Back by popular demand, Queen + Adam Lambert will rock North America this summer with a highly-anticipated 25-city arena tour kicking off June 23in Phoenix, Arizona at Gila River Arena, followed shortly after with a special Los Angeles Hollywood Bowl performance, June 26.

After wildly successful and sold out tours throughout Europe, Asia, Australia, Latin and North America, Brian May, Roger Taylor + Adam Lambert will debut a brand new show specially designed and created for this outing, bringing fans all their favorite Queen hits, like “Another One Bites the Dust,”  “Bohemian Rhapsody,” “We Will Rock You,” “We Are The Champions”.  The high-energy concert will bring their history alive in all its passion and glory, with stops in Los Angeles, New York, Chicago, Boston, Philadelphia and more, before wrapping on August 5 in Houston, TX at the Toyota Center.

June 23rd Phoenix, AZ – Gila River Arena

June 24th Las Vegas, NV – T-Mobile Arena

June 26th  Los Angeles, CA – Hollywood Bowl

June 29th San Jose, CA – SAP Center

July 1st Seattle, WA – Key Arena

July 2nd Vancouver, BC – Pepsi Live at Rogers Arena

July 4th Edmonton, AB – Rogers Place

July 6th Denver, CO – Pepsi Center Arena

July 8th Omaha, NE – CenturyLink Arena

July 9th Kansas City, MO – Sprint Center

July 13th Chicago, IL – United Center

July 14th St. Paul, MN – Xcel Energy Center

July 17th Montreal, QC – Bell Centre

July 18th Toronto, ON – Air Canada Centre

July 20th Detroit, MI – The Palace of Auburn Hills

July 21st Cleveland, OH – Quicken Loans Arena

July 23rd Uncasville, CT – Mohegan Sun Arena

July 25th Boston, MA – TD Garden

July 26th Newark, NJ – Prudential Center

July 28th New York, NY – Barclays Center

July 30th Philadelphia, PA – Wells Fargo Center

July 31st Washington D.C. – Verizon Center

August 2nd Nashville, TN – Bridgestone Arena

August 4th Dallas, TX – American Airlines Center

August 5th Houston, TX – Toyota Center

The post Queen + Adam Lambert Return To North America For 25 City Tour appeared first on Glide Magazine.

Plenty of people go to see bands when they come through their town, but most people don’t think about everything that it takes to get those bands to their favorite club. Being on tour for a musician is both enlightening and daunting, as physically and mentally draining as it is stimulating. And no matter what, there are always stories to tell. In Tales From The Golden Road we let musicians tell their own stories of life on the road to get a behind-the-scenes, up-close look at what really goes down between each show. 

The beginning of 2017 marks our 11th year as a band, which is something none of us would have imagined when we started collaborating at a Wednesday night residency gig in Austin in late 2005…

But here we are, grateful to be making music and traveling the country. I’m not sure how many shows we’ve played over the years, but it’s probably in the ballpark of 1500 shows. This year, however, there is a new collective energy and excitement within the band as we set out on tour in support of our latest record, Duende (Read our REVIEW). We’re all feeling a renewed sense of urgency and determination and we’re excited to go out and connect with our tribe of people via the power of heady-roots-rock.

The first leg of the tour has so far consisted of a week on a music festival-style cruise ship for the Delbert McClinton Sandy Beaches Cruise. We’ve been fortunate to get to do these music cruises where we don’t have to spend 5-7 hours a day on the highway and instead get to hang out with true music fans and some of our favorite musicians as we wander around a huge ship in the middle of the Caribbean eating eclectic worldly cuisine from a buffet line and downing unlimited ice cream cones. This cruise was particularly fun with Lukas Nelson and the Mavericks’ Raul Malo sitting in a couple times during our sets. Then back on land we played a couple of shows in Florida, the highlight of which was getting to play and hang with Los Lobos. The grooves and textures those guys throw down are inspiring and the guys are all as cool as can be. We do have one confession to make: we stole a couple shots of tequila from their stash of booze in the green room because we had to know what Los Lobos’ tequila tastes like. Sorry guys! Needless to say, it was smooth.

The mid-Atlantic portion of our East Coast tour has not been without challenges. The shows have been killer. Above expectations and lots of fun, but in 4 days on the highway, we’ve had a tire blowout while driving, a busted axle on our trailer, and another flat tire…we had to leave our trailer in North Carolina to get repaired so we’re now pulling around a U-haul trailer for the remainder of the East Coast tour. We’re thankful for the help of Jim Campen in Asheville, NC for doing everything he could do to help getting our trailer back up and running. The reality of this job is that the shows are so much fun that we’d do them for free…it’s all the time driving, loading heavy gear, staying in hotels, and dealing with the perils of the road that we get paid for.

Last night we played in Washington D.C. on the night of the Women’s March on Washington. We’re so grateful for the incredibly strong women in our lives, and it was an honor to be there on such a historic day. Unfortunately we didn’t get to march because we were driving, loading gear, and soundchecking during the day, but we could feel the energy at the show of so many who marched against misogyny and sexism. We ended the night with a cover of “Maybe I’m Amazed”, dedicated to all the strong women making a stand.

The Brooklyn-based band The National Reserve has been opening up the first half of our east coast shows. They’re a great band and a bunch of cool cats. They’ve been slaying it on their sets and then we’ve enjoyed getting them up on stage to sing “Look at Miss Ohio” or “It Takes a Lot to Laugh, It Takes a Train to Cry” on some of the nights during our set. We hope you guys are enjoying their music as much as we are. Hopefully we’ll get to do some more shows with them.

