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Glasgow bathing in the late evening sunshine is a stark contrast to tonight’s venue, Audio, bang smack in the centre of the city. It’s my first time here and as I walk into the refreshingly cool venue, my eyes need a few moments to adjust to the dark setting. Once I can see again, I … Continue reading Gig Review: Agnostic Front / Divide / Canny See – Audio, Glasgow (8th July 2026)

Nickelback are back once more with a new album that looks to embody everything that has defined them over the last 25 years.

Titled ‘Everything Under The Sun’, it will be released on October 30 via Virgin Music Group, and serves as the follow-up to 2022’s ‘Get Rollin”.

Vocalist Chad Kroeger had this to say about what the record represents, stating, “This album has every side of the band on it. There are songs that hit as hard as anything we’ve ever done, songs that take chances, and songs that remind us why we’ve been doing this together for so long.”

The artwork looks like this:

And the tracklisting like this:

1. Rattle the Cage (with John 5)
2. Bones for the Crows
3. I Already Know
4. Leave Me Behind
5. If I Don’t Go
6. Make Me Love You
7. Chasin’ Famous
8. Simple Song
9. Technicolor Steamboat
10. Lift Somebody Up
11. Bottled Dreams
12. Last Night Was Fun

The sentiment of what Chad has to say about the record is also reflected in the latest taste of it, ‘Rattle The Cage’. A riff-heavy, arena-made singalong of an anthem, it also features a contribution from John 5.

He had this to add:

“‘Rattle The Cage’ felt like the perfect way to kick the door open – it has the energy we’ve been feeding off every night on stage, and we can’t wait for people to hear it.

You can also hear ‘Bones For The Crows’ right now too:

The post Nickelback Announce New Album ‘Everything Under The Sun’ appeared first on Rock Sound.

It’s that time of year again where we talk to as many bands as we can who are raring to blow you away at Bloodstock! Soulride will be making a big noise on the EMP stage on the Friday… Simple things first – where are you guys from? The band was founded in and considers … Continue reading Road To Bloodstock 2026: Soulride

Over the past week, the LA act Twin Temple have gotten a whole lot more famous. The duo, comprised of married couple Alexandra and Zachary James, have a kitschy take on early-’60s pop music, which they combine with lyrics about Satanic blood orgies. After being booked to open a pair of shows on outlaw country star Charley Crockett’s current Age Of The Ram tour, Crockett dropped the duo from those shows over their Satanic imagery. Jack White stepped in, inviting Twin Temple to open for him at the Hollywood Palladium, and the duo gratefully accepted. This whole episode got a whole lot of ink, so it’s really not surprising that Twin Temple have chosen this moment to announce a new album. It’s what Satan would want.

The post Twin Temple Announce New Album <em>Doomed Lovers</em>: Hear The Title Track appeared first on Stereogum.

A seven-minute-long alt-country dirge, let’s go. “Portal To The Past” is the newest single from Lily Seabird’s highly anticipated upcoming album, Lightspheres On Their Way. Seabird’s previous tracks — the non-album loosie “Demon In Me” and lead single “Election Day” — both made our lists of the best songs of the week, and “Portal To The Past” could keep that streak going.

The post Lily Seabird – “Portal To The Past” appeared first on Stereogum.

Swedish singer-songwriter Jesper Lindell talks about the moment his tour van’s brake pads flew off just as they pulled into a venue, his years working as a mailman before music took over full-time, and why streaming alone doesn’t sustain artists outside the mainstream.

Edison’s Children, the collaboration between Hollywood SFX technician Eric Blackwood, Rick Armstrong (son of the first man, Neil Armstrong) and Pete Trewavas (bassist from prog legends Marillion & Transatlantic) return with their fifth album, A Light In Ethereal Night, to be released on September 4th, 2026.

The album is the second instalment in a trilogy which began in 2011 with In The Last Waking Moments. That record told the story of a man distraught after experiencing something he could neither explain nor prove, left suspended between two incendiary possibilities: was his “alien abduction” real, or was he descending into madness? The 15-minute Epic “The Awakening” ended without resolution. A Light In Ethereal Night picks up the story exactly where it left off.

On this podcast, Pete, Eric, and Rick talk about the making of the new album, the concept, and more.

