ST. VINCENT 
ALL BORN SCREAMING
NEW ALBUM OUT APRIL 26

“Broken Man” Track and Video

Annie Clark, the musician better known as triple-GRAMMY-winning iconoclast St. Vincent, has confirmed the release date of her seventh full-length studio album: All Born Screaming will be delivered April 26 via Virgin Music Group. 

St. Vincent’s first self-produced record, All Born Screaming is Clark at her most unfiltered. Assuming the mantle of sole producer made for an unprecedented direct translation to tape of the sounds originating in her head, heart and hands:

“There are some places, emotionally, that you can only get to by taking the long walk into the woods alone—to find out what your heart is really saying,” Clark says. “It sounds real because it is real.” 

All Born Screaming is an invitation to test the limits of what is possible–and to then keep going;  Brought to life with the aid of a highly curated dream lineup of friends — Rachel Eckroth, Josh Freese, Dave Grohl, Mark Guiliana, Cate Le Bon, Justin Meldal-Johnsen, Stella Mogzawa and David Ralicke — the album is an unadulterated expression of St. Vincent’s singular vision.

Exhibit A is “Broken Man,” the first advance offering from the gauntlet of emotional wreckage that is side one of All Born Screaming. The song is a sonic juggernaut that shatters preconceived expectations and introduces the album with an irrefutable power–one that arrives in tandem with a video shot in Philadelphia in mid-January by Alex Da Corte, whose visuals complete the album’s distinct aesthetic. The video made its broadcast premiere on MTV Live, mtvU and the Paramount Times Square billboards.

All Born Screaming was produced by St. Vincent and mixed by Cian Riordan. The album’s track listing is as follows:

Hell is Near
Reckless
Broken Man
Flea
Big Time Nothing
Violent Times
The Power’s Out
Sweetest Fruit
So Many Planets 
All Born Screaming (featuring Cate Le Bon)

Photo Credit: Alex Da Corte

blur
U.S. DATE ADDED
APRIL 10 — FOX THEATER POMONA

Tickets On Sale 12 Noon PT March 1 HERE

blur has added an intimate theater show to kick off the band’s first visit to the U.S. in nearly 10 years. On April 10, Damon Albarn, Graham Coxon, Alex James and Dave Rowntree will take the stage at the Fox Theater in Pomona CA for a one-night-only event ahead of their April 13 and 20 performances on the Coachella main stage. Tickets for the show — blur’s first on American soil since a 2015 run that included headlines at Madison Square Garden and the Hollywood Bowl — will be on sale to the general public beginning 12 noon PT March 1 at https://www.axs.com/events/532378/blur-tickets

Announcing their arrival with debut album Leisure in 1991 followed by Modern Life is Rubbish in 1993, blur would go on to revolutionize the sound of English popular music with six successive UK  #1 albums Parklife (1994), The Great Escape (1995), Blur (1997), 13 (1999), Think Tank (2003) and The Magic Whip (2015) and a string of Top 10 singles, including two #1s with “Country House” and “Beetlebum.” One of the biggest British bands of the last three decades, blur have released nine studio albums and collected ten NME Awards, six Q Awards, five BRIT Awards and an Ivor Novello Award, and played live to hundreds of thousands of devoted fans across the globe. The band’s latest studio album titled The Ballad of Darren was released on July 21st 2023 to rave reviews and Best of 2023 accolades, including:

“While many of their contemporaries are frozen in time, Blur remains relevant.” –BILLBOARD

“… an enjoyable, heartfelt, and contemplative record… The Ballad of Darren is these four’s statement of resilience and unbreakable respect towards one another… Blur know that light arrives after darkness. Across 10 songs, you can hear them each trying to find it, hand in hand, harmony after harmony.” —CONSEQUENCE

“Blur have knocked it out of the park… a must have for Blur fans… an album that can stand alongside their best work” –GOLDMINE ★★★★★

“A sprawling 42-minute trip through the best sprightly riffs, grungy alt-rock, and experimental electronic work the band has offered up since their founding in early-’90s Britain… they successfully bridge the work in the group that made front man Damon Albarn famous in England with the one that made him famous in the States.” —NEW YORK / VULTURE

