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5 Surprising Facts About Daft Punk’s ‘Discovery’

On March 12, 2001, Daft Punk changed everything with their second studio album, Discovery. Trading in the raw Chicago house vibes of Homework for a glittery fusion of disco, funk, and French house, the French duo created a love letter to childhood, the 70s and 80s, and a wide-eyed sense of sonic possibility. The result? A genre-defying, generation-crossing masterpiece that redefined EDM and reshaped pop music forever.

Here are 5 facts about Discovery even die-hard fans might not know—straight from the crate-digging, vocoder-worshipping, anime-loving cosmos that is Daft Punk.

1: “One More Time” Was Almost Left in the Vault
Daft Punk finished “One More Time” way back in 1998—three years before Discovery came out. And then they… shelved it. That’s right, the most iconic dance anthem of the 21st century almost never saw the light of day. The duo felt unsure how the track would fit into their evolving sound. Thankfully, they trusted their instincts (and Romanthony’s unforgettable vocal) and released it as the first single in 2000. It became the beating heart of the album—and of dance floors worldwide.

2: “Aerodynamic” Was a Love Letter to Shred Guitar
Yes, that lightning-fast guitar solo was meant to sound like Yngwie Malmsteen took a wrong turn into a disco. Daft Punk weren’t trying to be ironic—they genuinely loved those guitar hero moments from their youth. The duo wanted Discovery to be about blending the past and the future. With “Aerodynamic,” they mashed up baroque phrasing, metal shredding, and funk grooves, then filtered it all through a spaceship. Mission accomplished.

3: “Face to Face” Took Over 40 Samples and 3 Studio Sessions
The cut-and-paste masterpiece “Face to Face,” featuring Todd Edwards, was built like a mosaic—with over 40 samples from folk, soft rock, disco, and jazz. Edwards and Daft Punk sifted through 140+ vinyl snippets, then spent days assembling the track like a sonic jigsaw puzzle. It’s not just a dance-pop gem—it’s a Frankenstein of funk, stitched together with surgical precision and pure passion.

4: Discovery’s Vocals Pushed Auto-Tune Into Art
Long before Auto-Tune was a mainstream sound, Daft Punk were turning it into an emotional instrument. From the robotic croon of “Digital Love” to the stuttered vocoder loops of “Harder, Better, Faster, Stronger,” Discovery used pitch correction not as a crutch, but as a creative tool. Thomas Bangalter even compared Auto-Tune criticism to early hate for the electric guitar. Discovery wasn’t hiding flaws—it was enhancing emotion, electronically.

5: It Was Always Meant to Be a Space Opera
Discovery wasn’t just an album—it was part of a full-blown sci-fi narrative. Daft Punk teamed up with legendary anime artist Leiji Matsumoto to create Interstella 5555, a full-length animated film set to the entire album. It was their tribute to the music videos, cartoons, and sci-fi flicks they devoured as kids. The result? A kaleidoscopic, neon-lit, VHS-dream of a movie that turned the album into an intergalactic experience.

 With its fearless fusion of funk, its DIY guitar heroics, and its heartfelt tribute to youth, it became the blueprint for everything from The Weeknd to almost every pop artist afterwards. Even 24 years later, its influence is still echoing across the galaxy.

One more time? Always.

TURNSTILE Announce New Album ‘NEVER ENOUGH,’ Share Title Track & 2025 Tour Dates

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TURNSTILE have announced details of their eagerly awaited new album NEVER ENOUGH, which is set to arrive on June 6th, marking their first full-length release in four years [album artwork below]. Today, the band have also shared the album’s title track, which is available on all streaming platforms and features an official music video directed by the band’s own Brendan Yates and Pat McCrory.

NEVER ENOUGH is available for pre-order / pre-save today, with several limited edition vinyl color variants available in the band’s store.

Recorded between Los Angeles and their homes in Baltimore, NEVER ENOUGH is produced by TURNSTILE’s Brendan Yates. The expansive collection is a restless and exhilarating evolution of the band’s genre-defying sound. A transformative journey, both fearless and alive, by one of the most forward-thinking and influential bands of their generation.  NEVER ENOUGH follows TURNSTILE’s widely celebrated album GLOW ON, which earned the band four GRAMMY nominations.

TURNSTILE is Brendan Yates (Voice / Synth / Keys ), Franz Lyons (Bass), Pat McCrory (Guitar), Daniel Fang (Drums), and Meg Mills (Guitar). Since forming in 2010, TURNSTILE have never stopped moving forward.