Check out the podcast on these services:
Apple • Spotify • Amazon • PodBean • YouTube

A Light In Ethereal Night releases on September 4th on Random Disturbance Records and will be available on CD, 180g vinyl (remastered for enhanced bass by Rush/Porcupine Tree’s Andy Van Dette) & streaming services.

Track List
Side 1 – The 31
From Out Of The Ether
The Day After
Pathogen
Side 2 Interlaced
Threnody Parts I-II of X

Pre-Orders can be placed at:

https://edisonschildren.com/
https://edisonschildren.bandcamp.com/
https://thebandwagonusa.com/collections/edisons-children
https://www.thebandwagon.eu/

Edison’s Children are:
Eric Blackwood – Lead vocals, lead synth guitar
Rick Armstrong – Rhythm guitar, keyboards
Pete Trewavas – Lead bass guitar, Backing vocals

Guest Appearances:
Henry Rogers – Drums
Dan Hogarth-Guest – Drums (The Day After)
Robin Boult – Guitar (The Day After)

Produced by Edison’s Children
Mixed by Steve Hardy / Mastered by Andy Van Dette (Engine Room)
Music and lyrics by Pete Trewavas, Eric Blackwood, Rick Armstrong
Artwork by Wendy Darling Blackwood

The post Edison’s Children (Interview) – A Light In Ethereal Night appeared first on The Prog Report.

PinkPantheress is about to make her feature acting debut in high-profile fashion. The influential UK hitmaker, born Victoria Beverley Walker, has been cast in the new secret film project from Daniels, Deadline reports.

The post PinkPantheress Sets Acting Debut In New Daniels Film appeared first on Stereogum.

Iron Maiden has entered into a major partnership with Pophouse Entertainment, the Swedish investment firm behind ABBA Voyage and KISS’s upcoming avatar show, which has acquired a stake in the band’s publishing and master music rights along with the name, image, and likeness (NIL) rights tied to the band and their mascot, Eddie. The deal, structured over the past year between Pophouse and Maiden co-manager Andy Taylor, is aimed at helping the 50-year-old band pursue new creative ventures while bringing its catalog to new audiences.

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What Pophouse Actually Bought

The deal covers three specific categories of rights: publishing, master recordings, and NIL — the same three-pronged structure Pophouse has used in every major artist deal it’s made. Pophouse CEO Jessica Koravos framed the investment around Maiden’s catalog depth: “Iron Maiden is a band whose remarkable longevity and rich catalogue open up countless creative possibilities. With Pophouse’s partnership, the band now has the investment and creative firepower to keep evolving for decades to come.” Pophouse managing partner Johan Lagerlöf went further, calling Maiden “one of the most powerful franchises in music history” and pointing to the band’s ability to “attract new audiences, decade after decade.”

Meet Pophouse — The Company Behind ABBA’s Hologram Comeback

If the name Pophouse doesn’t ring a bell, its work almost certainly does. Founded in Stockholm in 2014 by ABBA’s Björn Ulvaeus and EQT founder Conni Jonsson, Pophouse is the founding investor behind ABBA Voyage — the avatar-powered concert residency that’s drawn more than 3 million visitors since 2022 and generated £104 million in a single year.

That success bankrolled a much bigger ambition: in 2024, Pophouse acquired KISS’s songs, brand, and IP in a deal reported at over $300 million, with an avatar-based Las Vegas show currently slated for 2028. The company’s portfolio has since grown to include Cyndi Lauper, Avicii, Swedish House Mafia, and, as of this past March, a majority stake in Tina Turner’s music interests. Iron Maiden is Pophouse’s first hard rock and heavy metal deal of this scale, and notably its first involving a band whose members are all still actively touring together.

What This Means For Eddie

The partnership’s first tangible result already happened: at Iron Maiden’s Eddfest at Knebworth House earlier this month, Pophouse and the band unveiled “The Infinite Dreams Museum Experience,” an immersive exhibit built around the band’s 50th-anniversary book and centered on Eddie’s evolution across five decades. It’s part of what the announcement describes as a broader “Maidenville” concept expanding the live show through interactive, Eddie-themed attractions.

Beyond the museum, the partnership includes filming Maiden’s ongoing “Run For Your Lives” world tour for a cinematic project, plus longer-term plans for expanded fan experiences and what the companies are calling “a digital universe centered around Eddie.” Worth noting: unlike the KISS deal, which is explicitly building toward an avatar show featuring the band members themselves performing indefinitely, nothing in this announcement confirms an Iron Maiden avatar show is coming — the digital plans described so far center on Eddie as a character and IP, not on recreating the band.

