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Progressive metal titans Periphery have officially announced the “A Pale White Dot” Fall 2026 U.S. Tour. Coming off the heels of their eighth studio album release on May 15, the band is set to bring their “djent” mastery and technical precision to 20 cities across North America.

Joining them for the trek are Australian progressive powerhouses Ne Obliviscaris, Greyhaven, and Ando San, making this one of the most anticipated technical metal bills of the year. The tour, produced by Live Nation, kicks off October 22 at The Fillmore Philadelphia and marks the band’s first full stateside run since the arrival of their critically acclaimed new record.

A New Era: Supporting ‘A Pale White Dot’

The announcement follows the release of A Pale White Dot via 3DOT Recordings earlier this month. The album has already made waves in the progressive scene, featuring singles like “Mr. God” and “Heaven on High.” Notably, the record represents a shift for the band, marking their first departure from self-titled numerical naming conventions since 2015’s Juggernaut dual-release.

Known for a live show that balances chaotic technicality with Spencer Sotelo’s soaring melodic range, Periphery is expected to debut a setlist heavy on new material while keeping staples like “Icarus Lives!” and “Passenger” in rotation.

We Recommend – The Riff That Changed Everything: Decoding the 13 Best Djent Bands of the Modern Era

Presale and Ticket Information

Fans looking to snag tickets for the 20-city run should prepare for a high-velocity onsale.

• Citi Presale: Wednesday, May 27 at 10 a.m. local time (via Citi Entertainment).
• Artist Presale: Wednesday, May 27 at 10 a.m. local time.
• General Onsale: Friday, May 29 at 10 a.m. local time. Get your tickets at this location.

Periphery: A Pale White Dot 2026 Tour Dates

Date	City	Venue
Oct 22	Philadelphia, PA	The Fillmore Philadelphia
Oct 23	Worcester, MA	The Palladium*
Oct 24	Silver Spring, MD	The Fillmore Silver Spring
Oct 26	Toronto, ON	HISTORY
Oct 27	Montreal, QC	MTELUS
Oct 29	McKees Rocks, PA	Roxian Theatre
Oct 30	Chicago, IL	Ramova Theatre
Oct 31	Minneapolis, MN	The Fillmore Minneapolis
Nov 02	Denver, CO	Fillmore Auditorium
Nov 03	Salt Lake City, UT	The Union Event Center
Nov 05	Portland, OR	Roseland Theater
Nov 06	Seattle, WA	The Moore Theatre
Nov 08	Sacramento, CA	Channel 24*
Nov 10	Anaheim, CA	House of Blues
Nov 11	Phoenix, AZ	The Van Buren
Nov 13	San Antonio, TX	Boeing Center at Tech Port
Nov 14	Dallas, TX	The Studio at the Bomb Factory*
Nov 16	St. Petersburg, FL	Jannus Live
Nov 17	Atlanta, GA	Tabernacle
Nov 18	Raleigh, NC	The Ritz

*Not a Live Nation date

FAQ: Periphery ‘A Pale White Dot’ Tour

Who is opening for Periphery on the 2026 tour?

The tour features a stacked lineup including Ne Obliviscaris, Greyhaven, and Ando San.

When did Periphery release ‘A Pale White Dot’?

The album was released on May 15, 2026, through the band’s own label, 3DOT Recordings.

How do I get Citi presale tickets?

Citi cardmembers can access the presale starting May 27 at 10 a.m. local time through the Citi Entertainment program.

Check This Out – The 13 Best Metal Guitarists Right Now: Loaded Radio’s Definitive 2026 Ranking

STAY LOUD: Catch the full breakdown of the Periphery tour announcement and the latest metal news on the Loaded Radio Daily Podcast. Visit LoadedRadio.com or download our free app now.

TL;DR:

Periphery has announced the “A Pale White Dot” Fall 2026 U.S. Tour in support of their new album. The 20-city run features Ne Obliviscaris, Greyhaven, and Ando San, kicking off October 22 in Philadelphia. Tickets go on sale starting May 27 (Presale) and May 29 (General).

Is ‘A Pale White Dot’ the definitive Periphery masterpiece, or do you prefer the numbered ‘djent’ era? Let us know in the comments.

The post “A Pale White Dot”: Periphery Announces Massive Fall 2026 U.S. Tour Following Album Release appeared first on Loaded Radio.

