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Pink Talking Fish is a Hybrid Tribute Fusion Act that takes the music from three of the world’s most beloved bands and creates a special treat for fans of the music.
Pink Floyd, The Talking Heads and Phish are all more than just bands… they are Phenomenons. Their creations have artistically inspired people and their mindblowing live performances have brought people together to form a special sense of community around the love for their favorite band.
Although the music from each act is different, Pink Talking Fish has discovered that fusing the material together creates an amazing story. The epic emotion of Pink Floyd…. The funky, danceable layerings of The Talking Heads…. The multitude of styles, unique compositional structures and pure fun of Phish…. to merge these three into one gives music lovers a special experience.
Pink Talking Fish features Eric Gould on bass, Richard James on keyboards, Zack Burwick on drums and Cal Kehoe on guitar. This is a band created by musicians who love the music of these acts. It’s purpose is to heighten people’s passion for this music by creating something fresh and exciting for fans. Discovering connections is part of the fun: Pink Floyd’s “On The Run” seamlessly fitting in the middle of the composition of Phish’s “You Enjoy Myself”. Perfectly placing Phish’s “Sand” into the groove of The Talking Head’s “Slippery People”. Segued collections from all three acts such as Run Like Hell > Psycho Killer > Run Like An Antelope > Run Like Hell or Mike’s Song > Have A Cigar > Once In A Lifetime > Weekapaug Groove. These ideas are the spirit behind Pink Talking Fish.
The story is ever evolving. The experience is always exciting. Come join Pink Talking Fish for the ultimate fusion tribute and celebrate the love of this music in unique fashion.

Hailed as “an uncompromising, genre-defying artist firing on all cylinders” (Vice/Noisey) and “one of country’s more thoughtful artists” (Billboard), multi-platinum selling singer/songwriter Kip Moore has blazed his own trail and cemented his place as one of music’s most beloved artists. Beginning with his auspicious debut in 2012, Moore has since released five critically acclaimed albums and penned over a dozen chart-topping singles, including the multi-platinum hits “Something’ ‘Bout a Truck,” “Hey Pretty Girl,” “Beer Money,” and “More Girls Like You.” With over 1 billion streams and 2.5 million monthly listeners, he’s performed sold-out headline shows in stadiums around the world including Australia, New Zealand, South Africa, The U.K., Europe, and the U.S., leading to a nomination for CMA’s International Artist Achievement Award. His most recent album Damn Love was praised by Holler as “the best album of Kip Moore’s career” while earning further acclaim from Billboard, Music Row, and American Songwriter. Moore also appeared on Good Morning America to perform the album’s lead single and title track. Moore just wrapped up a stint with Billy Currington, which included a sold-out show in Nashville, and next, he will join HARDY this summer for his QUIT!! Tour. He’ll also undertake an extensive 14-show run in Australia this fall followed by a return to South Africa where he performed to crowds of over 40,000 people last year. For more information and tour dates visit kipmoore.net.

In a small town, you either die where you came from or dream your way out. From Ashes To New understand this choice. As such, the Lancaster, PA band—Matt Brandyberry [rap vocals, keys, synths, programming, guitar], Danny Case [clean & unclean vocals], Lance Dowdle [lead guitar], and Mat Madiro [drums]—churn out an anthemic hybrid of hard rock, hip-hop, electronic, and alternative with enough energy to inspire you to get up, move forward, and maybe even, make a change. Since 2013, the group have risen from humble beginnings to the top of the 21st century rock vanguard with hundreds of millions of streams, sold out shows across the country, and acclaim from LoudWire, Alternative Press, and more.
“Growing up in Elizabethtown, PA felt hopeless in a way,” admits Matt. “You go to college and become part of corporate America, or you’re just “trash”. For the longest time, I fell into the latter category according to other people. My mentality was, ‘Who are these people to fucking tell me what I’m going to do with my life?’ They don’t make my decisions; I make decisions for myself. It took a lot of ups and downs, but it’s paying off. I owe it to the small town blue-collar mentality that made me work harder. Danny grew up in Rochester, but his story is the same. We were the loners picked last. Everyone underestimated us. We fought through it for all of our lives, and we’re going to be picked first now.”
“I was always an outcast who nobody gave a shit about,” agrees Danny. “The only thing I ever dreamt of was music. Like the other guys in From Ashes to New, nobody was going to tell me otherwise or stop me.”
During 2021, the musicians holed up in Lancaster with longtime collaborators and producers Grant McFarland and Carson Slovak to create their upcoming album. This time around, the band made a conscious decision to ignore outside influences and focus on what makes them From Ashes To New.
“We weren’t going to let other people tell us what to do,” affirms Danny. “We went back to the guys who produced us for a long time, because they worked cohesively with us.”
“We got back to the days of creating music to simply create,” adds Matt. “We ended up making the most genuine piece of art we could. At the same time, we applied everything we’ve learned as musicians, producers, and writers. We knew we were capable of doing everything bigger and better.”

Counterparts are a Canadian melodic hardcore band formed in 2007 in Hamilton, Ontario which currently consists of vocalist Brendan Murphy, guitarists Alex Re and Jesse Doreen, bassist Tyler Williams and drummer Kyle Brownlee.