Phantom Music’s Dave Shack, Maiden’s co-manager, described Eddie’s expanding universe as encompassing “horror, gaming, or comic books,” alongside the band’s existing mobile game, drinks business, and merchandising operations — and credited Pophouse with quickly mobilizing a backup film crew at Eddfest after a power failure threatened to derail filming of the band’s Paris concert.

Check This Out – Iron Maiden Albums Ranked From Worst to Best: The Definitive 17-Album Verdict

Rod Smallwood: ‘Eddie Will Rule, OK!!’

Longtime Maiden manager Rod Smallwood, who’s steered the band’s business since the beginning, was characteristically direct about what the deal unlocks: “I am very excited about our relationship with Pophouse and the ability we now have to pursue, facilitate, and finance our many plans and dreams quicker than we ever hoped.” He was equally clear that this isn’t a retirement-adjacent cash-out: “The interest in the band has never been bigger and this strategic partnership… has already had results with the progress on ‘The Infinite Dreams’ museum and the filming of the current show. The fans can be assured there is a great deal more to come for MAIDEN, and Eddie will rule, OK!!”

The numbers behind that confidence are hard to argue with: over 100 million records sold, 17 studio albums, more than 2,500 concerts across 64 countries, a Grammy and Brit Award, and — as of this year — a Royal Mail stamp set putting Maiden alongside the Rolling Stones and Pink Floyd. The band’s 2026 Rock Hall induction and ongoing 50th-anniversary “Run For Your Lives” tour make this a genuinely full-circle year for the band, and the Pophouse deal signals that Maiden’s camp sees it as the beginning of the next chapter, not a victory lap.

Also Recommended – Best Iron Maiden 80s Albums: Ranking the Lyrical Storytelling From ‘Iron Maiden’ to ‘Seventh Son’

TL;DR

• Iron Maiden has partnered with Pophouse Entertainment, acquiring a stake in the band’s publishing, master rights, and NIL rights tied to Eddie
• Pophouse is the company behind ABBA Voyage and KISS’s upcoming avatar show, with a growing portfolio including Cyndi Lauper, Avicii, and Tina Turner
• The first result of the deal is “The Infinite Dreams Museum Experience,” unveiled at Eddfest at Knebworth House
• Plans include filming Maiden’s “Run For Your Lives” tour for a cinematic project and building a “digital universe” around Eddie
• No Iron Maiden avatar show has been confirmed, unlike Pophouse’s KISS deal
• Manager Rod Smallwood says the deal lets the band “pursue, facilitate, and finance” plans faster than before

FAQ

Would you want to see an Iron Maiden avatar show down the line, or should Eddie stay strictly analog? Let us know in the comments. Follow Loaded Radio for daily rock and metal news.

The post The Company Behind KISS’s Avatars Just Signed Iron Maiden appeared first on Loaded Radio.

Blues From The Top returned to Winter Park, Colorado for the 24^th time with the same high-altitude mix of blues, soul, rock, and community spirit that has made it one of blues rock’s most rewarding summer music weekends. Set against the scenic mountain backdrop of the Rendezvous Event Center at Hideaway Park, the festival continues to blend marquee names with rising talent, all while carrying forward the legacy of founder John Catt and the charitable mission that has always given the event its heart.

Catt started the Grand County Blues Society in 2002. Under John’s stewardship, the society presented and produced multiple shows and festivals, including the annual Blues From The Top festival in Winter Park. Catt was also responsible for founding the Blue Star Connection in 2007, an amazing nonprofit that provides musical instruments for children with serious illnesses. Blue Star has reached thousands, mostly children, by donating musical instruments and gear to hospitals and mental health programs. He also initiated the Check Out the Music program that applied a public library concept to musical instruments and gear, focusing on kids and teens who could not afford to purchase these tools outright to further their artistic pursuits. Our genre and our species lost a great champion in 2017 when Catt passed away at the age of 68.

Over the years, Blues From The Top has earned its reputation as more than just a festival lineup — it is a destination, a reunion, and a reminder that the blues still thrives when talented artists, passionate fans, and a scenic setting come together in one place.

