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Rock music and theatrical spectacle collide as The Who’s Tommy The Musical returns to stages across North America, launching a new national tour in autumn 2026, with performances scheduled through June 2027.

Based on The Who’s groundbreaking 1969 concept album, Tommy follows Tommy Walker, a young boy who withdraws from the world after a traumatic childhood experience before discovering an extraordinary talent for pinball. His unexpected rise to fame explores themes of trauma, isolation, celebrity and redemption.

Leading the touring cast is Collin Matthew Flanagan as Tommy Walker, alongside Zach Fogel as Captain Walker and Mia Bergstrom as Mrs. Walker. The principal cast also features Peyton Cassity as Uncle Ernie, Kyle McFalls as Cousin Kevin, Kris Lyons as the Acid Queen, Audrey Fisher as Sally Simpson and Mari Grossmann as Little Tommy.

With music and lyrics by Pete Townshend and directed by Tony Award winner Des McAnuff, the production combines the original rock sound with dynamic choreography, striking visuals and powerful performances. Audiences can look forward to iconic songs including ‘Pinball Wizard’, ‘I’m Free’, ‘See Me, Feel Me’ and ‘Sensation’.

The new touring production follows the musical’s acclaimed Broadway revival in 2024, introducing this influential rock opera to fresh audiences while giving longtime fans another opportunity to experience its enduring appeal.

With its explosive music, ambitious storytelling and themes that remain relevant today, The Who’s Tommy The Musical promises an electrifying theatrical experience for rock enthusiasts and musical theatre fans alike.

FOR TICKETS AND FULL DETAILS: https://tommythemusical.com/

• Cleveland, OH Connor Palace October 6-11, 2026
• Overland Park, KS Midwest Trust Center October 14, 2026
• Denver, CO ❖ Denver Center October 16-18, 2026
• Tucson, AZ Centennial Hall October 20-25, 2026
• Los Angeles, CA Pantages Theatre October 27–November 15, 2026
• San Jose, CA Center for the Performing Arts November 17-22, 2026
• Palm Desert, CA McCallum Theatre November 24-29, 2026
• Saskatoon, SK TCU Place December 2, 2026
• Spokane, WA First Interstate Center December 5-6, 2026
• Lima, OH Lima Civic Center January 4, 2027
• Brookville, NY Tilles Center January 6, 2027
• Red Bank, NJ Basie Center January 7-8, 2027
• West Point, NY Eisenhower Hall January 10, 2027
• Burlington, VT The Flynn January 12-13, 2027
• Wallingford, CT Oakdale Theatre January 14-17, 2027
• Morgantown, WV WVU Canady Creative Arts Center January 19, 2027
• Oxford, AL Oxford PAC January 21, 2027
• Auburn, AL Gogue PAC January 22-23, 2027
• Toronto, ON Ed Mirvish Theatre January 26-31, 2027
• Houston, TX Hobby Center February 2-14, 2027
• Chicago, IL Cadillac Palace Theatre February 16-28, 2027
• Costa Mesa, CA Segerstrom Center March 9-14, 2027
• Seattle, WA Paramount Theatre March 16-21, 2027
• Minneapolis, MN Orpheum Theatre March 30–April 4, 2027
• Utica, NY Stanley Theatre April 6-7, 2027
• Hershey, PA Hershey Theatre April 8-9, 2027
• Morristown, NJ Mayo PAC April 10-11, 2027
• Philadelphia, PA Forrest Theatre April 13-18, 2027
• Washington, DC National Theatre April 20-25, 2027
• Boston, MA Emerson Colonial Theatre May 4-16, 2027
• Pittsburgh, PA Benedum Center May 18-23, 2027
• Lakeland, FL RP Funding Center June 1, 2027
• Dallas, TX Winspear Opera House June 3-5, 2027
• San Antonio, TX Tobin Center June 6, 2027

❖ Part of venue’s 2025/2026 season

 

The post The Who’s Tommy the Musical Returns to U.S. Theatres appeared first on The Who.

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Neil Young has built one of the most extensive and unpredictable song catalogs in rock history. Born in Toronto, Ontario, on November 12, 1945, and raised partly in Winnipeg, he began his professional career in Canadian groups before heading to California. His work with Buffalo Springfield brought him to wider attention during the 1960s, and his solo recordings soon established a distinctive voice in folk rock, country, and electric guitar-driven music. Young’s early albums, including Everybody Knows This Is Nowhere, After the Gold Rush, and Harvest, produced enduring songs such as “Cinnamon Girl,” “Southern Man,” “Heart of Gold,” and “Old

The post Complete List Of Neil Young Songs From A to Z appeared first on ClassicRockHistory.com.