Today, DragonForce invite fans to join them on their largest North American tour in more than two decades. In celebration of the 20th Anniversary of their monumental album, “Inhuman Rampage” – the record that birthed the Platinum-selling global phenomenon of “Through the Fire and Flames,” and spent 23 consecutive weeks on the Billboard 200 – the cross-country run will soon bring the world’s fastest band to 22 cities this November and December, with support from Ensiferum and Rhapsody of Fire. Beginning at San Diego’s Observatory on Friday, November 13th, dates will stretch from New York City’s Palladium Times Square to Chicago’s Riviera Theatre, Los Angeles’ Wiltern and beyond, further marking 2026 as the start of DragonForce‘s biggest, boldest and most electrifying era yet. 

Following this month’s earth-shattering announcement of Alissa White-Gluz as their new vocalist and first frontwoman, DragonForce previewed the forthcoming tour with two festival performances at Welcome To Rockville and Sonic Temple, which were “riotously received” (Metal Hammer) and “epic” (Metal Injection). But with White-Gluz at the helm, this fall will see sets that are as exhilarating as they are technically breathtaking, filled with even more time-warping precision, spectacular set design, hits from “Inhuman Rampage” and an early taste of their impending studio album. 

Public on-sale for DragonForce’s Inhuman Rampage 20th Anniversary Tour begins at 10am local time this Friday, May 29th, with Citi and artist presales starting at 12pm ET today. See the full list of dates below, and find tickets at dragonforce.com/shows 

As the preeminent pioneers of extreme power metal, now joined by one of metal’s legendary vocalists, DragonForce have welcomed tens of millions of listeners into the fold through the seismic history of “Inhuman Rampage” and their eternally joyous, adrenaline-filled music. Founded in 1999 and based between Los Angeles and London, they have rewritten the rules of heavy metal, while redefining the possibilities of their respective instruments.

Since the release of Inhuman Rampage and its signature anthem “Through the Fire and Flames” – the notoriously unbeatable final boss of Guitar Hero III: Legends of Rock – the GRAMMY®-nominated band have continued to blow the minds of musicians and gamers everywhere. They have been heard in Despicable Me 4, Fortnite Festival, Brawl Stars, Asphalt Legends and beyond, and seen on the covers of dozens of magazines. They have shared stages with Iron Maiden, Ozzy Osbourne, Slipknot, Metallica and many more, but one thing has always been certain: the fastest band in the world will not slow down.

“Alissa joining the band is an expansion of everything we’ve done up to this point,” said DragonForce co-founder and lead guitarist Herman Li, at the time of White-Gluz’s announcement. “Twenty years is a long time to do anything, let alone survive the music industry and still be so inspired to continue doing what we love. Together we will honor what made Inhuman Rampage matter, while showing people exactly where we’re going next. Having Alissa in the room changes everything. She doesn’t just sing, she makes all aspects of our music better. And she sounds incredible live! I can’t wait for the fans to see her and hear what we have been working on.”

“As a long-time fan of DragonForce, having seen them in concert multiple times over the last 20 years, I am beyond excited to be bringing such iconic music to life with these amazingly skilled musicians in such a fun and inspiring environment,” said Alissa White-Gluz, whose ferocious, melodic theatricality and creative fearlessness spans 15+ hours of recorded music, 60+ music videos, 40+ collaborations and 2,000+ concerts across a myriad of subgenres. “It feels great to showcase all the colours of my voice in technically challenging, deeply energizing, highly addictive songs. Creating and performing with musicians who deeply care about the music and concerts as much as I do is so refreshing. Plus, with Blue Medusa going full throttle and gaining so much momentum in parallel, I feel like I am permanently in the creative zone, which is exactly where I want to be! I am so thankful for the amazing support I have been lucky enough to receive from the metal world; I want to keep pushing my boundaries and delivering exceptional music and live experiences to the fans that we cherish so much.”

