De Britse folk zangeres Josienne Clarke hoopt met haar nieuwe album “Onliness: Songs Of Solitude And Singularity” haar demonen definitief te hebben bestreden. Met haar prachtige solo-album “A Small Unknowable Thing” uit 2021 - via haar eigen label Corduroy Punk Records - deed ze al een meer dan geslaagde muzikale poging. Eindelijk was ze bevrijd van ‘the narrowing music industry structure (her old label Rough Trade), her previous role as one-half of a duo (with Ben Walker) and the genre constraints’. Maar dit was haar inziens nog niet genoeg; ze wilde de songs uit haar verleden een hernieuwde, zelfstandige, juiste, verse, echte en eigen Josienne Clarke gezicht geven; ‘viewing them from the place she was now, in charge of every little detail, free to do what she truly wanted with them - it presents a career retrospective viewed through a new lens, comprised of reworked versions of fan favourites and hidden gems from a back catalogue that always glimmered, but are reclaimed in some way now!”.
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British folk singer/songwriter Josienne Clarke viewed her 2021 album - “A Small Unknowable Thing” - as ‘a leap into the abyss’. Finally free from the industry structure that had been built around her over the preceding decade and more, she released the album via her own label, Corduroy Punk Records, and handled every aspect of the album’s writing, recording, and release herself, on her own terms. The whole process was a reckoning - with her past and herself. A line in the sand between where she was now, and the shackles she’d been trying to free herself from for so long. Taking matters into her own hands was, in retrospect, a risk that paid off. Free from her previous role as one-half of a duo (with Ben Walker) and losing the genre constraints she was quickly and lazily placed within, she came out of that chapter emboldened - but still not truly free.
 
From her current home on Scotland’s Isle Of Bute, Josienne began thinking about the idea of reclamation. She began revisiting the songs in her back catalogue that felt buried somehow; that had never had the spotlight she felt they deserved, for myriad reasons. She took some of those songs and started playing around with them, viewing them from the place she was now, in charge of every little detail, free to do what she truly wanted with them. Once she started re-recording, she couldn’t stop; the ideas blossomed, and soon what she had wasn’t just an idea but something beautifully significant in and of itself. Five years after she left her contract with the Rough Trade-label, Josienne Clarke releases “Onliness: Songs Of Solitude And Singularity”; both a wholesome project and a spellbinding work in its own right - it presents a career retrospective viewed through a new lens, and is comprised of reworked versions of fan favourites and hidden gems from a back catalogue that always glimmered, but are reclaimed in some way now!

The album will also be issued on LP, including a limited edition color vinyl version, later this summer
​

​The upcoming release of the highly anticipated album from the award-winning country and bluegrass group, The Kody Norris Show is available June 2, 2023. Their sophomore effort Rhinestone Revival has everything that their fans love from The Kody Norris Show — and more! The album boasts a dozen hard-driving traditional bluegrass numbers, upping the honky tonk anty, with the addition of percussion to really achieve a proper toe-tapping tone.

Of the twelve songs on Rhinestone Revival, four are penned by frontman Kody Norris: “Baltimore I’m Leaving,” “Fiddler’s Rock,” “Please Tell Me Why,” and “Gotta Get My Baby Back." Last October, the first single “Mountain Rosalie” was released along with an accompanying lyric video seen here. New elements to Rhinestone Revival include a track sung by Kody’s fiddling "sweetie" Mary Rachel Nalley-Norris who steps out on “Endless Highway,” a tune Alison Krauss made popular in 1990. In addition, the band's banjo ace Josiah Tyree takes the lead on their current single "I Call Her Sunshine." Charlie Lowman rounds out the group keeping perfect time on bass.

​De Belgische topfestivals slaan de handen in elkaar met betaalapp bonsai. De bedoeling is om festivalgangers in aanloop naar en tijdens de festivals te laten betalen via de Belgische betaalapp. Op die manier willen de festivals samen meer dan 250.000 bomen planten.

Phil Lynott’s passing in 1986 was and is one of the great tragic losses of music history. A mere 36 years of age when he passed, Lynott founded and fronted one of the best rock bands of the ‘70s, Thin Lizzy, and was certainly the most popular rock singer to emerge from Dublin (prior to the Bono Era). Although his struggles with substance abuse would profoundly shape his latter career, his artistic talent continued to shine through in his post-Thin Lizzy projects including the fledgling rock group that seemed to have the potential to overtake the great Lizzy, Grand Slam!
 
Lynott started working with Magnum keyboardist Mark Stanway as part of Lynott’s live solo band in 1983 and by 1984 would eventually solidify a line-up that included guitarist Laurence Archer, rhythm guitarist Doish Nagle, and drummer Robbie Brennan and change their name to Grand Slam. Although the group never issued an official studio album, they played numerous shows around Europe and cut a series of demos that proved Lynott still had incredible songs in him and a brilliant career ahead. Grand Slam songs such as “Sisters Of Mercy” and “Nineteen” were so good they eventually ended up on some posthumous Thin Lizzy albums!

Now those songs and those live performances have been remastered to their absolute best sonic quality and packaged in a deluxe 6CD box set to be released on June 9. Slam Anthems is a true treasure trove of superb new mixes of Grand Slam songs as well as killer full concert recordings that feature songs from throughout Lynott's stellar career. Each disc comes packaged in its own wallet with rare band photos and the whole box features a 20-page full-color booklet filled with informative liner notes from music historian Dave Thompson.

For a small taste of what’s in store, check out the newly remixed version of “Nineteen” that is being released today to all digital stores as well as the accompanying video, which cuts together rarely-seen footage of Lynott along with photos of the band on stage and in the studio!

Phil may be gone, but Grand Slam lives on in the current incarnation of the band, led by Laurence Archer. They have a re-recorded and remixed version of their previous release “Hit The Ground” coming soon, as well as a brand new studio album in the works.
 
Stream the single: https://orcd.co/phillynottsgrandslam_nineteen2022remix
 
Watch the video: https://www.youtube.com/watch?v=pmXx-36L7kw
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​​TRACK LIST:
DISC 1: 2022 REMIXES
1. Breakdown
2. Crazy
3. I Still Think Of You
4. Crime Rate
5. Dedication
6. Military Man
7. Look In These Eyes
8. Harlem
9. I Don't Need This
10. Sisters Of Mercy
11. Nineteen
12. Hot N Spicy
13. Sarah
 
DISC 2: OREBRO 1983
1. Yellow Pearl
2. Old Town
3. Sarah
4. A Night In The Life Of A Blues Singer
5. Look In These Eyes
6. Parisienne Walkways
7. Solo In Soho
8. King's Call
9. Baby Drives Me Crazy
10. The Boys Are Back In Town
11. Still In Love With You
 
DISC 3: LIFFORD 1984
1. Nineteen
2. Yellow Pearl
3. Sarah
4. Parisienne Walkways
5. Crime Rate
6. Young Boy
7. Night In The Life Of A Blues Singer
8. Cold Sweat
9. Dear Miss Lonely Hearts
10. Whisky In The Jar
 
DISC 4: LONDON 1984
1. Nineteen
2. Sisters Of Mercy
3. Crime Rate
4. Military Man
5. Dedication
 
DISC 5: GREAT YARMOUTH 1984
1. Yellow Pearl
2. Nineteen
3. Harlem
4. Parisienne Walkways
5. Cold Sweat
6. Sisters Of Mercy
7. Crime Rate
8. Military Man
9. Dedication
 
DISC 6: DEMOS
1. Nineteen
2. Crime Rate
3. Crazy
4. Sisters Of Mercy
5. Whiter Shade Of Pale / Like A Rolling Stone
6. Military Man
7. Hot N Spicy
8. I Don't Need This
9. Harlem
10. I Still Think Of You
11. Gay Boys
12. Breakdown
13. Look In These Eyes
14. She Cries
15. Slam 

Billy “The Kid” Emerson died on April 25, 2023, and he was born on December 21, 1925.  What happened to him is not known. The reason of his passing was not mentioned. He was 97 years.

Known during his recording career as Billy "The Kid" Emerson and more recently as Rev. William R. Emerson, is an African American preacher and former R&B and rock and roll singer and songwriter, best known for his 1955 song, "Red Hot."

Born in Tarpon Springs, Florida, Emerson learned the piano, playing in various local bands. In 1943, he joined the United States Navy, and after World War II he began playing in Florida, and following a spell in one group where the members dressed as outlaws, he picked up the nickname "Billy The Kid".
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He joined the United States Air Force in 1952, and on his discharge met up in Memphis with bandleader Ike Turner, who recruited him into his Kings of Rhythm. In 1954 he released his first record on the Sun label, "No Teasing Around", following which he left Turner's band and joined a group led by Phineas Newborn. He stayed with Sun as a songwriter, writing and recording "When It Rains, It Really Pours", later recorded by Elvis Presley, and "Red Hot", which later became a hit for both Billy Lee Riley and Bob Luman but was not a commercial success for Emerson.

In late 1955 he joined Vee-Jay Records in Chicago, making records such as "Every Woman I Know (Crazy 'Bout Automobiles)", released a year later but with little commercial success. The song was subsequently covered in 1965 by Sam the Sham and the Pharaohs on their Wooly Bully album and by Ry Cooder on his 1980 album Borderline. Soon afterwards Emerson moved to Chess Records.

