Twenty One Pilots took home the award for Best Rock/Alternative Artist at the 2026 American Music Awards, where they also delivered a stunning performance of ‘Drag Path’.
A huge congratulations are in order for Tyler and Josh, who took home the award last night (May 25) at the ceremony in Las Vegas.
Up against some very tough competition in the category including Sleep Token, Deftones and Linkin Park, take a look at the moment the pair accepted their award below.
The band also took to the stage for a performance of ‘Drag Path’ during the awards ceremony, and it was more stunning than you can possibly imagine.
Featuring some gorgeous visuals, some tear-jerking throwbacks, and the kind of vocals that’ll leave every hair on your body standing on end – have a watch below.
Leah Callahan: Our Lady Of The Sad Adventure (Self-Released) Released 1 June 2026 DL | Streaming Prolific Bostonian singer-songwriter Leah Callahan returns with her most confident blend of UK alternative music styles to date. From shoegaze to synth-pop and beyond, she takes a deep dive into her past and ours. Robert Plummer falls in love […]
1. Hi, thanks for the opportunity! Our sound is a mix of all the music we’ve listened to, like the “Seattle sound” (Alice in Chains, Soundgarden, Pearl Jam, Mad Season), Jeff Buckley—we dedicated our song “J” to him—and also Stevie Wonder, who inspired our track “Same Old Man,” plus many other bands that made rock, nu-metal, funk, and metal history.
Basically, the list is endless. We call ourselves a crossover band precisely because we don’t have a single line of language.
What do you write about?
We write about things every human goes through: the reasons for living, love, the hypocrisy of the human race, the surreal reality we’re living in these strange days.
What do you listen to when you’re at home?
We all listen to different kind of music… the sounds of the seventies, old and new punk, prog, instrumental rock, jazz, blues, funk. It depends on the day and the mood of the moment. We might start with jazz, then shift to rock, metal, grunge… It’s a crossover of all kinds of music. We put together our individual inspirations.
What’s your favorite live performance so far?
We were support acts for Papa Roach and Five Finger Death Punch, and for Korn in Russia, Belarus, and Ukraine. They were incredibly powerful and inspiring moments.
Tell us a funny story that happened in the studio or on stage.
I remember the studio session period… we had to record 3 tracks and were supposed to stay in the studio for 2 days, but after 6 hours the recording was done.
Or this one: when we played at a festival just outside Sevastopol, we went 36 hours without sleep, catching… I don’t know how many planes and trips just to arrive to the show, ahah!
What are your favorite albums?
it’s a tough question to answer, Because we love different genres
One musician you’d like to have a beer with?
Just one beer and one musician?? Ahah
What would you ask for backstage if you were the biggest band in the world?
I’d ask for good food—Italian, ahah!—and a chill area where we could hang out with the band, our families, and the friends who’ve always supported us.
What are your plans for the near future?
We want to make good music and play it in good venues. We’d love for our music to reach lots of people and make them happy.
Did I really get out of bed at 5:00 am just so I could listen to the new Hayley and the Crushers’ single and perhaps write a little something about it before heading off to work? That’s the level of geekery I have reached! I did not know that “Cringeworthy” was coming out until yesterday afternoon, so I approached this song with zero idea of what to expect beyond knowing it would be super-awesome because, well, it’s Hayley and the freaking Crushers! So you’re getting my fresh, off-the-cuff take with no time for polishing or overthinking. Bathing and breakfasting await, so I have to hurry.
On that note, I must say “Cringeworthy” is, as I presumed, super-awesome! In fact, it might extra-super-awesome. It’s honestly one of my favorite songs this band has ever done, and the vibe reminds me of those great singles the band put out when it first signed to Kitten Robot Records. I love that this song lives in the world of pure pop goodness with punk and new wave influences — always a sweet spot in the Crusherverse. This song is classic Crushers without necessarily trying to be classic Crushers. It’s got a serious, somewhat heavy theme, but it’s still wonderfully intoxicating in a way all great pop ought to be. The music video is an absolute hoot. Overall, this song and video seem to be going the opposite direction from the popular sentiment that all those millions of people out there doing their thing online are so very cringeworthy. Perhaps, you know, we ought not to be so quick to judge people for what they’re putting into the universe — especially if they’re doing what they love. How does all that judging and shaming serve us? Perhaps my interpretation is self-serving since what I do is certainly cringeworthy in the eyes of many, but I’m taking something very positive from this song. My first few spins with “Cringeworthy” were more than worth the lost sleep. I can’t wait for the album!
It is no surprise if you are a listener/subscriber/patreon to the phenomenal Two Promoters One Pod podcast to see the queue for this early Saturday evening show quickly wind from the venue to the Camden underground entrance. Confused and intrigued passers by enquire as to the headliner this evening. Australian post-Rock legends We Lost The Sea draw blank faces and we had not even got to describing the pull of the other two bands on the bill – Overhead, The Albatross and Dimscûa.