Since 1988, Cannibal Corpse have been at the forefront of death metal, having helped shape and define the genre, and creating a seminal, incomparable body of work in the decades that followed. In 2021 they raised the stakes again with 15th album Violence Unimagined, growing ever more complex and intense, and now they return with its successor, the equally monstrous Chaos Horrific, starting a new chapter in their legacy. Written closely after the conclusion of the Violence Unimagined sessions due to the pandemic preventing them from touring like usual, echoes of that album exist in Chaos Horrific, but this is a whole new beast of its own. “To me this album feels sort of like a continuation of Violence Unimagined. The style is quite similar, but individually none of the songs on Chaos Horrific sound like songs on Violence Unimagined,” says bassist Alex Webster. “It’s a full-on death metal album, Cannibal Corpse style, and a very natural progression from Violence Unimagined.”
While the band have always been noted for their technicality and complex songwriting, this does not define where the writing process takes them. “I believe that our songwriting has progressed in a manner where every song paves its own path whether it be a straightforward song or a technical song, sometimes a mix of both, so there’s no preconceived idea that we want to be more technical. The music just sort of takes its own course,” explains guitarist Rob Barrett. The band also had no specific plan for the record, always approaching each one with an open mind, just intent on writing the best songs that they can. “When we create a new record the writing flows freely and organically,” says guitarist/producer Erik Rutan. “One thing I had hoped for with the writing of Chaos Horrific was that the material would push the envelope a bit in a slightly different direction than Violence Unimagined; expand the dynamics, explore new territory without departing from what Cannibal Corpse is and always shall be. That naturally happened and is exactly what we achieved with this album.” The band also continue to uphold their legacy as they sonically progress and evolve with each and every release, never repeating themselves and working hard to make every song unique. With the intention of making albums on which every song is potentially the standout they have certainly pulled this off on Chaos Horrific’s ten tracks, showcasing a broad range of dynamics that propel the whole thing thrillingly. Kicking off with the aptly titled “Overlords Of Violence” they are in full on attack mode, the track a straight down the line rampant aural assault designed to kill. Then there are the likes of “Frenzied Feeding” and “Blood Blind”, the former alternating between high speed technical aggression and deeply atmospheric mid-tempo ugliness, and the latter a brutal, loping chug-fest that carries so much sonic weight it is quite devastating, but literally any track could be singled out. Likewise, every track stands apart from those alongside them, but together they make so much sense, the record flowing seamlessly.
With the album named by drummer Paul Mazurkiewicz, the members all felt it was a great representation of the band, as is always the intention, and lyrically they linger in typically dark and twisted territory. Subjects covered include resetting the human race through mass mutilations (“Blood Blind”), fighting off hordes of zombies (“Chaos Horrific”), the selection of a random individual to be dismembered and sacrificed (“Summoned For Sacrifice”), and the violent revenge of victims of human trafficking (“Vengeful Invasion”). The album artwork – by longtime collaborator Vince Locke – is also suitably Cannibal Corpse-esque, featuring a chaotic tangle of the living and the undead, which evokes the lyrics of the title track.
Having now produced six Cannibal Corpse albums – starting with 2006’s Kill – this is Rutan’s second release as a full fledged member, having officially joined in 2020, and his contributions have only improved the band. “He already was part of the Cannibal Corpse family so his transition from producer to guitarist/songwriter/producer was seamless,” says Webster. “Erik’s a super hard worker so somehow he’s able to do all of those things at the highest level. We were already very comfortable working with him, and it’s only gotten better. We’re energized and excited about the future, and Erik’s contributions are a big part of that.” Adds Rutan, “I feel like every album we’ve worked on together has progressed forward with a better understanding of each other, allowing us to push each other further even more to get the best out of one another.”
Tracking at Rutan’s studio, Mana Recording in Florida, the band’s home state, was comfortable for all involved, though required everyone to work hard and be at the top of their game. Things went smoothly, and smoother than ever on the guitar front due to Barrett and Rutan having “custom guitars built with longer scale necks to hold the proper intonation necessary for lower tunings, which drastically reduced the hours spent on trying to track guitar that stays in tune throughout the session,” says Barrett. Webster asserts that it was a lot of hard work, and that “there’s a lot of attention to detail in the studio. We try to get the best possible tones from our gear, and capture the best possible performances. This can take a lot of time and effort but the end result is absolutely worth it.” Rutan states that the sessions were a “powerhouse”, with so much effort going into what has emerged as a massive album, further asserting that “everything about recording albums is hard but damn I love doing it! Creating albums, something that will last an eternity beyond our time, is something so very special, and every album we create I feel very grateful to have such an opportunity to do so.”
With the pandemic behind them, Cannibal Corpse were thrilled to hit the road again in 2022, finally able to unleash the Violence Unimagined tracks live. “We’re so grateful to be able to get back out there and play for all of our fans,” says Webster. “We’ve always enjoyed it, but after being forced off of the road for almost two years we appreciate the opportunity to play live that much more, and we are so thankful for all of the fans who’ve come out to the shows since we’ve been back at it. It’s great to see you all again!” They are already looking ahead to the touring in support of Chaos Horrific, every track on there destined to go off like a bomb when played live, and the band are primed and ready to destroy everything in their path. Though they have not given much thought to the fact that 2023 is their 35th anniversary, Rutan sums up how everybody feels about this milestone. “I think it is such an amazing feat. It speaks to the work ethic and dedication that everyone has put into Cannibal Corpse. When you think about how many bands never make it a decade, let alone three plus, it is such a testament to the creativity aspect and determination and loyalty towards what we do.”

Atlas was a pretty big record for us, and chances are if you’re reading this, it’s a pretty big record for you too. Nobody ever said, “I love Real Estate, but I hate their third LP, Atlas.” And if they did say that, they never said it anywhere around us – and we read everything you guys write on the internet; some of it can get pretty weird. And so, on this momentous occasion, we will be bringing A CELEBRATION OF ATLAS to a city near you, to honor its 11 year and 7 month anniversary. We’ll be playing almost the entire album in its entirety (basically) and other lesser known tunes from the Atlas era. We’ll also be playing a selection of our greatest hits, because we know you love those too. Please come and celebrate with us – we can’t wait to see you.

Re-defining Insanity The five members of Finger Eleven collectively wrote/recorded over 100 songs during the process of making their fourth Wind-up release Them vs. You vs. Me. These compositions are of varying styles and colors, ranging from rock to country to dance to funk to old 60’s songs. Many of these were written by exchanging files over the internet wherein one person would track a home recording, send it off into cyber space, and then someone else would build on it and send it on down the line. Many of the final cuts on the album were demo-ed and re-recorded at least four times over a period of one and a half years, undergoing massive changes each time.

Stephen Wilson Jr. is a singer/songwriter from rural Southern Indiana. Wilson was raised by a single father who was a boxer and had him boxing from age seven through adulthood as an Indiana State Golden Gloves finalist. Wilson, a self-taught guitarist moved to Nashville to pursue a degree in Microbiology at MTSU. There, he started indie rock band AutoVaughn after finishing his degree. They toured for over five years and Wilson co-wrote songs as lead guitarist until his creative focus turned more to songwriting and singing. After the band, Wilson relied back on his education where he worked for several years as an R&D scientist at Mars until signing a publishing deal with BMG Nashville in Aug 2016. He is currently building his catalogue and has had songs cut by Caitlyn Smith and Old Dominion, Tim McGraw, Trace Adkins, Chase Bryant, Mackenzie Porter, Kameron Marlow, Sixpence None the Richer and Leigh Nash.
Stephen released his first single “The Devil” and a cinematic video for the song in Sept. 2019 with follow-up, “Year To Be Young 1994” which is currently featured on Spotify’s Next From Nashville editorial playlist, Apple Music’s 5th Gear editorial playlist and is in rotation at Nashville’s Triple A station, Lightning 100.
Wilson almost always plays a late-70’s gut-string acoustic and some of his main influences are Willie Nelson, Kurt Cobain, John Mellencamp, Bruce Springsteen, The National, Glen Campbell and Randy Travis.

