Glide Magazine

Electric Blues & Swamp Soul: Samantha Fish and Tab Benoit Light Up Florida’s Maxwell C. King Center (SHOW REVIEW/PHOTOS)

Glide Magazine — Sat, 11 Apr 2026 02:26:31 +0000

On April 9, the Two Tours Collide tour stopped at the Maxwell C. King Center for the Performing Arts in Melbourne, Florida, for a night celebrating guitar mastery and blues roots. For two months, Samantha Fish’s Paper Doll Tour and Tab Benoit’s I Heart Thunder Tour combine for co-headlining shows without an opener. The show itself is a collision of complementary styles.

Samantha Fish started the show, backed by drummer Jamie Douglass, Mickey Finn on keyboards, and bassist Ron Johnson. The band played a lively rock-and-roll set rooted in blues and country. Fish sang in a soulful twang while ripping through licks on an impressive collection of guitars, everything from strats to hollowbodies to a hand-crafted cigar box guitar.

As the only guitarist in the band, Fish played a combination of lead and rhythm guitar, often playing lead fills within chord shapes or between chord changes. In songs like the rockers “Better Be Lonely” and “Lose You,” she tore through aggressive rock rhythms and blazing solos.

Fish’s guitar technique varied from song to song, sometimes finger-picking, sometimes playing slide, and others using a more traditional rock style. She used two microphones, one clean and the other distorted, for the more aggressive moments, and performed with a charisma that drew in the intimate theater crowd.

“Dream Girl” started as a soft, slow ballad, with Fish’s alluring croon over clean, bluesy guitar licks. As the song progressed, it slowly built toward a climactic guitar solo that started soft and silky and ended with distorted histrionics.

The highlight of the show was Fish’s rendition of “Bulletproof.” Armed with her unique cigar box guitar, Fish ripped through a series of slide guitar riffs and blistering solos while belting the lyrics on her distorted mic. “You guys like that piece of shit little guitar, huh?” Fish asked after the strong crowd reaction. “I can’t keep it in tune, and it’s almost dead, but it’s your favorite one.”

On a cover of Neil Young’s “Don’t Let it Bring You Down,” Fish started the song on an acoustic guitar before switching to an SG for the more aggressive second half. Fish and the band then closed the show with a fiery version of the blues-rocker “Black Wind Howlin’.”

Unlike the hybrid of rock, blues, and country that made up Samantha Fish’s set, Tab Benoit’s performance was straight-up blues. The Louisiana native played swampy Delta blues with an added Stevie Ray Vaughan influence. Benoit was backed by a drummer and Cory Duplechin on bass.

All of the traditional blues staples were there, from the call-and-response structures to the standard blues scales. Though this traditional approach to the blues gets repetitive, Benoit’s technical precision made up for it.

Benoit sang with a gritty, soulful voice that recalled Otis Redding, whether belting or whispering in velvety vibrato. On the blues stomp “Medicine,” Benoit belted in his Cajun drawl while mirroring the sung notes on guitar. Quieter moments like “Too Many Dirty Dishes” allowed more focus on his often-humorous lyrics, in this case about discovering his wife’s infidelity because there were more dirty dishes in the sink than two people would make.

Despite his strong voice, Benoit’s main draw was his guitar. Benoit is a true guitar virtuoso and has a knack for showmanship. Each song had at least one lengthy guitar solo in which Benoit unleashed fretboard fury with his endless supply of techniques. Soaring string bends, lengthy sustain, and rapid-fire shredding were Benoit’s offerings to the crowd. He often used effects pedals and his guitar’s volume knobs to layer the sounds.

On “We Make a Good Gumbo,” one section of a guitar solo was simply Benoit playing percussive pick scrapes over muted strings. “I’m just showing you what a drummer would do with a guitar,” he joked afterward.

For “When a Cajun Man Gets the Blues,” the backing band took a break, and Benoit played solo. Even without the rest of the band, Benoit’s considerable chops kept the song interesting. The slower song gave his guitar more space to breathe, as he played intricate licks across the fretboard and sang in a smooth croon.

Between songs, Benoit talked about the music and feeling connected to nature. “I like to spend time in a swamp by myself, let the cypress trees speak to me,” he said. “You gotta go outside.” After the solo performance of “When a Cajun Man Gets the Blues,” the band rejoined Benoit for a few more blues jams.