After recording for several smaller labels, he formed his own Tarpon Records in 1966, releasing Denise LaSalle's debut single as well as his own records. He also continued to play in clubs and on European blues tours. In 2005 he was reported as having a church in Oak Park, Illinois, as Rev. William R. Emerson.

Emerson was inducted in the Rockabilly Hall of Fame.
A compilation album, Red Hot: The Sun Years, was released in 2009 by Bear Family Records.

​De Britse PJ Harvey (Polly Jean Harvey) kondigt de release van haar nieuwe studioalbum 'I Inside the Old Year Dying' aan, dat op 7 juli 2023 wordt uitgebracht via Partisan Records. Samen met de aankondiging brengt Harvey ook de eerste single 'A Child’s Question, August' uit, begeleid door een video geregisseerd door Steve Gullick. Luister 'A Child’s Question, August' hier en bekijk de video hier.

'I Inside the Old Year Dying' is PJ Harvey's tiende album en haar eerste in zeven jaar. Gedurende haar carrière heeft ze altijd gezorgd dat elke fase van haar progressie haar naar nieuwe avonturen leidde, maar haar nieuwste muziek is zelfs volgens haar eigen maatstaven gedurfd en origineel. Het zit vol met een gevoel van cyclische terugkeer naar nieuwe beginpunten en combineert creatieve moed met een uitnodigende openheid op een fascinerende manier. Volgens Harvey bieden de nieuwe nummers ''a resting space, a solace, a comfort, a balm, which feels timely for the times we’re in.''

Het verhaal van het album begint zes jaar geleden, vanaf het moment dat de tour van The Hope Six Demolition Project in 2017 ten einde liep en Harvey zich bewust werd van haar gevoelens. Ze zegt: ''I was quite lost. I really wasn't sure what I wanted to do: if I wanted to carry on writing albums and playing, or if it was time for a change in my life - 'OK, I've done this for a long time. Do I want to carry on for the remainder of my life doing the same thing?'''

Ze besefte sterk dat ze ergens in de eindeloze cyclus van albums en tournees haar connectie met de muziek zelf was kwijtgeraakt. Een gevoel dat niet in woorden te vatten was. Toch was dit geen periode van creatieve terugtrekking. Dankzij mentorschap van de Schotse dichter Don Paterson werkte ze aan 'Orlam', haar tweede gepubliceerde poëziebundel na 'The Hollow of the Hand' uit 2015, die vorig jaar werd uitgebracht en een belangrijke inspiratiebron werd voor het nieuwe album. Daarnaast waren er heruitgaven van Harvey's eerdere albums, inclusief demo-versies, die tussen 2020 en 2022 werden uitgebracht. Echter waren twee dingen de doorslaggevende factoren voor het maken van nieuwe muziek.

Een van de redenen was de herinnering aan een ontmoeting met de kunstenaar en filmmaker Steve McQueen in Chicago tijdens de periode van 'Hope Six'. Steve McQueen vertelde haar ''Polly, you have to stop thinking about music like it's all albums of songs. You've got to think about what you love. You love words, you love images and you love music. And you’ve got to think, What can I do with those three things?''

De andere aanzet om terug te keren naar muziek was simpelweg het pure plezier van het spelen van muziek. ''As a way of trying to heal myself - and I can't think of a better word to use - I would go to the piano or the guitar and play my favourite songs by other people: a lot of Nina Simone's songs, or 'What A Wonderful World' - which would bring me to tears as I was playing them - or [The Mamas and The Papas’] 'California Dreamin', or 'Golden Brown' by The Stranglers. And I would just realise: 'No, it's still there; I still love this so much that it's like it keeps me alive.'''

Al snel begon er iets te ontstaan. Harvey voelde bij het schrijven van nieuwe nummers een bevrijdend gevoel van muziek maken omwille van de muziek zelf, in plaats van de gebruikelijke cyclus van album-tour-album-tour. Ze liet zich inspireren door haar eerdere ervaringen met creatieve vrijheid bij het werken aan soundtracks en in het theater. De nummers van 'I Inside the Old Year Dying' zijn allemaal in een tijdspanne van drie weken ontstaan, maar dat was slechts het begin. De sleutel tot wat er daarna zou gebeuren, bij Battery Studios in Noordwest Londen, lag in een creatieve band tussen drie personen die al bijna dertig jaar bestaat: Harvey, haar creatieve partner John Parish en producer Flood.
​

ZO
10.12.2023
Lotto Arena, Antwerpen
De ticketverkoop start op dinsdag 2 mei om 12u
 TICKETS & INFO 

Till Lindemann - zanger van Rammstein - kondigt Europese tour aan dit najaar met maar liefst 24 shows in 13 landen, waaronder een stop op 10 december in de Antwerpse Lotto Arena. Het is de eerste keer dat Till Lindemann met zijn solo-project ons land aandoet. De ticketverkoop start op dinsdag 2 mei om 12u via greenhousetalent.com.
 
Duits metalgenie Till Lindemann is niet alleen een getalenteerd muzikant maar wereldwijd een fenomeen. In zijn metalkoffer voor deze tour steken oude en nieuwe nummers. Lindemanns songs staan bekend voor hun beeldrijke en krachtige teksten die live op een kunstige manier en met de nodige drama onder de huid kruipen. Een show van Till is als een vulkaanuitbarsting die overloopt van vocale kracht, beukende nummers, brute energie en spektakel. Wanneer hij ‚Steh Auf' inzet, trillen miljoenen stembanden uit volle borst zo mee.
 

Naast het overdonderende succes van Rammstein, startte Till Lindemann in 2013 - samen met de Zweedse metalhead Peter Tägtgren (Hypocrisy, Pain) - zijn soloproject onder de naam ‚Lindemann'. Samen brachten ze de platen Skills in Pills (2015) - waar Till voor het eerst uitsluitend in het Engels zingt - en F&M (2019) uit, waarop de sound en de humor van zowel Rammstein als Pain worden verenigd. In 2020 stopte de samenwerking en zette Till Lindemann met succes zijn solo-project verder. Zijn laatste wapenfeit dateert van juni 2021. Op de Internationale Dag van het Kind bracht hij de single ‚Ich Hasse Kinder' uit. Shockeren deed hij zoals we van de spraakmakende Rammstein frontman gewend zijn, maar de tracktitel neem je best met een korreltje zout. Het nummer gaat over zijn haat-liefdeverhouding met kinderen, aangewakkerd door zijn eigen verleden waar hij als kind gepest werd. Uiteindelijk vergeeft hij zijn pestkoppen en slaat zijn maniakele haat om in liefde.
 
Nadat de ‚Ich Hasse Kinder' tour werd uitgesteld door de pandemie, kondigt Till Lindemann nu een nieuwe Europese tour aan waarbij hij voor de eerste keer met zijn solo-project België aandoet. Samen met zijn band verplettert Till Lindemann zo de Antwerpse Lotto Arena op 10 december. Verwacht je aan meer metal en video’s, nog meer special effects, oude en nieuwe nummers, gierende gitaren en een rasp van een stem! Kan je niet wachten? Deze zomer sluit hij met Rammstein de ‚Europe Stadium Live Tour' af in het Koning Boudewijnstadion in Brussel op 3, 4 én 5 augustus!
 
De ticketverkoop voor Till Lindemann op 10 december in de Lotto Arena, Antwerpen start op dinsdag 2 mei om 12u via greenhousetalent.com. 

Gulf Coast Records announces the signing of New York City-based blues guitar slinger Popa Chubby (aka “The Beast from the East”) and will release his label debut live double-CD in the Fall of 2023.
 
“I remember the first time I heard Popa Chubby on the radio in the 1990s in St. Louis on KSHE-95; it blew me away,!” said Gulf Coast main man Mike Zito in making the announcement.  “I am so excited to be working with my hero, Popa Chubby. This record will knock your frigging socks off!!”
 
“I’ve been a fan of Mike Zito for a decade or more,” said Popa Chubby.” I watched him grow Gulf Coast from scratch and it impressed me a lot. When I recorded this double-live record I contacted Mike about aligning our energies. The result can only be spectacular.”
 
The new album was recorded at G Bluey’s Juke Joint in Long Island City, New York, on October 24 and 25, 2022, and features Popa Chubby (guitar and vocals), backed by his all-star “Beast Band,” which consists of Mike Merritt - bass (Conan O’Brien, Billy Gibbons); Mike Dimeo - keyboards (Johnny Winter, Tommy James); and Stefano Giudici - drums.
 
“This record is a reunion in a lot of ways,” stated Popa Chubby. “Rejoining with my long-time ally and bassist extraordinaire Mike Merritt and recording in my old Manny’s Car Wash engineer Glen Forrest’s studio. The icing on the cake was Mike Dimeo on keys. Add the Centurion Stefano Giudici on drums and you’ve got some heavy blues rock! A live best of for the ages!”
 
Born Ted Horowitz, Popa Chubby is a long-time, New York City veteran blues rocker, who also produced and mixed his upcoming new album.  He’s been hard-rocking the blues in his fierce and soulful way for more than 35 years. Over the course of his career, he has been a force to be reckoned with on the guitar, and his tempestuous, soulful playing has never been more powerful. An imposing figure with a shaven head, tattooed arms, a goatee and a performance style he describes as “the Stooges meets Buddy Guy, Motörhead meets Muddy Waters and Jimi Hendrix meets Robert Johnson,” Popa Chubby is an endearing character who has become one of the genre’s most popular figures.
 
