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Michael Kiwanuka Announces 2025 UK/European Live Dates + Shares New Track, “The Rest of Me”

Credit: Marco Grey

Michael Kiwanuka is very pleased to share details of a European/UK headline tour for Spring 2025.

The 12-date run will be Michael’s first headline dates in the UK/Europe since 2022, and the first opportunity to hear tracks from his forthcoming fourth album, Small Changes. The dates will include March dates in Wolverhampton, London’s Eventim Apollo, Edinburgh, concluding on 13th March at the O2 Apollo in Manchester.

Tickets for the tour go on general sale from Friday 11th October. Fans who pre-order the record through Michael’s website from now (3rd Oct) through to 5pm  on Tuesday 8th October will receive early access to tickets to all dates from 10am on Wednesday 9th October, ahead of general sale.

Small Changes is released on 15th November through Polydor Records. A third preview of the record is shared today in new track, “The Rest Of Me” – streaming now, and with a beautifully shot video by Yout – watch here

Driving conversations between producer Brian Burton (Danger Mouse) and Michael about the direction of the album and particularly The Rest Of Me, the album’s penultimate track, was the desire to make an album that transcends any notion of what is or isn’t deemed “cool”. He recalls, “We were trying to shoot for something that might have made it onto a Bill Withers album or a Sadé album.” Indeed, Sadé is the case in point on this new track, as Michael remembers afternoons as a child in the back of his aunt’s car, “where Diamond Life was rarely out of the tape machine.”

Listen to the returning single Floating Parade

Listen to Lowdown (part i) and Lowdown (part ii) HERE

Michael is currently out on a rotating headline tour across the US with Brittany Howard.

Michael Kiwanuka Live (US Dates):

3rd October – Summerstage In Central Park, New York (w/ Brittany Howard)
5th October – The Chicago Theatre, Chicago (w/ Brittany Howard)
6th October – Palace Theatre, Saint Paul (w/ Brittany Howard)
8th October – The Mission Ballroom, Denver (w/ Brittany Howard)
10th October – Idaho Botanical Garden: Outlaw Field, Boise (w/ Brittany Howard)
11th October – Edgefield Concerts, Troutdale (w/ Brittany Howard)
12th October – Queen Elizabeth Theatre, Vancouver (w/ Brittany Howard)
14th October – Britt Festival Pavilion, Jacksonville (w/ Brittany Howard)
15th October – Paramount Theatre, Seattle (w/ Brittany Howard)
17th October – The Greek Theatre, Berkeley (w/ Brittany Howard)
18th October – Greek Theatre, Los Angeles (w/ Brittany Howard)
19th October – Vina Robles Amphitheatre, Paso Robles (w/ Brittany Howard)

Michael Kiwanuka Live (Europe/UK):

25th February – Sporthalle, Hamburg
26th February – AFAS Live, Amsterdam
28th February – Le Zénith, Paris
1st March – Forest National, Brussels
3rd March – Alcatraz, Milan
4th March – Halle 622, Zurich
6th March – Zenith, Munich
7th March – Jahrhunderthalle, Frankfurt
9th March – Civic Hall, Wolverhampton
10th March – Eventim Apollo, London
12th March – Usher Hall, Edinburgh
13th March – O2 Apollo, Manchester

Crosby, Stills, Nash & Young to Release Unreleased 1969 Fillmore East Concert as Double Live Album

After famously playing their second show at Woodstock in August 1969, David Crosby, Stephen Stills, Graham Nash, and Neil Young spent the rest of the year touring and writing songs for what would become CSNY’s 1970 debut, Déjà Vu. A newly discovered multi-track recording of the band’s September 20, 1969, concert at the historic Fillmore East in New York City captures an early moment from that first tour and will be released as a double live album on October 25.

Live At The Fillmore East, 1969 will be available from Rhino.com on vinyl (2LP) and CD. Pre-Order HERE. A special clear-vinyl edition will be available exclusively at select retailers on the same day. An unreleased live version of “Helplessly Hoping” is available today digitally. Listen HERE.