TURNSTILE 2025 LIVE DATES
JUN 07 – Barcelona, Spain – Primavera Sound 2025
JUN 13 – London, United Kingdom – Outbreak Fest London 2025
JUN 14 – Porto, Portugal – Primavera Sound Porto 2025
JUN 21 – Clisson, France – Hellfest 2025
JUN 28 – Ysselsteyn, Netherlands – Jera On Air 2025
JUN 29 – Somerset, United Kingdom – Glastonbury Festival 2025
JUL 12 – Ottawa, Canada – Ottawa Blues Festival 2025
OCT 03 – Sacramento, CA – Aftershock 2025

Diamond Cafe to Join Teddy Swims on North American Arena Tour, Announces ‘Fantasy Real’ EP

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Diamond Cafe is hitting the road this spring, opening for Teddy Swims on his upcoming North American leg of the I’ve Tried Everything But Therapy arena tour. The 14-date run kicks off May 9th and will travel to cities across the US and Canada including New York City, Boston, Toronto and more.

To coincide with the upcoming tour, Diamond Cafe will release an EP titled Fantasy Real on April 25th. With his next full-length album nearly complete, the project serves as a warm-up for what’s ahead — a collection guided by fan-favourite moments from his recent Sex Love Color tour.

This announcement follows Diamond’s debut headlining Sex Love Color Tour coming to an end. The tour took him to New York, Los Angeles, Chicago, Toronto, Vancouver and Seattle, of which several shows sold out. Diamond is keeping the momentum going, joining his friend Teddy Swims for his Eastern North American run. The two artists connected in 2024 when Diamond supported Teddy in New Hampshire, and Teddy has continued to champion and share Diamond’s music across his platforms, and now bringing him on the road.

Diamond Cafe has quickly become one to watch, captivating audiences with his impeccable falsetto and church choir vocals. His Festival D’ete performance in Quebec put him in front of 65,000 concert goers and quickly drew in more fans by his highly energetic and magnetic live performance, with Radio-Canada admitting they are “still trying to recover from” his stage presence and electrifying energy. Fans can expect the same on the upcoming tour.

Diamond Cafe has emerged as an artist on the rise with his latest tracks “Lover Boy,” and “Sweet Cherry.” He recently did a special live performance for Cadillac Chronicles and continues to gain more champions like TikTok music tastemaker Sam Murphy (popsamcam) slating Diamond as a must listen to. With upcoming festival appearances and new music on the horizon, 2025 is shaping up to be Diamond Cafe’s biggest year yet.

Hailing from Victoria, BC, Diamond Cafe has been labeled a “Pop-Funk Prodigy” by Pitchfork and has impressed audiences, alongside some of your favourite artists, with his signature sound, incredible live performances, and latest LP, Diamond Cuts. Diamond has garnered support from notable figures such as Zack Fox, Anderson .Paak, F1 driver Lewis Hamilton, PNAU, and the legendary El DeBarge (“Rhythm Of the Night”), who joined him on stage for a duet during his sold-out debut show in LA. He possesses a unique quality that inspires and excites fellow musicians, which has led to collaborations with the likes of Free Nationals, SG Lewis, PNAU, Jenevieve, and Bones. He has also been a featured artist on several projects, including Gashi’s album 1984 and the Cool Kids’ album BABY OIL STAIRCASE / CHILLOUT. In addition to all this, Diamond has taken on the role of producer not only for his own music but also collaborated with BNYX on Zack Fox’s wood tip EP. His music has been heard on screen, with eight tracks synced in the HBO series Ballers, as well as placements on The Lake (Netflix) and Flinch (Prime). For the past seven years, Diamond Cafe has honed his craft, preparing for this breakthrough moment in his career.