It was a night of contrasting yet complementary styles. Samantha Fish played twangy, blues-soaked rock and roll with intensity. It was a powerful, eclectic set that drew from various influences. Tab Benoit played a standard blues show, heavily improvised and made to showcase his guitar mastery. For fans of guitar masters, there was a lot to enjoy.

Yes Announces 24th Studio Album ‘Aurora’ Out June 12th- Shares Title Track

Glide Magazine — Fri, 10 Apr 2026 14:22:44 +0000

YES—Steve Howe, Geoff Downes, Jon Davison, Billy Sherwood, and Jay Schellen—are proud to announce their 24^th studio album AURORA will be released on June 12 via InsideOutMusic/Sony Music. As Howe explains: “Making this record was joyful, a chance to play, explore and give everything to the music. It’s always been about collaboration, somebody can write a song, but until everybody puts their contribution in it isn’t really a Yes song. We’re not trying to echo the past; we’re carrying the spirit of Yes forward and turning it into something new.”

The band have also launched the first single from the album, with a beautiful animated video for the title track, created by Matt Hutchings (Greg Lake, Oasis, Iron Maiden), posted here: https://youtu.be/ETEGJTM6plw

Aurora will be available as a Limited Deluxe 180g Light Green 2LP+2CD+Blu-ray Artbook & Poster, as well as a Ltd Deluxe 2CD+Blu-ray Artbook, both featuring the stunning artwork of Roger Dean and Freya Dean, as well as a bonus disc of instrumentals, and a blu-ray featuring Dolby Atmos, 5.1 Surround Sound & 24bit stereo mixes (by Curtis Schwartz). The album is also available as a Gatefold 180g 2LP + LP-booklet, Special Edition CD Digipak & as Digital Album. Pre-order now here: https://yes-band.lnk.to/Aurora

The tracklisting is as follows:

1. Aurora 07:27

2. Turnaround Situation 05:50

3. Love Lies Dreaming 06:24

4. Countermovement 13:48

5. Ariadne 06:18

6. All Hands on Deck 03:04

7. Outside the Box 04:20

8. Emotional Intelligence 03:30

9. Jambustin’ (Bonus Track) 04:24

10. Watching the River Roll (Bonus Track) 04:42

CAUSTIC COMMENTARY: The Melvins & Napalm Death, Parlor Greens, Rachel Lime, Cactus Lee, Les Imprimés & More

Glide Magazine — Fri, 10 Apr 2026 12:34:53 +0000

We are reporting to you live from a beautiful day here at the Old Caustic Factory, where Fridays start our work week. Our machines are burning red from all of these fresh releases, but not to fret, our technicians are here to ensure that yet another jam-packed New Music Friday goes off without a hitch. This week, we have a long list of freshly picked LPs from familiar faces of cult heroes, fresh returns from beloved, well-established acts, and a list of singles that preview some albums that might end up on a Caustic of their own. The weekend is about to begin, so peruse some new albums to find the perfect one to soundtrack yours.

Check out Glide’s picks for the week’s best new music below, and head over to our Caustic Spotify playlist so you don’t miss a single song during this busy year.

The Melvins & Napalm Death – “Nine Days of Rain”

Savage Imperial Death March

A collaboration for the ages, two titans of industry collide on Savage Imperial Death March, the collaborative album between iconic Melvins and long-standing metal outfit Napalm Death, is everything you asked it to be and more. The eight-song project features members of both bands coming together to create an experimental exploration of the limits of rock, venturing into unknown lands and returning with raw prowess and electronic undertones. “Nine Days of Rain” is an early favorite from the anticipated release, with chanting vocals cascading around crashing percussion and sturdy, searing guitar riffs, a perfect metal storm.

Parlor Greens – “Red Dog”

Emeralds

The highly anticipated sophomore album from the lauded soul instrumental group Parlor Greens has finally arrived, and it is the romping, stunning listening experience we all hoped for. Emeralds lives up to every ounce of expectation with 11 spellbinding orchestrations that range from jazzy bliss to funky rock. “Red Dog” leans to the latter, with hard-hitting guitars and intrinsic grooves.