DragonForce Members

Herman Li – Guitar, Backing Vocals

Sam Totman – Guitar, Backing Vocals

Alissa White-Gluz – Lead Vocals

Marc Hudson – Lead Vocals

Alicia Vigil – Bass

Gee Anzalone – Drums

Inhuman Rampage 20th Anniversary Tour Dates

Nov 13 – San Diego, CA – The Observatory North Park

Nov 14 – Anaheim, CA – House of Blues

Nov 15 – Phoenix, AZ – The Van Buren

Nov 17 – Dallas, TX – House of Blues

Nov 18 – Houston, TX – House of Blues

Nov 20 – Lake Buena Vista, FL – House of Blues

Nov 21 – Tampa, FL – The Ritz Ybor

Nov 22 – Atlanta, GA – The Masquerade (Heaven)*

Nov 24 – Charlotte, NC – The Fillmore Charlotte

Nov 25 – Silver Spring, MD – The Fillmore Silver Spring

Nov 27 – Worcester, MA – Palladium*

Nov 28 – Philadelphia, PA – The Fillmore Philadelphia

Nov 29 – New York, NY – Palladium Times Square

Dec 1 – Montreal, QC – MTELUS

Dec 2 – Toronto, ON – HISTORY

Dec 4 – Chicago, IL – The Riviera Theatre

Dec 6 – Minneapolis, MN – The Fillmore Minneapolis

Dec 8 – Denver, CO – Fillmore Auditorium

Dec 9 – Salt Lake City, UT – The Depot

Dec 11 – Sacramento, CA – Ace of Spades

Dec 12 – Berkeley, CA – The UC Theatre

Dec 13 – Los Angeles, CA – The Wiltern

*non Live Nation Dates

The post DragonForce Announce Inhuman Rampage 20th Anniversary Tour first appeared on FemMetal – Goddesses of Metal.

Sonny Rollins has died at 95. An absolute legend, he was the last man standing from his generation of bebop and hard bop players, and even though he retired from live performance several years ago due to illness, he remained a standard to live up to. 

The post Arturo Sandoval Is Sounding Good appeared first on Stereogum.

Calling all gamer nerds! If you’re looking for new geek rock music that combines a love for both video games and ska, then look no further than Vancouver’s The Wavebirds, and their new album, “In All Their 2.4GHz Glory”.  Featuring 11 songs, this album serves as a tribute to the 90s era, emphasized with the album’s heavy influence on the 3^rd wave ska sound. 

Much like many ska songs from the era, the album blends both horn lines and catchy ska rhythms with lyrics that pertain to the realities of the world.  The concept of video game inspired songs actually fits this cliché perfectly, as they take advantage of escaping to the virtual world; most especially with the second song “I Wanna Live My Life in a Video Game”. 

What makes this album stand out is that video games only serve to symbolize a broader message, rather than just songs that talk about how cool video games are (which isn’t to say this would make for a terrible song).  Their first released song “P.L.I.” is featured on this album and, at first listen, is about wanting to beat someone’s high score on Donkey Kong.  The song actually goes beyond that, being a feminist anthem that argues women are just as capable as men in a patriarchal system.  

The rest of their album follows this formula in songs such as “Blue Shell Breakup” and “The Raid Boss Killed All My Friends”.  The only song that might be the exception is “Youngster Joey’s Song”, which might literally be a song about the Pokemon Rattata.

On top of its successful use of allegory, “In All Their 2.4GHz Glory” has an exceptional sound.  Trombonist Mike Dorval adds horn lines only to fill in empty sounds and adds some enjoyable horn lines (“Come Home, Dizzy”).  Guitarist Adam Thomas and drummer Will Navarro are exceptional and really understand the beats and sound that make for great ska punk music.  

Callyn Dorval joins the list of female vocalists that tie the songs together and doesn’t go above and beyond to outshine the rest of the band.  John Kneeshaw has some pretty amazing basslines that put him near the same tier list as Matt Freeman, Roger Lima, and Pete McCullough.  I think a bass solo in the next project will prove I’m not exaggerating.

 Hidden within songs about fighting bosses and robot beaches is ultimately an emotional album about unity, hardships, and friendship.  With clean production and tunes easy to sing along to, The Wavebirds have a strong debut that rejuvenates geek rock.  In that spirit, I encourage all to invite their friends over, order a few pizzas, and set their consoles aside to not only listen to some Wavebirds, but to bask in all their 2.4GHz glory.  

Also, the CD comes in a GameCube case!

“In All Their 2.4GHz Glory” by The Wavebirds is available now on Bandcamp.

(This is Todd Manning’s review of the first new album from Chicago destroyers Lair of the Minotaur in a very long time, and it’s out now on The Grind-House Records.) It’s difficult this time of year for me to find time to write about music, but I couldn’t let a new Lair of the Minotaur […]

The post LAIR OF THE MINOTAUR: “I HAIL I” appeared first on NO CLEAN SINGING.

Colorado-based deathcore unity Crown Magnetar is pleased to present a brand new single titled “Impaled Genesis”. Check it out.
Read more…

From Hang On Sloopy to Rock And Roll, Hoochie Koo: A celebration of Rick Derringer, who died a year ago today

In the earliest days of the pandemic, the LA hardcore band Repeat Offender dropped a motherfucker of a demo. They played ugly, elemental early-’80s hardcore with some anthemic oi influences and with a singer, Greg Chacon, who sounded less like a traditional vocalist and more like a delusional 10-foot-tall hooligan who’d accidentally wandered into the…

The post Repeat Offender Announce Debut Album <em>Weapon Fetish</em>: Hear “People Like You” appeared first on Stereogum.