“I’VE TRIED EVERYTHING BUT THERAPY” TOUR DATES W/ DIAMOND CAFE
May 09 2025 – Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood – Hollywood, FL, USA
May 10 2025 – Daily’s Place – Jacksonville, FL, USA
May 12 2025 – The Amphitheater at the Wharf – Orange Beach, AL, USA
May 14 2025 – Live Oak Bank Pavilion at Riverfront Park – Wilmington, NC, USA
May 15 2025 – Skyla Credit Union Amphitheatre – Charlotte, NC, USA
May 17 2025 – Red Hat Amphitheater – Raleigh, NC, USA
May 18 2025 – Mann Center for the Performing Arts – TD Pavilion – Philadelphia, PA, USA
May 20 2025 – Jacobs Pavilion – Cleveland, OH, USA
May 21 2025 – Michigan Lottery Amphitheatre at Freedom Hill – Sterling Heights, MI, USA
May 23 2025 – Coca-Cola Coliseum – Toronto, ON, Canada
May 24 2025 – Place Bell – Laval, QC, Canada
May 27 2025 – Radio City Music Hall – New York, NY, USA
May 28 2025 – Radio City Music Hall – New York, NY, USA
May 30 2025 – Suffolk Downs – Boston, MA, USA

Skydiggers Announce New Album ‘Dreams & Second Chance’s and 2025 Tour

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Iconic songwriter Harlan Howard believed that songs exist in the air all around us— a sentiment that perfectly captures the spirit behind Skydiggers’ forthcoming studio album, Dreams & Second Chances. Born from spontaneous sessions with no advance charts and no road-tested material, the album’s 14 new tracks emerged organically, marking a fresh chapter for the beloved roots rock band.

Set for release on May 9, 2025, Dreams & Second Chances is officially announced today alongside the album’s second single, “Snow Blind” — a striking blend of Peter, Paul and Mary harmonies with the raw energy of The Who, resulting in what can only be described as a marriage made in rock ’n’ roll heaven.

All I see
Is blinding me
From what I know
It’s touch and go

“Snow Blind is about the memory of driving through a winter storm in white out conditions on a country highway. The snow against the car windshield is hypnotic and mesmerizing. And the blind faith required as you white knuckle your way through it,” shares songwriter and band member Josh Finlayson. He adds, “This was the first song we recorded for Dreams & Second Chances, and I believe it was the first take we did. A good start and a great band performance.”

The new single follows the release of the album’s title track this past February, which coincided with the announcement of Skydiggers’ upcoming album release tour. The run includes a special hometown performance at Toronto’s iconic Concert Hall on May 31, where the band will be joined by special guests Brooks and Bowskill for what promises to be an unforgettable night of music. Additional stops include Peterborough, Kingston, Ottawa, Saint John, Halifax, and Charlottetown.

DREAMS & SECOND CHANCES 2025 TOUR
May 22 – Peterborough, ON – Market Hall
May 23 – Ottawa, ON – Bronson Centre (Capital Music Week)
May 24 – Kingston, ON – The Broom Factory
May 31 – Toronto, ON – The Concert Hall (w/ Brooks and Bowskill)
June 5 – Saint John, NB – Area 506
June 6 – Halifax, NS – Light House Arts Centre
June 7 – Charlottetown, PE – Trailside Music Hall

Tickets are available now at https://skydiggers.com/tour/.

Surrounded by trees on three sides and water on the fourth, Tragically Hip’s studio, The Bathouse, is a setting without distraction. The silence of the vast lake provided the perfect tone for what was to occur. The creation would begin when each song was first played in the studio’s kitchen by Josh with a guitar and Andy’s voice — many of these songs heard by the larger group for the first time.

After a quick huddle, the musicians would move to their stations. There was little time to think. Most importantly, there was little time to overthink. What followed was instinct. What unfolded is a magical euphoric reflection of the chemistry that these musicians have developed over years of beautiful nights in the nation’s most beautiful soft seaters and the country’s most gin soaked bar rooms. Yes, their sound has evolved. The acoustic guitar, harmony-guided Skydiggers sound of our youth is still an arrow that is in the band’s quiver, but now there is more.

Led by original bandmates Andy Maize and Josh Finlayson, and featuring Noel Webb on drums, Derrick Brady on bass, Jessy Bell Smith on vocals, Aaron Comeau on guitars, and Michael Johnston on keyboards, Dreams & Second Chances reveals these Skydiggers at the peak of their ability – a collective with the intrinsic ability of finish each others musical sentences and weave a sound that is uniquely their own.

