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Out of the industrial docklands of Trondheim, Norway, comes One And A Half Dog, a hard-hitting five-piece rock band.

The band consists of five humble, grown-up guys brought together by a shared love of rock ‘n’ roll. The journey started taking shape in 2017, when the band felt their songwriting and arrangements were heading in the right direction. Things really came together in 2019 when the current line-up was formed and started creating what would become the One And A Half Dog sound, recording their first songs along the way.

The band members draw inspiration from nearly five decades of music. Influences range from the classic rock giants of the 70s and heavy metal bands of the 80s to more modern acts such as Foo Fighters, Tool and Rival Sons. Powerful drums, distorted guitars, melodic vocals and strong song arrangements are all key parts of the One And A Half Dog sound.

The band has never been too concerned with fitting into a specific genre, but most listeners would probably place them somewhere in the New Wave of Classic Rock movement.

One And A Half Dog released their first two singles, Battlefield and Fire In The Hole, in September 2019 and have continued writing and recording new material ever since.

Their new song “The Letter” is a dark, slow-burning alternative rock/grunge track about conflict, regret, distance and, ultimately, letting go. It began as an acoustic idea inspired by the raw and melancholic feel of 90s unplugged grunge before developing into a full-band song with heavier guitars and a gradual emotional build. What stands out most is the dynamic build throughout the track, leading into a powerful chorus and an intense finale, backed by some fantastic drumming. 

Metal Breakdown Daily is one page, every weekday: the episode on the player below and the three stories in print, so you can listen, read, or both. Today Dave Mustaine leads, because the Megadeth farewell album that went to number one in January apparently isn’t the last word: at a Grammy Museum Q&A he said the band will go back through the half-songs left on the tape to see if any are worth finishing, and the Megadeth new songs question has a very specific answer that depends on one word.

Also today: Randy Blythe says he didn’t know Lamb Of God had a new logo until he saw the Into Oblivion artwork (‘nobody tells me anything’), and Staind are taking the Break The Cycle 25th anniversary tour back out for 27 arena dates with Seether, Hoobastank and Hinder, including Vancouver, Calgary and Edmonton.

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Scott Penfold opens today’s Metal Breakdown Daily with Dave Mustaine’s plan for Megadeth’s leftover half-songs, then Randy Blythe and the Lamb Of God logo he never saw coming, Staind’s second leg and the Canadian dates, and a Take about the word ‘final’. Download the free Loaded Radio App on Apple iOS and Google Play and stream the show now.

Megadeth: Mustaine Will Go Back Through The Half-Songs From The Final Album

Dave Mustaine says Megadeth will review the unfinished ‘half-songs’ recorded during the sessions for January’s self-titled farewell album, to see if any are worth completing, but only from recordings that already exist.

Megadeth’s seventeenth album came out on January 23 and debuted at number one on the Billboard 200, topping the chart in ten other countries as well. Mustaine had said the previous August that it would be the band’s last studio record, because of the progressive hand condition, Dupuytren’s contracture, that will eventually need surgery.

At a Grammy Museum Q&A on September 24 he explained how the leftovers happen. Somebody gets an idea mid-session, the band speeds to the end of the song they’re on, and the new idea gets tacked onto the end of the take. Decades of that leave a pile of fragments. The plan now is to ‘go back with this record and see all the half-songs that are there’ and find out if there’s anything in them. He was specific that the material would come from ‘sessions they’ve already recorded’, not new ones.

Where it leads is anyone’s guess, which is why there’s a Take on it below. Megadeth’s unreleased songs have a history of surfacing eventually, and the farewell tour Mustaine says he’ll finish before surgery could run three to five years. That’s a long time for a ‘final’ to stay final.

Lamb Of God: Randy Blythe Found Out About The New Logo From The Album Cover

Randy Blythe told Australian radio he didn’t know Lamb Of God were changing their logo, the first redesign in 27 years, until he saw the artwork for Into Oblivion.