Crosby, Stills, Nash, and Young were heavily involved in the creation of this never-before-heard live show. Stills and Young compiled and mixed the original eight-track concert recordings with John Hanlon at Sunset Sound Studios in Los Angeles. The audio is AAA lacquer cut for the vinyl release to provide the highest audio fidelity.

Young recently said: “[We] have the tapes, and they sound so real. We mixed at Sunset Sound – the analog echo chamber, no digital echo. We’re staying all analog throughout the production…Pure. Analog. No digital – an Analog Original.”

Recorded only a month after Woodstock, the September 20 concert was the band’s fourth show in two days at the Fillmore East and featured both acoustic and electric sets. Stills shares they were still figuring things out, “the acoustic part of the show took care of itself, but now that we had equipment and Dallas [Taylor, drums] and Greg [Reeves, bass] and sizable shows to do, we just went for it. What we lacked in finesse, we made up for in enthusiasm…A band on the run. Expecting to fly.”

The setlist spotlights soon-to-be classics from CSN’s self-titled debut and Young’s Everybody Knows This Is Nowhere with “Suite: Judy Blue Eyes,” “Helplessly Hoping,” and “Down By The River.” The concert also features early versions of two future Déjà Vu tracks. Stills delivers a stunning solo acoustic performance of his introspective ballad “4 + 20,” followed by Nash, alone at the organ, singing “Our House” to its inspiration, Joni Mitchell, who was in the Fillmore audience.

In the acoustic set, Young gave a nod to Buffalo Springfield (his first band with Stills) playing “I’ve Loved Her So Long,” a song he wrote for the group’s final album, 1968’s Last Time Around. Young says, “For me, CSNY was a chance to reunite with Steve Stills and carry on the Buffalo Springfield vibe. Crosby’s great energy was always our catalyst. Graham and Stephen’s vocals, along with David’s and mine, were uplifting every night. Great moments I will never forget.”

The electric set is powerful and intense, highlighted by expansive versions of “Wooden Ships,” “Long Time Gone,” and “Sea Of Madness.” The band closes the show with “Find The Cost Of Freedom,” a new song by Stills that later would be released as the B-side to the protest anthem “Ohio.”

“Hearing the music again after all these years, I can tell how much we loved each other and loved the music that we were creating,” Nash says. “We were four people reveling in the different sounds we were producing, quietly singing together on the one hand, then rocking like f**k for the rest of the concert.”

Upon coming together in 1969, Crosby, Stills, Nash, & Young (CSNY) captured lightning in a bottle and cemented a once-in-a-generation creative union between four of rock ‘n’ roll’s most distinct, impassioned, and prolific personalities—David Crosby, Stephen Stills, Graham Nash, and Neil Young. On March 11, 1970, the group unveiled their full-length debut album, Déjà vu. The ten-track opus housed staples such as the Joni Mitchell-penned “Woodstock,” “Teach Your Children,” “Our House,” and “Carry On.” Peaking at #1 on the Billboard 200, it eventually achieved a 7x-Platinum RIAA certification. Indicative of the record’s seismic generational impact, the Library of Congress selected it for preservation in the National Recording Registry, while the Recording Academy chose the LP for induction in the GRAMMY Hall of Fame. Rolling Stone touted it among the “500 Greatest Albums of All Time.” The group catalog expanded with the platinum-certified American Dream [1988] and Looking Forward [1999]. They also headlined a string of seminal sold-out tours. Rewinding to their early days, they took the stage at The Fillmore East for four shows in just two days on September 19-20, 1969. 55 years later, Crosby, Stills, Nash, and Young share the final gig from this particular run as the 2LP/2CD set Live At The Fillmore East, 1969 in 2024. A newly unearthed multi-track recording of the late show on September 20 brings this night to life again. It’s both a snapshot of a band that’s assuredly enjoying its recently found footing and a harbinger of their future together. With 20 million records sold and billions of streams, the music of CSNY remains firmly woven forever into the fabric of the American Songbook.