What if dreams could be broadcast for the purpose of entertainment? Could you consume the innermost thoughts of another person on screen? If you could, what does that say about an attention-starved audience? More importantly, what would become of the dreamer? Between The Buried and Me pose those questions and more on their two-part eighth full-length and introductory offering for Sumerian Records, Automata. The North Carolina quintet—Tommy Giles Rogers, Jr. [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. Moreover, they continue to expand their ever-evolving style, upholding a tradition of progression in the process.
“We never want to repeat ourselves,” affirms Paul. “We’re always trying to do something different, and this album fell right into that sort of pattern. We push ourselves into new places, while retaining our basic sound. Musically, we go somewhere that’s fun and challenging. We never know how it’s going to turn out. These are uncharted waters for us. We’ve never written an entire piece and presented it in separate parts like this.”
Tommy agrees, “This many years into our career, we want to continue doing things differently.”
This approach cemented the group as progressive music’s most unpredictable outlier since its formation in 2000. Among many milestones, they released 2007’s watershed Colors followed by The Parallax: Hypersleep Dialogues EP in 2011 and The Parallax II: Future Sequence a year later. 2015 saw Coma Ecliptic elevate them to new heights yet again. Not only did it bow at #12 on the Billboard Top 200 (a career high for the band), but it also garnered widespread acclaim from Noisey, Revolver, Alternative Press, and The Guardian who welcomed the album with a rare perfect score. In between, they launched countless sold out headline tours and support runs with the likes of Mastodon. Now, they break more ground with Automata.
“Lyrically, I wanted to write something that I treated as a puzzle until it comes together at the end,” continues Tommy. “For as deep and dark as it is, there’s a positive outcome, which we’ve never had. The story follow a protagonist whose dreams are used as entertainment broadcasted by a company called Voice of Trespass. Most of the record takes place within that dream. The character thinks it’s all real.”
“Even though it takes place in the future, there are a lot of parallels to modern society,” adds Paul. “Oftentimes, we turn athletes, movie stars, and musicians into commodities. We forget that they’re real people with problems and issues. They’re society’s escape from reality as we use them for entertainment. Hence, society plays a role in their downfall, be it drug dependence, isolation, or even suicide. Society perpetuates mental illness with those expectations.”
Automata – Part I unveils the first six songs comprising the entire body of work. Stretching near seven minutes, “Condemned to the Gallows” kicks off this journey. Acoustic guitar builds in epic fashion before sweeping distortion takes hold followed by unpredictable rhythms and a seismic vocal performance which, as Tommy puts it, “sets up the whole story.”
Elsewhere, the trudging eight-minute guitar symphony of “Yellow Eyes” spirals into the melodic bliss of “Millions.”
“There are a lot of moments where we totally venture away from the traditional formula of what a progressive metal band can do,” states Dan. “There are all these little moments where we’ve done something we never did before. ‘Millions’ is the perfect example. It’s four-minutes of straight melody—another first.”
With Automata Part I, Part II, and the myriad of visuals on the horizon, Between The Buried And Me realize their potential to its fullest—and go one step further.
“All of our music should build up to the newest record,” Tommy leaves off. “That’s what happens with Automata. You can take little snippets from our past throughout this album. It sounds like Between The Buried And Me, but it’s still new. We hope to keep the music industry on its toes. This is part of doing that.”

Struggle spurs strength. Trials and tribulations mold and fortify character. Embodying these truths, Kublai Khan turn hardships into hypnotic and heavy metalcore upheld by nimble metallic fury and pitsplitting spirit on their fourth full-length offering, Absolute [Rise Records]. “A lot of the record is about our struggle with what we do and the fact we’ve been doing this for over a decade, hit a lot of roadblocks, ate a lot of shit, and still kept going,” exclaims frontman Matt Honeycutt. “We’ve done far more than we ever expected, so it’s always about picking yourself up, dusting yourself off, and letting nothing get you down. You have the opportunity to take responsibility for what you do wrong and right. We’re spinning the negative into a positive.” The Sherman, TX quartet—Matt [vocals], Nolan Ashley [guitar, vocals], Eric English [bass], and Isaac Lamb [drums]—quietly emerged as a fiery force since their 2008 formation straight out of high school. They built a devout following through airtight consistency on Balancing Survival and Happiness [2014], New Strength [2015], and Nomad [2017]. The latter impressively tallied over 6 million cumulative streams with “The Hammer” surpassing 2.6 million on Spotify and “Antpile” exceeding 1.1 million. Meanwhile, acclaim came from Metal Hammer, Alternative Press, New Noise, and more as the boys toured relentlessly. In early 2019, they retreated to New Jersey and hit the studio with longtime collaborator, engineer, and producer Randy LaBoeuf to record what would become Absolute. Taking advantage of a full month to create, they changed up the process, recording the drums last for the first time. Additionally, Randy provided space for Matt to hone his voice. These techniques enriched the sonic punch. “Everything could be folded around the drums, and it made for a better vision, to be honest,” continues Matt. “That’s how Randy records bands now. It allowed us to have more space to think. We were able to shape everything into exactly what we wanted. It was a game changer. The best thing about this record was the learning curve we experienced.” The first single “Self-Destruct” showcases their evolution. Underpinned by airtight riffing, the track steamrolls through eerie samples and guttural growls before subsiding on a bashing reprieve of lone bass and drums. “The polarization between everyday citizens in our country is unlike anything I’ve ever experienced,” he sighs. “In person, we can have discussions and logical conversations as friends. On social media, it’s incredibly toxic. They’re going for each other’s necks 24/7. If we keep going, we’re going to self-destruct. Everyone is a ticking time bomb. You can’t do or say anything without somebody taking offence. We need to calm down, back off, listen to each other, come together, and understand it’s okay for us to be different. That makes our country beautiful. Canceling conversation is dangerous.” Elsewhere, “Boomslang” tosses and turns between a distorted chug, searing scream, and pensive lyrics about “touring in general, how difficult it can be on your nerves, and the internal warfare of what we do.” Then, there’s “The Truest Love.” It urges for preservation of the family unit as Matt barks, “You call yourself a man, but you just leave…just protect your young!” “It concerns my qualms with the current state of male responsibility,” he states. “You see so many guys run out on their kids. They don’t stop to realize they helped create another life. You can’t say you’re a man and just abandon your family. It’s my irritation with how normal it’s becoming for the breakdown of the family unit to occur. Everything comes down to responsibility, self-love, and love of your family.” In the end, Kublai Khan’s music siphons power from pain on Absolute. “We put a lot into the record,” Matt leaves off. “There are so many different tones and lyrical aspects. It really shows how far we’ve come. I hope people connect and get something good from it. We’ll keep going no matter what.”