‘I didn’t even know we were gonna have a new logo until I saw the album artwork,’ Blythe told Rebel FM‘s breakfast show. ‘Nobody tells me anything.’ Into Oblivion, the band’s tenth album, arrived in March on Epic in the US and Century Media in Europe, produced and mixed by Josh Wilbur, and the clean, minimal mark on its cover replaced the one fans had worn on shirts since 1999. Half of them hated it. Blythe, who has previously compared the old Papyrus-font logo to a falafel restaurant menu, is not among them.

His position is that none of it matters. ‘It’s just a name,’ he said. ‘You can put it in fancy cursive or fourteen-year-old schoolgirl bubble letters. It doesn’t make a difference.’ He’s half right: the music on the best Lamb Of God records doesn’t care what font it’s in. The shirt does, and the shirt is how a metal band pays rent now. Somebody made that call deliberately, and they made it without telling the singer.

The same interview had the least metal advice ever given. The thing keeping his voice alive on tour, fifteen years sober, is sleep. He’s right about that too. Groove metal is hard on a throat.

Staind: Break The Cycle 25th Anniversary Tour Adds 27 Arena Dates, Three In Canada

Staind have announced a second North American leg of the Break The Cycle 25th anniversary tour, 27 arena dates from March 4 to April 16, 2027, with Seether and Hoobastank on every show and Hinder on all but Cleveland.

The Canadian stops are Vancouver’s Rogers Arena on March 29, Calgary’s Scotiabank Saddledome on March 31 and Edmonton’s Rogers Place on April 1. There’s nothing east of Alberta; the closest date to the Maritimes is the opener, Manchester, New Hampshire, on March 4. Presales run today, with a Spotify Premium presale at 11am Eastern and the Citi and artist presale from 1pm Eastern through 10pm local time Thursday. General on-sale is Friday at 10am local through Live Nation.

The album they’re celebrating is the one that made them. Break The Cycle came out in 2001, debuted at number one, went seven-times platinum, and ‘It’s Been A While’ spent twenty weeks at number one on rock radio. ‘This has truly been the most amazing ride we could have ever been on,’ Aaron Lewis said in the announcement, ‘and it’s been the most amazing experience you could have provided us.’ Nobody in 2001 would have bet on Staind being the band from that wave doing arenas with three support acts in 2027. Twenty-five years is a long time to be wrong about a band.

The Take: Leave The Word ‘Final’ Alone

Mustaine has been honest about all of this. The problem isn’t him. It’s what the music business does with leftovers once a band has said goodbye.

He’s been straight: his hand is failing, the January album is the last one, and anything else is scraps from the same sessions. That’s honest, and a band gets to decide what to do with its own tapes. Some of those fragments will be good. He’s Dave Mustaine; the riffs don’t stop being riffs because they’re unfinished.

The worry is the pattern. The scraps become an EP. The EP becomes a deluxe edition. The deluxe edition gets a tour, and three years from now there’s a seventeen-and-a-half-th Megadeth record with a sticker on it that says ‘the final chapter’, and the goodbye we were asked to treat as a goodbye turns out to have been the first of several. Yesterday’s post called Sepultura playing the real number the most honest farewell in metal this year. The second most honest thing a band can do is leave the word ‘final’ alone once it’s been used.

So, a fan’s ask. Finish the half-songs if they’re good. Release them. Call them what they are: outtakes from the last album. Don’t give them a title, a cover and a number, and don’t make the Megadeth catalogue seventeen albums and an asterisk.

TL;DR

• Dave Mustaine says Megadeth will go back through the unfinished ‘half-songs’ from the farewell album’s sessions to see if any deserve finishing; it would come only from existing recordings. The album debuted at number one in January; Dupuytren’s contracture is the reason it’s the last.
• Randy Blythe didn’t know Lamb Of God had a new logo until he saw the Into Oblivion cover. ‘Nobody tells me anything.’ It’s the first logo change in 27 years and he says it doesn’t matter.
• Staind’s Break The Cycle 25th anniversary tour adds 27 arena dates, March 4 to April 16, 2027, with Seether, Hoobastank and Hinder; Vancouver, Calgary and Edmonton are the Canadian stops. Presales today, general on-sale Friday.
• The Take: finish the half-songs, call them outtakes, and leave the word ‘final’ alone.