Les Imprimés – “Close My Eyes”

Fading ForwardIt has been three years since the mysterious Les Imprimés became a torchbearer for the soul revival scene, and the artist proudly marches the scene into the next phase of his career with Fading Forward. The much-buzzed-about, 12-song LP is a dazzling display of singular soul music that maintains a grey atmosphere without sacrificing the uplifting spirit of these songs. “Close My Eyes” combines the warmth of lo-fi with the artist’s naturally hypnotic melodies, creating a quaint highlight from a stellar LP.

Joe Jackson – “End Of The Pier”

Hope and Fury

Unpredictable genre-hopper Joe Jackson has enjoyed the longevity most musicians dream of, and he’s returning to his roots on Hope and Fury, his new rock-focused record. The 9-song project finds the legendary multi-hyphenate combining subtle hints of nostalgia with the lofty visions that pushed his career into new chapters since his late 70’s debut. “End Of The Pier” features quaint percussion and sparse guitar riffs, allowing Jackson’s storytelling to become cathartic.

Tenille Townes – “what’s meant for you”

the acrobat

Wistful and raw, immersive and palpable, the new record from singer/songwriter Tenille Townes is a lot of things, but most of all, it is a daring example of self-analysis through melody. The nine-song The Acrobat is a soulful, vulnerable look into Townes’ current state of mind, employing acoustic minimalism so every word hits directly in the soul. The early favorite, “what’s meant for you,” captures the album’s stripped-down aesthetic and features Townes’ gentle vocals in a captivating, emotional performance.

Sounding Arrow – “Do You Mean It?”

SKYMAN

On his long-awaited return to his Sounding Arrow solo project, Scott Kinnebrew welcomes all to relax and enjoy the beauty of the simple things in life. SKYMAN, his first album under the Sounding Arrow banner since its 2017 debut, is centered around the present moment and appreciating it for what it is, as Kinnebrew crafts psychedelic Americana with bright tones. Do You Mean It?” opens the album with breezy melodies and welcoming tones, as Kinnebrew’s vocals paint vivid imagery.

Fantastic Cat – “No Goddamn Way”

Cat Out of Hell

The songwriting supergroup of Brian Dunne, Anthony D’Amato, Don DiLego, and Mike Montali returns under their Fantastic Cat collaborative project with the release of Cat Out of Hell. The 12-song album is brimming with anthemic roots rock that showcases the band’s sonic range while keeping their unforgettable songwriting at the core. “No Goddamn Way” is an ode to the end of the night and to keeping a promise, delivered with swinging melodies and an explosive chorus.

Drivin N Cryin – “Keep The Change”

Crushing Flowers

The Southern rockers Drivin N Cryin have enjoyed a fruitful and storied career, and they add another page in their historic book with the release of Crushing Flowers, their first album in six years. The 10-song outing finds the band on familiar footing, creating firework-style Southern rock with plenty of attitude and even more nuances to fall in love with. “Keep The Change” features blistering tempos that collide with a cacophony of cascading percussion.

Wu Lyf – “WAVE”

A Wave That Will Never Break

Wu Lyf has always dabbled with the unconventional, and for their new LP, A Wave That Will Never Break, that approach bleeds even into the release method. Exclusively available through the band’s website, the cinematic 7-song project elevates the band to an otherworldly level, combining lush orchestrations with their heavy pop tendencies. “WAVE,” the unofficial title track, marks the band’s return with a dramatic performance of twisting vocals and romantic swells.

Rachel Lime – “Jangdan”

STORIES

It has been five years since Rachel Lime introduced her atmospheric art-pop, but on her latest LP, those ambient experimentations become even more daring and robust. STORIES features eight tiny sonic universes to explore, some built on the back of furthering Lime’s singularity. In contrast, others prove she can insert her left-field tendencies into radio-ready anthems, all bleeding into each other to create a refreshing electro-pop listen. “Jangdan” leans towards the bolder side of the album, with mesmerizing percussion colliding with Lime’s soft vocals and whimsical songwriting.

Cactus Lee – “Baltimore”

Lee’s Dream

The prolific solo project of Austin, Texas’ Kevin Dehan returns with yet another new, charming, warm album for his cult following to take with them through their day-to-day. The fresh Cactus Lee album, Lee’s Dream, is an inviting, toe-tapping 10-song listen that highlights Dehan’s traditional yet personal songwriting as he opts for a more spacious terrain. “Baltimore” opens the album with a lighthearted story about your problems following you wherever you go, as Dehan paints a bleak yet vibrant portrait of someone trying to make sense of it all.

