Muse

Muse is an English rock band from Teignmouth in Devon that formed in 1994

Spoon

Spoon is an indie rock band from Texas’ most renowned musical city, Austin, US. The band has an eclectic taste for music and has made music that encompasses genres ranging from art rock to power pop.

Kiwi

Alex Warren is an American singer/songwriter and foot model. https://alexwarren.lnk.to/YoullBeAlrightKid

Jelly Roll

Outright genre-bending singer/songwriter Jelly Roll has quietly been building a remarkable career, under the radar and on his own terms. Since his days selling his mixtapes out of his car, he has constantly been releasing new music, touring relentlessly, consistently topping various charts, engaging a rabid fanbase & creating videos that have amassed more than 4 Billion views on YouTube. He pairs deeply personal lyrics with music that blends Old-school Rap, Classic Rock, Country and Soul to create music that is therapeutic, raw and tackles the heaviness in life.

His 2020 single “Save Me” — a confessional, vulnerable expression of self-doubt set the stage for his new season of life and took him to new heights, with more than 160 million views on YouTube and Platinum certification from the RIAA. Born and raised in Nashville’s Antioch neighborhood, the former addict and drug dealer released his album Ballads of the Broken in 2021, ahead of his sold-out hometown show at the famous Ryman Auditorium, which sold out in under an hour. Now after a history-making “breakthrough year” (American Songwriter), having just sold-out Nashville’s Bridgestone Arena, releasing the riveting anthem “Need A Favor” from his highly anticipated forthcoming album, WHITSITT CHAPEL, plus earning his first 3 CMT Award wins, the reigning No. 1 of Billboard’s Emerging Artists chart for 25 weeks is well on his way to mainstream, multi-genre stardom.

Joywave

Permanent Pleasure, the new album from Joywave, available now.

Tyler Hubbard

The Beths

The Beths know the futility of straight lines. This existential vertigo serves as the primary theme on the New Zealand indie heroes’ fourth album Straight Line Was A Lie (their first for new label ANTI-). The Beths posit that the only way round is through; That even after going through difficult, transformative experiences, you can still feel as though you've ended up in the same place. It's a bewildering thing, realising that life and personal growth are cyclical and continual. That a chapter doesn’t always end with peace and acceptance. That the approach is simply continuing to try, to show up. “Linear progression is an illusion,” lead singer and songwriter Elizabeth Stokes says of the album. “What life really is is maintenance. And finding meaning in the maintenance.”

The path from The Beths’ critically celebrated and year-end-list-topping 2022 LP Expert In A Dying Field to Straight Line Was A Lie, written in Los Angeles and recorded in the band’s hometown of Auckland, was also anything but straightforward. For the first time, Stokes was struggling to write new songs beyond fragments she’d recorded on her phone. She’d recently started taking an SSRI, which on one hand made her feel like she could “fix” everything broken in her life, from her mental and physical health to fraught family dynamics. At the same time, writing wasn’t coming as easily as it had before. “I was kind of dealing with a new brain, and I feel like I write very instinctually,” she says. “It was kind of like my instincts were just a little different, they weren't as panicky.”

Stokes and her longtime Beths bandmate, guitarist, and creative partner Jonathan Pearce responded by breaking down the typical Beths writing process. For inspiration, they read Stephen King’s On Writing, How Big Things Get Done by Bent Flyvbjerg and Dan Gardner, and Working by Robert A. Caro. Liz broke out a Remington typewriter (a birthday gift from Beths bassist Benjamin Sinclair) every morning for a month, writing 10 pages’ worth of material — mostly streams of consciousness. The resulting stack of paper was the primary fodder for an extended writing retreat to Los Angeles between tours, where Stokes and Pearce also leaned heavily into LA’s singular creative atmosphere, went to shows, watched Criterion classics from Kurosawa, and listened to Drive-By Truckers, The Go-Go’s, and Olivia Rodrigo. Opening themselves up to a wave of creative input, plus Stokes’ free-flowing writing routine, proved therapeutic. “Writing so much down forced me to look at stuff that I didn't want to look at,” Stokes says. “In the past, in my memories. Things I normally don't like to think about or I'm scared to revisit, I’m putting them down on paper and thinking about them, addressing them.”