FAQ

Metal Breakdown Daily is Loaded Radio’s weekday rock and metal news show, hosted by Scott Penfold. New episode every weekday morning on the free Loaded Radio app for Apple iOS and Google Play, and right here. Follow Loaded Radio for the stories as they break.

The post Metal Breakdown Daily: Megadeth’s Last Album Has Leftovers, Lamb Of God’s Logo Surprised Their Singer, Staind Go Arena-Sized appeared first on Loaded Radio.

Nova Twins are the London-based rock duo of vocalist and guitarist Amy Love and bassist and backing vocalist Georgia South. Formed in 2014, the pair built their identity by combining punk, heavy rock, grime, hip-hop, electronic textures, and a fiercely independent visual style. Their early releases established a sound built around Love’s guitar and vocals and South’s effects-heavy bass work, with the self-titled Nova Twins EP arriving in 2016. The duo expanded its catalog with the Thelma and Louise and Mood Swings EPs in 2017 before moving into a run of singles that led to the debut studio album Who

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

You probably know the story of Batman by now: by day a wealthy entrepreneur and philanthropist, by night a warrior for justice. Well, Eshtadur live a similar dual life. By day, recording heavy metal music at RockStar Studios in Colombia and, well, other days recording with the Caldas Symphonic Orchestra at Batula’s Theater, also in Colombia. Just like Septicflesh, these guys are the real deal, using an actual orchestra instead of synthesizers or digital workstations to add symphonics to their music. While I’m not sure how long they’ve collaborated with an orchestra, Eshtadur’s first piece of music, a demo, landed nearly two decades ago. Their early stuff, like 2011’s Dominated by Dummies, was a full-on black metal assault full of rough edges, but they’ve honed their style across another five albums into a more polished melodeath mixed with all the orchestral trappings. Four years in the making, In Darkness All Shadows Gone is an ambitious undertaking, but is it worth your while?

In Darkness All Shadows Gone mixes some Fleshgod Apocalypse (minus the pomp) with the darker undertones of Septicflesh for a high energy, sometimes brutal melodeath journey. Their death metal borrows heavily from the Septicflesh school, with plenty of melodic flourishes in the vein of At the Gates and Dark Tranquillity. Eshtadur make tasteful use of the symphonic elements—they don’t drown the music in it, but it does add meaningful nuances to the songs. “Old Shaman Blind” probably best marries the orchestral arrangements with the death metal. It opens with some dramatic strings, then throws in some At the Gates riffs, topping things off with folky Tuvan throat singing for the coolest track on the record.¹ “Umbra” takes a more atmospheric approach, anchored by some sweet ukulele/mandolin playing to bookend the track. The tight “Thunderground” shows off Eshtadur’s melodic prowess with minimal symphonic bits. Elaborate solos pop up on most songs, adding a power metal character to the likes of “August’s Burden” as well as some neoclassical flourishes on “Soy Real.”

Eshtadur describe the thematic content of In Darkness All Shadows Gone as a narrative following The Crow, who guides listeners on a redemptive arc about how darkness shapes one’s identity. That theme of darkness also shapes Eshtadur’s musical approach. Jorg August’s deep, throaty growls contribute mightily to the music’s brutality. The guitars and drums don’t quite reach Brodequin levels of brutality, but August’s growls have a guttural character that serve as a contrast to the lighter touches from some of the solos and melodies. Eshtadur’s symphonic choices also contribute to the darkness, with ominous bellowing horns being most common (“Omen of Millenia,” “Fire Above Mountain Below”), as well as strings that sound more suspenseful than lighthearted. Dark as it can get, the record is still plenty of fun.

