Blog

Korn’s Here To Stay proved the nu metal legends weren’t going anywhere, but its creation was chaotic and expensive

Aaron Lewis, the multi-platinum Staind frontman turned country traditionalist, is once again stirring the pot of American discourse. Lewis has officially announced his sixth solo country studio album, Give My Country Back, arriving July 17 via Big Machine Label Group.

Alongside the announcement, Lewis has unleashed the album’s blistering title track—a swampy, grit-infused anthem that channels his frustration with the modern political climate and the current state of American leadership. At 54, Lewis isn’t just looking for a political shift; he’s undergoing a personal one, revealing a new lifestyle of sobriety and health that fuels his most intense vocal performances to date.

Sovereignty and Self-Ownership: The Heart of ‘Give My Country Back’

With over 5.7 billion career streams under his belt, Lewis has built a bridge between the raw vulnerability of post-grunge and the unapologetic honesty of outlaw country. His latest project, produced by Sol Philcox-Littlefield, pairs roughhewn honky-tonk roots with “modern country muscle.”

“That’s life’s struggle right there,” Lewis explains regarding the album’s themes. “You are the master of your own destiny, and everything happens because of your actions—whether you want to admit it or not. Self-ownership is a huge thing to learn how to do in this life, and it’s always an internal battle.”

The title track, “Give My Country Back,” is a direct evolution of the patriotic fervor seen in his 2021 Gold-certified hit “Am I The Only One.” Lewis makes no apologies for his stance, stating: “I actually care about the fact we have people we put in their positions, who are in no way, shape, or form doing anything in any way that is better for us.”

We Also Recommend – THE NORTHWEST INVASION: Best Grunge Albums Ranked – The 13 Most Essential Pillars of the Seattle Sound

A Season of Change: Sobriety and Kickboxing

While the lyrics focus on the state of the union, the man behind the microphone is undergoing a radical transformation. Lewis admits that the realization that “life is more than half over” prompted a significant lifestyle shift.

“I wasn’t living as cleanly as possible, so I quit drinking. I quit smoking cigarettes. I’ve done some kickboxing,” Lewis reveals. “I’m on a healthier routine, and I want to get better before I can’t. The realization that life is more than half over will get you to change, if you allow it. That’s where I’m at.”

This newfound clarity is reflected in tracks like “The Door,” “Too High For This,” and “List Of Things To Quit,” which Lewis claims offer a look into his life more intimate than he may even realize himself.

The 2026 American Tour

Lewis is currently traversing the nation on his “2026 American Tour” alongside his longtime band, The Stateliners. The tour serves as the primary testing ground for the new material, which Lewis co-wrote with heavyweights like Jeffrey Steele, Bobby Pinson, and Travis Meadows.

Get your tickets at this location.

‘Give My Country Back’ Official Track Listing:

1. The Door
2. Bad Thing To Be Good At
3. Too High For This
4. List Of Things To Quit
5. Give My Country Back
6. People I’ve Known
7. Let Go Like The Rain
8. A Showman’s Life
9. Keeping Up With The Jonesin’
10. Duct Tape And Bailin’ Wire

FAQ: Aaron Lewis – ‘Give My Country Back’ Details

When does the new Aaron Lewis album come out? Give My Country Back is scheduled for global release on July 17, 2026, via Big Machine Label Group.

Is Aaron Lewis still in Staind? Yes. While Lewis has maintained a highly successful solo country career for over 15 years—earning two No. 1 Billboard Country Album debuts—he remains the frontman for the multi-platinum rock band Staind.

What is the meaning behind the title track? According to Lewis, the song “Give My Country Back” is an anthem rooted in freedom and frustration with the current political leadership, advocating for accountability and a return to traditional American values.

STAY LOUD: Catch the full breakdown of Aaron Lewis’s new album and his 2026 tour schedule on the Loaded Radio Daily Podcast with Scott Penfold. Visit LoadedRadio.com or download our free app now.

