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Roger Waters is launching a new live show built around the classic-era catalog of Pink Floyd, and his son is running the band. AEG Presents and Icon Live have announced “Roger Waters Presents Legacy – A Pink Floyd Show,” a production developed under Roger Waters‘ direction and fronted musically by Harry Waters, a touring musician, pianist and composer. The tour opens February 15, 2027, and is set to hit more than 100 cities across North America and Europe.

The setlist focuses on the Pink Floyd years from 1971 to 1979 and pulls from The Dark Side Of The Moon, Wish You Were Here, Animals and The Wall. A 10-piece band handles the music, while hi-def LED screens show imagery inspired by the original Pink Floyd artwork, including visuals Roger Waters created while he was the band’s creative driver. Harry Waters serves as musical director and plays B3 organ, piano and sings.

“These songs have meant so much to so many people for so many years, and I’m excited for audiences to come together and experience them live again,” says Roger Waters.

“Harry has assembled a terrific band, and I can’t wait for fans around the world to see the special show we’ve created together.”

For Harry Waters, the tour is the latest step in a musical partnership with his father that goes back decades. He grew up around Pink Floyd, and he says the music was one piece of a much wider musical education.

“I fell in love with the music immediately,” says Harry Waters. “It really had an impact on me, irrespective of any bias because it was Dad’s music. I still love it deeply to this day. Collaborating with Dad on this new production is such an honor, and I’m so grateful to have the opportunity to bring this music to fans old and new, around the world.”

His history with these songs predates his career. As a kid, Harry Waters sang on “Goodbye Blue Sky” from The Wall, and he remembers seeing the original The Wall production at a very young age. He later spent over 15 years on the road with his father, including runs of The Dark Side Of The Moon and The Wall, plus the 2016 Desert Trip shows.

The goal is fidelity to the records. “We are going to authentically recreate the albums as close to note-for-note as we possibly can,” Harry Waters said. Past the sound itself, he says the show is meant to put audiences back in touch with the ideas driving the music.

The set runs over two hours and digs deep into the Pink Floyd catalog. Harry Waters and drummer Graham Broad put the list together, covering fan favorites from the golden era and, as Harry Waters puts it, shaping an intentional arc across the night. He names Animals as his favorite Pink Floyd album and “Shine On You Crazy Diamond” as his favorite song to play.

The lineup, made up of players who have spent years performing Pink Floyd material, is:

Harry Waters / B3 Organ, Piano & Vocals
Graham Broad / Drums
Clifton David Broadbridge / Lead Vocals
Edo Scordo -/ Guitar & Vocals
Antonello Pudva / Guitar
Eva Avila / Backing Vocals
Genevieve Little / Backing Vocals
Dahniel Knight / Bass Guitar & Backing Vocals
Ryan Saranich / Saxophone, Percussion, Extra Guitar & Keyboards
Matt Riddle / Keyboards

Finding someone to cover the lead vocals Roger Waters originally handled took a global effort. Father and son ran a worldwide online talent search, and Harry Waters says he personally went through more than 3,000 audition submissions. Broadbridge, a Canadian now living in Nashville, won the job after an in-person audition with Harry Waters on a day off from the younger Waters‘ tour with Primus.

For anyone who needs the background, Roger Waters is an English musician, singer, songwriter and composer who co-founded Pink Floyd in 1965. After co-founder Syd Barrett left amid mental illness in 1967, Roger Waters grew into the band’s main lyricist, songwriter, co-lead vocalist and conceptual leader, a role he held until leaving in 1985. He was central to The Dark Side Of The Moon, Wish You Were Here, Animals and The Wall. His solo work includes The Pros And Cons Of Hitch Hiking (1984), Radio K.A.O.S. (1987), Amused To Death (1992), Is This The Life We Really Want? (2017) and Dark Side Of The Moon Redux (2023).

Roger Waters has built a reputation for large-scale live productions that pair the music with massive staging, video projection, lighting and theatrical effects. His tours “The Wall,” “In The Flesh,” “The Dark Side Of The Moon Live,” “Us + Them” and “This Is Not A Drill” are regularly listed among rock’s most memorable concerts.