When artists take an ambitious approach to their work, one concern is that they may develop a fear of killing their darlings, and Eshtadur is no different. At 12 songs and one hour in length, In Darkness All Shadows Gone is a beast, but it’s only in the second half that things begin to sag. Sure, some of the early tunes run a minute or so too long, but those first seven songs feature the album’s best melodies and go by fairly quickly. It’s the final five tracks, during what I assume is the “self-discovery and spiritual awakening” arc, where the record loses steam. There’s a little more focus on atmosphere on these tracks, and the hooks just don’t sink in as deep. The nine-minute “A Black Winged Waltz” doesn’t work, as it bounces all over the place and lacks cohesion. These songs still have plenty of cool stuff, but as a whole just don’t land on the same level as the earlier stuff.

I admire Eshtadur’s desire to deliver an authentic musical experience through collaboration with a symphony orchestra instead of going the digital route. Not that I fault artists who do go that route. The logistics of enlisting an orchestra—the time, money, and planning—certainly make it more prohibitive than not. For Eshtadur, the symphonic arrangements serve as more than just window dressing, and their melodeath shows some depth and precision in riffs. In Darkness All Shadows Gone is well worth an hour or two of your time, and Eshtadur proves to be a band to keep on your radar just to see what they manage to do next.

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Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Rockshots Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: October 2nd, 2026

The post Eshtadur – In Darkness All Shadows Gone Review appeared first on Angry Metal Guy.

Their new album, 'Live and Loud Across the U.S.A.,' arrives later this month. Continue reading…

Firevolt Rock Festival 2026 roared into Saturday with another packed day of heavy riffs, huge personalities and standout performances across both stages. From rising names such as LN, Muddibrooke and Thieves Of Liberty to the dark theatrics of Wednesday 13 and a full-throttle headline set from Massive Wagons, day two proved there was absolutely no let-up after Friday’s explosive start.

Firevolt Rock Festival – Saturday 8 August 2026

Words: Dave Bonney

Photography: Richard McCan/Labrat Photos

Crowley

Occult rock band Crowley from Newcastle played their first two songs without bass player Kim Fellows, who fell victim to the dreaded curse of what seems to be ongoing tech issues on the main stage. The band looked great and sounded better once the low end was restored.

In singer Lidya Balaban, their cult leader, Crowley possess a figurehead emitting magical, mystical aesthetics, with a powerhouse voice blending melodic grace and fierce power delivered with effortless ease.

Obviously, the set was over all too quickly. Balaban told the audience that the last song, Pyre, is about burning men. It seems the witches have had their revenge. I am looking forward to seeing Crowley again under different circumstances and for a bit longer next time.

McHale’s Permanent Brew

McHale’s Permanent Brew have apparently been around since 2017 but have somehow passed me by. I am not sure how really, given they have shared the stage with bands like Dr Feelgood, Atomic Rooster, The Quireboys and Nine Below Zero, slotting in perfectly with the rough demographics of those bands.

Their heavy blues and classic rock sounds were a welcome early afternoon start on the Trooper stage. McHales Permanent Brew leaned heavily into material from their brand-new album III, including the six-minute epic Spread The Love, which is a bold move in anyone’s book. Such is the confidence in their new offering.

The brothers McHale are a great combo, with the Marlboro and whiskey-soaked vocals of Paul, who strummed an acoustic through every song, allowing Frank carte blanche with some seriously scintillating fretwork.

This was backed up with the Rhythm section of Chris Orrell and Ste Houghton keeping things tight and in check, and Si Lomax tinkering the keys over the top of it all.

Third Lane Baby Blues, Cafe Bar A Go Go and She Loves Me Too keep the intensity high with some serious string bending and distorted tone being coaxed out of McHale’s suffering Telecaster.

Last song was their own take on All Along the Watchtower, which included a mid-section of The Message, the landmark rap song by Grandmaster Flash and the Furious Five, with singer McHale doing his finest Melle Mel lead rap impression.

Some might call it sacrilege, whilst others who like to have fun lapped it up. Bloody genius, I would call it. Now, when and where are they playing next?

Thieves Of Liberty

The North East is very well represented at FireVolt this year, and with the scene buzzing up there, it reminds me of all the bands breaking out of Wales a few years ago.