Radio and press are kicking into high gear this week, so we’re riding high on the wheels of our independent release team. Thanks to all the stations and writers that have been supporting the release. Mostly, thanks to all of you that have been coming out to the shows. It truly sustains us and allows us to keep living the dream.

The Band of Heathens are on tour now supporting their new album Duende. We’ll be publishing dispatches from their tour as it progresses. For a full list of dates and music visit bandofheathens.com. 

The post Tales From The Golden Road: Band of Heathens Hit The Road In Support of ‘Duende’ appeared first on Glide Magazine.

The Los Angeles-based band Ray & Remora emerged in the spring of 2014 with their EP 1994, featuring six synthedelic covers of indie rock gems that originally came out twenty years prior. Startle it Up, their full-length debut of 11 original tracks, was released last year on Aeronaut Records.

Startle it Up drifts from synth-driven epic ballads to head-bopping indie pop, all the while highlighting 23-year old Remora’s lush, emotive vocals. Comparisons have been made to bands like Florence & the Machine, Ms Mr and HAIM, though the songwriting is still rooted in the influences covered on 1994—bands like Guided By Voices, Pavement, and Sebadoh.

Today Glide Magazine is presenting an exclusive preview of one of the new video for the song ”Don’t Shoot Me Down”. The video was conceived and directed by USC student Lina Suh who had this to say about creating it: “I listened to the sound of the song first, how it felt, then read the lyrics repeatedly, jotting down visuals and ideas that occurred. One thing that I felt pretty immediately was a fiery spirit trapped in nostalgia, inherent in an ending relationship, that it fights to shake off. I sensed a wonderful cinematic opportunity in the sound and story, and though we wouldn’t have much of a budget to work with, I started the scope wild and trusted that we would find a way to scale it back enough to create the journey that lives up to the song’s fiery spirit.”

Amanda Walker aka Remora has this to say about the video: “Lina is truly an amazing director. I’m still in awe how she got so many beautiful shots in just two days. What a whirlwind – after the 4am all day first day shoot, we had the second day of shooting at my house. At 10am fifteen kids AND their parents showed up to shoot the birthday party scene. It was madness. And I had bought all these colorful toys I thought looked pretty, forgetting that giving kids toys means they will destroyyyyyy and conquer. If they weren’t acting they were firing helicopter guns EVERYWHERE. We had a grand ol’time.”

WATCH:

More info:

iTunes album link: https://itunes.apple.com/us/album/startle-it-up/id1121391396
https://www.facebook.com/RayandRemora
http://rayandremora.com

The post VIDEO PREMIERE: Ray & Remora Get Sensual and Soulful On “Don’t Shoot Me Down” appeared first on Glide Magazine.

Jonny P is a soul artist and fashion designer born in New York City, now living in Nashville, TN. With a sound reminiscent of the greats of Motown, Jonny is poised to carve his modern soul mark in the landscape of R&B. His vocals are nothing but refreshing and his style is inspiring to many that crave true artistry. In his four years in Nashville he released ‘Right to You,’ a six-track EP and is currently working on new music and projects set to release in 2017.

Glide is proud to premiere, “It’s Our Time,” (below) a convincingly inspirational anthem and the title track of Jonny P’s forthcoming 5-song EP, which will be released April 21 on Big Picnic Records. Combining the soulful essence of Leon Bridges and the charming pop of yesterday’s honest hit-makers, Jonny P has made a resounding “in the pocket” statement.

“It’s our time is a song I’m extremely excited to release. It carries a message of hope that I think we all need. We hold the power of change in our hands,” says Jonny P about the track. During the recent political unrest and protests, “It’s Our Time,” couldn’t be more poignant.

The EP was self-produced by Jonny P along with his guitarist, Goffrey Moore, and was mixed by Tom Elmhirst (Adele, Frank Ocean, Jamie XX, Amy Winehouse, Mark Ronson) and features James Gadson (Quincy Jones, Paul McCartney, Herbie Hancock, Beck, BB King, Jamie Lidell) on drums.

Jonny P was born and raised in the Bronx and now calls Nashville home. In addition to music, he recently wrapped his first acting role in the upcoming film by director Kathryn Bigelow and screenwriter Mark Boal (who won Oscars for The Hurt Locker), a fictionalized chronicle of the Detroit riots of 1967.

Links

Official Site

Facebook

Twitter

Instagram

The post SONG PREMIERE: Jonny P Lands Soulful Highs On “It’s Our Time” appeared first on Glide Magazine.

‘The Flash’ Suffers Another Setback

DC just can’t catch a break. In the rush to catch up with their counterparts at Marvel, they made what many fans consider to be massive missteps in the last year, delivering two movies (Batman v Superman; Suicide Squad) that basically amounted to throwing everything they could at the wall to see what stuck. Not much did. Things were looking up for the coming year however, with Wonder Woman and Justice League looking to regain some fan affection. Then The Flash happened. The Flash is quickly becoming one of the most troubled productions in recent memory. Late last year, director Rick Famuyiwa left the production citing creative differences. It’s been months and no replacement has been found. Now comes the announcement that the entire script is undergoing a page one rewrite—meaning that they’re basically just starting from scratch and hoping it all works out. At this point, it doesn’t seem that DC and Warner Brothers can do much to keep their money train from completely derailing, but at least we’ve got Affleck’s Batman to look forward to in the future sometime, maybe.