Few catalogs match the reach of Pink Floyd. According to its official biography, the band has sold more than 250 million albums worldwide, and both The Dark Side Of The Moon and The Wall are in the Grammy Hall Of Fame. Over six decades after its formation, Pink Floyd still pulls around 28.4 million monthly listeners on Spotify as of August 2026.

Tickets for the North American dates go on sale to the general public Oct. 2, with European dates to be announced. Find more details here, and the tour can be followed via @RogerWaterslegacy and #RogerWatersLegacy on social media.

Roger Waters Presents Legacy – A Pink Floyd Show 2027 Tour Dates:

Feb 15 – Columbus, GA @ RiverCenter for the Performing Arts
Feb 17 – Clearwater, FL @ The BayCare Sound
Feb 19 – Fort Myers, FL @ Caloosa Sound Amphitheater
Feb 20 – St. Augustine, FL @ The St. Augustine Amphitheatre
Feb 21 – Fort Lauderdale, FL @ Broward Center for the Performing Arts
Feb 23 – Orlando, FL @ Dr. Phillips Center for the Performing Arts
Feb 25 – Atlanta, GA @ Fox Theatre
Feb 26 – Montgomery, AL @ Montgomery Performing Arts Centre
Feb 27 – Nashville, TN @ The Truth
Feb 28 – Huntsville, AL @ Von Braun Center
Mar 02 – Green Bay, WI @ The Weidner
Mar 03 – Minneapolis, MN @ Orpheum Theatre
Mar 04 – Peoria, IL @ Prairie Home Alliance Theater
Mar 06 – Chicago, IL @ The Chicago Theatre
Mar 07 – Indianapolis, IN @ Murat Theatre at Old National Centre
Mar 09 – Louisville, KY @ The Louisville Palace Theatre
Mar 10 – Knoxville, TN @ Knoxville Civic Auditorium
Mar 12 – Midland, MI @ Midland Center for the Arts
Mar 13 – Windsor, ON @ The Colosseum at Caesars Windsor
Mar 14 – Columbus, OH @ Mershon Auditorium
Mar 18 – Grand Prairie, TX @ Texas Trust CU Theatre at Grand Prairie
Mar 19 – Midland, TX @ Wagner Noël Performing Arts Center
Mar 20 – San Antonio, TX @ The Tobin Center
Mar 21 – Houston, TX @ The Hobby Center for Performing Arts
Apr 06 – Pittsburgh, PA @ Benedum Center
Apr 07 – Scranton, PA @ Scranton Cultural Center
Apr 09 – Portland, ME @ Merrill Auditorium
Apr 10 – Mashantucket, CT @ Premier Theater at Foxwoods Resort Casino
Apr 11 – Medford, MA @ Chevalier Theatre
Apr 13 – Buffalo, NY @ UB Center for the Arts
Apr 14 – Albany, NY @ Palace Theatre
Apr 16 – Newark, NJ @ New Jersey Performing Arts Center
Apr 17 – Atlantic City, NJ @ Ocean Casino Resort
Apr 18 – Lancaster, PA @ American Music Theatre
Apr 20 – Charlotte, NC @ Ovens Auditorium
Apr 21 – Tysons, VA @ Capital One Hall
Apr 23 – Orillia, ON @ Casino Rama Resort
Apr 24 – Ottawa, ON @ Hard Rock Live Ottawa
Apr 26 – Baltimore, MD @ The Paramount Baltimore
Apr 27 – Rochester, NY @ Kodak Center
Apr 29 – Utica, NY @ The Stanley Theatre
Apr 30 – Richmond, VA @ Altria Theater
May 01 – Virginia Beach, VA @ The Dome by Rutter Mills
May 02 – Wilmington, NC @ CFCC’s Wilson Center
Aug 31 – Vancouver, BC @ Queen Elizabeth Theatre
Sep 02 – Wenatchee, WA @ Town Toyota Center
Sep 04 – Troutdale, OR @ McMenamins Edgefield
Sep 07 – San Francisco, CA @ Golden Gate Theatre
Sep 11 – Los Angeles, CA @ Greek Theatre
Sep 12 – San Diego, CA @ The Rady Shell at Jacobs Park
Sep 15 – Salt Lake City, UT @ Eccles Theater
Sep 16 – Las Vegas, NV @ Pearl Concert Theater at Palms Casino Resort
Sep 19 – Denver, CO @ Buell Theatre
Sep 21 – Cleveland, OH @ Jacobs Pavilion
Sep 24 – Sylvania, OH @ Centennial Terrace
Sep 25 – St. Louis, MO @ The Fabulous Fox

The post ROGER WATERS & Son HARRY Are Taking a 10-Piece PINK FLOYD Band Across Two Continents appeared first on Sonic Perspectives.