We Lost The Sea – Overhead, The Albatross – Dimscûa
Kudos must be given to Podcast co-hosts Gavin McInally and James Scarlett, who promoted the run. It is no easy thing throwing your money behind a potential loser, but the numbers at opening night in Nottingham were good, and tonight it seems that the merch team will again be busy.
Sold-out shows and upgraded venues for the other dates confirm that this package is doing good business.
We Lost The Sea – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
We Lost The Sea
Headliner on this run, it is an unseemly early time for Australians We Lost The Sea to hit the stage. 8:05 pm to be precise. Having seen the band at Arctangent and twice the weekend before at Dunk Festival in Belgium, I knew what to expect.
So, I thought. Yet each time they play, something deep within stirs, and you find yourself gasping for breath as they stir the emotions to a level that you did not think possible.
We Lost The Sea – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
Masters of the slow yet intense build up, the six-piece dive deep, drawing mainly from their 2025 masterpiece A Single Flower. A shift of gears is inevitable, but the drift from If They Had Hearts into A Dance With Death never fails to elevate the heart rate.
Intoxicating in their simplicity, it is the repetition and clever beats that make We Lost The Sea such a fantastic and fine headliner.
We Lost The Sea – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
It was 2016’s Departure Songs that established WLTS in the big league. I endorse this with every fibre of my being. When Mark Owen lifts the intro riff to A Gallant Gentlemen, there is a genuine excitement in a close to capacity room, which can take 1,500 punters. It is a killer six minutes, defined by a mass of nodding and looks of intense focus.
We Lost The Sea – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
It is a reasonably short set owing to the curfew (two more songs played the night after at Manchester), but for just shy of 90 minutes, the whole venue is transfixed. Each song ebbs and flows, the pattern following in a majestic manner. Slow build-ups reach crushingly heavy crescendos before bringing us back down to earth to reduce the elevated heart rate.
A Beautiful Collapse from Triumph & Disaster sits comfortably alongside Everything Here Is Black And Blinding, Bogatyri and evening closer Blood Will Have Blood.
We Lost The Sea – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
Drenched in reds and blues, the lighting matches the mood that the band conjure up. They lurk in the mist, striding forth onto steps for the muscular parts, Matt Harvey and Carl Whitebread often holding their guitars aloft in justification.
They have earned it, and the crowd respond magnificently. No over-the-top chaos, just massively warm appreciation on a sweltering London evening. Crisp sound and superb lighting. It’s all just damn impressive.
It is over too soon, but the emotions still soar as I travel along the M4 home to Wales. I am just pleased I have a ticket for the final show of the tour in Bristol.
We Lost The Sea – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
Overhead, The Albatross
Formed in Dublin in 2009, it has been a slow burn for Overhead, The Albatross. There is plenty to research if you want, but the key thing is that at long last the band are getting the traction and attention that their music and enthralling live shows deserve.
Overhead The Albatross – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
2024’s I Leave You This does the heavy lifting tonight, but it is not a surprise, given how breathtaking an album it is.
It is hard to categorise OTA. They sit firmly in the post-rock camp, but switch into electronica, pop and rock as well. Their songs are drenched in melancholy, sweetly constructed with stirring passages that swell with passion.
Overhead The Albatross – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
Your Last Breath opens the set, and instantly, there is nowhere to look but the stage. Bassist Stevie Darragh bounds around the stage, at times cajoling the audience, at other times in the photo pit or sat on the edge of the stage.
Overhead The Albatross – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
OTA have been with WLTS on the first leg of this tour across Europe, and they are sharp. Singer/guitarist Luke Daly’s spoken word hits the right spot, whilst guitarist Vinny Casey goes through his own range of emotions each time I see him play. Nothing manufactured, this is from the heart, and it is incredible.
The UK run sees Ryan Whelan step in behind the kit. He looks somewhat apprehensive but nails it completely. Their set flies by, with Hibakusha phenomenal.
Overhead The Albatross – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
The only thing missing is the bigger back projection that they can use (2025’s Damnation appearance was the cherry on the top for this), but what they have is enough for the finale that is Paul Lynch. As the song climaxes, there are tears around the venue as the audience join the band with the words.
Overhead The Albatross – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
Tears of joy, of sadness, and of remembrance. It is a song to remember those we have lost, and it works every time. A deserved bow sees them continue their ascent. It will not be long before they are the main event at venues like this.
Overhead The Albatross – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
Dimscûa
Championed on the podcast by Gavin McInally for the past 18 months, Berkshire’s Dimscûa’s streaming numbers have soared as a result. The early queue sports more of their shirts than either of their touring companions.
Dimscûa – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
One fan on the barrier tells me that she saw them four times in a matter of months in her local pub just a year ago. Now they are a shoo-in for the likes of Damnation and ATG.
It is not hard to see why. 2025’s Dust Easter may have only had four songs on it, but the overload of crushing riffs, Alex Rowlands’ angst-ridden vocal delivery and the sheer power the band produce made it a must-have release. Early vinyl sold out quickly, and a limited number of reprints no doubt disappeared before the tour got to Manchester.