(Variety)

Jacob Tremblay Cast in ‘The Predator’

Shane Black’s The Predator, a reboot of the famed action/sci-fi Predator series has cast Jacob Tremblay, the young star of 2015’s Room. The now 10-year-old actor will play the son of Boyd Holbrook (Narcos) in the film, which also stars Trevante Rhodes (Moonlight) and Olivia Munn. Little else is known about the project, though filming is set to begin next month. It’s currently scheduled to open on February 9, 2018.

(Variety)

Michael Bay Producing Trump Inspired Dystopia

Talk about timely. Universal has picked up the rights to a Michael Bay produced film, Little America, in which a bankrupt United States, led by an inept businessman, has their debts called in by China. Rowan Athale (The Wasteland) wrote the treatment for the script and is also attached to direct. There’s not a lot to go on right now, but based on what we do know—Americans have begun emigrating to China in order to find work and a Chinese billionaire’s daughter becomes stuck in America—it sounds like this could be a fun commentary on the world today.

(The Hollywood Reporter)

Fox Greenlights ‘X-Men’ Pilot; Bryan Singer to Direct

With the cinematic future of the X-Men franchise in question, plans are moving ahead to develop the universe for television. Fox has confirmed a pilot order for an X-Men series, with 4 time X­-director Bryan Singer set to helm the pilot episode. There’s some question as to whether or not this series will connect to the feature film series, or if this will stand on its own. Already, Fox is involved in another stand alone series based on the X-Men comics, Legion, which premieres soon on FX. It could be that these two series are being used to rebuild the franchise from the ground up following the poor reception for last year’s Apocalypse. As of yet, there hasn’t been confirmation as to which characters will appear in the series, though they certainly have plenty to choose from. If the series gets a full season order, this could be the perfect way to continue the franchise without the baggage that’s developed over years of mediocre films.

(Collider)

The post Film Bits: More Bad News for ‘The Flash’; ‘The Predator’ Casts Young Star appeared first on Glide Magazine.

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Though we didn’t even know it, we have been waiting for the new collaboration record from Will Kimbrough and Brigitte DeMeyer. It has been a wait because the duo began playing together more than five years ago, and have only just now decided to make an album. And it is a low key beauty that will sneak up on you in the cold, dark, end of January. Mockingbird Soul is a collection of stunning vocal harmonies and minimalistic arrangements that would be perfectly suited to an intimate live show.

There is a natural ease between DeMeyer and Kimbrough, perhaps because they have a longstanding friendship. A level of basic trust that elevates these songs to a level of familiarity and comfort. Their sound is warm and draws you in, and their voices fill all the right grooves for each other. DeMeyer has a sultry smoky tone that she keeps reigned in to match Kimbrough’s quieter one, and the pitch perfect blend is at its best on the title track “Mockingbird Soul.” This tune, like many on the record, is soulful and pared down. The focus is on the harmonies the two of them create, and not much more is needed.

“Until Then” is one of DeMeyer’s standouts on Mockingbird Soul, with Kimbrough falling back to let her strong, sturdy vocals shine. “October Song” takes the reverse approach, showcasing Kimbrough, with understated support from DeMeyer. These are two of the record’s best, too, offering up a sampling of the different styles of music on display throughout: a little bluegrass, traditional country and folk, soul, and blues. The Kimbrough-penned “I Can Hear Your Voice” has a classic pop melody a la The Beatles, and is Mockingbird Soul’s prettiest.

The best part of this album is that down to its bones it feels like a collaborative piece of work. Both artists had a strong identity here, but neither outdoes the other. These aren’t cheesy duets; they’re thought-out, well written songs created by two underrated masters of their craft.

The post Brigitte DeMeyer and Will Kimbrough Craft a Low Key Beauty On ‘Mockingbird Soul’ (ALBUM REVIEW) appeared first on Glide Magazine.

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Six years since their debut album, the Cloud Nothings are back with Life Without Sound, their most polished album to date. Frontman Dylan Baldi has historically had a lead foot on the songwriting accelerator, releasing albums in rapid succession, that is ,until he began writing Life Without Sound. Baldi took his time perfecting the album’s nine tracks with his band before he landed in El Paso, Texas at the Sonic Ranch with producer John Goodmanson (Sleater Kinney, Death Cab For Cutie). Goodmanson hemmed and manicured the band’s signature serrated sound into a dynamic and easily palatable effort.

The rock and roll spirit is strong with Baldi, who dropped out of Case Western Reserve to pursue musical aspirations. The Cloud Nothings found traction with frenetic and distorted pop-punk stylings found in early songs like “Hey Cool Kid” and “Leave You Forever” and set off on a whirlwind pace of endless touring and successful album releases. Life Without Sound sounds like the band has finally landed on solid ground and the angst, urgency, and distortion that characterized their early work has almost completely dissipated.

Opening track “Up To The Surface” immediately distances itself from the ‘Cloud Nothing’ sound with an ominous piano opening and a slow build to the chorus, instead of the expected breakneck search for melody. “Darkened Rings” gives a taste of that savory brashness that induces adrenaline but then backs off shortly after, while “Modern Act” reveals the brilliance of Baldi’s power pop writing but comes out almost too saccharine, as if the band is posturing to segue into arena-rock soon.