Check This Out As Well – The Lost Archives: 13 Forgotten 2000s Metal Bands That Defined a Decade

TL;DR:

Aaron Lewis has announced his new solo country album Give My Country Back arrives July 17. The title track is out now, featuring Lewis’s signature patriotic grit. The singer also revealed he has quit drinking and smoking to focus on health as he continues his 2026 North American tour.

Is Aaron Lewis’s blunt political honesty the breath of fresh air country music needs, or is the Staind frontman pushing the “Outlier” brand too far? Let us know in the comments.

The post “Give My Country Back”: Staind’s Aaron Lewis Unleashes Fiery New Anthem and Announces 2026 Solo Album appeared first on Loaded Radio.

The post Pay-For-Play Industry Plants In The Music Business & How It’s Tearing Out The Heart & Soul Of Original, Human-Created Artistry appeared first on INFRARED MAGAZINE.

In September, Lola Young released her third album, I’m Only F**king Myself. Shortly after, she fainted during her All Things Go set and then announced a hiatus. The UK singer performed at the Grammys’ Best New Artist event in January and won Best Pop Solo Performance for “Messy.” She’s on the lineup for both the…

The post Lola Young Shares James Blake & Jameela Jamil Collab “From Down Here” appeared first on Stereogum.

The Match Börner Open Air has slowly become one of the more prominent festivals in the greater Hamburg area. This two-day event takes place at Stadtpark Norderstedt, north of Hamburg. Set in beautiful surroundings, the festival is characterised by a great vibe and excellent bands. For their 2026 edition, the MBOA organisation has put together… Continue Reading →

At a recent New York dinner party, two famous people crossed paths, and things could’ve gone quite badly. Chances are that you recognize Azealia Banks, the New York dance-rapper who’s probably more famous now for talking reckless shit online than for making music. (The last time she was on this website, it was for getting dropped from last year’s Milkshake Festival over various offensive things she’d said about the queer community.)

The post Azealia Banks Explains Why She Didn’t Punch Judy Jupiter appeared first on Stereogum.

Distinguished guitarist Adrian Vandenberg is bringing a powerhouse night of classic hard rock to U.S. audiences this August with ‘My Whitesnake Years‘ tour. The tour features an all-star line-up including acclaimed guitarist Vinnie Moore and veteran bassist/vocalist Marco Mendoza, celebrating decades of iconic rock music spanning Whitesnake, Thin Lizzy, UFO, Ted Nugent, and beyond. Tickets and […]

The post Adrian Vandenberg Announces ‘My Whitesnake Years’ Tour U.S. Dates appeared first on ROCKPOSER DOT COM.

Joe Bonamassa has released two new live singles, “Bad Penny (Live)” and “Back On My Stompin’ Ground (Live),” from his upcoming live album and concert film The Spirit Of Rory Live From Cork, which arrives June 19 via J&R Adventures.

The performances were recorded during Bonamassa’s sold-out tribute shows in Cork, Ireland, honoring late Irish blues guitarist Rory Gallagher. The project was recorded with the blessing of Gallagher’s family across a three-night run that expanded from an originally planned one-night event.

The setlist for The Spirit Of Rory Live From Cork was inspired in part by Gallagher’s famed Irish Tour ’74 era and the live energy associated with that period of his career. While “Bad Penny” originated from Gallagher’s 1979 album Top Priority, “Back On My Stompin’ Ground” first appeared on 1973’s Blueprint.

“Bad Penny” became one of Gallagher’s signature live songs, known for its hard-driving blues rock groove and aggressive guitar work. Bonamassa’s live version stays close to the spirit of the original performance while capturing the atmosphere of the Cork crowd.

“Back On My Stompin’ Ground (Live)” highlights a different side of Gallagher’s catalog. The song blends blues, folk, and rock influences and became one of the more emotional moments during the Cork performances in Gallagher’s hometown.

Additional DVD and Blu-ray bonus features will include The Inspiration of Rory, featuring conversations with Brian May and Slash, along with behind-the-scenes footage and segments focused on Gallagher’s instruments and legacy.