Thieves Of Liberty played the last FireVolt I reviewed in ’23 when they were handed the opportunity after entering the festival’s battle of the bands competition to find an up-and-coming band to open the weekend. After reaching the final, they deservedly went on to win it.

Three years on, the band have shaken off the grassroots tag and are becoming a force amongst the NWOCR scene, touring frequently and getting the all-important festival invites that put them in front of so many people.

Thieves Of Liberty played a high-energy set on the Bludsucker stage featuring live favourites and new material alike. Frontman James Boak has a certain swagger about him and a mighty fine set of pipes to match, and the twin guitars of Kieron Wilson and Liam Lindlsey interlock with precision, trading soaring harmonies and razor-sharp riffs.

Openers Too Much, Calypso, Sweet As Today, and Hush prove the new songs are up to the task of the next level for the Mackems and along with the set closer, Behind The Moon, this is another new one setting the bar high in anticipation for the forthcoming album.

LN

After witnessing the phenomenon of LN Hirst and the band she fronts only a few weeks before at the Rock & Blues festival, I eagerly made my way to the Trooper stage to bag my place on the barrier.

Unfortunately, I had not factored in the impact this band are having on the Metal scene right now. The place was already rammed with Peasants, the name given to the band’s followers, all wearing their green LN Peasent shirts, like a uniform.

I can honestly say that singer LN Hirst is without doubt the most captivating, charismatic and energetic front person I have seen in many a year.

A whirling dervish with her long dreads and face paint, her stage presence is the catalyst for the aesthetic of the band, and her vocal performance, which transitions seamlessly from exquisite ethereal melodies to guttural rage, is a joy to behold.

She does not ask for engagement. She demands it, and no one needs telling twice. This woman is simply mesmerising. Now I love a Viking theme. Who does not? But when it comes to Viking bands, I tend to find them all a bit samey.

No such thing going on here. This is different, disparate, and this is happening now. The music grips you and locks you in, finding yourself zoned completely in another world. Hirst’s hypnotic eyes look within you, like the snake Kaa from The Jungle Book. She now owns your worthless soul. You are now a Peasant!

But it is not all about the theatrics. The music is exceptionally strong. Sonically and visually, they have found the perfect mix, and songs like Fenrir, Hangman’s Son, The Slaughter and Hellfire are devastatingly delivered.

During Draugr, the singer brings out the band’s mascot, Donnie, the undead warrior who was decapitated and his head mounted on a stake to warn off other creatures. Like a pagan witch ballerina, Hirst seductively licks his face whilst introducing him to the Peasants.

It is all good clean fun. These guys really are kicking up a storm at the moment, and it will be intriguing to see how far they can take this. Here’s to the next ceremonial gathering.

Muddibrooke

From one captivating frontwoman to another. Well, two if you count Brooke’s [Harriet McDonnell] sidekick, bass player Anne Melidone. Both capture the crowd’s imagination with their intensity.

There is plenty of Muddibrooke angst up on stage, just delivered in a completely different way. Alternative, one might say, almost grungy, there are zero guitar solos on show here. The two ladies up front, backed today by Josh, a stand-in for drummer Morgan Pettigrew, bounce off each other like second nature and with a great rapport. Both possess fine voices.

ADHD is as frantic as the title suggests, and I am guessing it was written with experience. Liverpool Guy is also autobiographical, with Brooke recalling her experience around the time of coming out of lockdown and meeting the Scouse gentleman who became the subject of the song.

The line “My Liverpool guy wants to kiss me, but I don’t know where he’s been” raises more than a chuckle from the ladies around me. The cathartic, confessional nature of Muddibrooke is definitely one of the reasons they are on the rise, with audiences vibing off the relatable sounds.

Fool Heart, the track that has featured heavily on recent setlists, was next up. This will feature on the band’s debut album, which Brooke proudly informed the audience was produced by Thunder’s Luke Morley no less.

Finishing off a quick-fire set with a well-deserved ovation and the personal autonomy of You Don’t Own Me, a cover of Lesley Gore’s ’60s feminist anthem, this song resonates hard amongst both genders alike.