His career has always been about moving forward and carving a place for himself in the imposing terrain of the music business, overcoming odds to continue growing and maturing as a creative force. He has built a constantly increasing base of fans across the world, where in many territories he is a star. A native New Yorker, his first gigs were in the NYC punk scene as a guitarist for what he reflects was a "crazy Japanese special effects performance artist in a kimono called ‘Screaming Mad George,’ who had a horror-movie inspired show.” Right from the start, he was immersed in rock ‘n’ roll as theater, and learned from George and others playing CBGB’s at the time that included the Ramones, the Cramps, Richard Hell, whose band -the Voidoids - he joined, that rock ‘n’ roll should be dangerous. He reflects, "Musicians like the Ramones and the Sex Pistols weren’t just bands. They were a threat to society."
 
The blues, however, was the foundation of his playing style. He recalls, "Since I’d grown up on Hendrix, Cream and Led Zeppelin, when I started playing blues in New York clubs I understood that the blues should be dangerous, too. It wasn’t just from playing in punk bands. Howlin’ Wolf and Muddy Waters were dangerous men. They’d cut or shoot you if they thought it was necessary, and Little Walter packed a gun and wouldn’t hesitate to use it. That danger is a real part of the blues and I keep it alive in my music.”
 
Popa Chubby is his own man. "I’m living in a wild time, and that is where the inspiration is drawn from. There are my issues, but the picture is much bigger than me and my situation. Everything is breaking down in the world. The lines are being redefined. We all need something.”

 
Popa Chubby Social Media:
Website: https://www.popachubby.com/
Facebook: https://www.facebook.com/popachubbyband
Instagram: https://www.instagram.com/popachubby1960/
Twitter: https://twitter.com/Popachubb
YouTube: https://www.youtube.com/@popachubby3126

BRVT
‘Promise’ EP
DIGITAL RELEASE 28/04 - EB
 
De debuut EP 'Promise' van het Belgisch Britse trio BRVT kom eraan

​Brvt (lees: brut) is een Belgisch/Britse indie pop band gevestigd in Brussel.Geleid door het zachte timbre en de wat hese folksy stem van leadzangeresAriana, vertelt Brvt  op intimistische manier verhalen op pulserende beats. Brvt werd in 2019 gevormd door songwriter/vocalist Arianna D’Amato (UK)en multi-instrumentalist/producerTim de Fontaine (Be). Later ontmoetten ze producer Mathieu Grillo (Be) die een perfecte aanvulling op het trio vormde. Hun eerste single Co2 kreeg lovende kritieken. Daarna volgde hun tweede single Vague, die zijn weg vond naar de meeste grote Franstalige radiostations in België, waaronder tipk, Jam en DH-radio. Ook in Nederland was hun muziek op de radio te horen. In de pers werd de sound van hun  singles vergeleken met Massive Attack, Lamb of London Grammar.
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​'Promise', zo heet de EP, gaat over de manier waarop we omgaan met liefde en verlies de dag van vandaag. Relaties en de manier waarop we liefhebben worden enorm beïnvloed doormaatschappelijke, sociale druk en technologie. 'Promise' vertelt het verhaal van de verschillende manieren waarop we ‘closure’, aanvaarding en toekomstig geluk proberen te vinden na een relatie, terwijl we tegelijk onze eigen weg in de wereld nog zoeken.
 
Hun eerste single ‘CO2’ kreeg meten lovende kritieken. Daarna volgde huntweede single ‘Vague’, die zijn weg vond naar enkele grote radiostations in België, waaronder Tipik, Jam, en zelf wat airplay in Nederland.
 
In juni 2022 speelde BRVT hun eerste live shows in het voorprogramma vande Belgische popartiest MUSTII in de legendarische Ancienne Belgique, maar ookandere venues, waaronder Caserne Fonck & La Ferme Du Bléreau volgden.
En onlangs tekenden ze een deal met booker FKP Scorpio.
 
BRVT is een welkome aanvulling op de female fronted indiepop voorgangersals London Grammar & Men I Trust.
​

ZO
05.11.2023
Koningin Elisabethzaal, Antwerpen
Tickets zijn te koop vanaf vrijdag 28 april om 11u
 TICKETS & INFO 

Op zondag 5 november staat jazz-royalty Stacey Kent in de Koningin Elisabethzaal, waar ze samen met saxofonist/componist/arrangeur Jim Tomlinson en pianist Art Hirahara het album 'Songs From Other Places’ komt voorstellen. Tickets zijn verkrijgbaar vanaf vrijdag 28 april om 11u via greenhousetalent.com.
 
'Songs From Other Places’ is een fascinerende en eclectische collectie stem- en pianoduetten die zijn ontstaan toen 'I Wish I Could Go Travelling Again’ in 2020 op het hoogtepunt van de lockdown het meest aangevraagde lied was. Het werd overigens speciaal voor Stacey Kent geschreven door auteur en Nobelprijswinnaar Kazuo Ishiguro en Jim Tomlinson. Uit een eenzaam opnameproject kwam een album voort en nu dus ook een immens succesvolle wereldtournee waarbij Stacey het podium en de spotlights deelt met haar twee favoriete muzikale partners met wie ze al jarenlang samenwerkt.
 
Het repertoire van 'Songs From Other Places’ is een verkenning van de thema’s plaats en ruimte, thuishoren en de transformatieve kracht van onderweg zijn. De set omvat nummers van Paul Simon, Jobim, Weil & Gershwin, Lennon & McCartney, Stevie Nicks, en nieuw, origineel materiaal van Tomlinson & Ishiguro, allemaal gebracht in Stacey’s bedwelmende stijl en fusie van Romaanse talen.
 
Met ruim 2 miljoen verkochte albums, 400 miljoen streams op Spotify en een massa awards, waaronder die voor Best Vocal Album voor 'I Know I Dream’ (Sony) op de Jazz Japan Awards 2018, een recente nominatie voor Best Vocal Performance op de Jazz Music Awards 2022 binnenkort in Atlanta, Georgia, blijft Kent groeien als artiest en performer.
 
Kent blijft een hectisch opname- en touringprogramma aanhouden. Haar eerste album voor Blue Note kreeg een opvolger in de vorm van het volledig Franstalige 'Raconte-moi’, het album uit 2009 waarvoor ze een gouden plaat in ontvangst mocht nemen. Naar aanleiding daarvan stond ze op de volledig Franstalige affiche van het Francofolies Festival en kreeg ze de prestigieuze Franse titel van Chevalier dans l'Ordre des Arts et des Lettres. Haar allereerste livealbum 'Dreamer in Concert’ (EMI 2011) werd gevolgd door 'The Changing Lights’ (Warner 2013), waaruit nog meer dan bij haar andere albums de altijd aanwezige invloed van Brazilië op Stacey’s muziek naar voren komt.
 
"Bepaalde muziek lijkt voorbestemd om bij een gegeven moment in de tijd te passen. SONGS FROM OTHER PLACES brengt op sublieme wijze troost in die van ons ... Stacey Kents kristalheldere stem en Art Hirahara’s lyrische pianospel maken van hun gezamenlijke muziek precies "wat de wereld nu nodig heeft”. - JAZZ TIMES

Harry Belafonte was een Amerikaanse zanger, acteur en activist, geboren op 1 maart 1927 in Harlem, New York. Hij stond bekend als de ‘Koning van de Calypso’, vanwege zijn iconische bijdragen aan de Caribische muziekstijl. Hij was één van de meest prominente entertainers en burgerrechtenactivisten van de 20e eeuw en heeft zijn leven gewijd aan het promoten van vrede en gelijkheid.
Belafonte werd geboren als Harold George Bellanfanti Jr.. Hij groeide op in armoede en werd op jonge leeftijd verlaten door zijn vader. Hij bracht een groot deel van zijn jeugd door bij zijn grootmoeder in Jamaica, waar hij voor het eerst in aanraking kwam met de calypsomuziek die zijn latere carrière zou bepalen. Na zijn terugkeer naar New York voltooide Belafonte zijn middelbare school en diende hij in de Amerikaanse marine tijdens de Tweede Wereldoorlog. Na zijn militaire dienst begon hij met het optreden in clubs en cafés in de New Yorkse wijk Greenwich Village, waar hij al snel opviel vanwege zijn charismatische persoonlijkheid en onderscheidende stem.

De 'Koning van de calypso' werd hij genoemd. Acteur en zanger Harry Belafonte werd wereldberoemd met het nummer Banana Boat Song, maar hij was ook politiek actief en zette zich jarenlang in voor de burgerrechten in de Verenigde Staten. Daarvoor kreeg hij in 2014 een ere-Oscar uitgereikt. Hij was een goede vriend van Martin Luther King en steunde de predikant moreel en financieel in zijn strijd tegen de rassenscheiding in de VS.
Ook was Belafonte lange tijd ambassadeur van Unicef en streed hij tegen de verspreiding van hiv in Afrika. Hij stond in 1985 aan de wieg van het nummer We are the World van de gelegenheidsband USA for Africa, de Amerikaanse tegenhanger van Band Aid, die zich ten doel stelde om geld in te zamelen voor hongerend Afrika.