The Spirit Of Rory Live From Cork will be available digitally, on CD/DVD, CD/Blu-ray, and double 180-gram red marble vinyl.

CD Track Listing

1. “Cradle Rock (Live)”
2. “Walk On Hot Coals (Live)”
3. “Tattoo’d Lady (Live)”
4. “I Wonder Who (Live)”
5. “Calling Card (Live)”
6. “Who’s That Coming? (Live)”
7. “Messin’ With The Kid (Live)”
8. “Bullfrog Blues (Live)”
9. “Treat Her Right (Live)”
10. “Bad Penny (Live)”
11. “I Fall Apart (Live)”
12. “A Million Miles Away (Live)”
13. “As The Crow Flies (Live)”
14. “Back On My Stompin’ Ground (Live)”

DVD / Blu-ray

1. “The Spirit Of Rory (Opening Scene)”
2. “Cradle Rock”
3. “Walk On Hot Coals”
4. “Tattoo’d Lady”
5. “I Wonder Who”
6. “Calling Card”
7. “Who’s That Coming?”
8. “Messin’ With The Kid”
9. “Band Introductions”
10. “Bullfrog Blues”
11. “Treat Her Right”
12. “Bad Penny”
13. “I Fall Apart”
14. “A Million Miles Away”
15. “As The Crow Flies”
16. “Back On My Stompin’ Ground”
17. “Ballycotton (End Credits)”

DVD / Blu-ray Bonus Features:
• “Ballycotton – A Million Miles Away”
• “Rory’s Acoustic Guitar”
• “The Inspiration of Rory (A Conversation with Brian May & Slash)”

Vinyl (180 Gram Red Marble Double LP)

Side A

1. “Cradle Rock (Live)”
2. “Walk On Hot Coals (Live)”
3. “Tattoo’d Lady (Live)”
4. “I Wonder Who (Live)”

Side B
5. “Calling Card (Live)”
6. “Who’s That Coming? (Live)”
7. “Messin’ With The Kid (Live)”
8. “Bullfrog Blues (Live)”

Side C
9. “Treat Her Right (Live)”
10. “Bad Penny (Live)”
11. “I Fall Apart (Live)”

Side D
12. “A Million Miles Away (Live)”
13. “As The Crow Flies (Live)”
14. “Back On My Stompin’ Ground (Live)”

U.S. Summer Tour 2026

June 26 – Bethel, NY – Bethel Woods Center for the Arts w/ JJ Grey & Mofro & D.K. Harrell
June 27 – Atlantic City, NJ – Ocean Casino Resort
June 28 – Newark, NJ – New Jersey Performing Arts Center
July 4 – Sioux City, IA – Saturday in the Park
July 29 – Vienna, VA – Wolf Trap w/ Gov’t Mule
July 31 – Bangor, ME – Maine Savings Amphitheater w/ Gov’t Mule
August 1 – Gilford, NH – BankNH Pavilion w/ Gov’t Mule
August 3 – Hyannis, MA – Cape Cod Melody Tent
August 5 – Bridgeport, CT – Hartford HealthCare Amphitheater w/ JJ Grey & Mofro
August 7 – Selbyville, DE – Freeman Arts Pavilion
August 8 – Baltimore, MD – Pier Six Pavilion w/ Gov’t Mule
August 9 – Youngstown, OH – The Youngstown Foundation Amphitheatre w/ Gov’t Mule
August 11 – Huber Heights, OH – Rose Music Center at The Heights
August 12 – Highland Park, IL – Ravinia Festival
August 14 – Interlochen, MI – Kresge Auditorium w/ Gov’t Mule
August 15 – Welch, MN – Treasure Island Resort & Casino w/ Gov’t Mule
August 16 – Lincoln, NE – Pinewood Bowl Theater w/ Gov’t Mule
August 19 – Cheyenne, WY – Cheyenne Civic Center
August 20 – Salt Lake City, UT – Eccles Theater
August 22 – Albuquerque, NM – Sandia Resort & Casino
August 23 – Morrison, CO – Red Rocks Amphitheatre
September 26 – Crossroads Guitar Festival @ Moody Center