While I wouldn’t classify Life Without Sound as a musical dud, it does leave the listener desiring a bit more substance. The Cloud Nothings are synonymous with a reckless yet infectious sound that comes off muted and dare I say, castrated, by the over-producing and general lack of urgency. Baldi calls this album “My version of New Age music”- Yikes! Let’s hope making this album was cathartic enough to allow him to return to his natural state of hellbent melodic brilliance on the next one.

The post Cloud Nothings Keep It Polished On ‘Life Without Sound’ (ALBUM REVIEW) appeared first on Glide Magazine.

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Although pianist Brad Mehldau spends the greater portion of his time on his main pursuits, that is, playing with his trio and in a solo format, his outside collaborations aren’t much less intense. Or provocative for that matter: witness Nearness, a live duet album with saxophonist Joshua Redman or  Taming the Tiger, a pairing (dubbed Mehliana) with the pianist on an electric instrument playing Fender Rhodes and synthesizers exchanging ideas with Mark Guiliana on drums and effects.

After sold-out duo concerts in New York during December of 2015, Mehldau and mandolinist Chris Thile, host of A Prairie Home Companion and leader of progressive bluegrass group Punch Brothers, sequestered themselves at Avatar Studios where they spent three days recording together. Unorthodox in both conception and execution, the duo employed just piano and mandolin in service of original compositions and an eclectic selection of cover songs, an approach that yielded a double album where spontaneity, craft and technical skill morph into a combustible mix.

Chris Thile & Brad Mehldau is a heady listen if for no other reason than its approximate seventy-minute length. But, over the course of two CD’s or two LP’s, tracks including “Independence Day” are so engrossing, it’s worth pondering what effect the album would have if it were purely instrumental. But Thile is an experienced singer, and a fairly distinctive one, and he surpasses himself in the torch-song rendition of “I Cover the Waterfront,” while his voice becomes an instrument unto itself on “Noise Machine.”

The exquisite nature of the recording is all-encompassing on its own terms too because, within the depth of this audio mix, Mehldau and Thile conjure a dream-like quality with their playing and singing. There’s virtually as much detail in the latter’s navigation of his acoustic stringed instrument as in the former’s traversing of the ivories on  “Daughter of Eve,” and the intricacy  of their interaction becomes increasingly dense as the duo works up a definite head of steam by the time the cut is over.

In addition to self-penned material like the opening collaboration, “The Old Shade Tree,” the eleven tracks here (a bonus performance of Fiona Apple’s “Fast As You Can” appears on the vinyl edition) include “Elliott Smith’s “Independence Day,” Joni Mitchell’s “Marcie” and a rousing take on Bob Dylan’s “Don’t Think Twice, It’s Alright.” Further evidence of the varied tastes both artists have demonstrated over the course of their careers, it’s worth noting Mehldau and Thile approach all those  tunes with the same unassuming air they adopt in their  ‘pose’ for the album’s cover photo. The direct corollary of that casual air is the delicacy they apply to the closing “ Tabhair dom do Lámh; ” the title of this seventeenth century song fittingly translates to “ Give Me Your Hand, ” so this concluding track thus becomes an implied recognition of the mutually complementary talent(s) brought to fruition on Brad Mehldau and Chris Thile.

The post Chris Thile & Brad Mehldau Offer All Engrossing 70 Minute Collaborative LP (ALBUM REVIEW) appeared first on Glide Magazine.

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When one of the best rock trios of all-time reunited there was palpable excitement. No Cities To Love proved Sleater-Kinney still had something to say, topping many year end lists in 2015. The accompanying tour was powerful as the band criss crossed the United States and Europe with vigor and purpose. One show particularly captured the band’s heart, and they released the March 20, 2015 set as their first live album, appropriately titled .

Corin Tucker, Carrie Brownstein, Janet Weiss (along with multi instrumentalist Katie Harkin) pound out 48 minutes of hits and deeper cuts on this release. While the group’s tour proved they maintained their sound and style, this live album sounds a touch tame; Live In Paris works as a fun tour documentation but not an outstanding live album.

Tracks from their most recent release (opener “Price Tag”, the off kilter funk of “New Wave”) are the most affecting as the group play with passion. Older tunes don’t feel as alive, Tucker’s vocals wail on “Start Together” but the track never takes off. One of the group’s best songs “I Wanna Be Your Joey Ramone” is almost a note for note recreation, while exciting in the moment, when you are in the club watching them, it is not something that needs to be heard if you already own Call The Doctor.

All of these songs are great, “Jumpers”, “Entertain” and “Modern Girl” from the band’s best full length The Woods, showcase the trio’s writing strengths, “Turn Me On” bangs hard while “Dig Me Out” punctuates things, but long time fans won’t find anything new here.

Live albums in general pale in comparison to studio work for bands that don’t make their living playing 200 nights a year, and Live In Paris is no exception. If you caught the tour, this is a great reminder of that night (no matter where you saw them) and if you haven’t gotten into this band yet it isn’t a horrible starting point. Just remember to also purchase Dig Me Out, The Woods, and No Cities to Love, the reason for this show in the first place.

The post Sleater-Kinney Deliver First Ever Live LP – ‘Live in Paris’ (ALBUM REVIEW) appeared first on Glide Magazine.

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One of his generation’s most prolific artists, Ty Segall seems to be an endless well of creativity. He cannot be contained, and his latest release in a long string of them over the last decade proves he’s still got something to say. The self-titled record finds him continuing to mine his punk rock roots, while also dipping his toes in a pool of late 60s, early 70s rock. Ty Segall feels inspired by everything from The Beatles to Jethro Tull and David Bowie. It’s a little bit glam, and a little bit grunge.