Dreams & Second Chances Tracklisting:
1. Dreams and Second Chances
(Andy Maize / Michael Johnston)
2. Start Again
(Josh Finlayson)
3. Mother’s Pocket
(Jessy Bell Smith)
4. Snow Blind
(Josh Finlayson)
5. Chase the Sun
(Josh Finlayson / Tom Wilson / Thompson Wilson)
6. Light on the Water
(Jessy Bell Smith)
7. I Love You, Too, Maybe…
(Andy Maize / Michael Johnston)
8. Don’t Change a Good Mind
(Josh Finlayson)
9. We Just Carry On
(Josh Finlayson / Andy Maize)
10. Walk With the Stars
(Josh Finlayson / Jim Bryson)
11. One, Maybe Two, Maybe…
(Andy Maize / Michael Johnston)
12. Quiet Mind
(Josh Finlayson / Michael Johnston)
13. Broken Year
(Jessy Bell Smith)
14. All Good All the Time
(Andy Maize)

Why Single and Album Cover Art Still Matters in 2025

In an age of algorithm-driven playlists and AI-generated content, it might seem like album and single cover art has taken a backseat. But in 2025, great visuals are more powerful—and more necessary—than ever. Here’s why cover art still matters, maybe more than it ever has.

1. The First Hook Isn’t Always a Riff—It’s a Visual.
Before a listener hears a single note, they see something. In an endless scroll of streaming thumbnails, a powerful image can stop someone mid-swipe. Great cover art isn’t just a pretty wrapper—it’s your music’s first impression, and first impressions stick.

2. You’re Not Just Building a Sound—You’re Building a Brand.
Think of Nirvana’s baby in the pool, or Billie Eilish’s haunting self-portraits. Cover art is how your music dresses up for the world. It’s the logo, the color palette, the visual vibe that fans wear on T-shirts and tattoo on their skin. That matters.

3. In the Vinyl Era Revival, Size Matters Again.
Vinyl is back, and with it, the 12-inch canvas for imagination. Album art is no longer just a digital stamp—it’s tangible, collectible, and frameable. When fans buy records, they’re not just buying sound—they’re buying story, artwork, and nostalgia.

4. Social Media Runs on Aesthetics.
Instagram, TikTok, and YouTube thrive on visuals. If your music doesn’t look as good as it sounds, you’re missing half the conversation. Every album cover becomes a square post, a profile picture, a story frame. Good art multiplies your reach.

5. It’s a Cultural Marker—Not Just a Marketing Tool.
The best album covers define moments. From Kendrick Lamar’s DAMN. to Taylor Swift’s folklore, a single image can say everything about an era, a mood, or a movement. Years from now, your cover might be the thing people remember the most.

6. AI Can’t Fake Intent.
Sure, AI can generate art. But it can’t replicate your vision. Cover art designed in collaboration with musicians tells a deeper story—one rooted in emotion, not just aesthetics. Real art comes from lived experience, and fans can feel the difference.

7. Visual Memory Is Music’s Best Friend.
Ever remember a song because you saw the cover in your mind? That’s no accident. Sight and sound are tied together in our brains. A striking image can recall the melody, the moment, and the magic of a song—all in one instant.

8. A Great Cover Says: “I Care.”
When an artist invests in beautiful cover art, it signals that they believe in their work. It shows attention to detail, to craft, to legacy. Fans feel that. So do gatekeepers. It tells the world: this isn’t just a file—this is an experience.

Album art isn’t going anywhere. If anything, in 2025, it matters more—because attention is rare, memory is precious, and your music deserves to be seen as well as heard.

Now go make it iconic. If you’re still looking for help, or have any questions, or looking for more information, email me, I’ll be happy to chat – Eric@ThatEricAlper.com and talk soon!

Manuel Turizo Announces 201 Tour Across Latin America and U.S.

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Today, Latin music star Manuel Turizo has officially announced his highly anticipated 201 Tour, a major international run that will take him across some of the most iconic venues in Latin America and the United States (dates for Europe will be announced soon). The tour is produced by CMN Events in collaboration with his label, La Industria INC.

With a string of global hits like “La Bachata”, “El Merengue”, and his latest collaboration with Kapo, Turizo is gearing up to connect with fans in more than 25 cities including a one-night stop in Miami at Kaseya Center on August 29. Backed by an all-new production and elevated stage design, the 201 Tour is set to be one of the standout Latin music tours of 2025.

“I can’t wait to be back on stage and feel that energy again,” said Turizo. “Every country, every city holds a special meaning for me, and this tour is a celebration of the journey we’ve shared.” 

TICKETS: Tickets go on sale to the general public on Friday, April 11 at 10:00 a.m. A pre-sale will take place on Thursday, April 10 at 10:00 a.m. to Friday, April 11 at 9:45 a.m.