These ladies have something to say, and boy did they let FireVolt know it this afternoon.

These Wicked Rivers

I first wrote about this band nearly a decade ago at The New Cross Inn in London and went on to review their debut album Eden in 2020, both glowing reviews, I might add. So it is fair to say I am a big fan of These Wicked Rivers, which is just as well, really, when I realised I had made no notes whatsoever of their set. To be honest, this is invariably a good sign.

The stage is set, with its now customary peace, love and lampshades setting, Grandfather clocks and patterned rugs a plenty, which perfectly fits their visual identity.

If you knew nothing of this band, you would kind of guess what you were about to listen to with the surroundings set out before you. I have witnessed them a fair few times since those early days, but it is plain to see just how far they have grown as a band in those eight years.

Opening with the aptly named Force Of Nature, which they most definitely are these days and Black Gold, the band’s engaging frontman John Hartwell has the audience in the palm of his hand.

They always did write great songs, but the new material they aired today from their Andy Sneap-produced Fire & Folklore album, such as Sing Another Song, Ain’t No Smoke and Rise, seems to show a newfound, dare I say, sophistication.

Old favourites Evergreen, Shine On and Testify keep up the momentum before the guys bow out with the epic Don’t Pray For Me. Their growing reputation as future major artists seems assured and is reflected in the biggest crowd at the Trooper stage so far this weekend.

I truly believe that arena’s await for These Wicked Rivers.

Dare

Technical Issues with the reviewer mean that next band, Dare, could only be listened to and not witnessed, so my apologies for that.

But as always with Darren Wharton, he and the band sounded amazing, and the crowd reaction was incredible.

Wednesday 13

I admit I know very little about the man (Joe Poole) or the band Wednesday 13 other than the last time I saw him, he was fronting the Murderdolls with the legend that was Slipknot drummer Joey Jordison on guitar. To be honest, it was my only reason for being at the small Mean Fiddler venue in Central London, almost a quarter of a century ago, way back in 2002.

It was this association with Jordison that catapulted from local Horror Punk Metal bands to international recognition. The very fact that Wednesday 13 and his band travelled from the US shows how far FireVolt Festival has come in its first four years, attracting global bands as a matter of course.

The self-proclaimed Duke of Spook kicked off with When The Devil Commands before informing his devotees, “we play songs about death, dying, and the dead.” He is a cheery soul!

Murderdolls songs, Summertime Suicide and Nowhere, were played in homage to Joey, while I Walked With A Zombie, Bad Things and Look What The Bats Dragged In were great.

If I am being honest, I could do without the drum solo, although the horror movie graphics behind Mike Dupke were pretty cool. I guess throwing small plastic spiders out of a pumpkin into the audience, causing a right old commotion with the ghouls on the front barrier trying to grab one of the cute little keepsakes, is as close to a mosh pit as you will get at a Wednesday 13 gig and great fun to watch, to be honest.

Ending with I Love To Say Fuck (and I mean who the fuck does not) was a raucous sign-off with, as you can guess, the obligatory and obvious audience engagement.

Having started the gig in the ‘not my bag’ section, I have to admit Wednesday 13 were captivating and great fun for an hour and a quarter and apparently the band of the weekend for many people around me. And we still have eleven bands to play.

This just left time for FireVolt organisers Bev and Stret to invade the stage bearing balloons and cake for Mr Wednesday’s 50th birthday. Well, who knew that horror punk zombies celebrated their birthdays and like to eat cake? Every day’s a school day.

Massive Wagons

This brings us to the headliners on the main Bludsucker stage for Saturday, the mighty Massive Wagons. They start proceedings with Everywhere We Go, and the whirlwind that is Baz Mills is, as always, pleased to be here.

Seemingly powered by a gallon of Red Bull, it was not long before the effervescent frontman had the crowd dancing to his tune. It Was Fun While It Lasted carried on where the opener left off.