“The prettiest and tightest of their nine albums, elegantly arranged with lush harmonies, baroque flourishes…” —PITCHFORK

“The very existence of Blur’s first new album since 2015 feels nothing short of miraculous… there’s still no one who does a bittersweet mope quite like Blur.” —ROLLING STONE 

“A reclamation of a core Blur ethos mostly unheard for decades… An intimate sense of celebration” –STEREOGUM

“A brilliant, brave, and perhaps most importantly, truly creative album just when it was least expected… exceptional” –UNDER THE RADAR

“This is Blur’s simplest and most direct full-length release–it’s light on sonic flourishes as it nails the basics… ace songwriting and impressive economy.” –WALL STREET JOURNAL

Foo Fighters to Perform at Power to the Patients Concert in Washington D.C.

America’s foremost rock band to play for lawmakers and staffers, volunteers, and advocates in support of healthcare price transparency

On Tuesday, March 5, Foo Fighters will take a rare detour from stadium, arena and amphitheater stages to perform at a private one-night-only concert in Washington, D.C. hosted by Power to the Patients, a non-profit fighting for a more affordable, accessible, and equitable healthcare system through true price transparency. Hip hop legends Fat Joe and Chuck D will also be in attendance.

“When we were asked by Power to the Patients to help raise awareness of the need for transparency in healthcare pricing, we immediately said yes. People suffering from illness and injury shouldn’t have to worry about being bankrupted by surprise charges for their treatment.” — Foo Fighters 

With lawmakers, government officials, and their dedicated staff in attendance, Foo Fighters will join the drive to raise awareness about the inequality and uncertainty created for millions of patients when hospitals and insurers hide actual upfront prices. With more than 100 million Americans suffering from medical debt due to surprise bills and lack of accountability, it’s time for all elected officials to come together and turn the page on our nation’s broken and opaque healthcare system. 

Upfront prices empower patients to make informed decisions, take control of their health, and lower their costs.  All consumers have the right to know the actual price of their care before they receive it. If you believe you have been overcharged for healthcare, or if the price you were quoted doesn’t match your bill, you can find information and resources about how to fight your bills by visiting PowertothePatients.org.

Background 

• Foo Fighters join a talented group of artists that have traveled to D.C. or joined the fight for America’s patients, including: Fat Joe, Jelly Roll, Wyclef Jean, French Montana, Rick Ross, Busta Rhymes, Chuck D, Method Man, Lainey Wilson, Valerie June, Shepard Fairey, and rock band Everclear.
• As a leader in this movement, Fat Joe has taken his message to Capitol Hill, visiting with members of the U.S. House and Senate and urging them to pass legislation to codify and expand healthcare price transparency requirements.  
• New polling shows 94% of Americans support healthcare price transparency, yet only 36% of hospitals comply with rules requiring them to disclose prices. 
• In December of last year, a bipartisan group of lawmakers introduced a bill to strengthen and expand healthcare price transparency requirements, hold hospitals and insurers accountable, and stand up for patients, workers, employers, unions, and all healthcare consumers. (S.3548)

Since the 1995 release of their self-titled first album, no other band has carried the torch for rock & roll like Foo Fighters. Throughout the steady ascent to their indisputable status as the last great American rock band, the Rock & Roll Hall of Famers have raised stadiums, arenas and festival fields of voices in song with anthems like the billion-plus-streaming “Everlong,” “Monkey Wrench,” “My Hero,” “Learn To Fly,” “Breakout,” “All My Life,” “Times Like These,” “Best Of You,” “The Pretender,” “Walk,” “These Days,” “The Sky Is A Neighborhood,” and more recently “Rescued” and “Under You” from the universally acclaimed But Here We Are, released June 2, 2023 on Roswell Records/RCA Records. 