OFFICIAL TOUR DATES – 201 TOUR:

JUNE
June 11 – Arena Guadalajara – Guadalajara, Mexico
June 13 – Arena CDMX – Mexico City, Mexico
June 14 – Arena Monterrey – Monterrey, Mexico
June 28 – Feria de Veracruz – Veracruz, Mexico

AUGUST
August 9 – Parque Viva – San José, Costa Rica
August 11 – Antel Arena – Montevideo, Uruguay
August 12 – Costa 21 – Lima, Peru
August 14 – Movistar Arena – Santiago, Chile
August 18 – Movistar Arena – Buenos Aires, Argentina
August 21 – Rosemont Theatre – Chicago, IL
August 23 – United Palace – New York, NY
August 24 – EagleBank Arena – Fairfax, VA
August 28 – Walt Disney Theater – Orlando, FL
August 29 – Kaseya Center – Miami, FL
August 31 – Ovens Auditorium – Charlotte, NC

SEPTEMBER
September 11 – Smart Financial Center – Sugar Land, TX
September 12 – Texas Trust CU Theatre – Grand Prairie, TX
September 14 – Payne Arena – Hidalgo, TX
September 17 – Graton Resort and Casino – Rohnert Park, CA
September 19 – Peacock Theater – Los Angeles, CA
September 21 – Pechanga Theater – Temecula, CA
September 26 – Coliseo Voltaire – Guayaquil, Ecuador
September 27 – Coliseo Medplus – Bogotá, Colombia

DECEMBER
December 4 – Estacionamiento Comisariato Los Andes – San Pedro Sula, Honduras
December 5 – Complejo Cuscatlán – San Salvador, El Salvador
December 6 – Explanada Distrito Futeca – Guatemala City, Guatemala

Dates for Europe will be announced soon.

Dan Mangan Announces New Album Natural Light, Reflecting on Society, Survival, and Songwriting

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Last month, Dan Mangan announced his new record, Natural Light, an album filled with love songs about a society on the brink of collapse. First introduced by the rousing, irrepressible single “Melody,” Natural Light is Mangan’s return to folk music’s classic underpinnings of political resistance, and songs founded on building connection. No longer the hopeful young upstart or a stubborn folk-punk, Mangan’s familiar voice emerges to articulate our troubled times with tenderness and humour. Love songs about a planet on the brink of collapse. Campfire songs for a world on fire.

Today, Mangan shares “Cut The Brakes,” the second glimpse of Natural Light – a wry yet gently windswept tune that “attempts a brief history of human evolution,” says Mangan. “We came from plants in the water. We made up stories, built monuments, had a lot of sex, and nobody is driving the bus.”

 

Over a driving folk rhythm, with chiming guitars and morning-light production hues, “Cut The Brakes” paints a contrasted picture of calmness amidst chaos, a sort of gentle melody before the storm: ‘Oh, someone cut the brakes while we were sleeping / Someone left the stove on again / Oh, what’s the point of all this bob ‘n weave’n’? / Someone ate the last Oreo.’


Before a single note of Dan Mangan’s 7th LP Natural Light was recorded he listened through a series of song demos and sincerely considered the title Schminger Schmongwriter. After years of rolling his eyes at the genre, there is poetry in accepting that the two best words to describe him may in fact be “singer” and “songwriter”.

In context, the nod to Harry Nilsson’s landmark album Nilsson Schmilsson is not out of place. There’s a feeling of timelessness to Natural Light in the curiosity, the wit, and the playfulness in Dan’s voice, through his words, and the vibrancy of the music. The analog patina and subtle reminders that this tender, funny and devastating work was made by humans together in a room. Mangan’s newest offering bears the the poise of a modern classic, seeded by Dan’s singular lyricism and forged unexpectedly by four best buds over six days in a cabin in the woods.

There is something fitting in Mangan hitting this high watermark at this stage of his life. You can trace the chapters of his story in the fabric of Natural Light. You’ll find remnants of the tenacious young artist who booked tours of Europe via Myspace in the mid 2000s. The emergent songwriter who hibernated into fatherhood just as arena-folk exploded in the early 2010s. The genre-bender who has subtly challenged his audience with each album, tracing a unique trajectory of confronting and eclipsing his own art. Over two decades, Mangan has managed an enviably strong creative ethic, and his integrity as both a singer and songwriter has only strengthened with age. The big picture cohesiveness of Natural Light harkens to a pre-streaming, album-focused sensibility. Songs bleed together through focused transitions and overlapping interludes. Mangan’s lyrics act as gondolier for the journey, reassuring the listener that it’s cool to care. Dan sings for his kids, for his wife, and for a society in existential crisis.