Since Stokes, Pearce, and Sinclair started playing together (Tristan Deck joined in 2019), the four-piece have steadily risen through the indie-rock ranks, opening for household name acts like Pixies, The Breeders, The Postal Service, and Death Cab For Cutie; and they’ve garnered significant praise from pop and indie-adjacent heroes like Phoebe Bridgers, not to mention tastemaking outlets like Pitchfork and Rolling Stone. Over the last six years, The Beths have appeared at major international festivals, from Coachella to Primavera Sound to Newport Folk Festival and Bonnaroo, and Expert In A Dying Field has earned millions of global streams since its release in 2022.

Already a celebrated lyricist, Stokes has long impressed fans and critics with wryly knowing song titles like “Future Me Hates Me” and “Expert In A Dying Field” — catchy, instant-classic turns of phrase that capture the personal and ladder up to the universal. But Stokes’ intentional deconstruction and rebuild of her relationship to writing has resulted in a total renewal. Her songwriting has achieved startling new depths of insight and vulnerability, making Straight Line Was A Lie the most sharply observant, truthful, and poetic Beths project to date.

It’s immediately clear how far inward Stokes looked on the stripped-down, intensely personal “Mother Pray For Me.” Over plaintive finger-picked guitar, Stokes’ voice is childlike in its wistful plea for connection. “I cried the whole time writing it,” Stokes says. “It's not really about her, it's about me — what I hope our relationship is, what I think it is, what it maybe actually is, and what I can or can't expect out of it.” Reckoning with the lives your parents have led, and their mortality as they shift from guardians to full human beings, is bracing. The song is so moving because few people can look this in the eyes until there is no choice. How do you see your parent as someone who did their best, when it might not have felt like enough?

Cementing the album’s aharmonic theme is a loopy analog clock design by Lily Paris West, who also provided the artwork for 2022’s Expert In A Dying Field. West’s “wonky clock” plays right into The Beths’ notion of nonlinear progression and the machine-like ways in which bodies work (or don’t, as in Stokes’ case, amidst physical and mental health struggles). “The clock is always back in the same place, it's kind of a broken machine as well,” Stokes says. “The body and brain are these complex, complicated machines, ever-changing. Even when functioning in a less-than-optimal state, they're still amazing. But I’m still prone to completely dismiss that and see only the worst.”

Meanwhile, fans who have followed The Beths’ since their 2018 debut Future Me Hates Me will fall in love at first listen with the band’s latest title track. A clear-eyed, hook-stacked mission statement for The Beths’ new chapter, “Straight Line Was A Lie” is a Flying Nun-shaped instant anthem with a punchy, Salad Boys-inspired sing-along chorus about non-linear progression: I thought I was getting better/ But I’m back to where I started/ And the straight line was a circle/ Yeah, the straight line was a lie. In many ways it is the album’s thesis, with each consecutive song building a case for the idea that life’s casual disappointments are something we might not overcome, but hopefully won’t succumb to either. Scars may not heal, and lives (or ecological sites like Oakley Creek from “Mosquitoes”) may not be fully rebuilt. In a world of absolutes, Stokes is interested in the particulars of life. “We were right in the middle of writing the album, and I was metabolizing everything," Stokes says of the album’s title track. "I had held onto this idea that I was making progress in my life and that I was going to be able to fix everything. Like, this is great. Things have been really dark, but I’m getting help and I can keep working and then I'll be in this good place. And it just felt like this rude awakening. It's not like everything went really terrible, but it just wasn't the reality.”

While Stokes felt a huge relief from taking an SSRI, she articulates the emotional trade offs on “No Joy,” which thunders in with Deck’s vigorous percussion and drops another classic Beths soundbite: This year’s gonna kill me/ Gonna kill me. Ironically, though, the stress Stokes sings about can’t touch her, thanks to her pharmaceutical regimen. "It's about anhedonia, which, paradoxically, was present both in the worst bouts of depression, and then also when I was feeling pretty numb after a year on my SSRI,” Stokes says. “It wasn't that I was sad, I was feeling pretty good. It was just that I didn't like the things that I liked. I wasn't getting joy from them. It's a pretty literal song.”