The latest and arguably greatest installment in a 15-GRAMMY-Award-winning discography that includes the band’s eponymous debut, The Colour and the Shape, There Is Nothing Left To Lose, One By One, In Your Honor, Echoes, Silence, Patience and Grace, Wasting Light, Sonic Highways, Concrete and Gold, and Medicine at Midnight, But Here We Are is a testament to the healing powers of music, friendship and family. Courageous, damaged, unflinchingly authentic and “driven by a fresh sense of pathos and urgency” (The New York Times), But Here We Are opens with the Alternative/Rock radio #1 “Rescued,” the first of 10 songs that run the emotional gamut from rage and sorrow to serenity and acceptance, and myriad points in between — including “a gruff, melodic rocker with bittersweet hooks” (Stereogum) in the form of “Under You,” the “totally unexpected foray into shoegaze and dream-pop territory” (Uproxx) that is “Show Me How,” the 10-minute epic “The Teacher,” and more. Produced by Greg Kurstin and Foo Fighters, But Here We Are is in nearly equal measure the 11th Foo Fighters album and the first chapter of the band’s new life. Foo Fighters are currently in the midst of the global Everything or Nothing at All Tour, which will find the band headlining stadium and festival stages in the US and abroad well into 2024.

About “Power to the Patients” 

“Power to the Patients” is a nonprofit, nonpartisan organization dedicated to creating a more affordable and equitable healthcare system through price transparency. For years, hospitals and insurers have been disregarding rules requiring them to disclose prices to patients in advance of care. Patients, families, workers, unions, and employers need systemwide healthcare price transparency to make fully informed decisions about the cost and quality of their care. All healthcare consumers have the right to upfront prices. Our Health. Our Money. Power to the Patients. Additional information and PSAs at powertothepatients.org.

VAMPIRE WEEKEND
RELEASES FIRST NEW MUSIC IN FIVE YEARS
ANNOUNCES MASSIVE TOUR ACROSS NORTH AMERICA 

“Capricorn” and “Gen-X Cops” Available Now
Watch Both Videos Here and Here

ONLY GOD WAS ABOVE US Out April 5

Tour Dates Include Saturday Night + Sunday Morning shows in Berkeley, CA, Bonner,  MT and at  New York’s Madison Square Garden

Having ended a half decade of anticipation with last week’s album announcement, Ezra Koenig, Chris Baio and Chris Tomson p/k/a Vampire Weekend now fill that void with “Capricorn” and “Gen-X Cops,” a double portion of first tastes of the anxiously awaited Only God Was Above Us, available April 5 via Columbia Records. Pre-order is available now here. Simultaneously, the band has confirmed a full scale North American headline tour. Produced by Live Nation, the 39-date trek follows a select few previously announced festival headlines, a sold out show in the shadow of the solar eclipse, and will include three unique two-show engagements that will see Vampire Weekend play Saturday night shows followed by Sunday morning sets at the Greek Theater in Berkeley CA, KettleHouse Amphitheater in Bonner MT and New York’s Madison Square Garden.

The newly released pair of advance tracks showcase distinctly different aspects of Only God Was Above Us, while feeling very much parts of the same whole. “Capricorn,” written by Ezra Koenig and produced by Ariel Rechtstaid and Koenig, begins on a deceptively subdued note, its honeyed melodies and arpeggiated keys launching into a transcendent chorus featuring a maelstrom of distorted guitars and vibrant drum fills. “Gen-X Cops,” co-written by Koenig and Chris Tomson, and produced by Rechtstaid, Koenig and Tomson, kicks off with a frantic guitar figure befitting a title lifted from a 1990s Hong Kong action movie, and rides a jaunty beat to an anthemic refrain of “Each generation makes its own apology.”

Each of the new tunes is accompanied by a new video built around footage of New York circa 1988 by Only God Was Above Us album art photographer Steven Siegel. Directed by longtime Vampire Weekend creative director Nick Harwood, “Capricorn” is a visual journey to late ‘80s New York City that showcases the alluring yet grimy era of the city— before breaking to modern day Vampire Weekend. “Gen-X Cops,” directed by Drew Pearce (The Fall Guy, Hotel Artemis, Mission: Impossible – Rogue Nation, Iron Man 3), takes a decidedly different route to authenticity, utilizing the exact film-stocks Siegel used in 1988, and tracking down the only authentic 1970s New York subway car on the west coast. Pearce and DP Doug Emmett then meticulously researched the actual light patterns of 1980s subway tunnels in order to build a rig that would emulate them as well as shooting “Gen-X Cops” on 8mm and 16mm cameras to ensure maximum precision. 