Live At The Fillmore East, 1969 Tracklist

Side One
“Suite: Judy Blue Eyes”
“Blackbird”
“Helplessly Hoping”
“Guinnevere”
“Lady Of The Island”

Side Two
“Go Back Home”
“On The Way Home”
“4 + 20”
“Our House”
“I’ve Loved Her So Long”
“You Don’t Have To Cry”

Electric Set
Side One
“Long Time Gone”
“Wooden Ships”
“Bluebird Revisited”
“Sea Of Madness”

Side Two
“Down By The River”
“Find The Cost Of Freedom”

CD Tracklist

Acoustic Set
“Suite: Judy Blue Eyes”
“Blackbird”
“Helplessly Hoping”
“Guinnevere”
“Lady Of The Island”
“Go Back Home”
“On The Way Home”
“4 + 20”
“Our House”
“I’ve Loved Her So Long”
“You Don’t Have To Cry”

Electric Set
“Long Time Gone”
“Wooden Ships”
“Bluebird Revisited”
“Sea Of Madness”
“Down By The River”
“Find The Cost Of Freedom”

The Who Honored with Exclusive Royal Mail Stamp Collection

The iconic British rock band The Who has been honored with a special collection of Royal Mail stamps, celebrating their incredible contribution to music over the past six decades. The collection features stamps and collectable item showcasing some of the band’s most memorable moments, from their electrifying performances to iconic album covers like Tommy and Who’s Next. The Royal Mail’s tribute highlights the influence The Who has had on music and culture worldwide, from their early Mod-era roots to becoming one of rock’s most legendary acts. You can pre-order here.

Oasis Fans Are Being Scammed With Pre-Sale “Tickets”

As excitement builds to Taylor Swift-levels for Oasis’s highly anticipated North American tour, there’s an unfortunate reality facing eager fans: ticket scalpers are already hard at work, selling thousands of tickets at inflated prices before they’re even officially on sale. While the presale is scheduled to begin on October 3rd and the general public can start purchasing tickets on October 4th, some buyers have already been deceived into paying outrageous sums—up to $4200 for specific seats in major cities like New York, Los Angeles, Chicago, Toronto, and Mexico City.

But here’s the catch: many of these tickets aren’t even real.

What fans may not realize is that these listings for tickets are speculative. They’re not genuine tickets, but promises by scalpers to secure seats later—sometimes using bots or other shady methods to scoop up tickets during the actual sale. This practice, known as “speculative ticketing” or “ghost ticketing,” remains legal in many states and is a major source of profit for ticket resellers. The process is simple but deceptive: sellers list tickets they don’t yet possess, and if they manage to buy them during the sale, they fulfill the order. If they can’t, the transaction is canceled, leaving the fan without access to the event they thought they were attending.

So, how do scalpers manage to get access to tickets before they’re even released? One key factor is the use of sophisticated technology, including bots, which are programmed to buy up large quantities of tickets as soon as they go live. These bots can bypass captchas and other security measures, giving scalpers an unfair advantage over real fans. Additionally, some individuals have insider access or utilize presale codes meant for specific groups, further tipping the scales in favor of scalpers.

Even though Oasis has chosen not to implement dynamic pricing, a strategy where ticket prices fluctuate based on demand, fans are still paying hundreds more than they would have if they had purchased directly from authorized ticket vendors. Scalpers are exploiting the passion and dedication of Oasis fans, knowing full well that many are willing to pay any price for a seat at one of these soon-to-be legendary shows.

Ticket scalping, particularly speculative ticketing, is a massive industry. Platforms like VividSeats have even branded the practice as “Seat Saver,” where buyers pay a fixed price for a ticket the seller promises to obtain. According to VividSeats, “This Seat Saver listing is a service backed by our 100% buyer guarantee in which the seller is offering to buy tickets for you for a fixed price in the listed section.” Unfortunately, fans often end up paying far more than they would have if they had purchased tickets directly.

StubHub, Viagogo, and other major resale platforms are also notorious for hosting these ghost tickets. While some sellers may disclose that the tickets are speculative, many do not, and fans often believe they’re buying a legitimate ticket only to realize later that they’ve been duped.