New York’s crossover legends LIFE OF AGONY spawned in the summer of 1989, tearing through the underground scene with an undeterred aggression, obtaining a loyal and devoted cult audience in the process. The outfit caught Roadrunner Record’s eye and the band quickly signed to the independent label. The band recruited longtime friend and producer Josh Silver (of the platinum-selling goth/metal act Type O Negative) to guide them, creating the now classic, debut album, 1993’s “River Runs Red.” The band toured relentlessly for years building a die-hard fanbase. With each following record, 1995’s “Ugly” and 1997’s “Soul Searching Sun” the group seemed to morph and evolve, using different approaches and textures while never losing sight of the distinct elements that made them who they were. LOA toured with the likes of Ozzy Osbourne, Korn, Limp Bizkit, System of a Down and Incubus with great success in support of their 3 studio efforts.

When Malcolm Todd graduated high school in 2022, he told his parents he would be taking a gap year to pursue music. They, unsurprisingly, were less than thrilled by the proclamation, but gave him a year to see if it could work. They learned what the rest of the music industry quickly realized: never bet against Malcolm Todd. “Every single day since I told my mom I wanted to do this, I have actively worked to grow my fanbase, to get better at music, to build this world,” he explains. By the time he shared Sweet Boy in 2024, his day job at Cold Stone was in the rearview. Tracks like “Roommates” were racking up millions of streams daily. Fast forward a year, and Todd is more motivated than ever on his self-titled album, a declaration that he isn’t a hype machine or a flash in the pan, but a generation-defining voice.
That ambition is immediate on “Bleed,” the first single from Malcolm Todd. It features Omar Apollo, who serves as the lone guest on the album. Buoyed by a bouncy bassline, crisp drums, and an intoxicating synth melody, Malcolm and his frequent collaborators Jonah Cochran and Charlie Ziman, tried to make something as poppy as they possibly could. With most of the album already locked when they began messing around with “Bleed,” the trio pushed the envelope of what they were comfortable recording to tape, focused on crafting something sugary sweet but with the depth and subtlety that informs the rest of the album. “We had nothing to lose because we had so much of the album done,” Todd explains. It ended up being one of his favorite songs on the project. This idea of having nothing to lose defines Malcolm Todd.
As a restless, endlessly curious songwriter, Malcolm viewed his second album—and growing notoriety—as an opportunity to push himself, to bring his boldest ideas to the forefront. “I definitely wanted to challenge myself. When you’re making your first project and you’re just working at an ice cream shop and you have nothing to lose, it’s so pure. It’s not as easy the second time around,” Todd explains. It was a tightrope walk that took some time to master, but once able to scurry across without falling, he started writing his best songs to date.
“You want to be better than you were the last time,” Todd states matter of factly. “You have people who are investing money in you. You want to make them proud. I want to make my family proud. You have fans that want certain sounds and you want to do that. You want to make them happy, too.” Malcolm had to figure out where his own interests fit in this increasingly complex puzzle. “With this album, I learned to find a space where I’m completely me, writing music without any fear, knowing that there are no bad consequences for doing exactly what I want.”
WIth Malcolm Todd, the Los Angeles-born songwriter has accomplished something rare: He’s created something deeply aligned with the sound his core audience fell in love with, while relentlessly pushing the boundaries on what his music can be. He’s done all this while making a project that is a front-to-back blast, a listen that is funny, anxious, proud, and unsettled all at once. In short, it’s the platonic Malcolm Todd record. “I just love making music so much,” he gushes, before adding: “I just want my fans to feel the care in it. That’s all that matters.”

