Tour de France” in Kraftwerk’s unmistakable style all added another dimension to songs that are already iconic in their own right.

The sound was excellent as well, while the lighting was perfectly synchronized with the music and elevated the entire experience to another level. But perhaps it was the most human moment of the evening that will stay with me the longest: During the final twenty minutes of the concert, a small group of people from the diverse crowd I had described earlier began moving together directly in front of the stage and eventually started dancing. To “Tour de France,” “Music Non Stop,” and “The Robots,” people of different ages and from completely different walks of life danced together – in front of an opera stage in Bregenz.

Simply wonderful.

And I even had the feeling that, beneath their robotic and stoic personas, the four musicians couldn’t quite hide a little smile.

In the end, there is only one thing left for me to say:

Thank you, Kraftwerk.

Thank you for everything.

Famous acts have been swiping ideas and making them their own from the beginning. Here are the worst offenders. Continue reading…

Tab Benoit will release Blues Masters Live, a previously unreleased recording of his 2002 performance at Blue Heaven Studios in Salina, Kansas, on October 23 via Acoustic Sounds.

The double album captures Benoit’s October 19, 2002 set at the Fifth Annual Blues Masters at the Crossroads concert series. Benoit was 34 at the time and performed as part of the event’s two-night “Louisiana Legends” edition, which brought together a dozen musicians representing different corners of Louisiana music.

Benoit was joined for the performance by bassist Carl Dufrene Jr. and drummer Darryl White. Louisiana guitarist Gabriel “Guitar Gable” Perrodin introduced the band before they opened the set with “Muddy Bottom Blues.”

At the time, Benoit was touring behind Wetlands, and five songs from the album are featured on Blues Masters Live. The set also draws from throughout Benoit’s career and Louisiana’s musical history.

Among the performances is Professor Longhair’s “Her Mind Is Gone,” followed by “Nice and Warm,” the title track from Benoit’s 1993 debut album. Benoit also revisits his work at Allen Toussaint’s Sea-Saint Studios before performing “Let Love Take Control.”

The Louisiana influence continues with Benoit’s take on Boozoo Chavis’ “Dog Hill.” During the performance, Benoit uses muted guitar strings to recreate the rhythmic sound of a zydeco washboard.

Another notable moment comes when Benoit is joined by Camille Bob, better known as Lil’ Bob, for “I Got Loaded.” Lil’ Bob and the Lollipops originally released the song in 1966, and the Blue Heaven performance gave Benoit an opportunity to play it alongside its creator.

The second half of the set includes “Louisiana Style,” “Crawfishin’” and a “Mardi Gras Medley” incorporating “Jambalaya,” “Jockamo”/”Iko Iko” and “When the Saints Go Marching In.” Benoit also stretches out on an eight-minute performance of “Cherry Tree Blues” before closing the set with “Bayou Boogie.”

The recording remained in the Acoustic Sounds archives for more than two decades. Company founder Chad Kassem, a Louisiana native and longtime supporter of Benoit, originally booked him for the 2002 concert and had the performance professionally recorded.

Benoit and Acoustic Sounds crossed paths again when the company manufactured the vinyl edition of Benoit’s 2024 album I Hear Thunder for his Whiskey Bayou Records label. As Acoustic Sounds began opening its Blues Masters at the Crossroads archive during the company’s 40th anniversary year in 2026, Benoit’s performance was selected as the first release.

The album also documents performances by several musicians who have since died, including Guitar Gable, Lil’ Bob and Dufrene.

Blues Masters Live will be released October 23 on Acoustic Sounds.

The post Lost Tab Benoit live album unearthed after 24 years appeared first on Blues Rock Review.

Christone “Kingfish” Ingram has released a new single, “The Chase,” and announced an expanded edition of his third studio album, Hard Road.

Hard Road Extended will be released October 16 via Ingram’s Red Zero Records and adds four previously unreleased songs to the original album.

“The Chase” is the first of the new songs to be released. Built around a deep groove and Ingram’s guitar work, the contemporary blues track explores the attraction of pursuing someone despite knowing the relationship may be trouble.

The expanded album also includes the previously unreleased “Train,” “(Still) Nothin’ But Your Love” and “Two. Four. Eight,” the latter featuring drummer Yussef Dayes.

Hard Road was executive produced by Ingram and Ric Whitney for Red Zero Records, with production from Patrick “Guitar Boy” Hayes, Nick Goldston and longtime Ingram collaborator Tom Hambridge. The album finds Ingram continuing to expand beyond traditional blues, incorporating elements of rock, funk, soul, pop and R&B.

“This record comes from real-life reflection,” says Christone “Kingfish” Ingram. “I’ve been balancing fame, heartbreak, love, and relationships while trying to stay grounded, touring, creating, and maturing. These songs are about owning my story. They’re about learning to see myself clearly and seeing others with more compassion. That’s changed the way I write, the way I play, and the way I live.”

Ingram will support the release with an appearance on CBS Saturday Morning, where he is scheduled to perform as part of the program’s “Saturday Sessions” on October 10.

The Mississippi guitarist is also continuing his Hard Road Tour, which resumes October 2 and 3 with two performances at the Metropolitan Museum of Art in New York City. The North American run continues through November, with another date scheduled for January 2027 in Gainesville, Florida.

Ingram released his debut album, Kingfish, in 2019. The record topped Billboard’s Blues Albums chart and earned him his first Grammy nomination. His 2021 follow-up, 662, won the Grammy Award for Best Contemporary Blues Album. He followed with Live In London in 2023.

TRACK LIST

Truth
Bad Like Me
S.S.S
Nothin’ But Your Love
Crosses
Voodoo Charm
Back to LA
Clearly
Standing On Business
Hard to Love
Memphis
The Chase
Train
(Still) Nothin’ But Your Love
Two. Four. Eight (Ft. Yussef Dayes)

The post Christone “Kingfish” Ingram reveals new song from “Hard Road Extended” appeared first on Blues Rock Review.