This practice doesn’t just affect fans emotionally—it’s a financial blow, too. Cumulatively, scalpers are expected to earn hundreds of thousands, if not millions of dollars, by selling and reselling Oasis tickets at inflated prices. Fans are often left waiting months for tickets that may never arrive, with no guarantee they’ll even have a seat when the day of the show finally comes.

So, how can you avoid falling victim to these schemes? Here are a few strategies to help protect yourself from ticket scams:

  1. Stick to Official Vendors: The most reliable way to purchase tickets is through official vendors like Ticketmaster or the venue’s own website. Be cautious of third-party resale platforms, especially if the tickets are listed before the official sale date.
  2. Research the Reseller: If you must buy from a resale platform, do your research. Look for reviews and feedback from previous buyers to ensure the platform is reputable and offers some form of guarantee. Also, be sure to check whether the listing discloses that the tickets are speculative.
  3. Be Wary of Pre-Sale Promises: If a listing is offering tickets before they’ve even gone on sale to the public, it’s likely a speculative listing. Avoid these at all costs, as you’re essentially gambling on whether the reseller will actually secure tickets for you.
  4. Know Your Consumer Rights: Familiarize yourself with local consumer protection laws and the resale policies of platforms like StubHub and VividSeats. Many platforms offer buyer guarantees, but the fine print can vary. Make sure you understand the terms and conditions before making a purchase.
  5. Watch for Red Flags: Suspiciously high prices, vague descriptions, or listings that seem too good to be true are all warning signs. If a ticket seems overpriced or is being sold in a shady manner, trust your instincts and avoid it. If it’s too good to be true, it is. And nobody is selling their tickets below cost on Facebook because they couldn’t find a babysitter.

Industry professionals are not taking this issue lightly. Nathaniel Marro, Executive Director of NITO (National Independent Talent Organization), is one of many voices calling for change. “These fans think they got tickets of a lifetime but instead just dropped hundreds of dollars on something that doesn’t even exist,” Marro said in a recent statement. “The worst part is, they could be waiting months for tickets to arrive only to end up empty-handed. Spec ticketing should be banned, period. It’s common sense—you shouldn’t be able to sell something you don’t actually possess.”

NITO, in partnership with the National Independent Venue Association (NIVA) and the FixTheTix coalition, is pushing for state and federal legislation that would make speculative ticketing illegal. They’ve even filed a formal complaint with the Federal Trade Commission (FTC), urging them to investigate the potentially illegal use of bots and other technologies by scalpers.

As much as Oasis fans may be eager to secure tickets for this monumental tour, it’s important to remain vigilant. The ticket resale market can be a minefield of scams, inflated prices, and speculative offers. By staying informed and sticking to official sources, fans can protect themselves from being ripped off and ensure they don’t miss out on the chance to see one of the greatest rock bands of our time.

Don’t let scalpers ruin your Oasis experience. Be cautious, do your research, and fight back by supporting efforts to ban speculative ticketing practices. Together, we can make live music fairer and more accessible for everyone.

Olivia Rodrigo Will Spill Her Guts in New Concert Special

It’s brutal out here … so why not stay home with Olivia Rodrigo instead? The multi-platinum, Grammy award-winning singer is partnering with Netflix for the Olivia Rodrigo: GUTS World Tour concert special.

Launching Oct. 29, the special, filmed at the Intuit Dome in Los Angeles, will give fans an exhilarating look inside Rodrigo’s massive, sold-out arena tour. Prepare to scream, cry, dance, and sing your heart out to songs from her latest album, GUTS, and her debut album, SOUR.

Olivia Rodrigo GUTS tour dates with OCTOBER 29 covering them.

“I am so excited to share the GUTS World Tour with my fans,” Olivia said. “For those of you who didn’t get a chance to rock out in-person, now you can have the best seats in the house! And to the fans who cheered, screamed, and danced with me, I am so glad we get to do it all over again!”