TL;DR: The Immortal Riffs of Darrell Lance Abbott

The Dimebag Darrell shooting on December 8, 2004, at the Alrosa Villa wasn’t just a tragedy—it was the moment a guitar icon became a god. In 2026, his legacy is more active than ever, fueled by the ongoing Pantera celebration tour and a landmark court ruling regarding his iconic Dean Guitars designs. While the incident permanently changed venue security, the music of Pantera and Damageplan continues to define the “groove metal” sound for a new generation.

It has been over two decades since the night that changed heavy metal forever. The Dimebag Darrell shooting remains one of the most scrutinized and somber chapters in rock history, but for the global metal community, the focus has shifted from the tragedy to the immortality of the man himself. As Pantera’s music dominates stadium stages in 2026, we look at how the Alrosa Villa incident didn’t just end a life—it forged an undying legend that refuses to fade.

The Canonization of a Legend: From Icon to Immortal

It is a grim truth that tragedy can cement a legacy. For Dimebag Darrell (Darrell Lance Abbott), an artist who redefined the sonic landscape with Pantera and his subsequent project Damageplan, the horrifying events surrounding his murder sealed his place in the pantheon of guitar gods.

We at Loaded Radio have covered the metal scene for decades, and we witnessed firsthand the immediate, collective shudder that went through the industry. His status went from legendary to immortal in an instant. The grief was universal, but it quickly transformed into a fierce, global protection of his riffs and his “Getcha’ Pull” spirit.

We Recommend – PANTERA Albums Ranked: Every Major-Label Masterpiece from Worst to Best

2026 Legacy Update: The Pantera Celebration and Legal Battles

As of May 2026, the Abbott brothers’ legacy is seeing a massive resurgence. The Pantera celebration tour, featuring Zakk Wylde and Charlie Benante alongside Rex Brown and Phil Anselmo, continues to sell out stadiums worldwide. While some purists remain divided, the consensus at festivals like Louder Than Life 2026 is clear: the music is too powerful to remain silent.

Furthermore, a significant legal milestone was reached on May 7, 2026. A federal court issued a major ruling in the long-standing dispute between the Dimebag Darrell Estate and Dean Guitars. The court granted summary judgment in favor of Dean Guitars on 11 of 13 counts, allowing the brand to continue producing the iconic Razorback and Stealth designs—shapes that Dimebag himself famously sketched.

The Shift in Artist Safety: A Permanent Change

The most pragmatic legacy of the Dimebag Darrell shooting was the complete re-evaluation of security protocols at clubs and venues worldwide.

• Mandatory Security Upgrades: Prior to 2004, club security was often minimal. Today, mandatory metal detectors and increased stage-barrier enforcement are the “Dimebag Standard.”
• Artist Protection: The role of first responders was redefined by the actions of officer James Niggemeyer, highlighting the need for rapid-response training specific to live music environments.

The Pantera 2026 Tour: A Live Case Study in Safety

As we watch Zakk Wylde and Charlie Benante take the stage in 2026, the shadow of 2004 is present in every pat-down and every barricade. At the recent Frankfurt show (May 24, 2026), security measures were described by fans as “airport-level,” a direct result of the industry never wanting to repeat the Alrosa Villa tragedy.

For the Abbott family estate, the “In Dime We Trust” initiative isn’t just about selling t-shirts; it’s about a standard of care for the artists. Talking to road crews on the current Metallica/Pantera run, the “Dimebag Rider” is now a standard industry term for enhanced stage-wing security.

Also – A Track-by-Track Annihilation: Why Pantera’s ‘Vulgar Display of Power’ Still Slays

FAQ: The Legacy of the Dimebag Darrell Shooting

Q: Where did the Dimebag Darrell shooting take place? A: The tragedy occurred on December 8, 2004, at the Alrosa Villa nightclub in Columbus, Ohio, during a Damageplan performance.

Q: Is the 2026 Pantera tour a “reunion”? A: No. The band and estate describe the current run as a celebration and tribute. Following the death of Vinnie Paul in 2018, the surviving members chose Zakk Wylde and Charlie Benante to honor the brothers’ parts.

Q: What is the current status of Dimebag’s guitar legacy? A: As of May 2026, a federal court has ruled that Dean Guitars can continue using the Razorback and Stealth trademarks, though the estate continues to honor his memory through specialized builds and the “In Dime We Trust” initiative.