Stokes takes a more abstract approach to health and healing on the cheery “Metal,” where she grapples with dueling diagnoses of Grave’s and Thyroid Eye Disease and finds inspiration from Ed Yong’s book on animal senses, An Immense World. “Metal” finds The Beths at their peak, with its effortless meld of upbeat, sugar-rushing jangle-rock underpinning layers of pensive anxiety and optimism. “I was having all of these coexisting thoughts — feeling like my body's like a machine that's breaking down but feeling really incredulous that it exists at all,” she says. “I was like, the human body is amazing. Life is amazing, and yet...”

The Heavy Heavy

Debut album 'One of a Kind' out now: https://atorecords-ffm.com/oneofakind

Flo Rida

Tramar Dillard [born December 16th 1979], better known by the stage name of Flo Rida, is an American rapper. He was born in Opa-locka, Florida but raised in Carol City, and chose his name from his home state. As a teenager, he toured with local rap group 2 Live Crew. Later, he appeared in numerous popular rap mixtapes, most notably in 'We The Best' by DJ Khaled in 2006, when he was signed to the Poe Boy Entertainment label, distributed by Atlantic Records. 'Mail On Sunday' is the debut album by the American hip hop artist Flo Rida. Flo Rida explained the versatility of the album with the following, "I cover everything from hardships to struggle to the good times at the club. I got a song called 'Freaky,' I got party music, I got something for the car. I got all different types of music". Flo Rida also elaborated on the title of the album stating, "Well, this record is like my special delivery for the fans. It’s not something you can get during the 6 regular mail delivery days. You need that extra day for your prized possessions. That’s Mail on Sunday." The album debuted at No.3 on the U.S. Billboard 200 chart, selling 85,891 copies in its first week. The lead single from the album, 'Low' was a No.1 hit in early 2008. The second single, released in February 2008 is 'Elevator'.

Sean Paul

Sean Paul (born 9 Jan 1973) aka Sean Paul Ryan Francis Henrique is an R&B rapper and producer from Kingston, Jamaica who helped popularise Dancehall as it entered the mainstream market.

All Time Low

US: 410-914-1257

UK: 07828 569906

The Temper Trap

One night in a bar in Melbourne I found Dougy, born of Indonesian decent and bearing the trans-atlantic accent of a kid who grew up all over he world, but this isnt some fairytale connection story. He was looking to start a band and thought I looked like a muso. But I wasnt interested in joining another band, so I palmed him off to a friend and thought I was done with it. But you cant fight fate, and I kept running into Dougy around the city, he continued to ask me "Hey, do you want to start a band?". I guess I ran out of excuses and eventually found myself behind a borrowed set of drums, listening wide eyed, mesmorised by the sound coming from Dougy's stereo, the sound of Dougy's voice blowing like the QE2 on full steam heading into port. I was struck immediately by the power hidden in those songs and knew that I had to be a part of it. Jonny enters stage left about now. A jovial young idealistic kid with more dyslexic dreams than Marvin Gaye. He'd been friends with Dougy for years and was drafted in when someone didn't show. He'd never played the bass before and tried to strangle himself with the strap pulled tight, but he made up for any lack of practice with a raw energy that filled the room. From here we chewed through a couple of guitarists, before finding ourselves with Lorenzo, an old friend of mine who'd played in half the shitty garage bands I ever started, and in keeping with the theme of our story, the very person I'd palmed Dougie off to in the first place. It's been years of smiles and tears that's left The Temper Trap on the brink of something... A band whose connection with forces out of our control shimmers through every wall of melody, burns through every feedback loop and seeps out of every aching pore in the intense and provocative body of sound we create. I guess we're pushing for something beautiful, something we've felt in the music of Leonard Cohen or The Mars Volta or Echo And The Bunnymen. And so we stand, feet on the edge, head in the clouds, ready to take the leap of faith into the unknown. If you ask around, our standout tracks are usually pretty diverse. I like My Sun, it races out of the blocks, all crash and bash, while others point out Peter Parker's Alter Ego's pop sensibility, shrouded in a dark veil of melancholy. Another popular one, Sirens is an anthem that builds and builds. In our short lives, The Temper Trap have shared stages with internationals, Damo Suzuki (CAN) and Omar Rodriguez (Mars Volta), Modest Mouse, The Dears, and Spank Rock as well as being the only unsigned act invited to play both the Melbourne and Sydney Laneway Festivals.