Released in September 2023, Rodrigo’s sophomore album, GUTS, spawned hits like “Vampire,” “Bad Idea, Right?,” and “Get Him Back!” It appeared on more than 30 Best of 2023 lists, including those by The New York Times, Rolling Stone, NPR, and Pitchfork. The album skyrocketed to No. 1, making Rodrigo the first female artist in almost a decade to debut her first two albums atop the Billboard 200. Five months later, Rodrigo embarked on her 93-date arena world tour — set to conclude in March 2025 — with stops in North America, Europe, the UK, Asia, and Australia.

Directed by James Merryman and produced by BLINK Inc., in association with Lighthouse Management + Media and Interscope Films, the Olivia Rodrigo: GUTS World Tour concert special is executive produced by John Janick, Steve Berman, and Sam Wrench alongside producers Aleen Keshishian, Michelle An, Tom Colbourne, Zack Morgenroth, and Merryman.

Don’t mind a little déjà vu? Start listening to Rodrigo now after scrolling through this list of films and series on Netflix featuring her music — or follow in her footsteps and just watch some reruns of Glee.

5 Reasons Why It’s Great That Country and Pop Artists Are Now Inducted Into The Rock and Roll Hall of Fame

The Rock and Roll Hall of Fame is known for celebrating legendary musicians who have shaped the world of rock and roll, but in recent years, it has become more inclusive of genres like country and pop. While some might argue that these genres don’t belong in the same space as classic rock bands, this shift represents an exciting evolution in how we view music and its impact on culture. Whether you’re a die-hard rock fan or a lover of multiple genres, here’s why it’s great that country and pop artists are getting their well-deserved recognition in the Rock and Roll Hall of Fame.

  • Broadening the Definition of Rock and Roll: By including country and pop artists, the Rock and Roll Hall of Fame embraces the genre’s true essence as a fusion of multiple influences. Rock itself grew out of country, blues, and R&B, so acknowledging these genres strengthens the Hall’s dedication to celebrating music’s interconnectedness.
  • Recognizing Cross-Genre Innovation: Many country and pop artists have had a significant impact on the evolution of rock music. By honoring them, the Hall of Fame acknowledges how they’ve pushed creative boundaries, influenced rock artists, and contributed to the genre’s growth with their unique sound and styles.
  • Highlighting Cultural Impact: Country and pop artists like Dolly Parton, Johnny Cash, and Madonna have transcended their genres and shaped popular culture. Their inclusion demonstrates that the Hall of Fame isn’t just about one sound, but about honoring artists who have changed the landscape of music, culture, and society.
  • Inspiring Future Generations: By inducting a wider range of artists, the Hall of Fame becomes more inclusive and inspires younger musicians across genres. It sends a message that no matter where an artist starts, their innovation and influence can leave a lasting mark on rock and roll history.
  • Celebrating Versatility and Evolution: Rock and roll has always evolved by absorbing different styles, and country and pop artists have often been at the forefront of that evolution. Their induction celebrates the genre’s versatility and reminds us that rock isn’t static but ever-changing, thriving on the blend of sounds from multiple genres.

Artists Not In The Rock And Roll Hall Of Fame

As we look ahead to the 2025 Rock and Roll Hall of Fame inductions, a new wave of artists becomes eligible, each leaving a massive mark on music history. Country stars like Shania Twain, pop icons like Britney Spears and brilliant artists like Indigo Girls highlight the Hall’s knowing the interconnectedness of rock with other genres. These artists have not only shaped their respective genres but have also influenced generations of musicians across the spectrum, making them worthy of this prestigious honour. Did I miss anyone? Hit me up at Eric@ThatEricAlper.com