A pleasant opening Friday evening would see a pair of first-timers Marc Broussard and The Wood Brothers. Louisiana born Broussard set the tone with his “bayou soul” sound blending classic R&B and modern roots-rock polish. His 70-minute set list blended top songs “Home” and “Lonely Night in Georgia” with lesser-known gems like “Baton Rouge” and Bobby Blue Bland’s “Dreamer”. Broussard’s new album Chance Worth Taking features collaborations with Joe Bonamassa and Trombone Shorty. Unfortunately, they were not also in attendance, but we did get a taste with the single “You’ll Be Sorry”.  

As the sun set with a comfortable chill in the air, The Wood Brothers ushered in the night with their earthy grooves that blend roots, Americana, blues, and folk. There was a definite front-porch vibe as brothers Chris (bass) and Oliver Wood (vocals, guitar), and multi-instrumentalist Jano Rix leaned into the bluesy spectrum of their catalogue with songs like Camille Bob’s swamp-pop classic, “I Got Loaded” and “Sing About It”. Chris routinely danced with the stand-up bass while Oliver alternated between electric and acoustic guitars. Rix had a unique setup that was half drum set and half keyboards. The effortless way the trio moved between instruments and songs was indicative of a group that’s been making music for over two decades. The heads nearest the stage got their sway on with “You Choose Me” from their most recent album Puff of Smoke.  As fans ushered out to close out the first night, there was a sense that this year’s edition of Blues From The Top was already aging like a fine vintage.

Saturday morning was unfortunately very smoky due to wildfires in the state. It did not sway the turnout, which lined up down Main Street in anticipation of the gates opening at 10am. Fortunately, the air would clear in time for Tyron Benoit to take the stage to kick off a full day of blues rock. Tab’s younger brother alternated between playing electric guitar and rhythmic accordion as his band played a short 60-minute Cajun soul set featuring mostly covers like “Born on the Bayou”, War’s “Low Rider” and Rolling Stones hit “Beast of Burden”.  A local Denver news station interviewed festival producer Maria Chavez the Friday of the event, and she specifically called out another first time Blues From The Top performer, Bywater Call. She said Joe Bonamassa pushed for them to come to Winter Park and I don’t believe anyone was disappointed. Meghan Parnell (vocals) and Dave Barnes (guitar) front this perfectly synced seven-piece band from Toronto.  Bywater Call’s Canadian brand of muscular roots rock, blues, and southern soul led by Parnell’s powerhouse vocals were the early buzz of the festival. Songs like “Arizona” and “Everybody Knows” were familiar to fans, but we were also treated to a dueling guitar and trumpet instrumental between Barnes and Steven Dyte. The band also featured their upcoming album Broken Souvenirs with the latest single, “Is This Thing On?”. The band bought copies of the album in vinyl and CD in advance of its July 29 official release. They were eagerly scooped up during the meet and greet following the set.

Almost halfway through the lineup, we finally saw some familiar faces at Blues From The Top as The North Mississippi All Stars took the stage they last visited in 2018. Brothers Luther and Cody Dickinson have spent nearly three decades pushing Hill Country blues into jam-band and rock territory. They were joined by Joey Williams of The Blind Boys of Alabama, who would be playing the next day. The trio played multiple instruments throughout the set with Cody moving from behind the drum set to play keyboards, an electric washboard, and even taking lead vocals for a song. Williams showcased his skills on bass, lead guitar, taking drums when Cody wasn’t and even a turn on vocals as well. Luther fronted for most of the set that featured covers from Hill Country legends RL Burnside opening with “Po’ Black Mattie” and later “Poor Boy, A Long Way From Home” and Junior Kimbrough’s “Stay All Night” as well as originals like “Up and Rolling”. It was a treat of a set with extended solos that left a lot of empty camping chairs as the rear ends occupying them were busy moving and shaking.

The legendary Jimmie Vaughn was surprisingly also making his first appearance in the rarified mountain air. Vaughan is a Texas blues institution, best known as co-founder of The Fabulous Thunderbirds and as one of the most distinctive tone players in modern blues. His set is consistently excellent and included classics from his vast library like “Boom Bapa Boom” and the instrumental “Frame for the Blues” before closing with his brother’s “Texas Flood” and his original “The Crawl”.