As with most of his work, it’s a guitar-heavy album with mind-bending licks that will have you spiraling down after them just to see where they end up. Not unlike a master jazz improviser, Segall can take you on an unexpected journey, rich with texture and dimension. The most extreme version of this sound comes with the album’s 10-minute epic “Warm Hands (Freedom Returned)”, as it simmers and pops, wanders and sprints its way through a trippy psych-rock maze. It never outstays its welcome and keeps you guessing till the last note, even if you’re a little dazed.

Segall’s take on a classic pop tune comes with the brilliantly harmonious “Take Care (To Comb Your Hair)”, a sweet gem that occasionally gets rowdy, but is harnessed so well. It’s no surprise Segall’s contemporary and frequent collaborator Mikal Cronin, a master of pop songwriting himself, joins him on this standout. These two were made to play together.

“Break a Guitar” is Segall at his finest, writing an undeniably catchy hook and obscuring it in a sea of guitar until it becomes a vivid explosion. He manages to create a controlled chaos that never feels too overly groomed or polished, but also never turns into a mess. It is what makes Segall such a compelling artist. He builds it up, drops a bomb and leaves you spinning, wondering what hit you and instantly wanting another.

The post Ty Segall Goes Glam and Grunge On Self-Titled Album (ALBUM REVIEW) appeared first on Glide Magazine.

Mastodon has announced the title, track-listing, and release date of their eighth studio album, Emperor Of Sand – the follow-up to their universally praised 2014 album Once More ‘Round The Sun. The album will be released on March 31st via Reprise Records. Emperor Of Sand will be available for pre-order beginning today at www.mastodonrocks.com. Thedeluxe pre-order package will contain the album on double 180-gram vinyl housed in a gatefold jacket along with a bonus Color-In-Your-Own vinyl jacket, plus an exclusive box of Mastodon colored pencils. In addition fans will also receive a digital copy of the entire album on March 31st, along with an instant download of the album track “Sultan’s Curse.” Emperor Of Sand will also be available digitally and on CD. Click hereto view the typically stunning album artwork by Alan Brown in a glorious, full 360-degree view. Alan Brown, aka Medusawolf, created the cover and inside gatefold images. Click here to learn more about the artist.

Emperor Of Sand finds Mastodon returning to a deeply imaginative and complex conceptual storyline that ponders the nature of time. Threading together the myth of a man sentenced to death in a majestically malevolent desert, the band conjures the grains of a musical and lyrical odyssey slipping quickly through a cosmic hourglass. “Emperor of Sandis like the grim reaper,”says drummer/vocalist Brann Dailor. “Sand represents time. If you or anyone you know has ever received a terminal diagnosis, the first thought is about time. Invariably, you ask, ‘How much time is left?’”

“We’re reflecting on mortality,” adds bassist/vocalist Troy Sanders. “To that end, the album ties into our entire discography. It’s 17 years in the making, but it’s also a direct reaction to the last two years. We tend to draw inspiration from very real things in our lives.”

Emperor Of Sand was recorded at The Quarry Recording Studio in Kennesaw, just outside Mastodon’s hometown of Atlanta, with producer Brendan O’Brien (Pearl Jam, Neil Young, AC/DC, Rage Against The Machine), whofirst worked with Mastodon on their seminal 2009 album Crack The Skye.

The post Mastodon Releasing New LP ‘Emperor of Sand’ 3/31 appeared first on Glide Magazine.

British singer-songwriter Jo Harman has been garnering praise in her home country for her unique vocal talents, with publications like The Daily Mirror saying she’s “on course to be the finest UK female blues soul voice.” Harman is ready to bring her powerful pipes to the world with the release of her second studio album on February 3rd via Sands Foley Entertainment. People We Become marks the biggest leap of Harman’s career. While a winter storm raged outside, Harman and producer Fred Mollin (Billy Joel, Joe Cocker, Carly Simon, Jimmy Webb) holed up inside Nashville’s famed Sound Emporium Studio for three weeks, focusing on a warm sound — full of upright piano, Rhodes, unaffected bursts of electric guitar, and the soulful sweep of Harman’s voice — that contrasted with the town’s snowy weather. The most striking instrument on the album is Harman’s voice, sharpened by her years on the road, and sounding better than ever.

Today Glide Magazine is excited to share an exclusive listen of one of the hardest hitting tracks on the album, “Reformation”. The song fires off with a thunderous beat and a mean guitar hook before Harman’s powerful vocals seem to strike like lightning. The singer is as much preaching the gospel as she is issuing a call to arms, and the song feels truly anthemic. It’s also oozing with slide guitar, bluesy riffs, and soaring harmonies.

Speaking on the inspiration for the song, Jo Harman has this to say:

“The inspiration for the song came through my work with Amnesty International. I’ve always felt fortunate for having been born in a country where I’m given full autonomy over my body, and my sexual and reproductive rights. I was devastated to learn the true extent of the reality in which many women live their lives, in many countries of the world.

The line ‘Hear Me Now’ has perhaps something of a double meaning. In effect it’s simultaneously about giving those victims a voice…objectively, and from the outside. But also they might refer to a ‘plea for help’ from those affected. But people should, as with all my lyrics, hear whatever they hear, and take whatever they want to take, in any of my words. I felt compelled to start a conversation, in whatever small way I could, about some of these issues. The message feels more important now than ever. #mybodymyrights”

LISTEN:

Jo Harman releases People We Become on February 3rd via Sands Foley Entertainment. For more music and info visit joharman.com. You can also check out her Pledge Music page. 