  • 3 Doors Down
  • 38 Special
  • A Perfect Circle
  • A Touch of Class (ATC)
  • Ace Frehley (solo)
  • Alicia Keys
  • Alice in Chains
  • The All-American Rejects
  • Andrew WK
  • America
  • Amy Winehouse
  • Anthrax
  • Antony & the Johnsons
  • Annie Lennox (solo)
  • Argent
  • Asia
  • Avril Lavigne
  • Bachman-Turner Overdrive
  • Bad Company
  • Badfinger
  • Beck
  • Billy Idol
  • Billy Squier
  • Blind Faith
  • Blink-182
  • Blood, Sweat & Tears
  • Blue Cheer
  • Blue Oyster Cult
  • Bonobo
  • Boston
  • Brandy
  • Bright Eyes
  • Britney Spears
  • Brother Ali
  • Brownsville Station
  • Bryan Adams
  • The B-52’s
  • The Black Crowes
  • The Black Eyed Peas
  • Blackfoot
  • The Chemical Brothers
  • Chris Cagle
  • Ciara
  • Canned Heat
  • The Chambers Brothers
  • Coldplay
  • Crosby, Stills, Nash & Young
  • Cult of Luna
  • The Cult
  • Cyndi Lauper
  • D12
  • D’Angelo
  • Dashboard Confessional
  • The Datsuns
  • David Gilmour (solo)
  • David Lee Roth (solo)
  • DEVO
  • DeVotchKa
  • Derek and the Dominos
  • Destiny’s Child
  • Dido
  • Dio
  • Disturbed
  • Don Henley (solo)
  • The Fabulous Thunderbirds
  • Fountains of Wayne
  • Fozzy
  • Franz Ferdinand
  • Free
  • Focus
  • Foghat
  • The Flaming Lips
  • Good Charlotte
  • Gorillaz
  • Gossip
  • Grand Funk Railroad
  • Greg Allman
  • The Guess Who
  • Hawkwind
  • Hole
  • The Hives
  • Hunter Hayes
  • Huey Lewis and the News
  • Humble Pie
  • INXS
  • Indigo Girls
  • Interpol
  • Iggy Pop (solo)
  • Iron Butterfly
  • Iron Maiden
  • J. Geils Band
  • James Gang
  • Jane’s Addiction
  • Jason Mraz
  • Jet
  • Jethro Tull
  • John Fogerty (solo)
  • John Legend
  • John Vanderslice
  • Josh Ritter
  • Joe Cocker
  • Joe Satriani
  • Joe Walsh (solo)
  • Jon Bon Jovi (solo)
  • Judas Priest
  • Kansas
  • Keane
  • Kelis
  • Kelly Clarkson
  • The Killers
  • Killswitch Engage
  • King Crimson
  • Kings of Leon
  • Korn
  • Lenny Kravitz
  • Linkin Park
  • Living Colour
  • Love
  • M.I.A.
  • Madlib
  • Manitoba
  • Mark Kozelek
  • Marshall Tucker Band
  • Meat Loaf
  • Megadeth
  • Michael Franti
  • Michelle Branch
  • Missy Higgins
  • Modest Mouse
  • Moby
  • Molly Hatchet
  • Montrose
  • Motley Crue
  • Motorhead
  • Mott the Hoople/Ian Hunter
  • Mountain
  • Muse
  • My Chemical Romance
  • Nelly
  • Nelly Furtado
  • New York Dolls
  • Nickelback
  • Night Ranger
  • Norah Jones
  • North Mississippi Allstars
  • Oasis
  • OK Go
  • OutKast
  • P!nk
  • Pantera
  • Paramore
  • Pete Yorn
  • Pete Townshend (solo)
  • Phife Dawg
  • Phil Collins (solo)
  • Pixies
  • Poison
  • Prefuse 73
  • Procol Harum
  • Queens of the Stone Age
  • Ram Jam
  • The Raspberries
  • Rascal Flatts
  • RatDog
  • Reamonn
  • REO Speedwagon
  • Regina Spektor
  • Ricky Martin
  • Rise Against
  • Robert Plant (solo)
  • Roger Daltrey (solo)
  • Roger Waters (solo)
  • Rufus Wainwright
  • Ryan Adams
  • Sabaton
  • Sammy Hagar (solo)
  • Scorpions
  • Sean Paul
  • Shania Twain
  • Silverstein
  • Slade
  • Slayer
  • Sleater-Kinney
  • The Smashing Pumpkins
  • Something Corporate
  • Sonic Youth
  • Soundgarden
  • The Spencer Davis Group
  • Stealers Wheel/Gerry Rafferty
  • Stephen Stills (solo)
  • Steppenwolf
  • Steve Winwood (solo)
  • Sting (solo)
  • Stone Temple Pilots
  • Stray Cats
  • Styx
  • Sublime
  • Sufjan Stevens
  • Sum 41
  • Supertramp
  • Survivor/Ides of March
  • System of a Down
  • Taking Back Sunday
  • Teddy Thompson
  • Ten Years After
  • The B-52s
  • The Smiths
  • Them
  • They Might Be Giants
  • Thin Lizzy
  • Three Dog Night
  • Tool
  • Toto
  • Twisted Sister
  • Twilight Singers
  • Týr
  • UFO
  • Uriah Heep
  • War
  • Warren Zevon
  • Weezer
  • “Weird Al” Yankovic
  • The White Stripes
  • White Zombie
  • Wilco
  • Yeah Yeah Yeahs