STAY LOUD: Catch the latest heavy metal news on the Loaded Radio Daily Podcast with Scott Penfold. Visit LoadedRadio.com or download our free app now.

Does the current Pantera tour properly honor Dimebag’s memory, or is the music best left to the original recordings? Let us know in the comments.

The post Why the Dimebag Darrell Shooting Forged an Immortal Metal Legend: Legacy, Security, and 2026 Tribute Status appeared first on Loaded Radio.

Melodic death metal had a banner year in 2025, brandishing outstanding releases from Aephanemer, Vittra, Buried Realm, Aversed, and others. Given that many of melodeth’s top tier releases came out in the back half of last year, there’s no cause for alarm yet, but with the exception of At the Gates’ opus The Ghost of a Future Dead, I can’t help feeling 2026 is off to a slow start.¹ Throwing down the gauntlet with Old Gods Awaken, Vancouver collective Atavistia stakes their claim on this year’s melodeath throne. In his review of Cosmic Warfare, Doom_et_al noted that Atavistia made meaningful strides in songwriting since The Winter Way, but that plenty of room exists to further define an identity outside of Wintersun’s shadow. With the spotlight shining on folk metal influences throughout Old Gods Awaken, can Atavistia maintain their velocity after Cosmic Warfare, or would it have been better to let sleeping gods lie?

For anyone who’s read about Atavistia at AMG before, you know there’s one band whose temple even these Old Gods pray at.² If you expected that to change, shame on you. With their most flagrant foray into folk metal to date, Atavistia doubles down on Wintersun worship with Old Gods Awaken while succumbing to a feverish case of Ensiferumania. On the surface, this may sound like Atavistia regressing back towards The Winter Way, but instead the band continues to refine the overwrought compositions that Doomy dinged in that review and delivers a succinct forty-three minutes of symphonic melodeath. And though Wintersun and Ensiferum cast the longest shadows, shades of Children of Bodom and Kalmah broaden Old Gods Awaken’s footprint and enrich its well of influences.

Despite Atavistia’s new musical folk-us and turning over half the band since Cosmic Warfare, they submit well-conceived orchestrations and tight performances throughout Old Gods Awaken. Specifically, Atavistia bade farewell to guitarist Dalton Meaden and bassist D’wayne Murray in 2024, welcoming Elia Baghbaniyan and Spencer Budworth in their stead. The quality of instrumentation remains consistent with previous albums, where guitars and synths steal the show as they trade earwormy melodic lines (“Mystic Tavern,” “I Skogens Djup”) that lead into heartfelt solos (“Goddess of My Dreams,” “Ride the White Storm”) and stirring, rustic breaks (“To a New World”). The haunting choirs on Cosmic Warfare have also been replaced by viking gang chants, which makes sense stylistically, but loses some of the flair that helped the former stand out. Longtime drummer Max Sepulveda lays down a commendable performance as well, spicing songs up with well-crafted fills that never overpower Old Gods Awaken’s dense compositions. Besides contributing guitar and supplying his best vocal performance to date, Atavistia ringleader Matt Sippola weaves together a rousing album that stands beside its inspirations.

While Atavistia successfully plunges headlong into folk, the move erodes some of the identity they established previously. Tracks on Cosmic Warfare recalled Wintersun, but just as much reminded me of Brymir and the choral arrangements in The Phantom Menace. Old Gods Awaken forsakes these subtle nods, and though that isn’t bad on its own, the Ensiferum influence is a safer path that deteriorates some of Atavistia’s idiosyncrasies. Additionally, some of the melodies and song structures on Old Gods Awaken blur together. “Mystic Tavern,” “Seeker of Time,” and “Goddess of My Dreams”³ all have similar-sounding leads, and the first two also have somewhat predictable compositions that stand out since the songs are back-to-back, particularly in terms of pacing and the timing of more subdued moments. Ultimately, these are minor complaints on very well-executed material, but diversifying the song structures could unveil even greater heights.

Old Gods Awaken subverts my expectations of what I thought a new Atavistia record would sound like, and even though they lean into a well-defined arena, they do so capably. Monster hooks and intricate, engaging arrangements keep the replay value of Old Gods Awaken tantalizingly high, especially with tight songwriting across the album. I’m curious where Atavistia goes next, as there’s no clear indication of what direction they’ll take. Whatever it is, the persistent urge to evolve their songcraft proves Atavistia will make it interesting and fun, and that every once in a while, you can teach Old Gods new tricks.

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Rating: Very Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 15th, 2026

The post Atavistia – Old Gods Awaken Review appeared first on Angry Metal Guy.