SAVE FERRIS is a ska-punk band formed circa 1995 in Orange County, Southern California. Their name is a reference to the 1986 filmFerris Bueller’s Day Off.The band formed after the dissolution of a number of Southern California bands. With Monique Powell as manager, front person, and co-songwriter, the band began to book shows around Southern California to a great underground response.Financed by Powell’s sister, the band released their debut EP “Introducing SAVE FERRIS” on Powell’s label,Starpool Records, in 1996. They ended up selling close to 20,000 copies of their EP out of the trunks of their cars, with huge support from Orange County independent record shops and fans. That year, Powellprovided vocals on theReel Big Fishsong “She Has A Girlfriend Now” on their album “Turn the Radio Off” (Mojo).With Powell as manager and lead, and as favorites of KROQ radio’s legendaryRodney on the Rock, SAVE FERRIS created a presence on LA’s KROQ radio, possibly being the first unsigned band to do this in LA alternative radio history. Later that year, the National Academy of Recording Arts and Sciences gave the band a Grammy showcase award for best unsigned band, earning them a recording contract withEpic Records(SONY).The band released their debut full-length album for Epic in 1997. “It Means Everything” featured several re-recorded tracks from the EP, several new songs, and, on Powell’s urging, a cover of Dexy’s Midnight Runners’ “Come on Eileen,” which the band released as their first official single, and what was to become their most successful single. The band also released “The World is New” as a single which was featured in the film “The Big Hit” starring Mark Wahlburg. Olympic medal winnerTara Lipinski used “The World is New” in her debut program as a professional skater in the nationally telecast 1998 Skate TV Championships.
The band toured extensively in support of “It Means Everything”, opening for bands such as Sugar Ray, The Offspring, and Reel Big Fish. In April 1998, they made their television debut on HBO’s music series “REVERB” and made an on-screen appearance in the cult classic teen film, “10 Things I Hate About You”. The album sold over 400,000 copies, and spawned three Top Ten hits in both Japan and Mexico. With two singles in the Billboard top 100 and full rotation on alternative radio all over the world, SAVE FERRIS has managed to go Platinum internationally.Winter 1998 saw the departure of their drummer. After a thunderously successful main stage tour with the Vans Warped Tour, the band began writing their follow-up to “It Means Everything”. The appropriately-titled “Modified” was released in October 1999. The album saw the band moving away from their ska-punk roots and into pop-punk territory. The band toured nationally with the band “Lit”, of hit single “My Own Worst Enemy” fame. SAVE FERRIS continued to tour in support of “Modified” throughout 2000 and 2001. In August and September 2001 the band did a short tourof the UK. Winter 2002, SAVE FERRIS had the rare opportunity to play front and center at the nationally broadcast Winter Olympics Snowboarding Championships in Salt Lake City, Utah.Still fronted by their original lead singer, SAVE FERRIS has been through a number of changes in their musical lineup through the years…Powell self-financed whatshe called the “For the Fans” SAVE FERRIS US tour in 2003. On March 29, 2003 at Ska Summit 2003 in Las Vegas, SAVE FERRIS played on the main stage to a thunderously positive response.Other appearances of note Ms. Powell has made: “Mayor of the Sunset Strip” film, “Roswell” network television show, “The Conan O’Brien Show”, “Politically Incorrect with Bill Maher”, MTV’s Loveline with Dr. Drew, the “Keenan Ivory Wayans” show, and the “Late Show with Craig Kilbourne”.
The sold out Pacific Amphitheater at theOrange County Fair 7/27/13 marked the first appearance of SAVE FERRIS in ten years. Keep an eye out for Save Ferris’ return to a town near you soon, as well as a new EP, due out Summer of 2016…

Through balancing even the most extreme dynamics, The Plot In You consistently overturn and upend expectations. On any given track, it might seem like they’re about to go one way, but the band will turn on a dime and shift course before the crowd can even catch a breath. This uncanny element of surprise has entrenched the gold-selling Ohio quartet—Landon Tewers [vocals], Josh Childress [guitar], Ethan Yoder [bass], and Michael Cooper [drums] — on the cutting edge of rock music. Whether it be threads of alternative, electronic, pop, or R&B, nothing is off limits, and everything is fair game for their creative process. That process has continued to morph. Following a series of fan-favorite releases, the band made major waves with DISPOSE [2018]. “FEEL NOTHING” surged on social media as a viral phenomenon, generating hundreds of millions of streams and picking up a gold certification in the U.S., Canada and Australia. The musicians only maintained this momentum with Swan Song in 2021. Hysteria rated it “9-out-of-10”. Simultaneously, they sold out shows coast-to-coast.
During 2023, the band kickstarted another era with Vol. 1. “Divide” having generated 16 million Spotify streams and counting followed by “Left Behind”, exploding to the tune of 31 million Spotify streams with no signs of slowing down. Upon the arrival of “Forgotten”, Revolver praised it among the “6 Best New Songs Right Now.” The Plot In You’s Vol. 2 EP is a powerful showcase of the band’s evolution, blending raw emotion with polished musicality and stands as a testament to The Plot In You’s growth and artistic maturity, captivating listeners with its intense yet introspective narratives with tracks “Closure”, “Don’t Look Away”, and “All That I Can Give” further solidifying their place as one of the genre’s most compelling acts.
Now with the impending arrival of their new EP, Vol. 3, the band is set to captivate fans once again. Featuring three compelling tracks, the lead single “Been Here Before” explores the emotional turbulence of relationships, weaving a narrative of enduring the highs and lows. “Spare Me” delves into the heavy burden of societal pressures and the palpable guilt that comes from feeling helpless in the face of overwhelming news. “Pretend” offers a raw look at the world’s current state, channeling a sense of disillusionment and examining the disengagement of looking away from the tragedies that are happening daily. Vol. 3 promises to be a powerful addition to the band’s discography, reflecting their knack for tackling profound themes with sincerity and intensity.

With lyrical skill matched only by his raucous live shows, Prof has arrived on the national stage. Coming out of Minneapolis, Minnesota, Prof has perfected the art of combining blue collar hard work and unimpeachable content with never taking himself too seriously. His seventh studio album, Horse, due out on his own Stophouse Music Group label April 14, 2023, is set to let the world at large in on a secret that music fans already know, Prof is a force to be reckoned with.
His most recent album, Powderhorn Suites, shocked pundits and industry alike with an amazing run through the charts and streaming platforms. Released in November, 2020, Powderhorn Suites reached a career-high #3 on the Billboard Current Rap Albums charts, #5 Top New Artists Albums, #15 Independent Album, and #36 Billboard Top Albums. What followed has been a masterclass in making it as an independent artist; Prof leaned into the fantastical tales and dynamic persona that have cultivated his rabid fan base. He reclaimed his outlets, going from zero Youtube followers to over 160,000 subscribers in under two years. Following the Powderhorn Suites album, Prof notched his biggest year to date in 2022, racking up over 140 Million streams of his catalog and performing 30 sold out shows across the country.
Horse is the culmination of his personal Rocky training montage, but you can’t call it a comeback, because Prof’s numbers have only ever gone up. Horse is a powerful record, showcasing his singular drive and the weirdness of real life that has propelled Prof to the pinnacle of the independent rap music world, bringing his legions of “Gampos”, as his fans are affectionately known, alongside him. Horse’s 14 tracks include a heavyweight cast of features, from Method Man on “Subpar”, to Kevin Gates’ big sound gracing “Devils Gate”, and a brilliant appearance from Redman on “Pack a Lunch”. Prof’s contemporaries have clearly noticed the ever growing Gampo movement bursting out of the Twin Cities. Cozz and Mac Irv also appear on the album, which was produced by Prof alongside a small cadre of close collaborators.
Prof will follow up the release of Horse with a XX city headline tour, hitting marquee live music venues like YY and ZZ, along with some key festival appearances. Riding life sized carpets over his massive crowds and leaving it all on the stage, Prof’s live shows have always been more than a concert, they are an experience. As the audiences grow and his production evolves, Prof has moved from survival mode to takeover mode, and one thing is for sure, Prof thrives on the biggest stage.