Ondanks de dramalessen begon Belafonte een carrière als zanger. Als beginnende crooner kreeg hij, letterlijk, ruggensteun van de Charlie Parker Band. 27 April 1953 schreef Belafonte, nietsvermoedend, muziekgeschiedenis: die dag blikte hij in de studio de intussen wereldberoemde single Mathilda in. In 1959 kreeg hij onder de naam Tonight with Belafonte een heuse eigen tv-show. Tijdens een van die shows zong hij met Odette het ook al onvergetelijke duet There’s a hole in my bucket. Dat jaar bracht hij het album Hava Nagila uit, met daarop natuurlijk het notoire titellied, een Joods volkslied dat zoveel betekent als ‘Laten we ons verheugen’. In 1961 volgde met Jump up Calypso zijn tweede calypso-elpee. Op zijn volgende album, Midnight Special (1962), speelde een jonge, beloftevolle harmonicaspeler, een zekere Bob Dylan.

​In de jaren ‘60 hielp Belafonte zangeressen als de Zuid-Afrikaanse Myriam Makeba en de Griekse Nana Mouskouri aan internationale bekendheid. Zelf ging het met Belafonte’s populariteit als muzikant in dat decennium langzaam achteruit, te wijten aan de opkomst van The Beatles en de Britpop die de VS begon te overspoelen. Langzaam, want het album An evening met Belafonte/Makeba (1963), over het lot van de zwarten in het Zuid-Afrika van de apartheid, won maar liefst zes Gold Records.

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DI
31.10.2023
De Grote Post, Oostende
Tickets zijn te koop vanaf zaterdag 3 juni
 TICKETS & INFO 

WO
01.11.2023
Minard, Gent
Tickets zijn te koop vanaf vrijdag 28 april om 11u
 TICKETS & INFO 

 
Op dinsdag 31 oktober komt Roland - wie heeft een familienaam nodig als iedereen meteen weet over wie het gaat - voor een concert naar De Grote Post in Oostende. Op 1 november speelt hij "ten dans” in de Minard in Gent. De kans dat de twee concerten een doorslag van elkaar zullen zijn, is onbestaande. Tickets en info via greenhousetalent.com.
 
"Ik heb nog steeds een hekel aan repeteren. Ik werk niet met een setlist want ieder moment van de dag ben je iemand anders. Ik wil kort op de bal kunnen spelen en zal nooit tweemaal hetzelfde spelen. Ik haat platgerepeteerde bands met een vaste setlist die steeds dezelfde show, solo’s en mopjes opvoeren. Voor mij is optreden voor het juiste publiek en samen met de juiste muzikanten vergelijkbaar met een soort religieus gevoel. Met ouder worden, is optreden voor mij steeds gemakkelijker. Ik weet wat ik kan en waar ik beter af blijf. Ik krijg nog steeds positieve energie van optreden. Ik wil mijn "metier” (om een vies woord te gebruiken) niet inzetten voor geld. De dag dat ik het enkel voor geld moet doen, stop ik (grinnikt).”
 
Over een vorige concert in de Minard titelde Het Nieuwsblad: "Roland in de Minard: Magistraal Mooi”. 'Magistraal’ sloeg op het eerste gebrachte nummer, 'Mooi’ op het tweede en toen moest het concert nog beginnen. De aanwezigen werden omvergeblazen door de Mantra Blues van de Sound Magician en zijn vrije trawanten. Bij een tweede Minard-concert veertien dagen later werd het indrukwekkend klankpalet nog verder uitgebreid met een sitar. Ondertussen kregen zijn begeleiders een nieuwe geuzennaam: The Space Cowboys.
 
"In het begin van mijn carrière liet ik mij begeleiden door mijn "bluesworkshop”, een verwijzing naar 'Jazz Composers Workshop’ van Charles Mingus. Maar blues dekt niet langer de lading van de muziek die we nu spelen. Space Cowboys is een grappige verwijzing naar het zooitje ongeregeld dat in de jaren zestig van de vorige eeuw in California hun vrijheid op alle vlakken beleefde. Denk aan Jerry Garcia en The Grateful Dead. Ze zeggen soms: soort zoekt soort. Met deze vrije cowboys kan werkelijk alles. Space slaat dan weer op het zeer wijds geluid dat we produceren. Binnen onze rangen niet enkel de traditionele bas, drum en gitaar maar ook een cello, sitar, viool en slide waar een forse lap op gegeven wordt.”
 
Roland wordt deze zomer 79 en is ondertussen iedere muziekstijl meester, gaande van blues, folk, jazz, spirituals, indiase raga, funk tot psychedelische jams. Zelf deelt hij zijn oeuvre in als 'Ethno-Pop-Folk’.
 
Kom samen met Roland Van Campenhout en zijn Space Cowboys grasduinen in zijn rijkelijk gevuld repertoire en laat je meeslepen door de magische wereld van diens schepper!

Ondanks de lockdown-periode wist de post-shoegaze, dream pop en indie (kraut/post-punk) rock-formatie bdrmm, uit het Engelse Hull, in 2020 toch een behoorlijke impact te maken met hun debuut-album “Bedroom”. Het werd onthaald als ‘a heady, forward-thinking shoe gaze distillation’ (Clash), ‘one of the underground hits of lockdown’ (The Guardian) en NME-magazine gaf het de maximale vijf sterrren en noemde de release ‘a modern day shoe gaze classic’! De band is nu terug met hun tweede album “I Don’t Know”, en bevat weer de kenmerkende ‘effects-laden guitars (The Cure, Ride), dreamy ambient melody-lines (Beach House, Slowdive) and motorik grooves (Neu!, Can), but now added with piano, strings, electronica, sampling and the occassional dance beat. Stilstand is achteruitgang en bdrmm toont aan dat shoegaze anno 2023 nog innovatief en springlevend kan zijn!

​While the world became socially distanced in 2020, Hull’s post-shoegaze, dream pop and indie (kraut/post-punk) rock quartet bdrmm made the kind of impact with their debut album any young band would dream about. “Bedroom” was hailed as “a heady, forward-thinking shoe gaze distillation” by Clash magazine, the Guardian proclaimed “one of the underground hits of lockdown”, while NME awarded the album five solid stars and called “Bedroom” nothing less than “a modern day shoe gaze classic”. Now signed to Mogwai's Rock Action Records, the band returns with “I Don't Know”, complete with their trademark effects-laden guitars (The Cure, Ride), dreamy ambient melody-lines (Beach House, Slowdive) and motoric grooves (Neu!, Can), but now added with piano, strings, electronica, sampling and the occasional dance beat. Bdrmm fans will not be disappointed and fans of bands like Radiohead, The Stone Roses, Warpaint, Mogwai, The Pains Of Being Pure At Heart, Galaxie 500, Boards Of Canada, Low, The Smashing Pumpkins, Deerhunter, Wire, Cigarettes After Sex and My Bloody Valentine that are yet to discover bdrmm would do well by blessing their ears with "I Don't Know".

Ben Folds is zijn mid/eind jaren 90-periode met zijn zeer succesvolle piano pop/alternative rock-formatie Ben Folds Five inmiddels ruimschoots ontgroeid. Hij startte zijn solo-carriere in 2001 en sindsdien zagen zeer fraaie albums het levenslicht (‘that would establish him as one of the most ambitious and versatile songwriters of his generation’), schreef veel theater/tv/film-muziek, zijn boek “A Dream About Lightning Bugs” en werkte samen met ballet- en orkest-groepen als componist, producer, adviseur en uitvoerend artiest (zijn laatste album was “So There” uit 2015, waar op hij samenwerkte met het strijkorkest yMusic). Daarnaast is hij fanatiek in de weer als fondsenwerver voor goede doelen, met podcasts en zijn eigen fotografie.
Druk baasje dus, die eindelijk tijd vond om na 8 jaar weer een album uit te brengen. Ook “What Matters Most” volgt op heerlijke wijze de bekende Ben Folds-blauwdruk; ‘catchy, melodic, orchestral, dreamy, meaningful, bittersweet and joyful indie pop songs full of melancholy and optimism’. Het album werd in East Nashville opgenomen, met medewerking van artiesten als Tall Heights, Dodie, Rob Moose, Ruby Amanfu en Ross Garren, ge-co-produceerd door Joe Pisapia (K.D. Lang, Guster) en ‘it’s a bold, timely and cinematic work; one that examines the tragic and the absurd in equal measure, as it reckons with hope and despair, gratitude and loss, identity and perspective’.
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Op 2 juni verschijnt het album: “What Matters Most”
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Het is al lang geen geheim meer dat Lady Linn een bijzondere warme stem heeft, in alle mogelijke stijlen komt ze tot haar recht.  

Dat bewees ze nogmaals met haar trilogie, een reeks van drie EP’s - ‘I’m Fine’, ‘Sea of Trees’ & ‘Nocturne’ - die elk hun eigen verhaal vertellen en die nu gebundeld worden op het album ‘Trilogy’.
Rode draad doorheen het album is haar affiniteit met jazz, soul en dance maar ook tekstueel komen verschillende thema’s terug: de tederheid binnen het gezinsleven, melancholie, de natuur maar ook de magie van de dansvloer.