EU Fall Tour 2026

October 21 – Helsinki, FI – Veikkaus Arena
October 23 – Stockholm, SE – Stockholm Avicii Arena
October 24 – Oslo, NO – Oslo Spektrum
October 25 – Gothenburg, SE – Göteborg Partille Arena
October 27 – Copenhagen, DK – K.B. Hallen København
October 29 – Rostock, DE – Stadthalle Rostock
October 30 – Berlin, DE – Uber Arena
October 31 – Dortmund, DE – Westfalenhalle
November 4 – Milan, IT – Unipol Forum
November 6 – Toulouse, FR – Zenith Toulouse Metropole
November 7 – Barcelona, ES – Barcelona Sant Jordi Club
November 8 – Madrid, ES – Madrid Palacio Vistalegre
November 11 – Wroclaw, PL – Ethno Festival

The post Joe Bonamassa unleashes fiery rendition of Rory Gallagher’s “Bad Penny” appeared first on Blues Rock Review.

Over a decade removed from the djent boom of the early 2010s, stylistic flagbearers Periphery have settled into a comfortable routine, periodically regrouping from side projects and business ventures to release a new record every few years. Cracks in that formula began to show on 2023’s Periphery V: Djent Is Not a Genre, where the compositions started to feel both formulaic and scattershot. Their new release, A Pale White Dot, is their first non-numbered album since the two-part Juggernaut (2015). It seems intended as a departure from their established release pattern and a chance to reconnect with a more instinctive, creatively driven approach written from a “top-down” perspective shaped by themes of isolation and loneliness. Periphery remains one of my favorite bands (even if I find myself stuffed into the occasional AMG locker for this opinion), and I’m always excited by the prospect of their technically minded, melodic, and smartly written take on progressive metalcore. By centering this record around a more focused concept and shedding some of the expectations attached to their numbered releases, can this league of extraordinary “djentlemen” deliver another satisfying dose of syncopated brilliance?

As Juggernaut did for Periphery I and II, A Pale White Dot streamlines the maximalist hyper-technicality of Periphery III–V in service of its concept, even if that comes at the expense of what once made the band so compelling. Periphery helped define the 2010s metalcore formula of “djent riff + soaring clean chorus + breakdown,” a blueprint that would eventually shape modern heavyweights like Sleep Token and Spiritbox. Their music could pivot seamlessly between dizzying guitar acrobatics and polished melodic hooks without sacrificing momentum, turning even the most familiar structures into sprawling narrative journeys. A Pale White Dot is the first record where this strength fades into the background, with a diminished presence of the “pure-riffery” and progressive elements the band is known for. With a few exceptions (the psychotic opening riff of “Malevolent” or the bombastic bridge of “Everyone Dies Alone”), a set of shorter songs is largely held together by straightforward chugs and massive vocal-forward choruses. Periphery still sounds like themselves, but the overall shape of these songs is far closer to run-of-the-mill “Octanecore” than ever before. For the first time in their career, it feels like Periphery is merely iterating on popular sounds, rather than pushing them forward.

I’d describe the songcraft on A Pale White Dot as frustratingly competent. Periphery clearly knows what they’re doing every step of the way, and the band still finds ways to inject personality and variety into familiar formulas, even as their material sounds increasingly more generic. As always, the musicianship is absurdly sharp across the board, and once you acclimate to his squeaky pop cleans, vocalist Spencer Sotelo proves to be an essential ingredient in this polyrhythmic pie. His delivery feels more powerful than ever, shifting effortlessly between varied harsh vocals and emphatic arena-ready hooks. “Mr. God” and “Subhuman” land as earth-shaking djentcore bruisers, but beyond this, each track demonstrates a surprising diversity of moods. Subdued, vocal-driven tracks erupt into blackened tremolo passages (“Obsession”) or ludicrous mid-song breakdowns (“Carry On”), while songs like “Talk” and “Heaven on High” recapture the band’s classic sense of breakneck momentum, swerving between entertaining djent, crushing breakdowns, and massive refrains. Despite these turns, the whole package feels decidedly safe. The different song sections arrive with predictable timing, and certain chorus chord progressions/melodies begin to feel so familiar that some climactic moments lose their impact, especially when a weaker hook like “Unlocking” fails to justify the buildup.