There’s something especially gripping about music like this. Great Falls is composed of veterans from many corners of the heavy music world, with bands like Kiss It Goodbye, Undertow, Playing Enemy, Bastard Feast, Gaytheist adorning their grief-soaked uniforms. It would be a gross oversimplification to label this sludge-influenced hardcore and just leave it at that, as there’s so much going on from the Converge-esque chaos, to the crushing reminders of death metal, grindcore, and math-rock mixed in with all the noise. And it’s with that sense of admiration and bewilderment that Decibel presents The Bite That Grows Up streaming in full.

The band told us that “We recorded this without playing any of the songs live first and were really worried how people would respond to them. But we’ve finally had a chance to play almost all of the record in front of crowds, and they seem to be coming off how we hoped: anxious, desperate and heartbroken.”

You have to respect a band with a goal.

The Bite That Grows Up comes out this Friday, October 16, via Neurot Recordings. Listen to the whole thing below.

The post Full Album Stream: Great Falls – “The Bite That Grows Up” appeared first on Decibel Magazine.

In 2017, marking Jethro Tull’s 50th anniversary, Prog asked former members Mick Abrahams, Clive Bunker, Jeffrey Hammond, Peter John Vettese and Tony Iommi about their memories of being in Ian Anderson”s band.

Mick Abrahams (guitar, 1967-1968)

Best thing about being in Tull?

They used to let me sit in the front of the van when we were on the road.

Funniest moment?

Walking around Woolworth’s one day with Ian. We were both trying lampshades on our heads. Ian looked beautiful and I didn’t. An assistant came up to me and said, ‘Are you mad?’ So I replied, ‘He is, but I’m not. Now get us a mirror so we can see which lampshade looks best as a hat.’ And she got us a mirror!”

Favourite Tull album you played on?

This Was.

Clive Bunker (drums, 1967-1971)

Funniest moment?

Our set in America got longer and longer, and Ian’s flute solo would also get increasingly stretched out. Our tour manager, Eric Brooks, would bring out a card table and two chairs, and set it up behind Ian when he went into his solo. Martin Barre and I would sit down and play cards. Eric then came up with a pot of tea for us.

All this was going on while Ian played, and he had no clue what was happening. This went on for a couple of gigs, with Ian puzzled as to why the audience was laughing as he played. Then one night he turned round and saw us. But fortunately he thought it was hilarious!

Favourite Tull album you didn’t play on?

Roots To Branches.

Jeffrey Hammond (bass, 1971-1975)

Best thing about being in Tull?

Having the good fortune and privilege to play a small part in their journey. But unquestionably the camaraderie between us at that time was what I value the most.

Worst thing about being in Tull?

Having to share a bed one night with John Evan in an overbooked hotel in Vienna!

Favourite Tull album you played on?

Thick As A Brick.

Peter-John Vettese (keyboards, 1982-1989)

Best thing about being in Tull?

It has to be dealing with Ian Anderson. From the time I joined the band, we had a gentleman’s agreement that he would ensure I always got publishing royalties for anything I had contributed to Tull songs. He told me this even before I knew what publishing was. And to this day he has kept his word. His influence on me, and his kindness, has probably been more than I deserve. His moral and ethical compass is unquestioned.

Favourite Tull album you played on?

That’ll be The Broadsword And The Beast, which is a good transitional album from where the band were to where we wanted to go.

Tony Iommi (guitar, 1968)

Best thing about being in Tull?

Ian had great discipline, and was very professional in how he went about things. He put me on the right road and when I went back to Brum, I made sure Black Sabbath became a lot more organised in everything we did.

Favourite Tull album?

This Was. It made me think about wanting to join the band.

The post Land Of Talk – “Dogs” & “Cats” appeared first on Stereogum.

Festival season may have just ended, but Sonic Temple are already getting ready for 2027 with their first names rolling out.

UPDATE 20/10/2026: The Warning, HANABIE. and Kami Kehoe have been added to the line-up.

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Set to take place between May 13-16, 2027 in Columbus, Ohio at the Historic Crew Stadium, here are the bands who have been added to the lineup.

A Perfect Circle
Emmure
Showing Teeth
Peeling Flesh
Sleeping With Sirens
Saosin
Escape The Fate
PRESIDENT
Imminence
Clutch
Primus
Crowbar
Vana
The Warning
Kami Kehoe
HANABIE.
The All-American Rejects
Meshuggah
Testament
Switchfoot
Bowling For Soup
Sylosis
Iron Maiden

The festival have also revealed that the full lineup will be arriving next week, but for now, be sure to keep on checking in.