Only God Was Above Us will be available April 5 via Columbia Records and  will be available digitally, and physically on CD, standard black vinyl, limited edition clear vinyl on the band’s webstore, and with an alternate album cover available exclusively at Independent retailers. Pre-order here: https://vampireweekend.lnk.to/OGWAU/vinyl1 

Support acts for Vampire Weekend’s upcoming tour have been hand-picked and carefully curated by Koenig, Baio and Tomson. Every region of the country will be treated to their own very special guests — several of whom hold local significance —all of whom are beloved by the band. Those guests include: LA LOM, The English Beat, Voodoo Glow Skulls, Mike Gordon, Christone “Kingfish” Ingram, Ra Ra Riot, Princess featuring Maya Rudolph and Gretchen Lieberum, Cults, a DJ Set By Mark Ronson, Turnstiles and The Brothers Macklovitch. Please refer to the tour poster for more information on which acts will appear on which dates. 

Citi is the official card of the Vampire Weekend Tour. Citi cardmembers will have access to presale tickets beginning Tuesday, February 20 at 10 AM local time until Thursday, February 22 at 10 PM local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.

Fans are encouraged to sign up now for early access to the band’s presales at vampireweekend.com. Those presales start Wednesday February 21 at 10 AM local time. The general on sale will begin Friday, February 23 at 10 AM local time at vampireweekend.com.

VAMPIRE WEEKEND
Only God Was Above Us
Tour 2024

Mon Apr 08 – Austin, TX – Moody Amphitheater (Solar Eclipse) –  SOLD OUT 
Sat April 27 – New Orleans, LA – New Orleans Jazz & Heritage Festival*
Fri May 10 – Salt Lake City, UT – Kilby Block Party*
Thu May 30 – Barcelona, Espana – Primavera Sound*
Thu Jun 06 – Houston, TX – 713 Music Hall
Fri Jun 07 – Irving, TX – The Pavilion at Toyota Music Factory
Sun Jun 09 – Phoenix, AZ – Arizona Financial Theatre
Mon Jun 10 – San Diego, CA – Cal Coast Credit Union Open Air Theatre
Wed Jun 12 – Los Angeles, CA – Hollywood Bowl
Sat Jun 15 – Berkeley, CA – The Greek Theatre at U.C. Berkeley
Sun Jun 16 – Berkeley, CA – The Greek Theatre at U.C. Berkeley (Matinee Show)
Tue Jun 18 – Burnaby, BC – Deer Lake Park
Wed Jun 19 – Bend, OR – Hayden Homes Amphitheater
Thu Jun 20 – Seattle, WA – Climate Pledge Arena
Sat Jun 22 – Bonner, MT – KettleHouse Amphitheater
Sun Jun 23 – Bonner, MT – KettleHouse Amphitheater (Matinee Show)
Fri Jul 19 – Morrison, CO – Red Rocks Amphitheatre
Mon Jul 22 – Kansas City, MO – Starlight Theatre
Tue Jul 23 – Lincoln, NE – Pinewood Bowl Theater
Thu Jul 25 – Maryland Heights, MO – Saint Louis Music Park
Fri Jul 26 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
Sat Jul 27 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
Tue Jul 30 – Minneapolis, MN – The Armory
Thu Aug 01 – Milwaukee, WI – BMO Pavilion
Sat Aug 3 – St. Charles, IA – Hinterland*
Thu Sep 19 – Cuyahoga Falls, OH – Blossom Music Center
Fri Sep 20 – Cincinnati, OH – The ICON Festival Stage at Smale Park
Sat Sep 21 – Indianapolis, IN – Everwise Amphitheater at White River State Park
Mon Sep 23 – Rochester Hills, MI – Meadow Brook Amphitheatre
Tue Sep 24 – Toronto, ON – Budweiser Stage
Wed Sep 25 – Laval, QC – Place Bell
Fri Sep 27 – Boston, MA – TD Garden
Sat Sep 28 – Philadelphia, PA – TD Pavilion at The Mann
Mon Sep 30 – Washington, DC – The Anthem
Wed Oct 02 – Charlottesville, VA – Ting Pavilion
Sat Oct 05 – New York, NY – Madison Square Garden
Sun Oct 06 – New York, NY – Madison Square Garden (Matinee Show)
Tue Oct 08 – Wilmington, NC – Live Oak Bank Pavilion
Wed Oct 09 – Raleigh, NC – Red Hat Amphitheater
Fri Oct 11 – Nashville, TN – Ascend Amphitheater
Sat Oct 12 – Atlanta, GA – Cadence Bank Amphitheatre at Chastain Park
Sun Oct 13 – Asheville, NC – Rabbit Rabbit
Tue Oct 15 – St. Augustine, FL – St. Augustine Amphitheatre
Thu Oct 17 – Austin, TX – Moody Center