The post SONG PREMIERE: Blues Singer Jo Harman Shares Inspired Anthem “Reformation” appeared first on Glide Magazine.

The lineup for the 2017 New Orleans Jazz Fest has been revealed and it includes headliners Stevie Wonder, Tom Petty & The Heartbreakers and Maroon 5. Other standouts include Usher and The Roots, Trey Anastasio, Dave Matthews and Tim Reynolds, Alabama Shakes, Widespread Panic, Kings of Leon, Lorde, Wilco, Earth Wind & Fire, Dawes, The Mavericks and more.  Oddly enough the festival this year features a very early 90′s HORDE lineup wiht Panic, Trey, Blues Traveler and Dave Matthews on board. No sign of The Spin Doctors though…. Check below for the full lineup

The post Stevie Wonder, Tom Petty, Alabama Shakes, Roots/Usher, Widespread Panic, Wilco, Trey Anastasio, Dave & Tim Lead 2017 Jazz Fest appeared first on Glide Magazine.

Nashville based Los Colognes have just announced their third album The Wave, out May 12th via Big Deal Media / Thirty Tigers. The band premiered the first track “Flying Apart,” which can be heard below. The band has a run of shows in the US, including opening slots for St. Paul and the Broken Bones and an appearance at Sasquatch Festival.

One of the highest and rarest aspirations in popular music is to reach for the transcendental, to access the spirit. On The Wave, Los Colognes succeeds at this – in breaking through the confines of everyday pop song lyricism to tell a holistic story. It’s not a concept piece, but it’s a brooding and joyful song cycle filled with philosophical rumination, effortless hooks, inspiring musicianship, and expansive arrangements. It’s an album perfectly suited of the current zeitgeist of unease and hope.

Guitarist/singer Jay Rutherford opines in “Flying Apart” – ‘Nobody believed / We’re all just hoping / Floating down streams.” It’s a song that invokes “the wave” metaphor of the album’s title, while churning through its own sonic sea of shimmering keyboards and guitars anchored by drummer Aaron Mortenson. The music evokes any of the best moments of late seventies or mid eighties FM radio while never being weighed down by the specter of influence. Los Colognes are a young band who have managed to forge their own sound while channeling the best sonic worlds of the decades past.

Tracklisting:
1. Sneakin’ Breadcrumbs
2. Flying Apart
3. Unspoken
4. Molly B Good
5. Forever In Between
6. The White Whale
7. Man Over Bored
8. Hope Not Too Long
9. A-OK
10. Can You Remember?

Tour dates:
2/25 – Knoxville, TN @ The Mill & Mine
3/16 – Charleston, SC @ Charleston Music Hall *
3/17 – Charleston, SC @ Charleston Music Hall *
3/18 – Columbia, SC @ St Pat’s @ 5 Points *
3/23 – Orlando, FL @ Beacham Theater *
3/24 – St. Petersburg (Tampa), FL @ Jannus Live *
4/1 – New Orleans, LA @ Hogs for the Cause Festival
5/20 – Richmond, VA @ Dominion RiverRock Festival
5/29 – George, WA @ Sasquatch Festival
8/24-08/27 – Arrington, VA @ Lockn’ Festival

*with St Paul & The Broken Bones

The post Los Colognes Announce Third Album ‘The Wave’ , Shares First Track “Flying Apart” appeared first on Glide Magazine.

Prolific actor and all around badass, Sir John Vincent Hurt, has left this plane, following in the footsteps of his fellow fallen icons faster than we can grieve. He was 77. After being diagnosed with pancreatic cancer in 2015, Hurt was given the all clear from his doctor. He continued to work throughout his treatment, only adding further to his overall magic as an actor and human being. Even with his healthy prognosis, Hurt unfortunately succumbed to illness linked to his cancer.

The son of an amateur actress/engineer, and a mathematician who would later become a vicar, Hurt began his life in an odd position.Due to his father’s position he was denied much of the basic happiness that most children take for granted, including hanging out with other children as his parents thought they were beneath him. When Hurt was 8, he was sent to preparatory school where he quickly developed his love of acting which, lucky for us, he would continue to pursue for the rest of his life.

When Hurt was a teenager he went to art school, gaining critical acclaim and eventually making enough in scholarship money to enroll in the Royal Academy of Dramatic Art. Hurt spent the early 60’s acting in small roles on television, quickly landing larger roles that would help him gain recognition and praise. Most of his early work was based in the UK, though any pop culture fanatic would be hard pressed to forget his iconic role in 1979’s sci-fi thriller Alien. The following year Hurt would star in The Elephant Man as lead character John Merrick, setting the standard for both film and theater when it came to the portrayal of the real life medical oddity.

Many remember him in Jim Henson’s The Storyteller, a whimsical series that used both live action and puppetry to portray obscure folk tales. Hurt acted as the narrator, bookending each story and sharing the screen with his realistic Henson heavy puppet dog. Additionally his role as Olivander in the Harry Potter series allowed him to impact a whole new generation. Hurt’s cultural significance knows no bounds as his impact on film surpassed the usual boundaries dividing heavily known British mainstays and American classics.