Er zat een duidelijke evolutie in de trilogie. Van het sobere, uitgepuurde quasi elektronisch geluid van de JX-03 van Linn op ‘I’m Fine’ (met mooie bijdrages van Gustaph, Gregory Frateur en producer Frederik Segers) naar dromerige en warme analoge synths van Joris Caluwaerts op ‘Sea of Trees’, naar een organische, energieke sixties klank op ‘Nocturne’ met glansrol voor haar partner en bassist  Filip Vandebril en partners in crime: The Magnificent Seven, Frederik Heirman als arrangeur en Jan Chantrain aan de knoppen.

Behalve een selectie van de drie EP’s bevat ‘Trilogy’ ook de single en extra song ‘Hurricane’, een van Linn’s persoonlijke favorieten, opgenomen in de Daft Studios met The Magnificent Seven.

‘Ik had een docu bekeken over Laurel Canyon (nvdr: in Los Angeles, het epicentrum van de ‘counterculture’, zeg maar de ‘hippies’,  van de late sixties en vroege seventies; habitat van o.a. The Mama’s and the Papas, Frank Zappa, Jim Morrisson en vele anderen) en mede door mijn ouders was ik altijd gefascineerd door de sixties. De manier waarop muziek daar werd opgenomen en gecreëerd is de droom van menig muzikant, ook van mij. Ik zag de kans, wegens weinig tot geen optredens door Covid, om die vrijgekomen tijd te benutten en mijn droom uit te voeren in de Daft Studios met mijn eigen band. Ik waande me een beetje Carol King, achter haar piano, maar was ook heel erg geïnspireerd door Joni Mitchell.’

‘Een heel persoonlijk nummer over jezelf verliezen en het verlangen naar vrijheid, dat ik ook echt bewust heb zitten componeren naar analogie met die sixties songs, met veel modulaties en complexe akkoordenschema’s.’

Lady Linn heeft een veelzijdige trilogie neergezet, waarbij ze put uit een grote diversiteit aan invloeden en waarin ze op een eigentijdse, originele manier graaft in de muziekgeschiedenis. Ook op de productie heeft ze duidelijk haar stempel gedrukt. Zowel bij de EP ‘I’m Fine’ als bij ‘Nocturne’ was ze co-producent. 

‘Trilogy’ ligt vandaag in de winkel. 

On October 28 of last year, the entire music world mourned the loss of one of its most important foundational figures, the great Rock n’ Roll pioneer Jerry Lee Lewis, but for Linda Gail Lewis the loss was much more personal. She lost not only her brother but a music partner that had shaped her own life and career profoundly. And just as many millions of Jerry’s fans the world over sought solace in the many hundreds of songs Jerry Lee performed over the course of his life, so did Linda. In fact, she crafted an entire album of studio recordings that her brother made famous to not only celebrate the deep connection she shared with Jerry Lee but to also keep the memory of her brother alive.
 
Recorded at the legendary Sun Studios, where Jerry Lee Lewis along with Elvis Presley, Johnny Cash and other founding fathers of rock, Linda Gail Lewis’s A Tribute To Jerry Lee Lewis is an album full of incredible performances, a jubilant celebration of rock music’s rollicking early years. The album was produced by rockabilly guitar extraordinaire Danny B. Harvey, who enlisted his friend and frequent collaborator Slim Jim Phantom of Stray Cats as well as his wife Annie Marie Lewis, who also happens to be Linda’s daughter. Linda has been performing some of these tracks for years but the studio versions have a whole new sonic energy. Just check out the first single to be released from the album, “Down The Line,” along with the fantastic video created while the group was recording in the hallowed Sun Studio halls.

Public Image Ltd. (PiL) have decided to continue plans to announce their 11th studio album and first album in 8 years, End of World, today, following the sad passing of John’s wife of more than 4 decades, Nora Forster, on 5th April. End of World will be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 38-date UK and European Tour. Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's wife Nora, who sadly passed away from Alzheimer’s on Wednesday 5th April. A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. John said, “Nora loved the album, she wouldn’t have wanted us to postpone it or change any of our plans.” Previously he has said of Hawaii, “It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most.”

The band began writing and recording End of World in 2018, during their 40th anniversary tour. After The Great Pause, the band regrouped in the studio and “there was just this massive explosion of ideas,” Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written.

The announcement comes with the release of new single Penge, which John has described as, “something of a mediaeval Viking epic.”

Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time.

PiL’s music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums. With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub – Lydon guided the band from their debut album First Issue in 1978 through to 1992’s That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now… in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now… was self-funded by PiL and released on their own label ‘PiL Official’ via Cargo UK Distribution. In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called ‘The Public Image Is Rotten’, and a 32-date UK/Europe tour, plus dates in Japan.

John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive.

PiL will be touring the UK and Europe in September and October 2023 - dates below.
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​Europe Tour Dates
Fri  8th  Sept -  Greece, Thessoloniki Principal Club Theatre
Sat  9th Sept - Greece,  Athens Gagarin 205
Mon 2nd Oct - Germany - Cologne - Kantine
Wed 4th Oct - The Netherlands - Amsterdam - Paradiso  
Thurs 5th Oct - Belgium - Gent -Vooruit  
Fri 6th Oct - Germany Stuttgart Im Wireman
Sun 8th Oct - Germany - Hamburg - Gruenspan
Mon 9th Oct - Sweden - Gothenburg - Pustervik
Tues 10th Oct - Sweden - Stockholm - Nalen
Thurs 12th Oct Estonia - Tallin - Helitehas
Fri 13th Oct - Finland - Helsinki - Ääniwalli
Sun 15th Oct - Germany - Berlin - Metropol
Mon 16th Oct - Czech Republic - Prague - Lucerna Music Bar
Tues 17th Oct - Czech Republic - Brno - Fléda club
Fri 20th Oct - Spain - Madrid - Shoko
Sat 21st Oct - Spain - Barcelona - Salamandra
Sun 22nd Oct - Spain Bilbao - Cafe Antzokia
Tues 24th Oct - Portugal - Porto Hard Club
Wed 25th Oct - Portugal - Lisbon LAV
Fri 27th Oct - France - Paris - Le Trianon
Sun 29th Oct - Switzerland - Lausanne - Les Docks
Mon 30th Oct - Italy - Milan - Magazzini Generali  
Tues 31st Oct - France - Strasbourg - La Laiterie

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Singer and guitarist Otis Redding III, the son and namesake of the legendary 1960s soul singer, has died from cancer at age 59, his family said Wednesday.

Redding was just three years old when his father, Otis Redding, died with several band members in a plane crash on Dec. 10, 1967. More than a decade later, the younger Redding and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.

“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening,” said his sister, Karla Redding-Andrews, in a statement posted on the Facebook page of the Otis Redding Foundation, the family’s charity in Macon.

​Though singles “Remote Control” and “Call the Law” by The Reddings made appearances on the Billboard music charts, the Redding brothers never matched their father’s success. Redding continued playing and performing after the band recorded its final album in 1988.

He was once hired for a European tour as guitarist for soul singer Eddie Floyd, under whose guidance the younger Redding became comfortable performing “(Sittin’ On) the Dock of the Bay” and other songs of his famous father.
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“He said, `You can play guitar with me, but you’re going to have to sing a few of your dad’s songs,‘” Redding recalled in a 2018 interview with NBC affiliate WCSH of Portland, Maine. “I was like, ‘Huh? I don’t sing,’ you know. And he was like, ‘Well, you’re going to sing “Dock of the Bay” with me tonight.’”

​Redding worked with his family’s foundation to organize summer camps that teach children to play music and served as board president for the local chapter of Meals on Wheels.

He continued to perform his father’s songs for audiences large and small, according to his website, from appearing onstage at Carnegie Hall for a 2018 Otis Redding tribute concert to singing at weddings and private parties. Redding said he was grateful for the enduring legacy even if it overshadowed efforts to make music of his own.
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“No matter how hard I try to do my own thing, you know, it’s like ... ‘sing one of your daddy’s songs,’” he told the Maine TV station. “So I go ahead and do what people want, and I live with it. But I’m not under any pressure and I don’t put myself mentally under any pressure to go begging for record deals.”

​Iconic roots singer Tracy Nelson, who burst onto the Rock and Roll scene in the mid-1960s as lead singer in the San Francisco-based group Mother Earth and her legendary vocals on the classic, “Down So Low,” will release her first album in over 10 years,  Life Don’t Miss Nobody, June 9th on the BMG label. Joining Tracy are some of her favorite musical friends, including Willie Nelson, Charlie Musselwhite, Irma Thomas, Marcia Ball, Jontavious Willis, Mickey Raphael and Terry Hanck. Life Don’t Miss Nobody was produced by Roger Alan Nichols with Tracy Nelson and recorded in Nashville, as well as several other studios.
Tracy Nelson possesses one of the most powerful voices in American music and has emerged from a lengthy recording hiatus with the album of a lifetime, a musical self-portrait spanning her entire career. Life Don’t Miss Nobody is a 13 track collection that stretches back to her start as a guitar-picking Wisconsin teen playing coffeehouses, through an unparalleled career now in its sixth decade, singing blues, country, New Orleans R&B and gospel, and performing in storied music meccas in her epic, genre- busting musical journey.
“I haven’t made a record in over 10 years,” Tracy says. “I’ve been wanting to do every one of these songs for a really long time. I wanted to get a little bit of everything, all the kinds of music that I love.”