Dimscûa – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
They own the stage for 30-odd minutes. It is mesmerising to watch. The riffs crash down, the power is increased, and Rowlands roars resonate. The crowd are hypnotised but still able to provide some of the loudest roars of the evening.
Dimscûa – Electric Ballroom, Camden – 23 May 2026. Photo: Paul Hutchings/MetalTalk
Like the other two bands, Dimscûa sweep along with huge peaks and plateaus that provide a roller coaster of a response. They hold the audience in their hands and smash it completely.
As they roll out final song Of Being And Nothingness, you can see the joy on stage. Despite the despair their music can conjure, there are nothing but smiles both on and off the stage. They could be huge.
There’s a strange occurrence in the air as the atmospheric introduction “Regresus” leads the charge for Manchester quartet Beyond Salvation. Personally, I would have just made it part of the next song, “Descending Darkness” which heralds the way into their murky, dark world of self-reflection.
With vocalist Jon Pedley at the helm, it’s a brutal onslaught that is laid before the listener, as the rhythm section presents an immense groove that simmers across the entire album. The battering is relentless with the solos from lead guitarist Arun Kamath a definite throwback to yesteryear but are nailed impressively. The band have commented that whilst it’s “not a strict concept album” is does follow a winding path, that leads you to revisit past decisions, confront destructive behaviours and question those actions.
“Incarcerate” is rapid, with formidable drumming from Owen Ashworth, as they pay homage to several thrash legends, whilst adding their own modern hardcore twist, which is reflected in the breakdowns and aggressive attitude. The album title track is next and has a riff that you can’t help but bang your head along to, as the lyrics focus on “the crushing realisation that destructive habits can bury everything you once loved.” There’s an echoed vocal twisted around a delicious bass delivery from Luke Entwistle, that sets the song up for further mayhem.
“Cleansing” opens with a powerful riff that propels the song but allows them to showcase what they are all about. With stop/start melodies that scream passion, they aren’t messing about and it’s an imposing song followed by “The Waiting”, which explores the vice like grip that addiction can have over you. This is probably my favourite song, as the vocal is varied and sounds decidedly evil and sinister with different tempos across the composition.
These four are genuinely whipping up a storm and “Scorned” shows no signs of them letting up, with a distinctive metal riff that will gain them many admirers. It deviates slightly into a more intense kind of madness but delivers at every point, with more melodic sections being introduced. They are looking inwards on “Broken Reflections” as the bruising track confronts oneself and comes across as raw and intense, devouring all before it.
“Endless Cycle” is about the fear of repeating the same mistakes and comes at you all gun’s blazing with swift drums before they unleash their brand of full on aggressive melodic hardcore thrash. It’s powerful and dramatic with soaring riffs and notable solos before they finish you off with “The Storm” which questions whether true change is ever possible.
Country music became part of Brett Kissel’s life almost from the moment he could hold a guitar. Raised on a cattle ranch near Flat Lake, Alberta, Canada, Kissel grew up surrounded by western culture, farming life, and traditional country music influences that later shaped his songwriting and stage identity. Born on May 27, 1990, he began performing publicly while still a child, releasing independent recordings before most artists even graduate high school. His early years were spent balancing ranch life with music, building a reputation across Alberta through local performances and independent releases that showcased a deep connection to classic
How would you describe your sound?1. Hi, thanks for the opportunity! Our sound is a mix of all the music we’ve listened to, like the “Seattle sound” (Alice in Chains, Soundgarden, Pearl Jam, Mad Season), Jeff Buckley—we dedicated our song “J” to him—and also Stevie Wonder, who inspired our track “Same Old Man,” plus many other bands that made rock, nu-metal, funk, and metal history.Basically, the list is endless. We call ourselves a crossover band precisely because we don’t have a single line of language.What do you write about?We write about things every human goes through: the reasons for living, love, the hypocrisy of the human race, the surreal reality we’re living in these strange days.What do you listen to when you’re at home?We all listen to different kind of music… the sounds of the seventies, old and new punk, prog, instrumental rock, jazz, blues, funk. It depends on the day and the mood of the moment. We might start with jazz, then shift to rock, metal, grunge… It’s a crossover of all kinds of music. We put together our individual inspirations.What’s your favorite live performance so far?We were support acts for Papa Roach and Five Finger Death Punch, and for Korn in Russia, Belarus, and Ukraine. They were incredibly powerful and inspiring moments.Tell us a funny story that happened in the studio or on stage.I remember the studio session period… we had to record 3 tracks and were supposed to stay in the studio for 2 days, but after 6 hours the recording was done.Or this one: when we played at a festival just outside Sevastopol, we went 36 hours without sleep, catching… I don’t know how many planes and trips just to arrive to the show, ahah!What are your favorite albums?it’s a tough question to answer, Because we love different genresOne musician you’d like to have a beer with?Just one beer and one musician?? AhahWhat would you ask for backstage if you were the biggest band in the world?I’d ask for good food—Italian, ahah!—and a chill area where we could hang out with the band, our families, and the friends who’ve always supported us.What are your plans for the near future?We want to make good music and play it in good venues. We’d love for our music to reach lots of people and make them happy..webp)
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