DHX Media, a key player internationally in the creation of content for families and children, announced today that Yo Gabba Gabba! will take the stage this Fall with Yo Gabba Gabba! LIVE! Music is Awesome!. The new live stage show marks the 5th anniversary of the live tour. Yo Gabba Gabba! LIVE! Music is Awesome! will be directed by Yo Gabba Gabba! creators Christian Jacobs (The Aquabats) and Scott Schultz (Majestic). DJ Lance Rock, (Lance Robertson, St. Louis native and founding member of psychedelic electronic pop band The Ray Makers), the colorful cast of Yo Gabba Gabba! characters, fan favorite Leslie Hall and beat boxing legend Biz Markie will return to the road together to perform for more than 200,000 enthusiastic fans on a 30-city tour that will begin on Tuesday, October 14 and will run through Sunday, December 7. The Yo Gabba Gabba! LIVE! Music is Awesome! tour is produced by S2BN Entertainment in association with DHX Media.
Christian Jacobs and Scott Schultz, co-creators of Yo Gabba Gabba! said: “Our goal for Yo Gabba Gabba! is to inspire the next generation of music lovers. Taking your kids to see Yo Gabba Gabba! LIVE! is like taking them to see their first rock concert. We feel very lucky to be able to create something that parents and their kids genuinely enjoy together. Because of that, we have a very special bond with our fans. Yo Gabba Gabba! LIVE! Music is Awesome! is something for kids and the kid in all of us to get excited about. It really is magic.” Steven DeNure, President & COO of DHX Media, commented: “Yo Gabba Gabba! Is one of the most enduring, innovative and imaginative kids’ brands ever created. This new live tour is sure to delight fans who’ve loved the show for years, as well as the younger generation of kids who are new to the magic of Yo Gabba Gabba!”
Yo Gabba Gabba! is an award-winning, live-action television series and live stage show that revolves around the adventures of DJ Lance Rock and five colorful characters who come to life when they hear the magic words, “Yo Gabba Gabba!” The series launched in 2007 and its unconventional formula has since created a quadruple-stacked fan base, making it a popular entertainment property among preschoolers, their parents, indie-music lovers and celebrities alike. Film star Brad Pitt once dressed up as DJ Lance Rock for Halloween. Celebrities Fred Armisen, Jason Bateman, Jack Black, Anthony Bourdain, Tony Hawk, Metta World Peace, Andy Samberg, Sarah Silverman, Elijah Wood and others have appeared on the television series. Numerous musical guest stars have also appeared, singing original songs composed by Yo Gabba Gabba! musicians. These include MGMT with their paint-spattered performance of the psychedelic pop tune “Art Is Everywhere”; The Flaming Lips, who perform their own hit “I Can Be a Frog”; The Killers, who take us on a “Spaceship Adventure”; The Roots, whose Questlove and company perform “Lovely Love My Family”; The Shins, who remind us “It’s OK, Try Again”; The Ting Tings, the British duo who cover Altered Images 1981 new-wave classic “Happy Birthday” and Weezer who dress in bug costumes and sing a kind-hearted, insect-loving tune called “All My Friends Are Insects.” Demonstrating the brand’s pop culture appeal, Yo Gabba Gabba’s one-eyed Muno has been seen hawking cars to the over-16 set in a national KIA Sorento commercial that debuted nationally when it was televised during the Super Bowl. Brobee, the little green one, was featured in the nationally televised pistachios campaign commercials. Cupcake bakers on an episode of the hit series “Cupcake Wars” even competed for a place at a Yo Gabba Gabba! LIVE! VIP party during a Yo Gabba Gabba! themed episode.
Yo Gabba Gabba! launched their first live stage performance tour with a float in the 2009 Macy’s Thanksgiving Day Parade and they have performed live for President Obama’s daughters at The White House. Their first live tour had multiple sold-out gigs and the colorful on-stage extravaganza attracted surprise guests including Arrested Development, Dinosaur Jr., Snoop Dogg, Dave Grohl, Jon Heder, The Aquabats and more, while Christina Aguilera, Halle Berry and Gwen Stefani enjoyed the live stage show with their families. Yo Gabba Gabba! LIVE! has also become a fan favorite at major music festivals such as Coachella in the U.S., where DJ Lance Rock and fans, both big and small, were heard chanting “everybody wash your hands.” Yo Gabba Gabba! LIVE! also appeared at the popular Dark MoFo Festival in Australia in June 2014.
The state-of-the-art live show production features music, singing, dancing and animation. Fan favorite Leslie Hall will join the cast on stage along with hip-hop legend Biz Markie who will teach kids how to beat box with “Biz’s Beat of the Day.” Special guests are invited to join the party on stage in each city for the “Dancey Dance” and “Super Music Friends Show” segments. All new performances of show favorites including the veggie friendly “Party in My Tummy,” along with collaborations and medleys that will instantly remind us to jump and dance but “Don’t Bite Your Friends!” will be a fun family experience for all. Champions on the stage and in the community, the Gabba gang will participate in various service projects in the cities they visit during their 55-day journey with REVERB, the non-profit environmental organization dedicated to educating and engaging musicians and their fans to take action toward a more sustainable future. $1 from every ticket sold goes to support environmental efforts and education.
Exclusive pre-sale tickets are available through Groupon.com from Wednesday, September 3 through Saturday, September 6. Public on sale for most cities begins on Monday, September 8. VIP packages with premium tickets and meet and greets with the characters are available for purchase. For complete tour updates, ticket, and VIP package information, visit www.yogabbagabbalive.com.

Nothing More is an American rock band from San Antonio, Texas. Formed in 2003, the band spent much of the 2000s recording independent albums. Towards the end of the decade, the band’s long-time drummer, Jonny Hawkins, decided to switch to being the band’s frontman and lead vocalist, stabilizing the band’s core lineup along with other long-time members Mark Vollelunga (guitar) and Daniel Oliver (bass). The band self-funded and recorded their fourth studio album, Nothing More. The album became the band’s breakthrough release in 2014, with multiple charting singles, including “This is the Time (Ballast)”, “Mr. MTV”, “Jenny” and “Here’s to the Heartache”. The band began working on a follow-up in 2016 while continuing to tour in support of their self-titled release, and in September 2017, released their fifth studio album, The Stories We Tell Ourselves. The lead single, “Go to War”, outperformed the prior singles, topping the Mainstream Rock chart, and the release earned the band three Grammy Award nominations; Best Rock Album for the album, and Best Rock Song and Best Rock Performance for “Go to War”. Their sixth studio album, Spirits, was released on October 14, 2022.