The title song is a brand-new composition from the woman whose “Down So Low” has become a modern standard. She’s kept busy performing and recording with long-time musical friends in projects like Corky Siegel’s Chamber Blues and with the freewheeling all-star Blues Broads – Angela Strehli, Annie Sampson and Dorothy Morrison. Even so, roots lovers have waited a long time for a new Tracy Nelson album, and no one’s more excited than Tracy. Life Don’t Miss Nobody is Tracy Nelson’s own Great American Songbook, featuring iconic composers like Hank Williams, Ma Rainey, Willie Dixon, Allen Toussaint, Chuck Berry, Doc Pomus, Sister Rosetta Tharpe and the Founding Father of American Song, Stephen Foster. Foster’s “Hard Times” in here twice, both featuring Tracy on 12-string guitar: the first time she’s recorded on guitar since her 1964 Prestige Records debut, Deep Are The Roots.

Tracy’s labor of love includes the album’s personnel. Produced by Roger Alan Nichols (Steven Tyler, Larkin Poe) Life Don’t Miss Nobody features the state-of-the-art roots rhythm section of piano masters Kevin McKendree (Delbert McClinton, Brian Setzer,) and Steve Conn (Bonnie Raitt, Sonny Landreth), bassist Byron House (Robert Plant’s Band of Joy, Nitty Gritty Dirt Band), Nashville A-list drummer, John Gardner (Dixie Chicks, Taylor Swift), Larry Chaney (Edwin McCain) and Mike Henderson (SteelDrivers, Chris Stapleton) on guitars. “I’ve recorded with every one of these guys many times, with exception of Kevin McKendree, who absolutely killed,” she says. “Each time I think I know what I’ll get from them and each time they surpass my expectations, make the songs more wonderful than I could have imagined and make my job easy and fun.”
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That joy continues in the rest of the sessions featuring a stellar crew of session players including Mike Dysinger on percussion, Doug Mosher on clarinet, Mike Johnson on pedal steel, and the fabulous Belmont horn section- Chase Carpenter, Jack Warner, Gabriel Collings and Dominique Caster – Chase Carpenter arranger. In addition, Tracy is joined by longtime musical pals Robert Cray sideman, producer and multiple Blues Music Award keyboard winner, Jim Pugh, singer/tenor saxist also multiple BMA instrumentalist award winner, songwriter, Terry Hanck, superb singers and artists in their own right, Reba Russell, Dianne Davidson and Vickie Carrico and Jontavious Willis, a leader of the Deep Blues youth movement, with a duet on Sonny Boy Williamson’s “Your Funeral and My Trial.”

“I cannot say enough about what a gem Roger Nichols is. He’s a brilliant engineer, as well as musician. As a producer he brings not only superb technical expertise but great insight, patience and JUST the right amount of direction.”
The guest list is just a perfect fit, featuring legendary artists and friends who’ve been part of her life for many years. Harmonica great Charlie Musselwhite, who, back in the ‘60s introduced Tracy to Chicago’s Southside blues clubs and played on her first album, is here on Willie Dixon’s plea for peace, “It Don’t Make Sense.”
Tracy’s anecdotal suitcase is packed with more great stories about her special guests on the new disc. On Willie Nelson: “Willie’s producer and the engineer at the session said that he put more creative effort into doing that song than they’ve ever seen him do. I was so honored by his respect.”  Famous for his unique vocal turns, he can leave duet partners in the dust, but Tracy is particularly proud of that track. “I challenge anyone to get as close with Willie’s phrasing as I did” she exults. “It was such fun singing with him again.”
 
The title track, written by Tracy and her partner Mike Dysinger, is the album’s emotional centerpiece. It's a harrowing song of loss and the fragility of life, shaped by the pandemic and again, war in Ukraine and floods and fires. The title refers to life’s hardships inevitably coming for us all. Yet, even in devastating lines like “The world has a way of taking back its toys,” it finds reassurance in its fatalism. 
 
The track, “Where Do You Go (When You Can’t Go Home),” brings back more fond memories about its genesis. “Marcia and I wrote that years ago,” Tracy says, recalling the idea came after an argument with a soon-to-be ex.  “I sent the chorus and part of the first verse to Marcia and she turned it into an anthem about Katrina. And that song just keeps being current. Folks in Ukraine, folks in fire and flood zones, people in general keep losing their homes. ”
 
Life Don’t Miss Nobody Track Listing and Credits
Strange Things Happening Every Day – Public Domain/Sister Rosetta Tharpe / Lead Vocal – Tracy Nelson/Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Mike Henderson/ Background Vocals – The Angelics (John Gardner/Byron House/Mike Henderson/Kevin McKendree 
There Is Always One More Time – writers: Ken Hirsch & Doc Pomus / Lead Vocal – Tracy Nelson
Drums-John Gardner / Electric Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Larry Chaney/ Background Vocals-Dianne Davidson, Vickie Carrico, Reba Russell, Issac Ferguson Dillard / Featured Guest: Harmonica-Mickey Raphael
Life Don’t Miss Nobody – writers: Mike Dysinger & Tracy Nelson / Lead Vocal/Wurlitzer Piano– Tracy Nelson/ Drums-John Gardner / Upright Bass-Byron House / Piano-Steve Conn / Acoustic Guitar & Cuatro-Larry Chaney/ Congas & Guiro-Mike Dysinger / Alto Sax-Jack Warner / Trumpet-Dominique Caster / Trombone &-Chase Carpenter (*arrangement)
Your Funeral And My Trial – writer: Sonny Boy Williamson  / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Mike Henderson/ Featured Guest: Jontavious Willis-Vocal and Resonator Guitar
Yonder Come The Blues –Public Doman/Ma Rainey / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Steve Conn / Electric Guitar-Larry Chaney /Clarinet-Doug Mosher
I Did My Part – writer: Naomi Neville aka: Allen Toussaint / Lead Vocal – Tracy Nelson
Drums-John Gardner / Electric Bass-Byron House / Electric Guitar-Roger Alan Nichols / Piano-Kevin McKendree/Background Vocals-Tracy Nelson, Marcia Ball, Irma Thomas / Featured Vocals-Irma Thomas & Marcia Ball/ Baritone Sax-Jack Warner / Trumpet – Dominique Caster / Tenor Sax-Gabriel Collins (Carpenter Arrangement)
Hard Times – Public Domain/Stephen Foster  / Lead Vocal & 12 String Guitar – Tracy Nelson
Drums-John Gardner / Bowed Upright Bass-Byron House / Accordion-Steve Conn / B3 Organ-Jim Pugh/Electric Guitar-Larry Chaney / Background Vocals-Dianne Davidson, Vickie Carrico, Reba Russell
Honky Tonkin’ – writer: Hank Williams / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Larry Chaney-Electric Guitar / Steel Guitar-Mike Johnson/Acoustic Guitar-Roger Alan Nichols / Harmonica-Mickey Raphael / Featured Guest Vocal – Willie Nelson
It Don’t Make Sense – writer: Willie Dixon / Lead Vocal – Tracy Nelson
Drums-John Gardner / Electric Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Mike Henderson/Background Vocals-Tracy Nelson, Issac Ferguson Dillard / Featured Guest: Harmonica-Charlie Musselwhite
Compared To What – writer: Gene McDaniels / Lead Vocal – Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Roger Alan Nichols/Featured Guest: Vocals and Sax-Terry Hanck
Where Do You Go (When You Can’t Go Home) – writers: Tracy Nelson/Marcia Ball / Lead Vocal-Tracy Nelson/ Drums-John Gardner / Electric Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Roger Alan Nichols/ B3 Organ-Jim Pugh / Background Vocals-Tracy Nelson, Dianne Davidson, Vickie Carrico, Reba Russell, Issac Ferguson Dillard
Brown Eyed Handsome Man – writer: Chuck Berry / Lead Vocal Tracy Nelson
Drums-John Gardner / Upright Bass-Byron House / Piano-Kevin McKendree / Electric Guitar-Larry Chaney/ Background Vocals-Dianne Davidson, Vickie Carrico, Reba Russell / Featured Guest Vocals – Marcia Ball,  Irma Thomas, Reba Russell, Dianne Davidson, Vickie Carrico
Hard Times (Solo Version) – Public Domain/Stephen Foster / Lead Vocal & Acoustic 12 String-Tracy Nelson

​Unicorn’s captivating third album “Too Many Crooks,” produced by Pink Floyd’s David Gilmour, returns to delight fans and music aficionados alike with its reissue on CD and vinyl, set to release on May 12, 2023, through Think Like A Key Music. The album, originally released on EMI’s Harvest label in the UK and Capitol in the US, showcases the band’s unique blend of pastoral British folk-rock and evocative West Coast vibes.

The reissue invites listeners to immerse themselves in Ken Baker’s rich songwriting tapestry, woven together with Beatlesque melodies, tight performances, and a compelling sonic narrative. Tracks like the irresistible country-rock anthems “He's Got Pride” and “In The Mood,” the funky groove of “Bullseye Bill,” and the tender, Big Star-esque title track effortlessly explore a diverse range of musical landscapes.

