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John Dawson Delivers a Moment of Reckoning With 4th Single “Mend In My Ways” From ‘Outlier’ Album

There is a certain weight to a song that feels lived in, the kind that doesn’t just tell a story but carries the marks of time, regret, and redemption. John Dawson’s latest single, “Mend In My Ways,” is one of those songs—a quiet but powerful reflection on taking love for granted and the slow, often painful process of setting things right. Following the success of “Where You Belong,” “Things That I Meant to Say,” and “Life Just Came to Me” from his critically-acclaimed Outlier album, Dawson continues to carve his space in the folk-roots tradition as a storyteller whose words feel as familiar as a well-worn book, yet as profound as a revelation.

Built on a simple but hypnotic ostinato, “Mend In My Ways” is not about grand declarations—it’s about humility, self-awareness, and the realization that love is not something to be assumed but continually earned. “I finally found my way back to you, love / I stumbled on the road to home,” Dawson sings, his voice carrying the weight of experience. The song’s bridge subtly shifts the harmonic ground beneath the listener, mirroring the quiet epiphany at its core: “I’ll get over the fear that got ahold of me / I feel older / It’s a feeling that has set me free.”

If Van Morrison’s “And It Stoned Me” used water as a metaphor for transcendence, Dawson draws from a similar well, closing the song with an image of deep, cool water that promises renewal. This is folk music in its purest form—a song that doesn’t demand attention but commands it through its honesty.

Thematically, “Mend In My Ways” fits into a long lineage of folk confessionals, from Jackson Browne’s “Late for the Sky” to John Prine’s “Long Monday”—songs that understand that regret is something to sit with. Dawson’s strength as a songwriter lies in his ability to craft a song that feels deeply personal yet universal, offering listeners a mirror in which to see their own moments of realization and renewal.

Dawson describes the song as a reckoning with the way love can become background noise when it should be the melody that leads us forward. “Mend In My Ways is the story of taking for granted the person I should have valued most,” he says. “It’s about recognizing that love isn’t just given, it’s chosen—every single day.”

“Mend In My Ways” provides a moment of breath before the weight of what follows. It is sparse yet resonant, a song that lands softly but stays long after its final note. Where past singles have explored finding one’s place in the world and making peace with the past, this track turns inward, grappling with the personal cost of complacency in love.

In a world of fleeting moments, John Dawson is crafting songs that linger, songs that understand that folk music is about truth-telling. And in “Mend in My Ways,” the truth is as clear as the water that promises a fresh start.

Superheaven Return With First Album In 10 Years And 2025 Tour

Superheaven have released their long-awaited new Self-Titled album, the band’s first full-length release in 10 years, which is available today via Blue Grape Music. The collection is available across all streaming platforms and in several exclusive and limited vinyl colorways. The band have also shared a new music video for the album’s opening track “Humans For Toys,” which is directed by Britain Weyant.

Recorded and engineered by the band’s own Jake Clarke and Zack Robbins, and co-produced by Will Yip [Turnstile, Mannequin Pussy], Superheaven follows the band’s influential 2015 album Ours Is Chrome. On Superheaven, the band returns with a towering collection that sees them pushing at their boundaries with a sense of pensive gloom, and features the singles “Long Gone,” “Numb To What Is Real,” “Cruel Times,” and “Star At The Void.” VICE wrote, “Superheaven are back and, dare we say, better than ever,” and Revolver attested, “the cult post-hardcore heavies are back in fine f***ing form.” Stereogum praised their “heavy, churning guitar-storm about feeling numb and remote,” while Consequence affirmed, “Superheaven are modern torchbearers of the heavy post-grunge guitar sound, harnessing daisy-chained pedals and cranked amplifiers into walls of sonic comfort.”

This spring, Superheaven will head out on a 2025 North American headline tour in support of their long-awaited new self-titled album. The upcoming dates will feature special guests Glare and SPY, and will kick off on April 27th at Delmar Hall in St. Louis, MO. The trek includes stops in Los Angeles, Berkley, Denver, Austin, Chicago, Toronto, Philadelphia and concludes with a performance at New York’s Brooklyn Steel on May 20th [tour itinerary / admat below]. Furthermore, Superheaven also have several U.S. and international festival appearances slated for 2025 including: LDB Fest in Louisville, KY (April 26th), Outbreak Fest in London, United Kingdom (June 13th), Outbreak Fest in Manchester, United Kingdom (June 14-15th), Louder Than Life in Louisville, KY (September 18-21st) and more.