Megadeth

“For the first time in a long time, everything that we needed on this record is right in its place,” mulls visionary Megadeth leader and musical architect Dave Mustaine of his band’s incendiary 16th studio album, The Sick, The Dying... And The Dead! “I can’t wait for the public to get a hold of this!”

Released by UMe on September 2, 2022, The Sick, The Dying... And The Dead! further establishes MEGADETH as a band that has both defined and repeatedly redefined heavy metal since its formation. The album follows up 2016’s Grammy®-winning Dystopia, which debuted at #3 on the Billboard Top 200 (MEGADETH’s highest chart position since its 1992 classic Countdown to Extinction).

MEGADETH has crafted a record with a visceral energy, heaviness, and sometimes paranormal pace that few would expect from such a seasoned band with so little to prove. The Sick, The Dying... And The Dead! melds the ultra-frenetic riffing, fiercely intricate guitar solos, and adventurous spirit of the quartet’s groundbreaking early output with the musicality and melodicism of its ‘90s songwriting, all laced with signature virtuosity and precision – plus, of course, Mustaine’s singular vocal snarl and wry, take-no-shit lyrical vitriol.

Both defying Mustaine’s recent battle with throat cancer and celebrating his defeat of the disease, The Sick, The Dying... And The Dead! counterintuitively thrived on delays and canceled tours resulting from both his illness and the worldwide pandemic.

“The fact that we had so much time to work on it benefitted the songs in the end, because they kept evolving,” notes drummer Dirk Verbeuren. “Parts kept being refined; the ‘ear candy’ and the little details just kept getting better.”

After his departure from Metallica, having co-written many songs that would appear on their first two albums, the ultra-hungry 21-year-old Mustaine conceived a new band, MEGADETH, which would harness the cinematic songcraft of the new wave of British heavy metal to radically faster tempos, heightened technical agility, complex arrangements, and punk’s primeval aggression.

“The utmost heaviest, ultra-furious band that I could come up with at that time,” he recalls. “When we came out, there weren’t a lot of bands that were doing what we were doing. There still aren’t a lot of bands that are doing what we’re doing.”

Mustaine’s rare gift for guitar (ranked #1 in 2009 book The 100 Greatest Metal Guitarists), ahead-of-his-time sonic ambitions, and superhuman drive put MEGADETH among the legendary pioneers of thrash metal, known as the “Big Four.” Establishing themselves immediately with the release of their legendary debut Killing Is my Business… And Business Is Good, a series of platinum-selling albums soon followed, earning them household-name status. To date, MEGADETH has sold over 50 million albums globally, including the double-platinum Countdown to Extinction, and received 1 Grammy® award with 13 nominations. The band’s uncompromisingly fierce yet fastidious live shows have become benchmarks for heavy metal performance worldwide.

Yet even amid this lofty legacy and MEGADETH’s prodigious catalog, The Sick, The Dying ... and The Dead! stands apart on multiple levels. Mustaine’s cancer was detected shortly after pre- production began, but he didn’t let that derail the recording. He’s a fighter. Besides his chemo day each week, he was always there! It’s also the first MEGADETH album to feature drummer Dirk Verbeuren and bassist Steve DiGiorgio (Testament), who temporarily stepped in to record the album–with the kickoff of MEGADETH’s recent tour, alumni James LoMenzo rejoined the MEGADETH family and is now the permanent bass player.

Mustaine once again opted to co-produce the album with Chris Rakestraw (Danzig, Parkway Drive) in Nashville, reuniting the winning team behind Dystopia, which has scanned over 440K units and scooped the 2017 Grammy® for Best Metal Performance for its title track. “Chris and I have an understanding of what a MEGADETH record is supposed to sound like,” he explains. “And his work ethic is a lot like mine: we worked hard; he worked harder.”

Featuring some of Mustaine’s strongest-ever songwriting, including collabs with bandmates, The Sick, The Dying... And The Dead! brings together everything that’s exhilarating and distinctive about MEGADETH. From the blistering throwback fury of “Night Stalkers” (featuring the iconic Ice-T) and first single “We’ll Be Back,” to the more mid- tempo and melodic “Soldier On!” and the very personal title track, with its enthralling twists and turns.

As always with MEGADETH, every riff is meticulously fashioned to constantly crescendo, with new harmonic elements endlessly manifesting and every detail structured for maximum musical and emotional effect. Yet, through all of the album’s moods and movements, MEGADETH never loses the crucial groove that binds the band members to one another and the foursome to its audience.