Kurt Vile – “Chance to Bleed”

Philadelphia’s been good to me

The incomparable Kurt Vile returns with an ode to his hometown, announcing his new album and the release of its stellar lead single. Vile’s Philadelphia’s been good to me is set to arrive on May 29, and the distorted “Chance to Bleed” is our first preview of the LP. The lead single combines heady guitar riffs with a relaxed disposition, creating a sonic conflict that is undeniably enticing and infectious.

The Strokes – “Going Shopping”

Reality Awaits

One of the more beloved and long-standing members of New York’s early aughts indie boom, The Strokes, has finally announced the latest chapter of their discography. Reality Awaits will be released on June 26, and the auto-tune-tinted ripper “Going Shopping” is our first single from the long-awaited release. “Going Shopping” is a nimble, catchy tune with soaring guitar riffs that dance around toe-tapping tempos.

Pond – “Two Hands”

Terrestrials

Experimental rock mainstays Pond have announced Terrestrials, their new album and first LP since 2024’s Stung!. Terrestrials, whose title track was released back in early March, is set to arrive on June 19, and the news comes with the complex, intricate “Two Hands.” The new single is a twisted anthem with punchy guitars that navigate lush vocals and blaring synths.

Iceage – “Ember”

For Love of Grace & the Hereafter

It is not every day the alt-rock provocateurs Iceage release new music, making the announcement of their upcoming album all the more exciting. For Love of Grace & the Hereafter, the band’s sixth studio LP, will arrive on May 29, and the ever-evolving “Ember” is our latest preview of the project. This single dips into acoustic bliss, only to build itself back up into a cacophony of pounding percussion and acrobatic vocals.

The Lemon Twigs – “2 or 3”

Look For Your Mind!

Nostalgia-fueled psych-folk outfit The Lemon Twigs is preparing to release its new album, Look For Your Mind!, on May 8. Before the full LP arrives, the acclaimed duo of brothers releases “2 or 3,” a playful pop preview of the album with jangly excellence intertwined with a palpable longing.

Isaiah Rashad – “SAME SH!T”

It’s Been Awful

The elusive yet consistently evolving Isaiah Rashad began hinting at a new LP earlier this week with the release of a bloody trailer on his YouTube titled “It’s Been Awful.” Now, the Chattanooga vocalist has cemented a May 1 release date for It’s Been Awful, and released the moody yet bouncy “SAME SH!T” as the lead single, a dark tune about facing life cycles.

Surfing The Tube: Robert Plant “Rambles On”, Bruce Hornsby’s Music Knowledge Tested, Iron & Wine Reveals Whats In My Bag

Glide Magazine — Fri, 10 Apr 2026 12:32:05 +0000

“Ramble On” – Robert Plant with Saving Grace (LIVE on The Late Show)

Backed by his newest band, Saving Grace, Robert Plant performs an old tune of his (Led Zeppelin’s “Ramble On”) on The Late Show With Stephen Colbert.

Lecrae: Tiny Desk Concert

Celebrating his recent album Reconstruction: Second Story, Lecrae is the most recent guest on NPR’s acclaimed Tiny Desk Concert series.

Mitski – If I Leave

A month out from releasing her most recent album, Nothing’s About to Happen to Me, Mitski takes the stage of Jimmy Kimmel Live to perform “If I Leave”.

Testing Bruce Hornsby’s Music Knowledge | Track Star*

Fresh from releasing his new album Indigo Park, Bruce Hornsby has his music knowledge tested by Jack Coyne.

Iron and Wine’s “What’s In My Bag?” | Amoeba Music

On the heels of releasing his new LP Hen’s Teeth, Iron & Wine shares what’s in his bag on Amoeba’s aptly titled series.