Photo Gallery: Kings of Leon with Phantogram at Toronto’s Budweiser Stage

Kings Of Leon

All photos by Mini’s Memories. You can contact her through Instagram or X.

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Maxell Launches New OWS Pro Open Wireless Earhooks for Ultimate Sound and Awareness

– Maxell, a leader in consumer electronics, proudly announces the OWS Pro Open Wireless Earhooks launch. Designed to deliver an immersive audio experience while keeping users connected to their surroundings, this latest release expands Maxell’s offering of innovative products that enhance the customer experience. The earbuds are available on Amazon at an attractive price range of $36.99 to $39.99.

The Maxell OWS Pro Open Wireless Earhooks come with impressive specifications:

  • 18 hours of playtime with the charging case
  • 6 hours of playtime for just the earbuds
  • Immersive sound that allows users to hear their environment
  • Designed to rest securely on the outside of your ear, to preserve your awareness and surroundings
  • Type C charging connection for fast charge
  • Available in three colors: Bubble Gum, Ocean, and Arctic

Juan Vargas from the IT team at Maxell shared his enthusiasm for the new product, saying, “Immerse yourself in your favorite ambient music and stay motivated throughout your day without compromising your surroundings. The new Maxell OWS lightweight earbuds are ideal for the office, outdoor strolls, or cycling. They are your perfect companion for transforming any space into a personal concert hall while still being able to hear the world around you.”

Maxell’s legacy in delivering high-fidelity audio and innovative products continues with the OWS Pro Open Wireless Earhooks, combining the best of both worlds—exceptional sound quality and environmental awareness.

For more information and to purchase the new Maxell OWS Pro Open Wireless Earhooks, visit Amazon.

Established in 1969, Maxell is a pioneering force in consumer electronics, renowned for iconic products like cassette tapes and headphones. With a legacy spanning over 50 years, Maxell continues to innovate, offering a comprehensive range of batteries, digital media, headphones, and care products. The famous “Blown Away Guy” advertisement in the 1980s cemented Maxell’s reputation for high-fidelity audio and innovative campaigns. Today, Maxell remains committed to excellence, delivering quality and innovation to consumers worldwide. Learn more at maxell-usa.com.

Randy Travis Honored With SoundExchange Music Fairness Award

Photo: Randy Travis receives the SoundExchange Hall of Fame Award from SoundExchange President and CEO Michael Huppe in Nashville. (L-R) SoundExchange Associate Director of Artist & Industry Relations Marc Rucker, SoundExchange President and CEO Michael Huppe, Randy Travis, and Mary Travis (Photo: Warner Music Nashville)

SoundExchange announced today that legendary country singer Randy Travis has been honored with the SoundExchange Music Fairness Award for his advocacy for Congress to modernize the nation’s copyright law to protect creators and support of the American Music Fairness Act (AMFA).