Whereas my favorite moments on past Periphery records tend to come from huge, cathartic climaxes, some of the strongest passages on A Pale White Dot instead lean into understated nuance. “Blackwall” follows in the footsteps of “Silhouette” from Periphery V as a synth-pop-leaning earworm, but its most compelling moment is an expansive IDM-influenced middle section where synth washes and digital percussion fully take over. The titular closing track is another quiet highlight, built around a delicate acoustic guitar melody wrapped in subtle electronic atmosphere. There are other standout sections, like the wisteria-tinged progression of “Neon Valley’s” chorus or the emotional guitar solo of “Everyone Dies Alone.” These highs serve as memorable moments that anchor repeat listens, even if no single track quite reaches the heights of the band’s very best work.

A Pale White Dot is an album that’s easy to admire on a craftsmanship level, but hard for me to connect with. Periphery remain highly accomplished musicians and effective songwriters. As a fan of their style, there are still plenty of moments and tracks to enjoy throughout. At the same time, this record marks a noticeable streamlining of their sound, trading much of their trademark progressiveness and technical intricacy for more straightforward material that sits closer to contemporary metalcore than much of their earlier work. It’s far from bad, but I’d be hard-pressed to pick it over any other Periphery album.

---

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream to end all streams
Label: 3Dot Recordings
Websites: periphery.net | facebook.com/PeripheryBand
Releases Worldwide: May 15th, 2026

The post Periphery – A Pale White Dot Review appeared first on Angry Metal Guy.

As creativity doesn’t move within the confines of specific timelines, it didn’t take Richie Kotzen long to start working on new music. Fresh off a world tour, inspiration struck, and he immediately went into the studio, breathing new life into a track he had been sitting on, patiently waiting for just the right moment to complete.

Today, Richie Kotzen has surprised fans with the digital release of his newly recorded song, “Catch a Star.” Stream it below.

“After coming off the road with Smith/Kotzen, I fully intended to take a long break from live performance and recharge creatively,” says Richie Kotzen. “While going through old archives, I rediscovered “Catch A Star” in a semi-completed form, and for whatever reason, the direction suddenly became obvious to me in a way it hadn’t before. Once that happens as a writer,” Kotzen continues, “you must trust your instincts and follow the momentum. That’s exactly what happened with this song.”

Playing all the instruments on “Catch a Star,” Kotzen digs into his Philly musical roots with soaring verses, soulful melodies and choruses, and driving rhythms, as he pushes both his guitar and bass techniques and style in new and innovative directions.

“What I love about ‘Catch A Star’ is how direct it is,” says Kotzen.  “The chorus arrives immediately, the arrangement stays intentionally simple, and the focus is really on the melody, lyric, and atmosphere. This is also one of those recordings where I handled every instrument and vocal myself, layering each part individually in the studio. In the past, I probably would have held onto a song like this until I had enough material to complete a full album, but these days I feel more inspired by releasing music in real time rather than waiting indefinitely for a larger project to materialize.”

While there are currently no immediate touring plans, Richie Kotzen continues to create and wanted to share “Catch A Star” with the people who have supported and accompanied him throughout his musical journey. 

“If it eventually leads to a full-length album, great,” states Kotzen, “and if it doesn’t, for now, that’s fine too.”

The post RICHIE KOTZEN Streams New Single “Catch A Star” appeared first on Sonic Perspectives.