The album, Cook, isn’t just a nod to Lettuce’s musical heat; it’s an invitation to join the band at the table, where funk, soul, jazz, rock, and hip-hop come together in one rich, flavorful dish.
Released on their own Lettuce Records label, the band’s next studio album offers a menu of delights that marks a band exploring new sonic territory. For these six life-long partners, the new songs feel like a nourishing meal that entices all of your senses. Like 2019’s Elevate, 2020’s Resonate and 2022’s Unify, before it, Cook was recorded at Colorado Sound just outside East Coast transplants Deitch, Smirnoff, and Bloom’s adopted home of Denver, where they gathered in one room to work on the new material. Ryan Zoidis did a masterful job mixing the final results with longtime Grammy-nominated engineer Jesse O’Brien. On the new album, Lettuce has expanded its ever-widening musical palette again. Coming off tours with both rap icon GZA of Wu-Tang Clan and and reggae legend Ziggy Marley while earlier in this year releasing the live album and concert film ‘Lettuce with the Colorado Symphony’ capturing over 90 minutes of collaborative symphonic arrangements with the Colorado Symphony
“This record is a little more three-dimensional than our past albums,” added Deitch. “It shows a lot more sides to the band, exploring further depths of production and arrangements.”
One can hear the Wu-Tang Clan vibe on “Storm’s Coming,” which could well be a lost track from (36 Chambers), while working with an orchestra can be traced in the epic cinematic score of the closing “Ghost of Yest,” which Deitch terms, “a cool tune that has symphonic influences.” Listening to hard-to-categorize, multi-genre bands from around the world also impacted the sessions for Cook, which reflects the global outreach that led Lettuce to put out the recently re-released Live in Tokyo back in 2004. Touring plans for Cook include a return trip to Japan as well as dates in Europe and Australia. “Hearing music from different countries has broadened our creative outlook,” admitted Deitch.
Still, there’s a generous dose of Lettuce’s patented funk, paying tribute to the great James Brown and his JB’s on the slow-heater groove, “Clav It Your Way,” marked by composer Ryan “Zoid” Zoidis’ cool, laid-back but funky saxophone, the classic Lettuce tune of “Gold Tooth” and a pair of spirited homages to mentors like Tower of Power (“Keep On,” with a co-writing credit for the band leader and original member of TOP, Emilio Castillo). On “The Mac,” the band pays tribute to the great JB sax player Maceo Parker, with whom the band had the honor of collaborating with several years back. Ace bassist Erick “Jesus” Coomes describes the theme of his opening, “fresh, super-vibey” “Grewt Up” as “Now is the time to be good to each other without the need to be recognized for it.” New York Knicks fan Adam “Shmeeans” Smirnoff’s dramatic, “The Matador” combines the drama of the bullring with legendary announcer Walt Frazier’s patented call of “Matador defense” – letting someone attack the hoop with no resistance – boasting an urban feel harking back to Creed Taylor’s CTI and the ‘70s New York-based salsa label Fania. “It’s like something that should be the soundtrack to a ‘70s cop show,” says Nigel Hall, who takes center stage with vocals and organ on the band’s cover of one-time Five Stairsteps member Keni Burke’s 1982 R&B hit, “Risin’ to the Top.” “I first heard that song as a kid,” explained Hall. “I learned about the original through hip-hop. I always wanted to sing it, and now I get the chance.”
“Breathe” is described by Deitch as “a chill, hip-hop-flavored joint,” which begins with the sound of crickets, while horn player Eric “Benny” Bloom credited the song for allowing him “to think of all the possibilities my future holds if I just listen to myself and… BREATHE.” The title track is “a wild and crazy funk tune written at a party in Denver,” according to Deitch, while Bloom called it, “a hip little banger of a song to put a stank face on.”
The band also recently announced the launch of Lettuce Red Crush and Orange Crush wine brands with Aquila Cellars, as well as a recipe book of pairings to be included with the vinyl album and in digital form. The wine was brought to life by Bloom and Zoidis’ wine distribution company, Benny & Zoid Selections who made it accessible to purchase nationwide online.
“Music and food are very related,” said Deitch. “Use the wrong ingredients in either and you can ruin the sound and the meal.”
With Cook, it appears Lettuce has the right recipe for success… both musically and organizationally. “This is the best team we’ve ever had,” said Deitch of his current management. “We feel like the world is our oyster. Our concepts and ideas can really come to fruition now with our infrastructure. It’s beautiful to be in a headspace of feeling this fresh. It’s the start of a brand-new era for us.”

As a frontrunner to the 50th Anniversary for Rock & Roll Hall of Famers FOREIGNER, the band is excited to announce the September 12, 2025 release of extensive super deluxe editions of its 1981 smash multi-Platinum album 4.
Recorded at the famed Electric Lady Studios in New York City alongside respected music producer Mutt Lange (Def Leppard, AC/DC), FOREIGNER 4 Deluxe Editions will be available in black vinyl and various other formats on September 12 via Rhino. The release will encompass newly remastered Stereo and ATMOS versions, and a five-disc CD/Blu-ray package that includes a booklet containing over 60 exclusive photos, five previously unreleased songs, 14 early and alternate versions of various songs, 15 instrumentals, and 15 live performances from across the globe, spanning the band’s 1981 and 1982 “4” World Tour. The digital deluxe release will also contain alternate versions, instrumentals, and live performances from the era, including a previously unfinished track from the original F4 recording sessions that features the original band with a newly written and recorded verse by Lou Gramm. As the first single off of the project, “Fool If You Love Him” is available today digitally.
Originally released July 2, 1981, 4 spent more weeks at #1 on the Billboard charts than any artist in the history of Atlantic Records, including AC/DC, The Rolling Stones and Led Zeppelin, and went on to sell more than ten million albums worldwide. 4 is certified 6x Platinum in the U.S. (RIAA), 4x Platinum in Canada (Music Canada), Platinum in Australia (ARIA) and Germany (BVMI), and Gold in 7 additional countries. It spawned three Billboard Hot 100 singles: “Waiting For A Girl Like You”, “Urgent”, and “Juke Box Hero.” “Foreigner 4”, as it’s often referred to, is the fourth studio album by the legendary British-American rock band released during a time of transition as they famously went from six members to four.
Released in 1977, FOREIGNER‘s debut album produced the hits “Feels Like The First Time,” “Cold As Ice” and “Long, Long Way From Home.” The albums Double Vision and Head Games followed with more hits including “Hot Blooded”, “Blue Morning, Blue Day” and “Dirty White Boy”. Then came “Urgent,” “Juke Box Hero” and “Waiting For A Girl Like You.” Those songs helped give FOREIGNER‘s next album, 4, its impressive 10-week run at #1 on the Billboard chart. At the zenith of ‘80s sound, FOREIGNER‘s fifth album, Agent Provacateur, gave the world the incredible #1 global hit,” I Want To Know What Love Is.” This musical milestone followed the record-breaking song “Waiting For A Girl Like You.”