Ratboys Bring No Shortage of Catchy Rocking and Alt-country Triumph to Portland, OR’s Aladdin Theater for Sold-out Performance (SHOW REVIEW)

Glide Magazine — Fri, 10 Apr 2026 03:00:22 +0000

Chicago has long been a bastion of insurgent country and cowpunk, and that fertile breeding ground has given us the twangified rockers Ratboys. Though the group has been chugging along for around 15 years, they have been making buzzier waves as of late with their latest album Singin’ to an Empty Chair. This collection, an early favorite of 2026 for this writer, finds them leaning more into an alt-country sound that clearly resonates with the same fans who are clamoring for peers like MJ Lenderman, Waxahatchee, Wednesday, and Greg Freeman, among others. The excitement around Ratboys was evident from the sold-out crowd that flocked to the Aladdin Theater in Portland, Oregon, on Wednesday, April 9th.

Building suspense right from the start with the acoustically strummed “Open Up” (an apt set opener), the band layered on drums and guitars, gradually building momentum and easing into the music. Frontwoman Julia Steiner ditched the acoustic for one of her beloved flying Vs to launch into what are arguably the two strongest songs on the new record, “Anywhere” and “Penny In the Lake.” Even with the muddied sound, these songs were irresistibly catchy and rocked out in the live setting, the latter getting a nice twangy dose of pedal steel from Andy Red. “Know You Then” was equally infectious with its bouncy, crashing guitars and drums. Steiner introduced “Anj” as a deep cut before leading the band through its swaying sound, before the charming and dreamy “Strange Love” laced with plenty of pedal steel.

What Ratboys lacked in any kind of wild stage antics, they made up for with straightforward guitar rock that kept the audience’s attention. Songs like “Light Night Mountains All That” with its grunt pop punk undertones and heaping doses of feedback, and a version of “The Window” that started tender before blowing up into one of the most raucous tunes of the night, were standouts. The band also showed off their chops with extended solos and jamming during “Just Want You to Know the Truth.”

In watching and listening Ratboys throughout the course of their roughly 90-minute set, it was clear that in another era – perhaps the early to mid-90s – many of their new tunes would be hits. Their set was energetic and loaded with exuberant rock and roll, and by the time they encored with the alt-country “Go Outside” and the quietly swaggering, laid-back “Black Earth, WI,” they had delivered the kind of humbling performance that left their fans clamoring for more.

Edit this setlist | More Ratboys setlists

Angine de Poitrine to Release Vol’s I and II on Vinyl and CD Worldwide June 12

Glide Magazine — Thu, 09 Apr 2026 17:33:25 +0000

Microtonal cardboard duo Angine de Poitrine and the band’s management company, Spectacles Bonzaï, have announced the signing of worldwide distribution agreements for the physical release of the band’s two albums on vinyl and CD. The band’s debut, Vol. I, as well as the follow-up, Vol. II, are both set for global release on June 12. Following the breakout success of Vol. II, which was released on April 3 and has already become one of the most sought-after releases on Discogs, Angine de Poitrine and Spectacles Bonzaï secured these global partnerships while carefully preserving their independence.

The duo is now selling out venues worldwide within minutes, often months in advance, and the momentum is not showing any signs of slowing down. To support this trajectory, management and band have structured a global physical distribution network, deployed territory by territory:

● United States: ATO Records (sub-distribution via Amped)

● Rest of World (excluding North America): Republic of Music (RoM)

● Canada (excluding Quebec): FAB

● Quebec: Spectacles Bonzaï

The carefully selected network of partners will allow Angine de Poitrine to ensure that fans around the world can finally get their hands on physical copies in stores — without signing to a record label. Pre-orders for record stores are available now.

PRE-ORDER ANGINE DE POTRINE VOL. I AND VOL. II

The de Poitrine brothers will be touring internationally almost non-stop for the next year, traveling through Europe, the United States, Mexico, South America, and Japan — territories where they are particularly in demand.

# # #

ANGINE DE POITRINE – TOUR 2026

APRIL

9 – Quebec City, QC – Le Pantoum (SOLD OUT)

10 – Saint-Gabriel, QC – Café Coop Bal Maski (SOLD OUT)

11 – Quebec City, QC – Le Pantoum (SOLD OUT)

12 – Quebec City, QC – Le Pantoum (SOLD OUT)

15 – Richmond, QC – L’Ardoise Coopérative Brassicole (SOLD OUT)

16 – Victoriaville, QC – Mycélium Studio (SOLD OUT)

17 – Saint-Hyacinthe, QC – Le Zaricot (SOLD OUT)