Hurt had a long history of relationship hopping; he was married four times, though his longest relationship was to French model Marie-Lise Volpeliere-Pierrot. The two had planned on getting married, but Volpeliere-Pierrot was injured in a freak riding accident and died soon after. Hurt has two children with his third wife, whom he married in the same month he divorced his second. He married his fourth wife, advertising film producer Anwen Rees-Meyers in 2005, and the two stayed together until his death.

In 2015 Hurt was knighted by Queen Elizabeth II, earning the title of Commander of the Order of the British Empire. He supported both the Proteus Syndrome Foundation and Project Harar. After his role in Elephant Man, Hurt strived to help those in need. His character was thought to have suffered from Proteus Syndrome, a congenital disorder that leads to odd bone structure, skin overgrowth, and multiple tumors that tend to cover the sufferer’s’ body. In the same vein, Project Harar supports Ethiopian children who suffer from facial deformities. Hurt was quiet about his philanthropy, donating money without the acclaim.

The unfortunate side effects of watching our favorite actors die has become overshadowed by the massive admiration for their work. For some Hurt will forever act as the catalyst that brought the chestburster to fruition, terrifying both his scene partners and audiences alike. For others he will act as the static British badass, populating our screens with his skills until the world finally falls into oblivion. If there’s one thing we can learn from Hurt’s legacy, it’s that the only thing stopping us from reaching our full potential is ourselves. Through pain and adversity comes something beautiful, and as we reach into both the joys and horrors of what life can be, it’s important to dwell on the figures that paved the way for those less deserving, introducing a magical world we can all live in for eternity.

The post RIP Sir John Hurt (1940-2017): Prolific British Actor Dead at 77 appeared first on Glide Magazine.

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John Mayall has earned the title “Godfather of British Blues” by the very longevity of his career in combination with the pedigree of  musicians who’ve advanced through his bands over the years. Mayall celebrated his seventieth birthday fourteen years ago  with a concert featuring Eric Clapton and Mick Taylor, guitarists for Mayall in the Sixties, while Mick Fleetwood and John McVie were also members of the man’s Bluesbreakers band in that era, at one point alongside Peter Green, with whom that rhythm section also played in an early lineup of Fleetwood

All of which history is particularly relevant to Talk About That. John Mayall is pictured playing guitar  both inside and out this slim-line digi-pak and Joe Walsh contributes fervent fretwork to a pair of cuts here, one a discerning topical tune  titled “The Devil Must Be Laughing” as well as “Card on the Table,” where the former James Gang member and Eagle fires up his slide to expand the instrumental palette in use on the album (the electric piano on “I Didn’t Mean to Hurt You” serves a similar function).

Like his most recent Forty Below Records projects, the sessions for this album, co-produced by Mayall with engineer Eric Corne, also mark the final collaborations with the quartet credited here. Drummer Jay Davenport and bassist Greg Rzab will continue to work in a trio format with the leader, while guitarist Rocky Athanas moves on to other projects, a serendipitous change not unlike others that highlight John Mayall’s career, such as the drummer-less direction(s) he pursued beginning with The Turning Point in 1969.

Comprised largely of Mayall originals like the title song, a pro-forma funk piece elevated by an excellent audio mix highlighting organ in the arrangement, Talk About That also features some choice and novel covers often sporting horns. The threesome of Ron Dzuibla on sax, Mark Pender on trumpet and Nick Lane on trombone distinguishes Betty Crudder’s “It’s Hard Going Up,” as does Mayall’s ebullient piano playing, while “Goin’ Away Baby” and “Don’t Deny Me,” written by James Lane and JJ Williams respectively, are similarly rousing; the former features the familiar sound of Mayall on harmonica, while the latter’s swings gracefully with the horn section in tow.

That three-man complement also decorates “Gimme Some of That Gumbo,” a saucy (in more ways than one) exercise in style  on which the aforementioned Athanas appropriately utilizes a cutting tone within the upbeat, Bo Diddley beat arrangement. The guitarist’s formidable presence may be missed, but if John Mayall has proven anything over the course of his career, it’s that his loyalty to the blues is his own greatest resource, a fact reaffirmed by the superiority of Talk About That in comparison to his other recordings in the recent past.

The post John Mayall Strikes Again On ‘Talk About That’ (ALBUM REVIEW) appeared first on Glide Magazine.

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Delbert McClinton has had a long and distinguished career, but he is still not widely known unless you are a fan of witty songwriters rocking Texas swing-blues. More known for his writing (he was inducted into the Texas Heritage Songwriters Hall of Fame) than his singing, he puts the focus squarely on performance for his 25th album, amping up the jazz and balladry for Prick of the Litter that despite its title showcases a softer side of the man.

McClinton starts with a bang on “Don’t Do It”, inviting some smooth guests to the party. Jimmie Vaughan arrives with his excellent guitar solo and Lou Ann Barton provides strong vocals in a duet role but both take a backseat to the prime horn work, opening the album on a high note. The slick Self-Made Men along with backing vocals from Vicki Hampton and Wendy Moten elevate a toss off track like “Doin’ What You Do” while McClinton himself raises the vocal bar for a personal torch song titled “Middle of Nowhere”.

 “Skip Chaser” kicks the dust up with its roadhouse boogie letting the band cut loose while that upbeat energy is also present on the piano driven “The Hunt Is On” but for the majority of the album the groove is slow, letting the blues. A track like “San Miguel” is a good example, slick electric jazz guitar with delicate brushes on drums, dribbling piano, all swirling around a heartfelt vocal from McClinton. In the end the listener’s reaction to McClinton’s singing will determine if the album is a success, but his honest direct style remains engaging.