The Sick, The Dying... And The Dead! is a relentlessly caffeinated, riff-fueled romp of a record in its technical prowess, ambitious arrangements, staggering guitar solos, and nihilistic yet eloquent lyricism. Acoustic intros and interludes, a sense of progressive adventure, and Mustaine’s trademark socio-political commentary round-out the record.

“This record could easily sit between Countdown and [1990’s] Rust in Peace,” says Mustaine. “The musicality that we started to add to MEGADETH songs around Countdown to Extinction is pretty prevalent with this record, while it still has a lot of the aggression that Rust in Peace had.”

Since those landmark albums, MEGADETH has experimented with myriad sounds, songwriting styles, and riff arrangements, forever pushing the envelope of what we know as heavy metal. But with its newer members providing almost a fan’s perspective of what’s made the band so enduring, The Sick, The Dying... And The Dead! encapsulates the restless musical hydra that is MEGADETH on one record like never before.

The album captures all the tribal, bonding magic of being alongside thousands of fellow fans at a MEGADETH concert, even when listened to at home alone or on earbuds. It’s a motivating soundtrack to our greatest achievements and the solace through our all-time lows – or simply that invigorating album you stick on during your commute to escape to another place altogether.

“People don’t make records the way they used to; they don’t make a whole piece of art,” Mustaine explains. “But I think the metal community wants to honor itself and have something that’s unique to ourselves – that sets us apart and rewards the people in this community for their hard work and their perseverance and their loyalty to one another.”

Currently canvassing North America and Europe on their Crush The World Tour, MEGADETH continues to cement the latest electrifying chapter in a career that has constantly challenged and surprised. Their journey remains one of resilience, artistic integrity, and unbridled passion, leaving an indelible mark on the world of metal.

“I don’t think we’re nearing the end, not even close,” Mustaine concludes.

Appropriately, The Sick, The Dying... And The Dead! closes with “We’ll Be Back” ...

Ella Mai

Buckcherry

Buckcherry are an American hard rock band from Anaheim California. The band was initially formed in 1995, before disbanding in 2002, only to reform again in 2005.

Spin Doctors

Spin Doctors is an American alternative rock band formed in New York City and currently consists of Chris Barron, Aaron Comess, Eric Schenkman and Mark White.

Gin Blossoms

Hailing from Arizona, US, Gin Blossoms are a power pop/rock band who brought forth a lighter, pop-oriented sound, acting as an antidote to the gloom of the grunge era that dominated alternative rock in the 90s.

St. Paul and the Broken Bones

Tour tickets on sale NOW:

spbb.lnk.to/tour

Sam Barber

I was raised on a farm in a small town in Southeast Missouri surrounded by a supportive family and an abundance of friends. Most of childhood and high school was devoted to athletics where I learned many lessons of the importance of a team, practice, discipline, respect, and hard work.

Stephen Marley

Stephen Marley (born April 20, 1972) is a Jamaican-American reggae singer, musician, producer, and member of Ziggy Marley & The Melody Makers, hailing from Wilmington, Delaware, U.S., and Kingston, Jamaica.

Whiskey Myers

The Black Crowes are leaving the bullshit in the past. 15 years after their last album of original music, the Robinson Brothers present Happiness Bastards- their 10th studio album. Some may say the project has been several tumultuous years in the making, but we argue it's arriving at just the right time. Call it brotherly love or music destiny that brought them back together, the highly anticipated record consecrating the reunion of this legendary band just may be the thing that saves rock & roll. In a time where the art form is buried beneath the corporate sheen of its successors, The Black Crowes are biting back with the angst of words left unsaid penned on paper and electrified by guitar strings, revealing stripped, bare-boned rock & roll. No gloss, no glitter, just rhythm and blues at it's very best - gritty, loud, and in your face.

It's finally here - Happiness Bastards is out March 15, 2024.

Matt Hansen

Candlebox

Seattle Rock & Roll band. www.candleboxrocks.com

John Vincent III

Following his acclaimed, self-released 2019 album Songs from the Valley, John Vincent III returns with Songs For The Canyon. Co-produced by John Vincent with Tom Elmhirst (Adele, David Bowie, Frank Ocean), Tony Berg and Ryan Hadlock, Songs For The Canyon is a massive leap forward from a traditional artist who has already built a diehard fanbase on the strength of his classic, stripped-down, folk sound.