*Festival date

VAMPIRE WEEKEND: 
ONLY GOD WAS ABOVE US 
New Album Out April 5

Only God Was Above Us, the fifth studio album — and first in five years — from Vampire Weekend’s Ezra Koenig, Chris Baio and Chris Tomson, is due out April 5 from Columbia Records. Inspired and haunted by 20^th Century New York City, the album was recorded all over the world, from Manhattan to Los Angeles to London and Tokyo. Only God Was Above Us was primarily produced by Koenig and longtime collaborator Ariel Rechtshaid, mixed by Dave Fridmann and mastered by Emily Lazar. Watch the album trailer HERE.

The beginnings of Only God Was Above Us stretch back to 2019-2020, when Koenig wrote the bulk of the lyrics. The 10-track magnum opus is the product of five years spent refining, reworking and gradually shaping those lyrical and melodic structures to take Vampire Weekend to a new creative peak. The album is direct yet complex, showing the band at once at its grittiest, and also at its most beautiful and melodic.

Only God Was Above Us is nothing short of a definitive statement — one that begins on a playfully profane and confrontational note, and runs a gauntlet of emotions, experiences, characters and stories, before ending on an unambiguous note of acceptance… and quite literally “Hope”:

“I hope you let it go

I hope you let it go 

Our enemy’s invincible

I hope you let it go”

The title is lifted directly from the album artwork, comprised of photos taken from a subway graveyard in New Jersey in 1988 by Steven Siegel. In the album’s cover, a man in a toppled subway car reads the May 1, 1988 edition of the New York Daily News — the cover story detailing the horrific explosion that tore the roof off Aloha Airlines flight 243. The headline quotes a survivor: “ONLY GOD WAS ABOVE US.”

The tracklist is as follows: 

Ice Cream Piano
Classical
Capricorn
Connect
Prep-School Gangsters
The Surfer
Gen-X Cops
Mary Boone
Pravda
Hope

To celebrate their release week, Vampire Weekend will perform in Austin, TX at the Moody Amphitheater at noon on April 8th during the historic total eclipse. Tickets for this special event go on sale on February 13th at 10am CT. Pre-sale and general information can be found at www.vampireweekend.com. 

Only God Was Above Us is the first full-length offering from Vampire Weekend since 2019’s Father of the Bride, which was the band’s third consecutive #1 album on the Billboard 200. Nominated for an Album of the Year GRAMMY, Father of the Bride won Best Alternative Album, marking the band’s second win in that category. Deemed “a masterpiece” by David Fricke of Rolling Stone, the album and its coinciding tour of sold-out arenas, sheds and festival headlining slots, solidified the Tri-State born and bred VW as the preeminent band of the New York rock scene, or in the words of USA Today, “The best indie band of their generation.” 

Only God Was Above Us will be available digitally, and physically on CD, standard black vinyl, limited edition clear vinyl on the band’s webstore, and with an alternate album cover available exclusively at Independent retailers. Pre-order here.

Photo Credit: Michael Schmelling

Paul McCartney & Wings
Band on the Run 50th Anniversary Edition
Featuring Previously Unreleased “Underdubbed” Mixes
Album Out Now – Listen Here
Listen To Title Track ‘Band on the Run – Underdubbed Mix’ Here

The expanded 50th anniversary edition of Paul McCartney & Wings’ iconic Band on the Run is released today via MPL and UMe.