18 – Montreal, QC – Club Soda (SOLD OUT)

23 – Alma, QC – Café du Clocher (SOLD OUT)

24 – Chicoutimi, QC – Centre d’Expérimentation Musicale (SOLD OUT)

25 – Sherbrooke, QC – La Petite Boîte Noire (SOLD OUT)

26 – Gatineau, QC – Minotaure (SOLD OUT)

MAY

1 – Chicoutimi, QC – Centre d’Expérimentation Musicale (SOLD OUT)

2 – Baie-Comeau, QC – L’Ouvre-Boîte Culturel (SOLD OUT)

10 – Leeds, UK – Brudenell Social Club (SOLD OUT)

11 – London, UK – Electric Ballroom (SOLD OUT)

12 – Bristol, UK – Strange Brew (SOLD OUT)

14 – Brighton, UK – The Great Escape †

16 – Strasbourg, FR – Pelpass Festival 2026 †

18 – Rennes, FR – UBU (SOLD OUT)

19 – Le Mans, FR – Théâtre Paul Scarron (SOLD OUT)

20 – Amiens, FR – La Lune des Pirates (SOLD OUT)

21 – Charleroi, BE – Le Vecteur (SOLD OUT)

22 – Poitiers, FR – Le Confort Moderne (SOLD OUT)

23 – La Rochelle, FR – La Sirène (SOLD OUT)

24 – Loperhet – Bulomatik Festival †

26 – Brussels, BE – Magasin 4 (SOLD OUT)

28 – Brussels, BE – Les Nuits Botaniques (SOLD OUT)

29 – Tourcoing, FR – Le Grand Mix (SOLD OUT)

30 – Nancy, FR – Bon Moment Festival †

31 – Roverito, ITA – Poplar Utopia Festival †

JUNE

20 – Joliette, QC – Parc Louis-Querbes

27 – Montreal, QC – Festival International de Jazz de Montréal 2026 †

JULY

2 – Saguenay, QC – La Noce 2026 † (SOLD OUT)

3 – Trois-Rivières, QC – Festivoix †

10 – Winnipeg, MB – Winnipeg Folk Festival 2026 †

12 – Victoria, BC – The Phillips Backyard

14 – Toronto, ON – Mod Club (SOLD OUT)

15 – Toronto, ON – Mod Club (SOLD OUT)

17 – Ottawa, ON – Ottawa Bluesfest 2026 †

18 – Toronto, ON – Mod Club (SOLD OUT)

19 – Guelph, ON – Hillside Festival †

26 – Niigata, Japan – Fuji Rock Festival

AUGUST

14 – Buena Vista, CO – King Gizzard Field of Vision †

17 – Los Angeles, CA – Teragram Ballroom (SOLD OUT)

18 – Los Angeles, CA – Teragram Ballroom (SOLD OUT)

19 – San Francisco, CA – The Independent (SOLD OUT)

21 – Portland, OR – Aladdin Theater (SOLD OUT)

23 – Vancouver, BC – The Pearl (SOLD OUT)

24 – Vancouver, BC – The Pearl (SOLD OUT)

28 – Lisbon, PT – Meo Kalorama 2026 †

30 – Vlieland, NL – Into The Great Wide Open Festival †

31 – Nijmegen, NL – Doornroosje (SOLD OUT)

SEPTEMBER

1 – Cologne, DE – Live Music Hall (Upgraded) *

4 – Larmer Tree Gardens, Dorset – End Of The Road †

5 – Manchester, UK – Manchester Psych Fest †

6 – Edinburgh, UK – Edinburgh Psych Fest †

9 – New York, NY – Le Poisson Rouge (SOLD OUT)

10 – New York, NY – Le Poisson Rouge (SOLD OUT)

15 – Washington, DC – The Atlantis (SOLD OUT)

16 – Philadelphia, PA – Underground Arts (SOLD OUT)

OCTOBER

13 – Bristol, UK – Prospect Building (SOLD OUT)

14 – Glasgow, UK – O2 Academy Glasgow (Upgraded) *

16 – Dublin, IRE – Vicar St (Upgraded) *

18 – Leeds, UK – O2 Academy Leeds (Upgraded) *

19 – London, UK – Troxy (SOLD OUT) 20 – London, UK – Troxy *

21 – Paris, FR – Élysée Montmartre (SOLD OUT)