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The post Sonic Temple Reveal First Names For 2027 Festival appeared first on Rock Sound.

The post Marika Hackman Announces New Album <em>False Dogs</em>: Hear “33” appeared first on Stereogum.

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The Law of Diminishing Recordings™ is a cruel mistress. She cares not for the effort put forth into any given work, nor does she show any sympathy for passion or skill. In all endeavors, she looms in shadows, in corners, and in crevices, waiting for a chance to bring down her victims a peg. And sometimes, she misses. So far, Pennsylvania wonky blackened death duo Veilburner evaded her attacks with a slithering swiftness, scrying her every move and staying two steps ahead. Futuristic, primal, and strange, Veilburner’s occult curios always find some portal to an improbable space where identification is immediate but engagement is preserved. Can ninth tome All That Glimmers is Gloam achieve the same feat?

If you’ve heard any Veilburner since Lurkers in the Capsule of Skull, then you know what to expect here. Wiry riffs that bend but never break, cymbals that clink and clang like wind chimes made of bone and brass, morphing utterances as inhuman as they are enticing, and an occult atmosphere that burns the air with devilish spice await in every chamber of Glimmers’ constructs. Familiar song structures build upon the more accessible patterns heard in Longing for Triumph, Reeking of Tragedy but the pace and aggression more closely resemble the animalistic The Duality of Decapitation and Wisdom or A Sire to the Ghouls of Lunacy. Psychedelia still establishes a strong foothold as always, which scaffolds the intensity of Veilburner’s writing with a sinewy fluidity that belies its unhinged personality.

For the first time, however, there aren’t as many deviations from prior installments as I expected, which in turn gives the impression that maybe Veilburner is running out of steam. That comes as no surprise to me, after watching the duo drop an album nearly every year since Lurkers.¹ Opening duo “Here is Thine Sabbath, So Mote It Chasm” and “Oblivion Is Yours to Labyrinth,” along with later cuts like “Phænomena Obscura,” “Of Godslave and Blood Mortar,” and to some extent the title track closer stuff themselves with trademark Veilburner riffs and evil vocals heavily modulated with effects and other production wizardry, but don’t offer a voice unique to this release. Consequently, each of these numbers could be swapped into one or more of Veilburner’s other records and effortlessly blend into the crowd. They simultaneously lack memorability. Even if I make a conscious effort to recall a riff, a solo, a hooky vocal refrain, precious few come into focus. True to the Law of Diminishing Recordings, I also noticed Veilburner’s application of repetition in this release to make their measures sticky isn’t as effective as it once was. In stronger cuts like “Vitriolic Hiss,” the twangy refrain that gives the song its core still lacks a mutagenic quality that would allow it to evolve over the course of six minutes, robbing the moment of depth and engagement.

On the other hand, Veilburner still constitute a creative force highly capable and willing to take risks and do things just a bit differently. Album highlights “Dis’ Obedient Woe” and “Golgothic Holocaust” are perfect examples therein. In the former, a focus on gentleness, low-frequency clean vocals, and a lulling atmosphere uncovers a new element to Veilburner’s sound that I haven’t heard before—and the remarkable effectiveness with which it’s delivered is refreshing. The latter cut, on the other hand, is one of Veilburner’s wildest and most daring excursions. Twisting, writhing burls trade blows with a howling falsetto wail that I’ve never heard from Veilburner before. It’s terrifying and exciting in equal measure. Somehow, both of these unusual offshoots from the expected formula still give off an unmistakable scent that draws me in like a fly to fruit. Veilburner could hone in on these tracks, break down and discern exactly what makes them stand apart from the others, and use that data to build another high water mark in their discography down the line.

For now, All That Glimmers is Gloam is a competent and familiar work from one of the most recognizable and reliable entities in experimental extreme metal. Yet, it might be the weakest installment in their discography simply because most of what you hear they’ve done before, and often better. The exceptions housed inside this work save me from feeling disappointed with the final product. In fact, they stoke a fire of excitement and interest in me that leads me to believe that Veilburner might be on to something special if they capitalize on those riskier choices going forward. A newfound success is in their hands. All Veilburner need to do is firmly grasp it!

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Rating: Mixed
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 16th, 2026

The post Veilburner – All That Glimmers is Gloam Review appeared first on Angry Metal Guy.