Fontaines D.C. Release ‘ROMANCE’ Deluxe Edition As North American Tour Begins

In line with their biggest North American tour to date kicking off this week in Seattle, Dublin quintet Fontaines D.C. have released a deluxe edition of their acclaimed fourth album ROMANCE. Available on all digital services via XL Recordings, ROMANCE (Deluxe Edition) adds three songs to the original 11 track album.

In addition to the recent “It’s Amazing To Be Young” and its stunning, Luna Carmoon-directed music video, the deluxe album also features the brand new, James Ford-produced song “Before You I Just Forget”.

Completing the trio is a live, stripped-back version of “Starburster” that sees the band melding their biggest song to date with David Lynch’s “In Heaven (Lady In The Radiator Song)”, which originally featured on the soundtrack of Lynch’s 1977’s Eraserhead film.

Speaking on the new music, Conor Curley said “‘Before You I Just Forget’ is a song that started with a vision of this really blown out sound, something that heaved and shifted with new details, becoming apparent every time you would listen. Like never being able to step in the same river twice, the song morphs and changes, finishing with an incredible string part by Grian.”

The release precedes a huge summer of live activity for Fontaines D.C. In addition to the 24 date North American tour-their first headline shows in the States since 2022-which culminates in three sold out shows at New York’s Hammerstein Ballroom on May 16-18, the band will perform to 100,000 people across four sold out UK outdoor headline shows this summer. These include a 45,000-capacity event at London’s Finsbury Park on July 5 alongside events in Manchester, Cardiff and Newcastle. These shows will crown sold-out headline dates around the world, including Europe, Asia, Australia and North America alongside a run of high-profile festival appearances.

Stream the deluxe album here and see the upcoming tour dates below:

18 April – Vancouver, BC – Commodore Ballroom (SOLD OUT)
19 April – Portland, OR – Roseland Theater (SOLD OUT)
21 April – Salt Lake City, UT – The Union
22 April – Denver, CO – Mission Ballroom (SOLD OUT)
24 April – Dallas, TX – The Factory in Deep Ellum
25 April – Houston, TX – White Oak Music Hall (Downstairs) (SOLD OUT)
26 April – Austin, TX – Stubb’s Waller Creek Amphitheater (SOLD OUT)
28 April – New Orleans, LA – Civic Theatre (SOLD OUT)
29 April – Atlanta, GA – The Eastern (SOLD OUT)
30 April – Nashville, TN – Marathon Music Works (SOLD OUT)
2 May – Louisville, KY – Mercury Ballroom (SOLD OUT)
3 May – Raleigh, NC – The Ritz (SOLD OUT)
4 May – Columbus, OH – Kemba Live (SOLD OUT)
6 May – Indianapolis, IN – The Vogue (SOLD OUT)
7 May – Detroit, MI – The Fillmore
8 May – Cleveland, OH – Agora Ballroom (SOLD OUT)
10 May – Washington, DC – The Anthem (SOLD OUT)
11 May – Norfolk, VA – The NorVa (SOLD OUT)
13 May – Albany, NY – Empire Live (SOLD OUT)
14 May – New Haven, CT – College Street Music Hall (SOLD OUT)
16 May – New York, NY – Hammerstein Ballroom (SOLD OUT)
7 June – Barcelona, Spain – Primavera Sound
9 June – Lyon, France – Nuts de Fourviere (SOLD OUT)
10 June – Arles, France – Theatre Antique (SOLD OUT)
12 June – Porto, Portugal – Primavera Sound
14 June – Hradec Králové, Czechia – Rock For People
17 June – Bologna, Italy – Sequoie Music Park (SOLD OUT)
17 May – New York, NY – Hammerstein Ballroom (SOLD OUT)
18 May – New York, NY – Hammerstein Ballroom (SOLD OUT)

Taylor Swift Eras Tour Artifacts Now On Display At Country Music Hall Of Fame

The Country Music Hall of Fame and Museum has updated the display in its Taylor Swift Education Center with new artifacts from Taylor Swift | The Eras Tour. Beginning today, these objects will be on view for museum visitors through spring 2026 and are accessible with general museum admission.