In 2024, Megan Thee Stallion released her third studio album Megan, followed by Megan: Act II shortly after. The rapper has been teasing Act III, and now she’s offering a taste with “Tina Tuesday Freestyle.”

The post Megan Thee Stallion – “Tina Tuesday Freestyle” appeared first on Stereogum.

Despite being a cold and wet Friday night and doors opening at an early 6:00 pm, a queue has formed round the side of Rebellion for a night stacked with some of the best of the current generation of thrash. Leaving just enough time after doors open to grab a pint, Sweden’s Eradikated provide a … Continue reading Gig Review: Havok / Blood Red Throne / Xonor / Eradikated – Rebellion, Manchester (18th September 2026)

Their latest EP arrived back in 2019.

The post The Contortionist Appear To Be Teasing New Music appeared first on Theprp.com.

King Parrot are a no-nonsense, raw, and aggressive grindcore band from Melbourne, Australia. Since their debut album Bite Your Head Off in 2012, they have toured extensively across Australia supporting the likes of Obituary, Thy Art Is Murder, and Carcass, which landed them slots on popular music festivals around the world. Later, signing with Phil … Continue reading Gig Review: King Parrot / Rend Them Asunder / Violated – Ivory Blacks, Glasgow (18th September 2026)

Tear a piece of this and
shove it hard into your mouth 

A lilylicker sounds like a particularly devoted suck-up, someone whose admiration has become a full-time occupation. Put the word beside Oscar Wilde’s fascination with actresses Lillie Langtry and Sarah Bernhardt, and a whole society of worshippers comes into view: flowers, flattery, beautiful women placed upon pedestals. Wilde was a cunning linguist, of course, though Patriarchy have a few suggestions about putting that talent to more practical use. The lily remains a lovely flower, of course, though its innocence becomes somewhat harder to maintain once somebody starts licking it.

The Los Angeles snuff-pop duo of Actually Huizenga and AJ English, otherwise known as The Drummer, premieres the video for Lilylicker, taken from their new EP, Appendices. Written and produced by Huizenga and English, the song takes its initial inspiration from Wilde’s devotion to those celebrated performers, then puts the woman receiving all that attention in charge of the proceedings.

A menacing bass synth and a blunt kick drum set the terms, leaving Actually’s near-whispered vocal close enough to feel conspiratorial. Her poetic purr slips between the beats before the track opens into a metallic industrial-techno rhythm, bringing the hard physicality of ’90s industrial into contact with contemporary darkwave. The bass keeps its grip while crushed guitars tear through the chorus, making the move from intimate persuasion to open command feel deliciously abrupt.

The words play a similar game. Wanting to be liked becomes wanting to be licked; affection, appetite, and obedience get tangled in the same exchange. Actually moves from seeking approval to prescribing exactly how it should be delivered, with an impatience that gives the song its humor. For all the literary ancestry, the central proposition is straightforward: admiration should have practical applications.

Directed by Patriarchy and shot by Hazel Hill McCarthy, the video makes that business of putting people on pedestals unusually literal. Figures revolve on small platforms against an almost uninterrupted black background, their costumes and gestures exposed by direct light. Actually appears in a white gown holding lilies, in a pale pink dress draped with chains, and in a metallic corset with enormous gold wings and a guitar. English handles a skull while wearing little white wings; their young son appears in family tableaux and as a cherub perched on a classical column. The arrangements suggest devotional statues brought to life by people with their own ideas about sainthood.

There is an affectionate absurdity to these living ornaments. The solemn poses give way to movement, expressions change, and the family portrait keeps interrupting the fantasy of immaculate statuary. Against all that black space, the slightest human detail becomes conspicuous. Even the insects have supporting roles.