A fixture of all-time greatest album lists for decades, the multiple GRAMMY-winning #1 smash was originally released in December of 1973. Featuring the immortal title track, worldwide hit “Jet,” the wistful “Bluebird,” longtime live staple “Let Me Roll It,” the multi-faceted “Picasso’s Last Words (Drink to Me)” and climactic closer “Nineteen Hundred and Eighty Five,” Band on the Run is undoubtedly Wings’ most successful and celebrated release ever.

The 50th anniversary edition has already received high critical praise, selected as a “Must-have reissue” by the Sunday Times and awarded five stars in MOJO, described as “Wings’ future-facing magnum opus, refreshed and underdubbed for 2024”. Uncut Magazine said, “fifty years on, Macca’s miracle continues to define his essence,” in a 10/10 album review, and the Associated Press heralded “still sounds fresh and exciting today, a half century later.”

The 50th anniversary edition of Band on the Run is available in a variety of formats, beginning with the essential 1LP. This special vinyl edition was cut at half speed using a high-resolution transfer of the original master tapes from 1973 by Miles Showell at Abbey Road Studios, London. The single vinyl album configuration mirrors the US tracklist, which features the song “Helen Wheels,” and includes a Linda McCartney Polaroid poster.

The 2LP vinyl edition features the original US album, remastered at half speed, and a second LP titled “Underdubbed” Mixes Edition, housed in a premium slipcase. The set also includes two Linda McCartney Polaroid posters.

A 2CD format features the original US album, “underdubbed” mixes, and a double-sided fold-out Polaroid poster taken by Linda McCartney. Band on the Run (Underdubbed) is also released digitally.

Speaking about the “Underdubbed” version Paul said:  

“This is Band on the Run in a way you’ve never heard before. When you are making a song and putting on additional parts, like an extra guitar, that’s an overdub. Well, this version of the album is the opposite, underdubbed.”

Band on the Run (Underdubbed) presents Band on the Run’s nine classic songs for the first time without any orchestral overdubs, available digitally. The previously unreleased rough mixes were created by Geoff Emerick, assisted by Pete Swettenham at AIR Studios, on 14th October 1973. The tracklist, newly ordered as detailed below, mirrors the original analog tapes discovered in the MPL archives.

Finally, Band on the Run is now available in Dolby ATMOS for the first time, newly mixed by Giles Martin and Steve Orchard.

Of the countless classic albums Paul McCartney has released throughout his illustrious career, Wings’ Band on the Run holds a place of particularly high esteem. The album not only delivered on the promise of Wild Life and Red Rose Speedway, it consolidated Wings’ status as standard bearers of ‘70s rock ’n’ roll. As the soundtrack for a decade defined by the rock radio playlists it dominated, Band on the Run would set the bar not only for Paul’s future efforts but also for generations of arena rock stars.

Exactly 50 years after its release, Band on the Run sounds as vibrant and relevant as ever, and in reaching this magnificent milestone, deserves its amazing story to be celebrated one more time.

By the summer of 1973, Paul had a fresh batch of songs earmarked for a new album. Looking through a list of EMI’s international studios, he chose Lagos, Nigeria, to be the location of its recording, becoming enthralled with the idea of recording in Africa. Just days before departure, lead guitarist Henry McCullough and drummer Denny Seiwell quit the band. Wings were now, suddenly, a trio. Paul, his wife Linda, and band member Denny Laine (along with recording engineer Geoff Emerick) toiled in the Lagos studio’s relatively rudimentary conditions, working up the new songs over two months. Disaster struck one night when Paul and Linda were robbed at knifepoint while walking home from a friend’s house, the thieves making off with a cassette of home demo recordings of the songs.  Paul was able to remember the songs as he’d only recently written them. 

Noted for its suite-like structure of three distinct movements, the title track “Band on the Run” was not an obvious pop hit, but it would top the US Billboard Hot 100 and propel its parent album back up the charts, becoming a #1 smash in both the US and UK, returning to the top spot twice more in America, and becoming the best-selling studio album of 1974 in Australia, Canada, and the UK.