22 – Paris, FR – Élysée Montmartre *

24 – Lyon, FR – L’Épicerie Moderne (SOLD OUT)

25 – Antwerp, BE – Trix (SOLD OUT) 27 – Berlin, DE – Astra (Upgraded) *

28 – Hamburg, DE – Molotow (SOLD OUT)

29 – Heidelberg, DE – Metropolink (SOLD OUT)

31 – Amsterdam, NL – London Calling Festival †

NOVEMBER

1 – Groningen, NL – VERA (SOLD OUT)

6 – Quebec City, QC – Impérial Bell (SOLD OUT)

14 – Montreal, QC – Club Soda (SOLD OUT)

LISTEN: Sugar Horse’s “Ex-Human Shield” Is Refreshing Alt-Metal With Palpable Melodies

Glide Magazine — Thu, 09 Apr 2026 13:14:17 +0000

A lot of people take the name Sugar Horse to be a drug reference. I suppose that’s fitting for a band that sounds like the last hours of a three-day binge. Darting wildly between dark/light, pain/bliss, sacred/profane, Sugar Horse is unpredictable and unrestrained.

Formed in what is now considered to be the utopian dreamscape of 2015, the band grew slowly at first, far from fully formed, but steadily gaining limbs, heads, and vital organs. Finally, 2019’s DRUJ, swiftly followed by 2020’s DRUGS, saw them hit a relentless stride of eclectic releases that simultaneously confused and entranced audiences. Now, with two albums under their belt, Sugar Horse prepares to release Not a Sound in Heaven via the band’s own Fat Dracula Records on April 10.

“Ex-Human Shield,” one of the lead singles from Sugar Horse’s upcoming release, introduces the nuances of this undeniably refreshing alt-metal act. Enter a genre so deeply rooted in tradition and spinning it into something they can call their own, Sugar Horse is far from another metal act grabbing at nostalgic tropes to find a sonic personality, and the subtle experimentation of “Ex-Human Shield” proves this sentiment. With throat-scratching vocals that manage to hit you in the chest while maintaining a subdued presence and a warping arrangement that slides into atmospheric bliss just as easily as it enters heavy, searing metal, the band’s latest is an immersive listen to say the least. With the power of unpredictability and an innate individuality, Sugar Horse crashes through your screens with a colorful, aggressive preview of Not a Sound in Heaven, an album that is shaping up to be a landmark release for the band.

LISTEN: Lewis Stubbs Junior Crafts Hypnotic & Vulnerable Alt-Country Ballad On “Best I Can Tell”

Glide Magazine — Thu, 09 Apr 2026 13:05:22 +0000

A passionate troubadour and guitarist, Lewis Stubbs Junior writes with the communion of live music in mind. With skill and abandon, his performances draw listeners in – stories resonate, solos sing, and songs unfold with emotional immediacy. Rooted in music history and always reaching forward, Junior’s sound is shaped by a lifetime of deep dives into the sonic heritage of American rock and roll.

A thumb-picking guitarist inspired by Merle Travis and Bruce Cockburn, he favors simple arrangements that leave room for spontaneity and the magic of live improvisation. A Nashville native with decades of experience in bands, Junior stepped out as a solo artist in 2024. His live shows range from a tight rock-and-roll trio, often joined by guest musicians on keys or pedal steel, to moody acoustic solo sets – each performance an invitation to get lost in great songs. Junior’s new album, West Nashville Sky, arrived on April 3.

“Best I Can Tell,” a lead single and highlight from Junior’s latest, introduces the raw vulnerability and psychedelic undertones of the artist’s alt-country approach. With sleek guitars driving the performance, “Best I Can Tell” is a look into a veteran musician in search of some answers. The poetically, brutally honest songwriting paints a bleak portrait of someone at their wits’ end, finding no solace in the things that once controlled their life. Junior employs a nostalgic country ballad aesthetic and infuses it with his own story, showcasing an artist with a mastery of his craft and a fearlessness to push it to new heights. “Best I Can Tell” toes that line beautifully, as the artist spins a deeply personal revelation into a warm, relatable anthem, while introducing the singularity of Junior.