The setting came about through necessity. According to the band, the owner of their original studio location objected to the proposed content and the presence of their son, who was also appearing in the video. With the shoot abruptly displaced, the crew relocated to the Angeles woods and rethought the production outdoors. Huizenga subsequently edited the footage “happily alone and for many hours,” describing editing as “one of my secret pleasures.”

“I decided not to retouch anything either. So all razor bumps, dark circles, cellulite, and sock lines are fully visible if you wish to judge me physically… I had a baby, so kill me! The boys are perfect though. A lot of the things that went ‘wrong’ ultimately added to the beauty of it, like having to shoot outside, where moths kept flying in front of our lenses, drawn in by the bright lights”

For Huizenga, leaving those imperfections intact also connects to Patriarchy’s larger, apocalyptic view of power:

“Patriarchy has never been about perfection, it’s about realizing we are the last remnants of human existence before AI enslaves us all; that’s why the project is called Patriarchy after all, patriarchy is the final human ruling order. Our next masters wont be women or men or human in any form, so we need to embrace our chaos and imperfections while we can.”

Watch the video for Lilylicker below:

Released in the wilting days of this past Summer, Appendices brings together five songs developed across different periods of the band’s life, reaching back to The Unself sessions and forward through the aftermath of 2025’s Manual For Dying. These recordings have survived abandoned versions, rewrites, and changes substantial enough to turn industrial tracks into orchestral ballads and minimal synth into metal. Alongside Lilylicker, the EP includes Bite Marks, Servile, Ode (to an Apprehensive Tyrant), and Hate Fuck, with additional production and mixing contributions across the record from Ben Chisolm and Matia Simovich.

Huizenga’s reading supplies another connection between these otherwise unruly songs. Wilde, Marchesa Luisa Casati, Emperor Tiberius, and the Manson family furnish starting points for examinations of sexuality, submission, obsession, and violence. Across three full-length albums, a live record, and numerous remixes, Patriarchy have pursued those interests through industrial electronics, synth-pop, metal, and performance art. Appendices also documents Huizenga and English becoming an increasingly self-contained production team, with Lilylicker pointing toward the club without surrendering their taste for theatrical excess.

That appetite for the personal and the unruly carries into Actually’s Sex and the Pity, Huizenga’s new podcast and livestream concept, whose pilot is announced for this Friday at 10 p.m. Pacific. Pitched as Elvira meeting Gore Vidal, it promises secret guests, fireside conversation, and previously untold stories from Patriarchy’s tours and beyond, forming a living journal for a future film project.

“I can only really seem to recount these hilarious stories properly when I’m talking one-on-one with a cute gay at a party; so I’m gonna try to recreate that free-form energy for the podcast.”

Listen to Lilylicker below and order the Appendices EP here.

Follow Patriarchy:

• Instagram
• Facebook
• Website
• Spotify
• Bandcamp
• LinkTree

The post “Love Me Better” — Patriarchy Stage a Tableau of Floral Worship in Video for “Lilylicker” appeared first on Post-Punk.com.

Good Kid have become a favourite over the years for a few reasons, including getting me through some seriously rough times and, at points, being one of the only things helping to push back spiralling thoughts, trying to stay composed at work while dealing with background internal turmoil. I’d put them on, and things would … Continue reading Gig Review: Good Kid / Last Dinosaurs – Galvanizers SWG3, Glasgow (17th September 2026)

Yesterday Slipknot announced their (sic)est Stadium 2027 World Tour, which heads to Wembley Stadium on 3 July (and will be their only European show of 2027). Featuring a brand new set, new staging and a setlist spanning across their career, these shows will be the ultimate Slipknot experience to date. Marilyn Manson, Lorna Shore and … Continue reading Slipknot announce Wembley Stadium show for 2027 by setting 30-foot logo on fire

Their third album “Punk Ruins” will be out next month.

The post Fake Names (Refused, Bad Religion, Etc.) Debut “If You Could See Me Today” appeared first on Theprp.com.

Sleeping With Sirens will also be swinging through Southeastern Asia for shows on their own.

The post Sleeping With Sirens Announce Australian Tour With State Champs & Boston Manor appeared first on Theprp.com.