Kenny Wayne Shepherd made his 3^rd appearance at Blues From The Top to close out an excellent single day lineup. Shepherd and his band are currently touring in celebration of the 30^th anniversary of his debut album Ledbetter Heights, released in 1995 when Kenny was an 18-year-old prodigy. He shared during the opening monologue that time limits didn’t allow for them to fully feature the album, but they did play the 1^st single “Déjà Voodoo” from the album that put him number one on the Billboard charts 30 years ago. The title track “Ledbetter Heights” and “Born with a Broken Heart” would also be part of a set list that was highlighted by the stirring guitar instrumental “While We Cry” striking an emotional chord. A surprising cover of Joe Walsh’s “Turn to Stone” really limbered up some creaky old knees and hips in the crowd. We all expected and were not disappointed to close out with “Blue on Black” as the day ended in a heady musical euphoria.

Sunday brought a smaller crowd and lower expectations following the previous day’s stellar performances. Those would be quickly dispelled as another first timer Vanessa Collier, mesmerized fans with her virtuoso saxophone mastery and vocals as many were still settling in for the day. Collier is a 2026 Blues Music Awards triple nominee and four-time winner, and it was clearly evident why. She has been playing the saxophone since she was 9 years old, and those lungs needed all that conditioning at 9,100 feet above sea level. Her lead guitarist, Arthur Neilson, who had been playing with Shemeka Copeland for nearly 28 years was also outstanding. Set highlights included “What Makes You Beautiful,” a song written for her three younger sisters, “Sweatin’ Like a Pig, Singin’ Like an Angel,” and a great rendition of “When Love Comes to Town” by U2 and BB King. Collier further endeared herself by lingering for most of the day signing merchandise, taking selfies and conversing with fans.

Or maybe she just wanted to check out the longest running band in history. The Blind Boys of Alabama have been an active band since 1939! The 6-time Grammy winners are one of the most respected vocal groups in American roots music. As one would expect, none of the original members are still with us. The existing lineup of Ricky McKinnie (lead vocalist), who actually met the band when he was five, the aforementioned Joey Williams (music director, lead guitarist, and singer), Sterling Glass (vocals) and J.W. Smith (vocals) carry on the tradition of mixing gospel, blues, and soul with a classic quartet sound. The set list included smooth renditions of “Amazing Grace” (arranged to the tune of “The House of the Rising Sun”) and “Spirit in the Sky” along with originals “I’m a Soldier in the Army of the Lord” and “Praying Time”. In a truly inspiring and intimate moment, McKinnie, who lost his sight due to glaucoma at age 23 was escorted off the stage and into the crowd singing along the way. After he returned to the stage, no one was sitting. Instead, the crowd was as active as ever jumping with arms extended in the air for the finale.

Next up would be something of a blues rock and swamp groove supergroup. Southern Hospitality features guitarists J.P. Soars and Damon Fowler, alongside keyboardist Victor Wainwright, all of whom have individual accomplishments as recording and touring artists. In an electric set, Soars and Fowler traded off sizzling leads with Wainwright jumping in to torture his keyboards. About halfway through the set, Fowler humorously informed the crowd, “none of this is rehearsed”.   Their latest album Yard Sale came out in December 2024, and their set featured songs from the album including “Don’t Feel Like Going There Today”, “Gone Fishin” and “Together Again”. Prior to the song, Victor Wainwright shared how a story about getting his first piano inspired the title track for the album, “Yard Sale”.  Another thrill ride of a performance!

The legends from East LA, Los Lobos would close things out. The band played quite an eclectic set, mixing staples like Ritchie Valens “Come On Let’s Go”, “I Got Loaded” covered earlier by The Wood Brothers and Garcia and Weir’s “Bertha” with original material like “Kiko and the Lavender Moon”. “Papa Was a Rolling Stone”, “Oyo Como Va” and a nice rendition of Buddy Holly’s “Not Fade Away” took a crowd that leaned older down memory lane. The finale was sparkling mash-up of “La Bamba” with a segway into The Young Rascals 1966 hit “Good Lovin” before inspiring the crowd to join back into the chorus of “La Bamba”.  And that was it. It felt like a collective exhale from what had been a slow build into breakneck speed of musical enjoyment.

Next year will offer the 25^th Blues From The Top, and this is one fan (of many) returning!

The post Blues, Sunshine & Soul: Blues From The Top Brought the Magic Again appeared first on Blues Rock Review.