Band on the Run has only grown in stature over the years. After scooping two Grammy Awards in 1975, the Deluxe Edition of Band on the Run was awarded a third in 2012—followed by the album’s induction into the Grammy Hall of Fame in 2013. It is considered the definitive Wings album and a firm fan favorite as new generations discover its genius. It took until 2010 for “Nineteen Hundred and Eighty Five” to be performed live, but now, as Paul’s solo career continues unabated, it is a regular presence in his live sets.

Paul recently performed songs from Band on the Run and across his unparalleled catalog at shows on his acclaimed Got Back tour. First launching in February 2022, Paul completed 16 huge gigs across the US before performing what the Times newspaper described as the “best gig ever” with his history-making headline set at Glastonbury in June 2022, a show that also saw Paul team with Dave Grohl for a special duet of ‘Band on the Run’.

The latest leg of the Got Back tour saw Paul return to Australia for his first live performances there in six years before huge sold-out stadium shows across Mexico and Brazil.

2LP / 2CD Track list

Disc One
Band on the Run

1. Band on the Run
2. Jet
3. Bluebird
4. Mrs. Vandebilt
5. Let Me Roll It
6. Mamunia
7. No Words
8. Helen Wheels
9. Picasso’s Last Words (Drink to Me)
10. Nineteen Hundred and Eighty Five

Disc Two
Band on the Run (Underdubbed Mixes)

1. Band on the Run
2. Mamunia
3. No Words
4. Jet
5. Bluebird
6. Mrs. Vandebilt
7. Nineteen Hundred and Eighty Five
8. Picasso’s Last Words (Drink to Me)
9. Let Me Roll It

1LP
Band on the Run

1. Band on the Run
2. Jet
3. Bluebird
4. Mrs. Vandebilt
5. Let Me Roll It
6. Mamunia
7. No Words
8. Helen Wheels
9. Picasso’s Last Words (Drink to Me)
10. Nineteen Hundred and Eighty Five

Digital Formats
Band on the Run (Underdubbed Mixes)

1. Band on the Run
2. Mamunia
3. No Words
4. Jet
5. Bluebird
6. Mrs. Vandebilt
7. Nineteen Hundred and Eighty Five
8. Picasso’s Last Words (Drink to Me)
9. Let Me Roll It

Band on the Run will also be available to stream in Dolby ATMOS

LCD SOUNDSYSTEM
2024 NORTH AMERICAN DATES ANNOUNCED
General On Sale Friday, February 2 at 10am Local Time
Pre-Sales and Additional Information at www.lcdsoundsystem.com

ALKALINE TRIO
BLOOD, HAIR, AND EYEBALLS
10th Studio Album Out Today on Rise Records
Watch the New Video for “Break” HERE
See the Band’s JIMMY KIMMEL LIVE! Appearance HERE

“Offers their signature sinister sensibility, with a fresh, albeit eerie, feeling of groundedness… It’s grim, and it’s great. True to form.”—ALTERNATIVE PRESS

“The band’s signature sound is obviously intact on Blood, Hair, and Eyeballs, but the songs are rendered with such immediacy and melodic intensity”—UNDER THE RADAR

The agonizing wait for the new Alkaline Trio album is over at last: Blood, Hair, and Eyeballs, the band’s 10th studio album, is out today, January 26, on Rise Records.

Blood, Hair, and Eyeballs’ arrival is heralded by the latest video from the album, this time for standout track “Break.” Premiering yesterday on rollingstone.com, “Break” captures the dark, alluring energy of a classic Alkaline Trio performance in stark and vivid black and white, the song’s infectious hooks and melodies offset — or possibly enhanced — by its backdrop of the Bob Baker Marionette Theater in Los Angeles.

“You ever see someone having such a horrible nervous breakdown that it looks like they’re dancing?” asks Alkaline Trio guitarist/vocalist Matt Skiba. “Me neither. But this song is sorta’ about that.”