Following several studio-centric albums with esteemed producer Drew Brown (Radiohead, Beck), Dan secluded himself deep in the woods of southern Ontario for a week with long-time bandmates Jason Haberman, Mike O’Brien and Don Kerr. They had intended to workshop existing songs, maybe write some new ones, and generally impose zero pressure to accomplish much at all. They pooled recording gear and turned Haberman’s rustic cottage (coined SOUVENIR) into a makeshift studio.

“This entire album feels like one big happy accident. A gift from the ether,” says Mangan from his home in Vancouver. “Even if it was never to be released, I can’t fully articulate how grateful I am to have had such a cosmic and charged creative experience with these three people I love so dearly. We were completely locked in. I get choked up just thinking about it.”

The evening they arrived, Dan introduced the band to a song he’d written for his sons – a meandering stream of consciousness lamenting how their modern adolescences might pose challenges from which he cannot spare them. Lightning struck and in three quick takes, the framework for the song was complete, and the table had been set. “It Might Be Raining” was the first song recorded, is the first song on Natural Light, and was the catalyst for six days of jubilant creative frenzy. Between lake jumps and egg scrambles, the crew brought to life 13 songs, many of which had been stewing in Dan’s head for years.

Though these songs were written over the last half-decade, the timing of Natural Light feels urgent. The power and the beauty of this music, as well as its sadness, are imbued with the present political and social zeitgeist. If there exists a need for creative voices to cut through the world’s deafening static with eloquence and honesty, this work is an undeniable candidate.

Dan’s voice and songs have the power to unite and silence a concert hall. A centrepiece of his lyrical prowess is “Soapbox”, a Guthrie-esq rip into “the lie” of modern society. Though he considers it his preachiest song, Mangan’s determined stanzas unfold like a close friend helping to untangle the complexities of our collective struggle. “I hate that, so often, the thing that is most infuriating about society is also the hardest to explain,” he says.

The band’s contributions are paramount to Natural Light’s charm and vitality, effortlessly elevating Mangan’s offerings without ever getting in the way. The recordings capture the foursome’s brotherly intuitions, as each note feels responsive, spontaneous, and serendipitous. Jason, Mike and Don buoyantly propel Dan’s melancholic lyrics with assurance and whimsy – a glorious juxtaposition perhaps best demonstrated by Natural Light’s first single “Melody”. Clarinets and slide guitars dance like drunken fools to his elegy about unrequited love.

All four musicians are credited as producers on the album. While O’Brien did the heavy lifting on lead guitar and Kerr on drums, the whole cast shuffled between instruments frequently as the recordings took shape. Minimal time was given to working out “parts”, and they allowed first impulses to direct the process, tracking the songs together “live off the floor”. Back in their respective cities and studios, the foursome continued to hone the recordings over the following months, adding subtle overdubs such as horns, strings and woodwinds.

What cannot be understated here is the creative input from bassist Jason Haberman, who engineered the recordings and even took the photos adorning the LP’s front and back covers. Jason also mixed the album from his Toronto studio. Though several other renowned engineers were initially considered, every step of the process had been intimately tied to the quartet’s experience at the cabin, and it felt important to keep the project in the family, so to speak.

Natural Light is a natural resolution for Mangan as a scene-survivor. Dan has emerged as a politically-conscious family man with the maturity and wherewithal to articulate our troubled times with tenderness, intelligence and humour. There is luck involved too – this perfect storm of creativity was not so much conjured as ridden like a wave by four friends with a century of collective experience making records.

Mangan has often described songwriting as a way to articulate his anxieties and unburden his mind. This particular collection of recordings explores the darkness of our time, but embraces the listener like a weighted blanket. Sewn into the fabric, in a secret language, are the words instructions for survival. Dan reminds us that the pain of living frees us. That there are those who leave a light on in case another needs to see. That the feeling will go on. That we should seek the natural light, and when we find it, bask in it like a cat.