Golden Age Thursday Samples: The Isley Brothers’ “Footsteps in the Dark (Pts. 1 & 2)” (1977) Becomes Classic Hip-hop Landmark Via Ice Cube (1992) & J Dilla (2006)

Glide Magazine — Thu, 09 Apr 2026 04:00:00 +0000

The idea that a tool is only as useful as the one holding it doesn’t necessarily apply to the art of sampling. Sure, only producers with an innate ear for melody and rhythm can unearth an entire instrumental from one simple element of a classic song, but when the tool at hand is a creative work, it breeds innovation. It is hard to believe, at times, how many different styles of composition can be birthed from the same song, leading to shocking realizations from even the most die-hard Hip-hop fanatics. In the case of The Isley Brothers’ “Footsteps in the Dark, Pts. 1 & 2,” its innovative approach can be found influencing Hip-hop giants from across generations.

Originally released as a B-side to the band’s hit “Groove With You” in 1977, “Footsteps in the Dark, Pts. 1 & 2” has left an undeniable mark across Hip-hop history, thanks to Ernie Isley. Ernie’s unique guitar tones give this soulful ballad a psychedelic feel that has proven more impactful than The Isley Brothers could’ve ever predicted. Below, you can hear the original classic and how the likes of Ice Cube, J Dilla, and Thundercat flipped it into contemporary masterpieces.

Original Sample: The Isley Brothers – “Footsteps in the Dark (Pts. 1 & 2)

Produced by The Isley Brothers

Ice Cube – “It Was A Good Day”

Produced by DJ Pooh

J Dilla – “Won’t Do”

Produced by J Dilla

Thundercat – “Them Changes”

Produced by Thundercat & Flying Lotus

Redman – “What U Lookin’ 4”

Produced by Redman & Rockwilder

Fantastic Cat Refine Their Collective Harmonic Sound On ‘Cat Out of Hell’ (ALBUM REVIEW)

Glide Magazine — Thu, 09 Apr 2026 03:59:39 +0000

On the first two Fantastic Cat records, the quartet of singer-songwriters (Anthony D’Amato, Brian Dunne, Don DiLego, and Mike Montali) brought their own styles successfully into a band setting. However, on their third album, the cheekily titled Cat Out of Hell, Fantastic Cat feels like a long-running, well-oiled, veteran outfit.

Things are more fluid as individual contributions have melded, crafting an overall, interlocking sound. The extremely well-produced album adds sonic touches like strings, harpsichord, and tambourines to spruce up the group’s solid base of indie/folk rock tunes, all delivered with pristine harmonies and evocative lyrics.

Opening exuberantly with “Donnie Takes the Bus”, Fantastic Cat drops into a cheery, head-bopping sing-along that floats along merrily with “la-la-las” and sweet whistling, kicking off the album on a high note. The folk-rocking, up-and-down jangling journey of “Elevators” takes listeners on a ride, while weepy, warbling guitars color the slower “Back to the Beginning,” which has a Mazzy Star meets The Jayhawks vibe flowing throughout.

The band ingests their influences and repurposes them, easily floating along with dynamite harmonies in the vein of Dr. Dog (noticeably on the excellently weary, “Turn Off The Lights”) while late 80’s, early 90’s Bruce Springsteen colors quite a few tracks, such as the pulsing/angsty “The Waiting Room” and the earnest heartland rock of “Spoke to God a Lot Last Year” which works with a great beat and bright guitars.

The album highlight arrives via “Don’t Let Go,” which plays to all the band’s strengths as echoing vocals cascade and flow around the vibrant beat that builds to anthemic heights. The slow waltzing, string-supplemented swelling of “Mona Be Still” is also a winner as the languid love song soars, feeling timeless.

On the flipside, the frantic “How’s That Working Out” is a touch out of place with its twitchy distorted vocals, galloping drums, and sketchy druggie tale. The Americana upbeat rocker “L U C Y” is more in the band’s wheelhouse with perfect harmonies, clever lyrics, stomping drums, and shaking tambourines. Closing with the swaying acoustic effort, “Ain’t Nobody Better,” the quartet wraps things up with a breathy, swirling effort that punctuates a confident record.

Cat Out of Hell from Fantastic Cat is a well-produced collection that finds the band assuredly growing closer, cohesively evolving while maintaining what makes them exciting at their core.