The record-breaking Taylor Swift | The Eras Tour sold out 149 stadiums across five continents between March 2023 and December 2024, taking more than 10.1 million fans on a musical journey through her extensive catalog. Swift performed for a collective 517 hours and learned to say “Welcome to The Eras Tour” in 13 languages. In recognition of the tour and its fan community, artifacts displayed in the museum’s Taylor Swift Education Center are from her “Fearless” set of the tour. Items include:

  • Swift’s custom Roberto Cavalli couture silver fringed dress with crystal embellishments.
  • Christian Louboutin silver embellished boots worn by Swift.
  • Swift’s Gibson J-180 Custom Crystal guitar. The instrument was customized by the Swift family — with more than 5,000 Swarovski crystals and Taylor’s favorite number, 13, inlaid with crystals on the guitar’s body.

The Taylor Swift Education Center within the museum will continue to display special artwork commemorating the 2023 U.S. leg of Taylor Swift | The Eras Tour incorporating friendship bracelets that Swift received from fans.

Additionally, on display in the museum’s recently updated American Currents: State of the Music exhibition, are objects from the “Speak Now” portion of Taylor Swift | The Eras Tour, which include:

  • The custom-designed Nicole + Felicia Couture tiered gown — made with 500 yards of glitter tulle in various shades of purple and embellished with more than 3,000 crystals — Swift wore when she performed “Enchanted” and “Long Live” during the “Speak Now” era segment.
  • The Taylor GSLJ Living Jewels acoustic guitar — with a turquoise blue finish and koi fish inlays on the fingerboard and top — Swift played when she performed “Long Live (Taylor’s Version)” on Taylor Swift | The Eras Tour. She also used the guitar during her “Speak Now World Tour” (2011-2012) and in the 2022 music video for “Anti-Hero.”

The Taylor Swift Education Center is located within the museum’s galleries. The two-story, 7,500-square-foot center opened in 2013 and was made possible through a generous donation from Swift to the museum’s capital campaign, which doubled the size of the nonprofit cultural organization. The education center includes classrooms, youth art installations, interactive galleries and learning labs with resources to facilitate distance learning and songwriting programs. In 2024, 117,542 individuals participated in 2,003 in-person and virtual education programs offered by the museum — many of the onsite programs originated in the Taylor Swift Education Center.

The Weeknd Unleashes “Drive” Video Featuring Jenna Ortega Ahead Of ‘Hurry Up’ Tomorrow Film

The Weeknd drops his latest video “Drive” directed by revered filmmaker Trey Edward Shultz off his latest album Hurry Up Tomorrow ahead of the upcoming film of the same name coming May 16.

With Hurry Up Tomorrow, The Weeknd presents the culmination of his trilogy of studio albums, following Dawn FM (2022) and After Hours (2020). This album represents the creative apex of the project, serving as the third and final chapter crafted with existential and self-referential themes as seen with the latest visionary teasers that have set fans ablaze with anticipation for this concluding installment.

Lionsgate will release the film Hurry Up Tomorrow Directed by Trey Edward Shultz and starring Abel Tesfaye, Jenna Ortega and Barry Keoghan, original music by The Weeknd and Daniel Lopatin on May 16. The film was produced by Manic Phase’s Abel Tesfaye, Reza Fahim along with Kevin Turen and Harrison Kreiss.

The Smiths Go Norteño: Houston’s EZ Band Gives “This Charming Man” a Mariachi Makeover

When a classic jangly riff meets the rhythmic soul of Norteño, something magical happens. Houston’s EZ Band reimagined The Smiths’ iconic “This Charming Man” using traditional mariachi instruments, blending English and Spanish lyrics with infectious joy. The result is a genre-bending dance-floor invitation that would make Morrissey smile… or at least raise an eyebrow.

Nick Cave Tackles AI and Creativity—With Stephen Fry Reading His Response at Royal Albert Hall

When fans asked Nick Cave about ChatGPT and the future of creativity, the iconic songwriter responded with a stirring letter that blended skepticism, soul, and sharp wit. In a powerful moment during the 10th anniversary of Letters Live at London’s Royal Albert Hall, Stephen Fry delivered Cave’s words aloud—bringing gravity, humor, and a touch of defiance to the conversation about art in the age of AI.