Dan Mangan is a two time JUNO Award-winning and three time Polaris Music Prize-nominated musician and songwriter. He lives in Vancouver, British Columbia with his wife and two sons. For decades, Dan has brought signature wit, sonic innovation and lyrical insight to the indie/folk community, garnering him a fiercely dedicated and deeply involved audience. He has played Glastonbury and Jimmy Kimmel Live, sold out Massey Hall and scored acclaimed soundtracks for television and feature film. In 2017, he co-founded Side Door, a community marketplace platform for the arts that seeks to democratize and decentralize the entertainment industry by connecting artists with alternative venue spaces.

TOUR DATES  
Sept 25 – Calgary, AB – MacEwan Hall
Sept 26 – Edmonton, AB – Winspear Centre
Oct 1 – Victoria, BC – Royal Theatre
Oct 3 – Vancouver, BC – Vogue Theatre
Oct 10 – Toronto, ON – Danforth Music Hall
Oct 11 – Ottawa, ON – Bronson Centre

NATURAL LIGHT TRACKLIST
01 It Might Be Raining
02 Diminishing Returns
03 I Hated Love Songs
04 Contained Free (Interlude)
05 No Such Thing As Wasted Love
06 Melody
07 My Dreams Are Getting Weirder
08 Soapbox
09 Cut The Brakes
10 For Him
11 Sound The Alarm
12 Proximity
13 Hit The Wall

Canadian Folk Music Awards Celebrate 20th Anniversary, Honouring Artists from Coast to Coast

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The Canadian Folk Music Awards (CFMAs) announced the recipients of their 2025 edition, marking the 20th anniversary of the organization. The milestone was celebrated with a series of bilingual concerts held April 3–6 in Ottawa/Gatineau—the founding city of the event. Over four memorable days, audiences were treated to inspiring performances and award presentations that highlighted the excellence and diversity of Canadian folk music.

21 awards were presented in 20 categories, highlighting the talents of artists from every province and a wide range of musical traditions. From emerging voices to established icons, the 2025 recipients reflect the vitality of a genre that continues to evolve.

This year’s recipients represent the rich cultural and geographic diversity of the folk music community across Canada. Notably, there was a tie in the Indigenous Songwriter(s) of the Year category, with the award presented to both Celeigh Cardinal (Alberta) for Boundless Possibilities and Alan Syliboy & The Thundermakers (Nova Scotia) for Marks on the Ground.

During Saturday night’s Traditional & Global Roots Concert, CFMA Vice-President Jocelyne Baribeau announced that the Traditional Singer of the Year category will now be known as the Stan Rogers Traditional Singer of the Year Award, in honour of the iconic Canadian folk artist. This year’s recipient was Nova Scotia’s Lucy MacNeil, who also received Traditional Album of the Year for Angels Whisper. A founding member of the Barra MacNeils alongside her brothers, this marks her first solo project in a 37-year career.

Ontario trio Good Lovelies received Vocal Group of the Year for We Will Never Be the Same. The album’s producers, Joshua Van Tassel and Christine Bougie, were also recognized for Producer of the Year. Montreal singer-songwriter Loryn Taggart was named Solo Artist of the Year for The Lost Art of Pulling Through, and also received Single of the Year for her song “Tell Me How'”.

For the first time, the Young Performer of the Year Award includes a $3,000 prize, thanks to the generosity of Thom Fountain, Broker at RE/MAX Hallmark Realty Group and long-time CFMA supporter. This year’s recipient is Mary Frances Leahy (Ontario) for her album First Light. A talented fiddler, pianist, dancer, and composer, Leahy has already performed over 600 shows—often alongside her parents, Natalie MacMaster and Donnell Leahy—at just 19 years of age.

The 2025 Unsung Hero Award was presented to Gilles Garand, recognized for over 50 years of dedicated service promoting folk, traditional, and world music from Québec, both in Canada and internationally. He received the award during the Friday, April 4 Gala concert at the National Arts Centre, in a moving tribute led by his son Alexandre de Grosbois-Garand.

CFMA President Graham Lindsey also announced that the 21st edition of the Canadian Folk Music Awards will take place in Calgary, April 9–12, 2026.

The Talbott Brothers Share “Mud” Ahead of ‘Borderlands’ Album and Tour Launch

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Nick and Ty, the acclaimed duo behind The Talbott Brothers – praised by Rolling Stone for their “cinematic folk-rock for open highways” – deliver their liberating single “Mud” ahead of their upcoming 11-track album, Borderlands, set for release on Friday, May 2.