While most of a Massive Wagons set is designed to keep the party atmosphere going, the poignant Night Skies is a stark reminder of how fragile life can be and resonates strongly with the audience, many of whom will no doubt have been touched by the song’s subject matter.

There were some really big songs missing tonight, real crowd pleasers, but I suppose that is what you get when you have a back catalogue of songs like Massive Wagons have. Newer material took up a big part of this headlining set, with the new single Story Of My Demise getting a nod.

It was great to see Pressure and The Curry Song reinstated back into the set, the latter being 100% written for the stage with lyrics actually penned for the audience and singing them is not optional.

Generation Prime takes a break to incorporate Mysterious Girl, in keeping with the theme of certain bands playing well-known pop songs over the weekend.

Fuck The Haters gives Baz the chance to vent, but I think that phase has been done and dusted. Guitarists Steve Holl and Adam Thistlethwaite trade licks all night, with Holl trying his best to keep up with Baz in the bouncy stakes. The very trim-looking Bowz on bass keeps it all together with the man at the back, drummer Alex Thistlethwaite.

No Pressure, House Of Noise, Banging On The Stereo and In It Together are a tour de force of songs to end the evening with, and the flames and pyros spectacularly bring everything to a crescendo of audio and visual magnificence to end a stunning second day at FireVolt.

You can read all MetalTalk’s 2026 coverage of Firevolt Festival at metaltalk.net/tag/firevolt-festival-2026.

The 2027 edition will be from Friday 13th to Sunday 15th August 2027. 3 Days, 2 Stages, One Hell Of An Explosion Of Face Melting Rock. Tickets are available from gigantic.com/firevolt-mcr-festival-tickets. For more details, visit FirevoltFestival.co.uk.

Firevolt Rock Festival 2026 – A Friday Explosion Of Face-Melting Rock

The post FireVolt Festival 2026 Saturday: No Let-Up As The Weekend Hits Full Force first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Pennywise closed out their fall tour at NYC’s Irving Plaza on October 4

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Posted on October 7th 2026, 2:00pm

Miley, the pop veteran who recently dropped the “Cyrus” from her stage name, had the #1 album in America last week. This week, things look starkly different. Her new album Bass Persuades debuted at #1 last week. Its 61,000 album equivalent units were enough to temporarily sneak past Ella Langley’s Dandelion and give Miley her first #1 album since 2013’s Bangerz. It couldn’t last. This week, Bass Persuades plummets all the way down to #157 — the biggest-ever drop from a #1 debut.

The post Miley’s New Album Makes <em>Billboard</em> History For Biggest Drop From A #1 Debut appeared first on Stereogum.

BMG and the Montreux Jazz Festival have released a previously unheard live recording of B.B. King performing “You Know I Love You” at the 1989 Montreux Jazz Festival.

The recording was captured at Casino Montreux and will appear on the upcoming collection B.B. King: The Montreux Years, which is set for release on November 20. “You Know I Love You” follows the previously released “Early in the Mornin’” as the latest preview of the collection.

B.B. King: The Montreux Years draws from nine of King’s 23 appearances at the Montreux Jazz Festival between 1982 and 2000, highlighting performances from nearly two decades of his long relationship with the festival.

The album will be released as a 2LP vinyl set, a 2CD digisleeve edition and digitally in HD. “You Know I Love You” is one of four additional recordings that will be included exclusively on the 2CD and HD digital editions.

The recordings have been restored and newly mastered from the original tapes by Tony Cousins at Metropolis Studios in London. The project was assembled in collaboration with the B.B. King Estate and Montreux Jazz Festival team under license from Montreux Sounds.

The collection also features rare and previously unseen photographs along with new liner notes from B.B. King biographer Daniel de Visé, with assistance from King’s longtime bassist Michael Doster.

B.B. King: The Montreux Years is part of the ongoing Montreux Years series, which has previously featured live collections from artists including Muddy Waters, Etta James, Nina Simone, Dr. John, Roberta Flack and others.

B.B. King: The Montreux Years will be released November 20.

The post A previously unheard B.B. King performance has just been released appeared first on Blues Rock Review.