5 Surprising Facts About Don Henley’s ‘Building the Perfect Beast’

You know the hits—“The Boys of Summer,” “All She Wants to Do Is Dance,” “Sunset Grill.” But Don Henley’s Building the Perfect Beast wasn’t just a collection of glossy ’80s radio staples. Beneath the slick production and star-studded collaborations, the album was a complex project packed with unexpected twists, layered politics, and cross-genre experiments. Here are five lesser-known details that add new dimension to a record that helped redefine Henley’s solo legacy.

A political dancefloor?
“All She Wants to Do Is Dance” may sound like a carefree club anthem, but it’s laced with political bite. The lyrics take direct aim at U.S. foreign policy in Central America during the 1980s, specifically the Reagan administration’s involvement in Nicaragua. What’s wild? People still grooved to it at weddings without realizing they were dancing to a protest track.

Stevie Nicks might’ve inspired a ballad
“Not Enough Love in the World” is Henley at his most reflective, singing about love in the middle of conflict. Rumors have long swirled that the track was inspired by his brief relationship with Stevie Nicks. Though he’s never confirmed it, the song’s bittersweet lyrics and timing line up a little too well to dismiss the theory entirely.

The Sunset Grill is real—and still flipping burgers
Yes, the “Sunset Grill” isn’t just metaphor—it’s an actual hamburger joint on Sunset Boulevard in Los Angeles. Henley used it as a symbol of working-class stasis and quiet contemplation amidst a chaotic city. As of now, you can still go grab a burger there and imagine Henley scrawling lyrics in a corner booth.

A synth legend helped shape its mood
Randy Newman, best known for his satirical songwriting and Pixar soundtracks, contributed to the synth arrangements on “Sunset Grill.” His touch added emotional depth and quirky nuance to a song that easily could’ve gone full ambient. It’s a rare collaboration between two towering but stylistically different songwriters.

One single had multiple versions
The U.S. 7” commercial single of “All She Wants to Do Is Dance” had a different intro than the version on Building the Perfect Beast. While most listeners know the LP version, collectors and radio stations at the time got an alternate take that kicked things off in a slightly more dramatic fashion. It’s a small difference—but one that hardcore fans love to debate.

Building the Perfect Beast was a mid-‘80s hit machine and an album of contradictions, surprises, and quiet innovations. Whether Henley was crafting political commentary you could dance to or burying personal stories in lush synthesizers, he built something more than a perfect beast—he built a record with staying power. And nearly four decades later, we’re still finding new things hiding in the grooves.

They Didn’t Just Write the Hits — These Artists Wrote the Movie Scores, Too

You know their songs. You’ve probably screamed them in your car, cried to them in your bedroom, and danced to them at 2 a.m. But some of the world’s biggest music stars didn’t stop at topping the charts — they brought their talents to the big screen, too. Here are ten artists from the last 30 years who turned their sound into cinematic gold, scoring films and proving that great storytelling doesn’t always need words.

Trent Reznor & Atticus Ross (Nine Inch Nails)
The masterminds behind Nine Inch Nails traded distortion pedals for film reels—and ended up reinventing the modern film score. With The Social Network, Gone Girl, Watchmen, and Soul (yes, that Soul), Trent and Atticus crafted soundscapes that feel like anxiety with a pulse and beauty on the brink. Their music doesn’t just underscore a film—it rewires it. Cold, immersive, and emotionally surgical, their scores make you feel like you’re inside someone else’s thoughts.

Jonny Greenwood (Radiohead)
When he’s not reshaping rock with Radiohead, Jonny Greenwood is composing unnerving, orchestral scores that feel like emotional hurricanes. His work on There Will Be Blood, Phantom Thread, and The Power of the Dog is raw, cerebral, and uniquely Greenwood — strings that creep, swell, and haunt. He doesn’t just set a mood; he unearths one.

Hildur Guðnadóttir
Before she became the Oscar-winning composer of Joker, Hildur was touring and recording with experimental and post-rock outfits like Múm and Pan Sonic. Her background in avant-garde cello gives her film work an emotional gravity — just listen to Chernobyl or Tár. Her music isn’t background — it’s part of the character’s soul.