Borderlands marks a profound personal rebirth for The Talbott Brothers. This album is a thematic homecoming, returning to the simplicity and raw honesty that first inspired their music. With pensive storytelling and heartfelt artistry, it dives into their journey full circle, offering a powerful reflection of their growth and unshakable roots. Now, gearing up for the release of Borderlands, the brothers are hitting the road for a 16-date tour, trekking from the Midwest to the West. The journey kicks off in Madison, WI, and wraps up in Seattle, WA.

Holler exclusively revealed “Mud” and its music video, praising, “‘Mud,’ marks a profound personal rebirth…A raw and unapologetic reflection of who they are at their core, with their soulful sibling harmonies and their powerful, brooding take on Americana.”

“‘Mud’ is a song about blocking out the noise and refusing to let other people’s opinions define you,” Nick and Ty share. “The song tells the story of embracing the messiness of life and choosing to ignore the judgment and expectations from others. It’s about walking your own path and not letting anyone tell you how to deal with your struggles. The song is a bold reminder to drown out the critics, find peace, and keep moving forward.”

Their latest release “Easy Love,” a soulful ballad, dropped on December 18, 2024. The track “is a song about desiring an uncomplicated and effortless relationship with someone,” the brothers share. “Sometimes we overcomplicate love to protect ourselves from being hurt but that doesn’t get us anywhere except ending up alone. It’s about fighting that tendency to let love in and instead lean in.” On November 22, 2024, they released the project’s sophomore introspective single “Without Me.” The song “explores the theme of letting go and the realization that both people in a relationship are better off going their separate ways,” Nick and Ty explain. “The lyrics reflect a journey of self-discovery, highlighting the emotional weight of a past connection while acknowledging that separation can lead to a better version of yourself.”

They ignited the fire with “Kerosene,” the project’s rollicking lead single released on September 20, 2024. This playful love song embodies the feeling of having someone worth coming back to — someone who rides through the highs and lows by your side, accepting you just as you are. As the first glimpse into the real-life stories woven throughout Borderlands, “Kerosene” offers a raw, stripped-down recording that pulses with unvarnished authenticity. The performance visual, filmed at Red Star Barn in Walla Walla, WA, captures the essence of the song’s fiery spirit and lyrical depth, showcasing the duo’s powerful vocals and heartfelt storytelling against the backdrop of the barn’s rustic charm.

Raised in the small town of Imperial, Nebraska (population: 1,993), The Talbott Brothers have built a name for themselves with their soulful lyrics, sibling harmonies, and rich melodies. With over three million streams on their 2017 track “We Got Love” and praise from Billboard and The Boot, they’ve captured national attention, propelling them to widespread recognition.

After years in Portland, the brothers returned to their roots, finding inspiration in the simplicity of their hometown. This led to the creation of Borderlands, an album shaped by their country, Americana, and rock ‘n’ roll origins. Influenced by songwriters like Ray LaMontagne and Chris Stapleton, Borderlands explores the emotional highs and lows of life, reflecting themes of resilience and transformation. “During the creative and writing process we spent our days riding motorcycles, going to the lake, shooting guns, driving around listening to old rock ‘n’ roll and country music and sitting by the fire,” Ty explains, delving into their experience of going back home to create the new project.

Stripping down to acoustic sounds and raw production, the album embraces imperfections, capturing the authenticity the brothers desired. As Ty explains, “We wanted to keep it as bare bones as possible.” Through grit, grief, and good times, Borderlands marks a new chapter for the brothers, showcasing their personal and artistic growth and echoes the resilience and soul of Nebraska’s working class.

Having toured globally and played festivals like AMERICANAFEST and The Rock Boat, The Talbott Brothers continue to connect with audiences, sharing their unbreakable bond and powerful sound.

BORDERLANDS TRACK LISTING:
“Wayward Son”
“Kerosene”
“Mud”
“Wild”
“Is It Always Gonna Be This Way”
“Halfway Love”
“Without Me”
“If I Could Keep A Lover”
“Easy Love”
“Drink You”
“If You’re Happy Now”

CATCH THE TALBOTT BROTHERS LIVE:

Before There Were Drum Battles on TikTok, There Was the Lambeg Drum Stick-In of 1964

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Forget YouTube covers and viral drum-offs — this 1964 BBC gem features Northern Ireland’s loudest tradition: the Lambeg Drum Stick-In. Massive drums. Endless stamina. One booming champion. It’s like Whiplash meets folklore, and it might be the most intense rhythmic showdown you’ve never heard of — until now.