Although Unicorn’s proto-powerpop gem “Disco Dancer” did not achieve chart success, the haunting track “No Way Out Of Here” found a second life on David Gilmour’s debut album. This reissue is an essential piece of music history for any discerning music aficionado.

The album’s liner notes, written by Dave Disanzo, tell the story of Unicorn’s connection with David Gilmour, who not only produced the album but also played guitar on several tracks. “Too Many Crooks,” considered by many as Unicorn’s finest release, perfectly encapsulates the band’s brilliant songwriting, exquisite harmonies, masterful musicianship, and crystal-clear production.
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The reissue includes rare session photos and lyrics, making it a must-have for fans and collectors. Don’t miss this opportunity to rediscover the enchanting sounds of Unicorn’s seminal third album.

​About Unicorn: Unicorn was a renowned British rock band formed in 1971, originally known as The Senders. Their unique sound combined elements of country-rock, soft rock, and folk, creating a distinct and captivating musical experience. Discovered by David Gilmour of Pink Floyd, who took on the role of their producer and mentor, Unicorn consisted of talented musicians Ken Baker (guitar, keyboards, vocals), Pat Martin (bass, vocals), Peter Perrier (drums, vocals), and Kevin Smith (guitar, vocals). Throughout their career, the band released four critically acclaimed albums, garnering a dedicated fan base. Despite their undeniable talent and passion, Unicorn never achieved mainstream success, ultimately disbanding in 1980. Their legacy, however, continues to live on through their timeless music and the impact they had on their loyal listeners.

​ZA
13.04.2024
Le Forum, Luik
Tickets zijn te koop vanaf vrijdag 21 april om 10u
 TICKETS & INFO 

ZO
14.04.2024
Koninklijk Circus, Brussel
Tickets zijn te koop vanaf vrijdag 21 april om 10u
 TICKETS & INFO 

 
Het internationaal gerenommeerde en veelgeprezen The Musical Box gaat op tournee met het iconische album 'Selling England by the Pound’ (1973) - dat dit jaar zijn 50ste verjaardag viert - van de al even legendarische band Genesis. Op 13 april 2024 houden ze halt in Le Forum in Luik en op 14 april 2024 in Koninklijk Circus in Brussel. Tickets zijn te koop vanaf vrijdag 21 april om 10u via greenhousetalent.com.
 
The Musical Box wordt gezien als dé officiële historische recreatie van Genesis, die als enige de zegen kreeg van Genesis én Peter Gabriel. Ze traden al op voor meer dan een miljoen mensen in de meest prestigieuze zalen ter wereld, zoals de Royal Albert Hall in Londen en Olympia in Parijs. The Musical Box biedt zijn toeschouwers een meeslepende muzikale reis doorheen het excentrieke universum van Genesis. Een unieke voorstelling die de essentie van de concerten van de iconische groep vat.
 
Voor de show heeft de band zich gebaseerd op de originele tour die Genesis deed met 'Selling England by the Pound’, waardoor je je moeiteloos terug in de tijd waant. The Musical Box zal het succesalbum brengen zoals het destijds klonk en eruit zag.
 
"The Musical Box reproduceert perfect waar Genesis voor staat.” - Peter Gabriel
 
"Het gaat hier niet over een tributeband. Ze concentreren zich op een welbepaalde periode en reconstrueren deze waarheidsgetrouw in een echt theatraal werk.” -
Phil Collins
 
Ontdek één van de eerste rockopera’s in de geschiedenis, gebracht door The Musical Box op het podium van Le Forum en het Koninklijk Circus!  

​Gulf Coast Records announces a June 9th release date for Best of Me, the label debut from  acclaimed Chicago blues guitar great Joanna Connor. Joining Joanna (guitar and vocals) on the recording is her regular “Wrecking Crew” touring band: Shaun Gotti Calloway – bass; Dan Souvigny – guitar and keys; Curtis Moore Jr. – keys; and Jason J Roc Edwards - drums and vocals. Special guests include labelmates Eric Demmer – saxophone and Jason Ricci: - harmonica; and guitarists Joe Bonamassa, Josh Smith, Gary Hoey and Gulf Coast president Mike Zito: guitar; David Abbruzzese on drums and the Grooveline Horns. Best of Me was produced by Shaun Gotti Calloway, Jason J Roc Edwards, and Joanna Connor, and recorded at Studio2424 in Chicago.
 
“There are musicians that play together and may do it extremely well,” Joanna said about the Best of Me recording sessions. “Then, there are musicians that move as one, that share moments of creating music that is mystically telepathic. The group of musicians we assembled here created a free-flowing and fiery blend of soul, rock, funk and country, all rooted in the blues. Making this record with the go ahead from Mike Zito and Gulf Coast Records to have free reign was uplifting and inspiring. This recording definitely brought out the’ best of me,’ and solidified my band as a force to be reckoned with. Guitar power and nuance is evident on this record but so are convincing vocals, soul-stirring keyboard work, tighter than tight horns and a rhythm section that propels and compliments each song. The album touches on my maturing as a woman, facing mortality with grace and thanks, celebrating love won, love lost, lust and passion, the pain and pleasure of having this human experience. I hope the listener enjoys this record as much as we had making it.”
 
About Joanna Connor:

Joanna Connor was born in Brooklyn, New York, raised in Worcester, Massachusetts, and after beginning her career there at the age of 17, packed a suitcase, a Fender Twin Amp, a guitar and bought a bus ticket to the Blues Mecca of Chicago, where her goal was to be in a cracking blues band learning from the best . A mere month after moving to the Windy City, Delta blues heavyweight Johnny Littlejohn hired her. A few months after that, Dion Payton enlisted her to be a part of his 43rd Street Blues Band, where they held residencies at the hallowed Checkerboard Lounge and the Kingston Mines blues clubs, and were the backing band behind every major talent in the city. Joanna went on to tour with sax great AC Reed before starting her own band at the urging of the Kingston Mines owner. Blind Pig Records signed Joanna in 1989 and released several records on her before she went on to become the second artist to sign with Ruf Records; subsequently releasing many records for the German-based label, which led to a decade of touring throughout Europe.
 
In 2002, The House of Blues in Chicago offered Joanna and her band a weekly residency, and with her additional residency at the Kingston Mines, Connor made the decision to come off the road touring grind for a while and work locally four nights per week, while raising her two children as a single mom. Joanna also recorded several albums for the highly-respected MC Records during that decade.


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In 2019, one of the videos of her fierce guitar work caught the eyes and ears of one of the most prominent guitarists of the modern era -Joe Bonamassa - as well as director Adrian Lynne (Flash Dance, Fatal Attraction). Lynne offered her a scene performing in the movie, Deep Water, starring Ben Affleck. At the same time, Joe Bonamassa and his KTBA Records label gave her the opportunity to make a studio album. Both projects happened right before the COVID 19 epidemic and subsequent lockdown. The KTBA album, 4801 South Indiana, was released in February of 2021 to immense critical acclaim and a number one spot on the Billboard blues chart. The Deep Water film was released on Hulu in March, 2022.
 
Now being a part of the Gulf Coast Records family, Joanna Connors career path is in full-bloom, playing with sympathetic musicians and a support staff all in lock-step, along with a common purpose and goal of reaching for the top of the blues world. Joanna’s tsunami of musical energy and passion is now unleashed on record with Best of Me.

 
Joanna Connor – Best of Me Track Listing and Credits
 
1. House Rules - by Shaun Calloway
2. Pain and Pleasure - by Shaun Calloway and Joanna Connor
3. Best of Me - by Shaun Calloway
4. Highway Child - by Shaun Calloway and Joanna Connor
5. I Lost You - by Joanna Connor
6. Two of a Kind - by Shaun Calloway and Joanna Connor
7. All I Want Is You - by Shaun Calloway and Joanna Connor
8. Mercury Blues - by Robert Geddins and KC Douglas
9. Shadow Lover - by Shaun Calloway and Joanna Connor
10. Greatest of These - by Joanna Connor
11. Shine On - by Shaun Calloway and Joanna Connor
 
Musicians
Joanna Connor - Guitar & Vocals
Shaun Gotti Calloway - Bass
Jason J Roc Edwards - Drums & Background Vocals
Dan Souvigny - Rhythm Guitar & Keys on Mercury Blues, The Greatest of These, I Lost You
Curtis Moore Jr - Organ, Wurlitzer, Synthesizer on all tracks
Grooveline Horns: Fernando Castillo - Trumpet & Flugelhorn; Carlos Sosa – Saxophones Flute; Raul Vallejo - Trombone on House Rules, Best of Me, Two of A Kind
Eric Demmer - Saxophone Solos - House Rules
Frank Pellegrino - Emcee
 
Featured Artists
Joe Bonamassa: Guitar - Highway Child
Josh Smith: Guitar - Pain and Pleasure, House Rules
Gary Hoey: Guitar & Background Vocals - Shine On
Jason Ricci: Harmonica - Shine On
Mike Zito: Guitar - Shadow Lover
David Abbruzzese: Drums - Mercury Blues
 
Joanna Connor Social Media Links:
Website: https://www.joannaconnorwreckingcrew.com/
Facebook: https://www.facebook.com/joannaconnorband
Instagram: https://www.instagram.com/joannaconnorguitar/

​De Amerikaanse jazzpianist Ahmad Jamal, die ruim zeventig jaar van grote invloed was in de jazzmuziek, is op 92-jarige leeftijd overleden. Zijn dochter Sumayah zegt tegen The New York Times dat hij is overleden aan de gevolgen van prostaatkanker. Tal van jazzgrootheden, onder wie Miles Davis en Herbie Hancock, zeiden schatplichtig aan hem te zijn.