In 2013, Travis was hospitalized with viral cardiomyopathy and now suffers from aphasia, making it difficult to speak and sing. Earlier this year, Travis and his wife Mary joined SoundExchange President and CEO Michael Huppe to testify before Congress in support of modernizing the nation’s copyright law to protect creators. AMFA would require terrestrial broadcasters in the United States – the only democratic nation in the world without a performance right for artists on AM/FM radio – to pay artists royalties when their songs are played on the air. (Full witness testimony as well as a video of the hearing is available at judiciary.house.gov.)

“Randy Travis is a music icon and a courageous leader, willing to do whatever it takes to ensure that everyone – from music fans to lawmakers – is aware of the inequities suffered by creators for more than a century,” said Michael Huppe, President and CEO of SoundExchange. “Randy and Mary’s powerful testimony is a step forward in paving a better future for the next generation of artists. We are honored to present Randy Travis with the SoundExchange Music Fairness Award.”

“Thank you to SoundExchange for recognizing Randy for his advocacy. He loves country radio and everyone in it, he also loves his fellow creators. What he is advocating for here is an equitable solution to better align artists, labels, and radio going forward under the changing environment of the music industry,” said Mary Travis on behalf of Randy Travis. “An old Greek proverb says, ‘a society grows great when old men plant trees in whose shade they shall never sit’ – it’s up to artists like Randy to help make a better world for those to come… he embraces that responsibility whole-heartedly.”

Travis has been a valued SoundExchange member since 2003 and entrusts SoundExchange to collect worldwide neighboring rights royalties on his behalf through more than 65 agreements SoundExchange has with counterpart organizations, covering nearly 90% of the global neighboring rights market.

With lifetime sales exceeding 25 million, Randy Travis is one of the most successful multi-genre artists of all time and a 2016 inductee into the Country Music Hall of Fame. He has been a member of the Grand Ole Opry since 1986. His accolades include seven Grammy Awards, 11 Academy of Country Music Awards, 10 American Music Awards, two People’s Choice Awards, seven Music City News Awards, eight Dove Awards from the Gospel Music Association and five Country Music Association Awards. Three of his performances earned CMA Song of the Year honors: “On the Other Hand” (1986), “Forever and Ever, Amen” (1987), and “Three Wooden Crosses” (2002). To date, he has 23 No. 1 singles, 31 Top 10 hits, and more than 40 appearances in feature films and television shows. His discography includes four Gold albums, four Platinum albums, one Double Platinum album, one Triple Platinum album, and one Quintuple Platinum album. In 1992, Travis was recognized by the USO for his support and dedication to US Troops, including five USO tours, and was named the recipient of the Bob Hope Entertainment Award. In 2004, Travis was honored with a star on the Hollywood Walk of Fame and is celebrated on Nashville’s Music City Walk of Fame. Since his near-fatal stroke in 2013, Travis, with the support of his wife Mary and rigorous physical therapy, has made significant strides in his recovery, including improvements in speaking, walking and singing. In 2019, he released his critically acclaimed memoir Forever and Ever, Amen, co-authored with Ken Abraham. In 2021, CMT named Travis the CMT Artist of a Lifetime. In 2022, he released his award-winning documentary More Life garnering six Telly Awards. In May 2024, With the assistance of AI, Travis and Warner Music Nashville released “Where That Came From,” marking his first new recording in over a decade, showcasing his signature vocals. The single debuted at No. 45 on Billboard’s Country Airplay chart, receiving an enthusiastic reception from both fans and country radio. For more information, visit RandyTravis.com.

SoundExchange is the premier music tech organization on a mission to power the future of music. It was independently formed in 2003 to build a fairer, simpler, and more efficient music industry through technology, data, and advocacy. The only organization designated by the U.S. government to administer the Section 114 sound recording license, SoundExchange collects and distributes digital performance royalties on behalf of 700,000 music creators and growing. Through proprietary music tech solutions that turn data into accurate revenue, SoundExchange has paid more than $11 billion in distributions to date. For more information, visit soundexchange.com.

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That Eric Alper
6-time nominee for Publicist of the Year during Canadian Music Week, a 16-time JUNO Award winner overseeing PR campaigns, and have also been truly honoured to work with some of the biggest and most important artists of our time.

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