Mica Levi (Micachu and the Shapes)
Mica Levi came out of London’s underground pop scene with distorted guitars and deconstructed hooks — and then absolutely floored Hollywood. Their scores for Under the Skin, Jackie, and Zola are eerie, dissonant, and unlike anything you’ve heard in a multiplex. It’s art-house meets alien transmission, and somehow it works beautifully.

Jon Batiste
Best known as Stephen Colbert’s bandleader and a jazz/pop/soul powerhouse in his own right, Jon Batiste stepped into film scoring with Soul, winning an Oscar alongside Reznor and Ross. His vibrant, humanistic jazz contributions brought warmth, wonder, and a heartbeat to Pixar’s existential dreamscape. The piano’s never felt so alive.

Nick Cave & Warren Ellis
The brooding bard and his violinist partner-in-gloom took their signature intensity from The Bad Seeds and poured it into film. Their scores for The Assassination of Jesse James, The Road, and Hell or High Water are all atmosphere — windswept, ghostly, and full of aching beauty. It’s the kind of music that makes your bones feel things.

Mark Mothersbaugh (Devo)
Yes, the guy behind “Whip It” became one of the busiest film and TV composers of the 2000s. From The Royal Tenenbaums to Thor: Ragnarok and The Lego Movie, Mothersbaugh’s quirky, synthy, offbeat sensibilities bring heart and humor to anything he touches. The secret? He still thinks like a punk, even when he’s scoring superheroes.

Danny Elfman (Oingo Boingo)
Okay, he started before the last 30 years — but let’s be honest, most of your favorite movie scores have Danny Elfman’s DNA in them. The former Oingo Boingo frontman has soundtracked everything from Edward Scissorhands to Spider-Man to Doctor Strange. His style is whimsical, gothic, and unmistakably Elfman — part circus, part nightmare, all magic.

Thom Yorke (Radiohead)
While Greenwood grabs the headlines for his scoring prowess, Thom Yorke quietly dropped an absolute masterpiece with the 2018 remake of Suspiria. His haunting, piano-led compositions and chilling vocals bring an emotional weight that drips with dread. It’s Radiohead with a witches’ brew twist — moody, spectral, and spellbinding.

RZA (Wu-Tang Clan)
The Abbott of the Wu-Tang Clan has always thought cinematically — so it’s no surprise he made the jump from kung-fu samples to scoring actual films. RZA brought his gritty, orchestral style to Ghost Dog: The Way of the Samurai, Kill Bill Vol. 1, and The Man with the Iron Fists. His music bridges East and West, analog and digital, hip-hop and high art — a soundtrack for slow-motion sword fights and inner-city meditation.

These artists didn’t just dip a toe into film scoring — they cannonballed in and rewrote the rules. They remind us that a great artist isn’t defined by genre or format. Whether it’s a rock stage or a cinema screen, music can move you — and these scores prove it.

James Hetfield Opens Up About His Most Beloved Guitars in Stunning New “Messengers” Book

James Hetfield shares his personal collection of treasured guitars in Messengers, and reveals the story and significance of each within his life and career as the front man, guitarist, and songwriter for Metallica.

From the Electra OGV that defined his style, sound and attitude to the mythical MX guitars, the first in a series of iconic collaborations with ESP, and from his signature Snakebytes through his ambitious projects with renowned luthier Ken Lawrence, James Hetfield shares the emotional and technical elements of the chosen tools that have shaped his singular musical journey, including exotic instruments, vintage Gibsons, and custom one-offs. He also reveals many studio secrets, including the key amplifiers and gear that sculpt his tone and create his sound.

Each featured guitar is accompanied by lush museum-quality portraits by acclaimed photographer Scott Williamson, exhibiting intimate details one can only see if holding it in their own hands, alongside Hetfield’s deeply personal reminiscence. Spanning more than forty guitars, ranging from the original battle-scarred road warriors to the trusted studio stalwarts and enduring tour favorites, Messengers: The Guitars of James Hetfield is a meticulously crafted coffee table book and a mesmerizing window into the mind and soul of one of rock’s greatest front men. These invaluable guitars have forged over four decades of music history.