As a frontrunner to the 50th Anniversary for Rock & Roll Hall of Famers FOREIGNER, the band is excited to announce the September 12, 2025 release of extensive super deluxe editions of its 1981 smash multi-Platinum album 4.
Recorded at the famed Electric Lady Studios in New York City alongside respected music producer Mutt Lange (Def Leppard, AC/DC), FOREIGNER 4 Deluxe Editions will be available in black vinyl and various other formats on September 12 via Rhino. The release will encompass newly remastered Stereo and ATMOS versions, and a five-disc CD/Blu-ray package that includes a booklet containing over 60 exclusive photos, five previously unreleased songs, 14 early and alternate versions of various songs, 15 instrumentals, and 15 live performances from across the globe, spanning the band’s 1981 and 1982 “4” World Tour. The digital deluxe release will also contain alternate versions, instrumentals, and live performances from the era, including a previously unfinished track from the original F4 recording sessions that features the original band with a newly written and recorded verse by Lou Gramm. As the first single off of the project, “Fool If You Love Him” is available today digitally.
Originally released July 2, 1981, 4 spent more weeks at #1 on the Billboard charts than any artist in the history of Atlantic Records, including AC/DC, The Rolling Stones and Led Zeppelin, and went on to sell more than ten million albums worldwide. 4 is certified 6x Platinum in the U.S. (RIAA), 4x Platinum in Canada (Music Canada), Platinum in Australia (ARIA) and Germany (BVMI), and Gold in 7 additional countries. It spawned three Billboard Hot 100 singles: “Waiting For A Girl Like You”, “Urgent”, and “Juke Box Hero.” “Foreigner 4”, as it’s often referred to, is the fourth studio album by the legendary British-American rock band released during a time of transition as they famously went from six members to four.
Released in 1977, FOREIGNER‘s debut album produced the hits “Feels Like The First Time,” “Cold As Ice” and “Long, Long Way From Home.” The albums Double Vision and Head Games followed with more hits including “Hot Blooded”, “Blue Morning, Blue Day” and “Dirty White Boy”. Then came “Urgent,” “Juke Box Hero” and “Waiting For A Girl Like You.” Those songs helped give FOREIGNER‘s next album, 4, its impressive 10-week run at #1 on the Billboard chart. At the zenith of ‘80s sound, FOREIGNER‘s fifth album, Agent Provacateur, gave the world the incredible #1 global hit,” I Want To Know What Love Is.” This musical milestone followed the record-breaking song “Waiting For A Girl Like You.”

GRAMMY® Award-nominated songwriter, vocalist, multi-instrumentalist, and producer Wolfgang Van Halen continues to separate Mammoth from the pack. The music stands alone on a foundation anchored by his impressive sonic proficiency (across drums, bass, keys, and guitar) and airtight arena-size hooks with unforgettable vocals. He harbors an irresistible signature sound, inventive vision, and incomparable identity vaunted by a fervent global fanbase. For as unique as the music is, his story so far proves to be just as unprecedented. This is arguably the first hard rock act to genuinely break out from ground zero in the 2020’s, generating north of 100 million streams, toppling charts, and selling out headline tours less than five years since its debut. Back in 2021, Mammoth’s first offering, Mammoth WVH, took flight, bowing at #12 on the Billboard 200 and capturing #1 on three Billboard charts—Top Hard Rock Albums, Top Independent Albums, and Top Rock Albums. “Distance” soared as the first of two #1 Rock Radio Hits and earned a GRAMMY® Award nomination for “Best Rock Song.” Two years later, Mammoth II only saw him pick up the pace. It debuted in the Top 5 of the Billboard Top Album Sales Chart in addition to bringing him back to #1 on the Top Hard Rock Albums Chart. It incited widespread applause from Rolling Stone, Guitar World, GRAMMY.com, Classic Rock, American Songwriter, and KERRANG! The band canvased the globe with Metallica and Pantera and supported Foo Fighters in North America as well as filling houses on their own. They performed on ABC’s Jimmy Kimmel LIVE!, at MusiCares 2024 gala in honor of Jon Bon Jovi, and Wolf took the stage at the Rock and Roll Hall of Fame® Induction of Ozzy Osbourne. Now, Wolfgang pushes forward on Mammoth’s third full-length LP.

Driving guitar solos and throbbing rhythms make up the heavy metal produced by Orlando-based metalcore outfit Trivium. Since their start in 2000, the four-member band has sold more than a million albums and toured alongside other big-ticket metal acts like Iron Maiden, As I Lay Dying and GWAR, bringing fans at venues like Fillmore (Detroit), the Buckhead Theatre and Aztec Theatre to capacity.
Their most recent effort, “Vengeance Falls,” surfaced in October 2013 and landed at No. 15 on The Billboard 200, as well as in the Top 10 on Japanese and Australian album charts. Along with a discography of six full-length records and a healthy U.S. tour history, Trivium has also handled concerts throughout Europe, Japan and Australia.
For the 2006 collection “The Crusade,” Trivium frontman Matt Heafy took a slight departure from his metalcore scream to deliver more traditional singing vocals that some compared to Metallica. That album debuted at No. 25 on The Billboard 200, and Heafy went back to his signature scream for the follow-up, 2008’s “Shogun,” and subsequent releases.