Soul Asylum

Carolina Liar

Living Colour

Official Facebook page for the 2x Grammy award winning, multi-platinum rock band LIVING COLOUR

www.livingcolour.com

Buju Banton

Buju Banton is unequivocally one of the world’s greatest dancehall/reggae artists. The man born in Salt Lane, Kingston as Mark Anthony Myrie, is also known to the world as living legend, Grammy winner, abolitionist and voice for oppressed people around the world. For over three decades, he dominated the reggae/dancehall sub-genre with iconic collaborations (Beres Hammond, Stephen Marley, Dave Kelly, Sly & Robbie, Bobby Digital, Steely & Cleevie, just to name a few), lyricism superior to his peers and a ministry committed to liberating the minds of oppressed people. The father of ten sons and eight daughters has taught the world true romance (“Who Say”), radical discernment (“Hills And Valleys”), perseverance (“Not An Easy Road”), and how to bogle (“Bogle”).

Buju was raised by two hardworking parents, the youngest sibling behind 16 daughters. His diligence, charm and charisma were passed down by his father, a factory worker. He inherited his entrepreneurial mind and passionate spirit from his mother, a market vendor with ancestry linked to the West African slave revolters, Maroons. Mama nicknamed her chubby baby after the Jamaican breadfruit Buju. Banton––representative of a fierce deejay––was later adopted by her son.

As a youth, Buju studied reggae greats such as Major Worries, Admiral Bailey, Shabba Ranks, Papa San and Lieutenant Stitchie. He often broke curfew to beg either older deejays for a couple minutes on the mic or security guards for entry into studios like Technique Records and Penthouse Recordings. The latter studio is where 16-year-old Buju recorded his first song, “The Ruler.” Recognized as a reggae prodigy, he was commissioned by DJ sets Rambo International, Sweet Love sound system (owned by Flourgon) to DJ for $100 a weekend. As young Banton’s hustle and connections grew, he linked up with a future great Capleton and began demanding up to $500 per dubplate.

The early nineties is when Buju exploded onto the scene, helping catapult dancehall into a global force. Buju’s first underground hit to cross over, “Stamina Daddy,” became the title track for his 1992 debut album (the LP was later repackaged and retitled Quick). Buju’s massive follow-up Mr. Mention, which wrought classics like “Batty Rider” and “Love Me Brownin’,” dropped the same year allowing the rookie sensation to break Bob Marley’s record for #1 hits.

The man also known as Gargamel spent the next two decades releasing sterling album after album––Voice of Jamaica (“A Little More Time,” “Deportees”) to the certified Gold’Til Shiloh (“Champion,” “It’s All Over,” “’Til I’m Laid To Rest”), before a succession of Grammy nominated projects preceded Before the Dawn, the 2011 Grammy winner for Best Reggae Album. A new chapter began for Buju in 2018, when after a seven-year hiatus, he appeared twice on megastar DJ Khaled’s album Father of Asahd.

On March 16, 2019, Buju began his “Long Walk To Freedom” tour and made worldwide history, filling Kingston’s National Stadium with over 30,000 of his most loyal fans from around the globe. The tour expanded the market for live reggae performances and paved the road for the new generation of artists. Banton then returned to the studio and gifted the world his twelfth and thirteenth albums Upside Down 2020 and Born For Greatness.

Having spent his previous two albums ministering fans across the globe through a Coronavirus pandemic and global imperialism, Buju dedicates his 14th studio album to his home. The commitment of his latest masterpiece is to re-introduce dancehall music to the new generation of reggae lovers.

Too Too Bad also ushers in a new era for Buju’s very own label, Gargamel Music. After decades of distribution partnerships with companies like Polygram, Mercury and Roc Nation, Buju is now completely independent. His philanthropic endeavors will only reap more blessings. His Buju Banton Foundation helps shelter over 120 Jamaican boys in foster care (ages 3-18). His 2019 “I Am A Jamaican” campaign raised funds for the 18-year-olds who age out of the system (Upon leaving foster care, each will receive stipends for housing and proper clothes to pursue employment.) The following year, Buju won a MOBO (Music of Black Origin) Award for Best Reggae Act. In 2025, his contribution to Bugle’s “Thank You Lord,” alongside Damien Marley, earned him a Caribbean Music Award for Reggae Collaboration of the Year.