Jamal, die zich op latere leeftijd bekeerde tot de islam en zijn naam veranderde, werd in 1930 in Pittsburgh geboren als Frederick 'Fritz' Russell Jones. Sinds zijn derde leerde hij pianospelen van Mary Cardwell Dawson - de latere oprichter van de National Negro Opera Company - en op zijn veertiende werd hij professioneel muzikant. Vanwege zijn virtuositeit viel hij als kind al op bij grote jazznamen als Art Tatum.

Voor Jamal, die ook klassiek geschoold was, was jazzmuziek "Amerikaanse klassieke muziek". "We bestudeerden Bach en Ellington, Mozart en Art Tatum. Als je op je derde begint, dan speel je wat je hoort", zei hij ooit over zijn invloeden.
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Ingetogen stijl in bebop-tijdperkAls jazzmuzikant groeide Jamal op in de tijd van de bebopmuziek: de complexe en ritmische jazz die vaak doorspekt is met gejaagde improvisaties. Zijn eigen stijl week al snel af: hij speelde ingetogen stukken die zich door zijn gebruik van stilte tussen noten laten kenmerken door rust.

Deze stijlbreuk met de rappe bebop leverde Jamal in 1958 zijn eerste grote commerciële succes op met de plaat At the Perishing: But Not for Me. Die succesplaat werd gevolgd door ruim zestig andere. Ook de prijzen voor zijn muziek waren talrijk. In 2017 won hij nog een Lifetime Achievement Award op de Grammy's en in 2019 werd hij ingewijd in de Franse Orde van Kunst en Letteren.

Jamals rustigere jazz veranderde het genre en vakgenoten vergelijken zijn invloed vaak met die van jazzlegende Thelonius Monk. "Al mijn inspiratie komt van Ahmad Jamal", schreef zijn levenslange vriend Miles Davis over hem in zijn memoires. De iconische jazztrompettist roemde "Jamals concept van ruimte, zijn zachte toets, zijn terughoudendheid en de frasering van zijn noten, akkoorden en zijn passages".

HiphopNiet alleen mede-jazzmuzikanten lieten zich inspireren door Jamal. Ook hiphopartiesten en -formaties als De La Soul, Jay-Z, Common en Nas sampelden zijn muziek. Acteur en regisseur Clint Eastwood gebruikte Jamals muziek voor de soundtrack van zijn film The Bridges of Madison County.

Tot op hoge leeftijd bleven er platen verschijnen van Jamal, met vorig jaar nog twee live-albums. Dit jaar volgt nog een derde album. "Ik ben me nog steeds aan het ontwikkelen als ik achter de piano ga zitten", zei hij vorig jaar nog, inmiddels hoogbejaard. "Ik kan nog steeds frisse ideeën opdoen."
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Blues-roots guitarist Chris Duarte has announced his new studio album ‘Ain’t Giving Up,” which will be released on April 14th via Provogue Records. Check out the music video for the opening song “Nobody But You.”
 
 His 15th studio album features a wide range of outlaw blues, Americana, roots, and even alt-country influences, ‘Ain’t Giving Up’ finds the Austin, Texas guitarist teaming up for the first time in 22 years with producer-guitarist Dennis Herring, also known for his work with artists like Buddy Guy, Modest Mouse, Elvis Costello, and the Hives. But the resulting album isn’t a calculated return to roots affair. Recorded live on the studio floor with vintage gear and minimal overdubs, it’s a raw and revved-up showcase for the virtuoso’s jaw-dropping chops; his mastery of the elusive Texas shuffle; and his deep love and commitment to the blues.
  
 Duarte is celebrating the announcement with the release of the album’s opening track, the super-charged Allman Brother-style riffy blues-rocker, “Nobody But You.” 
  
 Duarte dropped his sophomore album, ‘Texas Sugar Strat Magik,’ in 1994, and he went on to issue a string of critically-acclaimed blues, blues-rock albums, and experimental fusion-tinged albums.
  
 ‘Ain’t Giving Up’ siphons from the same spirit as ‘Texas Sugar,’ but the new album is definitely its own monster. The album was tracked live as a trio with ‘Texas Sugar’ drummer Brannen Temple, but it also features a rhythm machine with some raw, looped beat patterns Duarte plays over, much like the same funky groove stylings as on J.J. Cale’s iconic 1971 album ‘Naturally.’ “This album explores a wider spectrum of musicality,” shares Duarte. “I love Muddy Water and Howlin’ Wolf, but also feel like it’s part of me to introduce some unexpected influences. For this album, I didn’t feel scared to explore beyond hard-driving blues. I view this as expanding on the format that I love.”
  
 “I planted my flag with ‘Strat Magik,’ and on this album, I am pushing the music forward,” Duarte continues. “I’ve explored lots of different facets of my playing, but this album says, ‘I’m here, and I’m not giving up on blues or my career.’ And I’m not playing it safe, either—the solos were all tracked live.”
  
 Duarte has been known for his physical and athletic playing style—he often plays so hard his fingers bleed while he’s onstage (there are photos to prove this legend). Because of this fiery dedication, many fans and critics have playfully referred to his music as “punk blues” or “rockin’ blues.” “My style is super aggressive and physical,” Duarte affirms. “These days I’m a bit older, but I still put as much heart into my playing as I ever did—I still love playing.”
 
 The guitarist, singer, and songwriter came up as a force to be reckoned with in the 1990s Austin, Texas roots and blues scene. He rose to prominence in the wake of Stevie Ray Vaughan’s passing, and was noted for his muscular playing style; his jazz and rock n’ roll-infused blues solos; and his command of the Texas blues tradition. Since those early days, Duarte has carved his own niche through a series of beloved blues-flavored albums, and a calendar of more than 150 dates a year which includes performances billed as Chris Duarte and as The Chris Duarte Group. In both of these contexts, Duarte has headlined major festivals and clubs throughout the US, Canada, Japan, and Europe.
  
 Reunited with Herring who produced his best-selling record, Duarte instantly found a lot hadn’t changed with the two men. “There’s more grey hair and creases in our faces,” Duarte says with a chuckle. “But we have that same music connection we had years ago.  Dennis’s approach is to capture raw emotion, and, because of this, he records literally everything, even snippets between songs.” Duarte continues: “I brought my guitar with me when we tracked vocals, and he said I didn’t need it—the guitar parts were all done. He used the solos I played on the fly during the basic sessions.  They were fun, and off-the-cuff, and the tone and grooves were great. I was really dialed in.”
  
 Ain't Giving Up is intimate and gritty, but it also boasts pristine fidelity, as if we the listener are in the studio with Duarte and his buddies. It’s a reset for Duarte that shows his resilience and his undiminished love of the blues and American roots. “I am so grateful to be signed to Provogue and to work with Dennis again—it’s been a dream come true,” Duarte enthuses. “I have been so fortunate to play music and do my thing for almost 30 years, and I couldn’t ask for a better life.”
 


Track listing 
 
 1. Nobody But You
 2. Big Fight
 3. Bye, Bye, Bye
 4. Can Opener
 5. Gimme Your Love
 6. Come My Way
 7. Half As Good As Two
 8. Lies Lies Lies
 9. Ain't Giving Up On Us
 10. Look What U Made Me Do
 11. The Real Low Down
 12. Weak Days

NEW EP ‘FIRST LOVES’, OUT JUNE 23RD VIA COMMUNION
​

​After an incredibly prolific 2022, which saw them release their highly-praised fourth studio album ‘Blue Hours’ in May, and their original soundtrack for the Apple TV+ series Trying, on which they collaborated with the likes of Maisie Peters and Jade Bird, folk-pop duo Bear’s Den return once again to announce the details of their new EP ‘First Loves’, showcased by the emotionally-charged new single ‘Evelyn’.

While the Bear’s Den anthology to date has been cemented within the more romantic and heartfelt aesthetics this last decade, ‘First Loves’ has become an opportunity for the duo to contemplate some of the more seldom seen elements of falling in love and the turmoil that can come with it.

Previewed by the new lead single ‘Evelyn’, this opening track is about two people falling in love in very different ways and with very different people. With Evelyn realising the power of her maternal love, whilst her close friend struggles with an unrequited love for Evelyn, making this one of the more heartbreaking additions from their forthcoming collection.

Adding about ‘Evelyn’, they said, “I've always been drawn to finding people experiencing intense feelings together but not necessarily reciprocally towards each other. There are two separate love stories happening in the song and that's kinda interesting to me.”

 
‘First Loves’ Tracklist
1. Evelyn
2. Helen Of Hammersmith Bridge
3. Summer & Smoke
4. Teach Me Ava

‘First Loves’ will follow on from the duo’s fourth studio album ‘Blue Hours’, which was released in May 2022. The album went on to peak at number 6 in the UK Album Charts, making it their second top ten record. 

 
BEAR'S DEN LIVE
30/06 Rock Werchter, Werchter

 
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