“Pullin’ The Strings”, “Like Lovin’ Used To Be” and “Bad Haircut” all succeed via the late night lounge singer act while “Neva” ups the funk levels with a gruff old-timey blues vocal and “Jones For You” travels to New Orleans with some strong trumpet work; the whole number is reminiscent of a humorous Louis Armstrong effort. Those catchy lyrical turns of phrase that put a smile on your face have always been McClinton’s strongest attribute, but Prick of the Litter proves his tone can be softened and delivered with passion effectively.

The post Delbert McClinton & Self-Made Men Bang Out Passion & Wit On ‘Prick of the Litter’ (ALBUM REVIEW) appeared first on Glide Magazine.

Glide’s Amy Harris set sail on Groove Cruise Miami that hit Grand Turk/Turks and Caicos Islands. Headline acts on the Groove Cruise Miami lineup included trance veterans like Dash Berlin, Markus Schulz, Cosmic Gate, and Andrew Rayel. EDX, Lee Foss, Roger Sanchez, Sam Feldt, and UMEK rounded out the headline performances with sets in the house and techno genres.

The post The People & Sounds of Groove Cruise Miami 2017 appeared first on Glide Magazine.

Rench has been creatively breaking the boundaries between America’s top two genres since the turn of the millennium. His twangy, funky, irresistible mix is proven to raise eyebrows and open minds in a big way, most notably with his project Gangstagrass and the Emmy nominated theme song to the hit FX Network show “Justified.” Now that he’s toured the world with the groundbreaking bluegrass-hip-hop group he founded, Rench pushes the envelope again with a solo album that completely reimagines Americana from the ground up.
This full length album due April 7, 2017, showcases an eclectic honky-tonk “bang and twang” sound. His uniquely broad and deep recipe brings together a rich tapestry of American styles. In “Them’s The Breaks”, Rench presents a masterful treatise that ties the sincerity and plaintiveness of classic honky-tonk with a hipster’s facility with irony and post-modern reference. It pulls in heavy beat samples and turntable scratching, twangy steel guitar, swampy delta blues, and contemplative folky understatement, and somehow it just works. This is a cosmopolitan incorporation of the best of America’s populist musical traditions, where the outlaw gunslinger is at home as a figure in the music of Bakersfield or the music of Bed-Stuy, and Rench’s take will provoke thought while getting your head bobbing.

This solo project highlights three up and coming vocalists. Amanda Neill (on Milwaukee Honeymoon, Forty Dollar Dress, and I Hope You Sing When I Die), Mamie Minch (Shootout) and Jessica Basta ( Hey Rattler).

From the turntable scratching pedal steel guitar sounds on ‘The Dust Up’, and beatboxing through the harmonica on ‘Boomerang’.”
The fingerprints of 70’s honky-tonk are all over the album, with heavy use of pedal steel guitar and Wurlitzer piano. But these adorn a collection of unmistakably twenty-first century songs. The songwriting brings the honky-tonk themes of outlaws and truckers into Brooklyn’s hipster bars and b-boy street corners, paired with the sampled beats of a producer who grew up in the age of hip-hop. What better way to embody Americana than to truly incorporate such quintessential influences as folk, country, soul, and hip-hop?

February 23rd, The hilarious video for his new single “Mugshot”, is part of the wave of sharing that will be unleashed by Thunderclap the day it goes live. By supporting the movement, fans will be part of the premiere announcement the moment it goes live and on the cutting edge of this new release as it makes its first step into the public.

The post Gangstagrass Frontman Rench To Release Solo LP ‘Them’s The Breaks’ appeared first on Glide Magazine.

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Furnace is Dave Simonett’s sophomore effort under the monicker he adapted after putting Trampled By Turtles, the gig he works by day, at least temporarily on hold. Not surprisingly then, Dead Man Winter sounds very little like his other ensemble, save the superb quality of the songwriting. Even so, Simonett admits that the new album nearly didn’t come to fruition. It was, he says, made despite a “cold year of madness and confusion,” circumstances derived from a bitter divorce and ensuing family turmoil.

With that in mind, it’s all the more impressive that the new album holds together so well. Indeed, with the exception of the the weary “This House Is On Fire” and the telling “You Are Out of Control,” it’s surprisingly inspiring, especially considering the fact that the music was indeed borne from such trying circumstances.

Truth be told, Furnace is remarkably accessible, comprised of assertive anthems imbued with supple shades of melody and nuance. What’s more, there’s no questioning the absolute authority present within these grooves. This immediately apparent in the tender tones of “I Remember This Place Being Bigger” and the irrepressible refrain that sweeps through “Am I Breaking Down.” Granted, there are hints of trepidation, as reflected in some of these titles, and yet, despite the tenuous tones of “Cardinal” and “Weight of the World” Simonett manages to transpose his frayed emotions into a delivery that rings with both clarity and confidence.

Flush with poignancy and reflection,  places its emphasis on songs that provide an overwhelmingly emotional appeal, especially considering the catharsis that’s conveyed. Still, given its tales of remorse and reflection, Furnace doesn’t always burn bright as far as sharing an optimistic overview. Yet it does provide an absolute draw, as well as a reminder that when we’re at our lowest, it’s good to share the sorrow.

The post Dead Man Winter Shows Dave Simonett’s Cathartic Side (ALBUM REVIEW) appeared first on Glide Magazine.