Buju Banton is in the midst of a blessed revival. He is reinvested in the sovereignty of his music, brand and business. After becoming the first dancehall/reggae artist to sell out the UBS Arena in 2024, he is ready for global touring as well as a return to the continent of Africa. Wherever on God’s Earth the great Gargamel decides to carry his message, the mission will remain as sturdy as it stood in 1992:

“Reggae music is to uplift, educate and eradicate negativity from the minds of the people globally,” says Banton. “I will never let that change.”

Sister Hazel

Hosts and Co-Founders of The Rock Boat.

Jonah Kagen

Straight No Chaser

If the phrase “male a cappella group” conjures up an image of students in blue blazers, ties, and khakis singing traditional college songs on ivied campuses... think again. Straight No Chaser (SNC) are neither strait-laced nor straight-faced, but neither are they vaudeville-style kitsch. They have emerged as a phenomenon with a massive fanbase and a long list of accomplishments including 2 RIAA Gold Certified albums, over 1.5 million concert tickets sold, over 1 billion streams on Pandora, and over 1 million albums sold worldwide. Straight No Chaser is the real deal, the captivating sound of nine unadulterated human voices coming together to make extraordinary music that is moving people in a fundamental sense... and with a sense of humor.

The Jayhawks

2020 album XOXO available - iTunes: http://smarturl.it/TheJayhawks & Amazon: http://smarturl.it/JayhawksAmazon

Baha Men

Blondshell

I care to stick to you like a clot

Sunflower Bean

No description provided for artist.

Anees

'HOMEsick' OUT NOW

👇tour tickets and new music here

http://linktr.ee/anees

KennyHoopla

Ax and the Hatchetmen

Chicago rocknroll

Booking: bhughes@reveltalent.co

Management: Nate@7smgmt.com

DJ Jazzy Jeff

Tag Team

Girlfriends

BoDeans

Neal Francis

Official Facebook of Neal Francis

New live album 'Francis Comes Alive' out now!

Chrystian

linktr.ee/theoceanblue

Rev Run

Chase McDaniel

Raised by his grandparents in Greensburg, Kentucky, Chase McDaniel is one of Nashville’s most determined singer-songwriters — proof that grit and heart still matter. After graduating from the University of Louisville, he moved to Nashville to chase Country music dreams, only to be sidelined by the pandemic. Jobless and down to his last $12, he nearly gave up before a friend loaned him enough to stay afloat. McDaniel worked double shifts, slept four hours a night, and wrote with producer and best friend Jerry Jacobs whenever he could.
That relentless work ethic paid off. He hit #1 on the Billboard Country Digital Song Sales and iTunes Country charts with “Project” and reached #3 all-genre on iTunes with “Your Daughter.” Signed to Big Machine Records, McDaniel released his debut EP Blame It All On Country Music and has since taken his Country-rock sound and rich baritone to sold-out crowds nationwide. With “Burned Down Heaven” at Country radio and new music like “Risk It All,” McDaniel’s mission is simple: help others find the light.

Mindi Abair

Ken Pomeroy

Ken Pomeroy will break your heart. She’ll do it with a single line––sometimes, just one word. The pain begins as an empathetic ache. Then, as Pomeroy sings her stories, you begin to see yourself in her hurt and hope. And you realize: We’re in this together.

Pomeroy’s outstretched hand to the wounded manifests as startlingly good songs. Her soprano is comforting––almost sweet––but perhaps most powerful delivering a devastating line. A deft guitarist, she opts for beds of rootsy strings that can soothe or haunt. But it’s her writing that really shines and stings. “Writing was and is the only way I can fully express an emotion and feel like I got it out,” she says. “I feel like once I get it out into a song, I don’t have to worry about it anymore. If it’s a traumatic thing that happened, I kind of act as if it’s gone.”

Pomeroy creates a wild but safe space of her own––a space that, like 22-year-old Pomeroy herself, is brutally honest, proudly Native American, and undeniably brilliant.

People have noticed. Pomeroy’s “Wall of Death” made its way onto the Twisters soundtrack, while Hulu’s Reservation Dogs featured her soul-mining gem, “Cicadas.” Tour dates with Lukas Nelson, Iron &