Alkaline Trio dropped in at another hallowed L.A. theater earlier this week, taking the stage at Hollywood’s El Capitan Theatre as music guest for Tuesday’s episode of Jimmy Kimmel Live! — To watch Skiba, bassist/vocalist Dan Andriano and new drummer Atom Willard knock out a captivating “Bad Time,” go to https://www.youtube.com/watch?v=d0hQLVroxWo

Blood, Hair, and Eyeballs was recorded by Skiba, Andriano and since-departed drummer Derek Grant with GRAMMY winner Cameron Webb producing at Studio 606 in Northridge CA, and is the first Alkaline Trio album to be released via the band’s new label home, Rise Records. The album will be supported by an extensive North American tour—see below for dates—featuring Drug Church as support.

ALKALINE TRIO
Blood, Hair, and Eyeballs
North American Tour 2024
(DRUG CHURCH supports on all dates)

Thu — Feb 22, 2024 — Anaheim, CA — HOB Anaheim
Fri — Feb 23, 2024 — San Diego, CA — SOMA
Sat — Feb 24, 2024 — Phoenix, AZ — Van Buren
Mon — Feb 26, 2024 — Dallas, TX — HOB Dallas
Tue — Feb 27, 2024 — Austin, TX — Stubbs
Wed — Feb 28, 2024 — Houston, TX — HOB Houston
Fri — Mar 1, 2024 — Atlanta, GA — Tabernacle
Sat — Mar 2, 2024 — Orlando, FL — HOB Orlando
Sun — Mar 3, 2024 — Charlotte, NC — Fillmore
Tue — Mar 5, 2024 — Washington D.C. — Fillmore Silver Spring
Wed — Mar 6, 2024 — Philadelphia, PA — Fillmore Philadelphia
Fri — Mar 8, 2024 — Cleveland, OH — Agora Theater and Ballroom
Sat — Mar 9, 2024 — Queens, NY — Knockdown Center
Sun — Mar 10, 2024 — Boston, MA — HOB Boston
Tue — Mar 12, 2024 — Toronto, ON — History
Wed — Mar 13, 2024 — Montreal, QC — Beanfield
Fri — Mar 15, 2024 — Royal Oak, MI — Royal Oak Music Theatre
Sat — Mar 16, 2024 — Chicago, IL — Aragon Ballroom
Sun — Mar 17, 2024 — St. Louis, MO — The Pageant
Mon — Mar 18, 2024 — Minneapolis, MN — Fillmore Minneapolis
Wed — Mar 20, 2024 — Denver, CO — Fillmore Auditorium
Thu — Mar 21, 2024 — Salt Lake City, UT — The Complex
Sat — Mar 23, 2024 — Seattle, WA — Showbox SoDo
Sun — Mar 24, 2024 — Vancouver, BC — Vogue Theatre
Mon — Mar 25, 2024 — Portland, OR — Crystal Ballroom
Wed — Mar 27, 2024 — San Francisco, CA — The Masonic
Fri — Mar 29, 2024 — Los Angeles, CA — Novo
Sat — Mar 30, 2024 — Las Vegas, NV — Brooklyn Bowl Las Vegas

Photo Credit: Jonathan Weiner

The Brooklyn Museum Announces Paul McCartney
Photographs 1963–64: Eyes of the Storm 

Exhibition features hundreds of photographs from Paul McCartney’s
personal archives documenting the rise of Beatlemania.

On view May 3–August 18, 2024

Paul McCartney. Self-portrait, London, 1963. Pigmented inkjet print. © 1964 Paul McCartney under
exclusive license to MPL Archive LLP

As The Beatles captured the hearts of millions, Paul McCartney captured it all on his Pentax film camera. Paul McCartney Photographs 1963–64: Eyes of the Storm takes visitors inside the 1963–64 frenzy of Beatlemania, as the band’s first U.S. tour skyrocketed them to global fame. More than 250 of McCartney’s photographs, recently rediscovered in his archives, reveal his singular vantage point at the center of this whirlwind of attention and adoration—illuminating both the historical, and the personal, moments McCartney and his bandmates experienced together. First on view at the National Portrait Gallery in London, England, the exhibition makes its New York debut at the Brooklyn Museum, opening May 3, 2024, supported by Bloomberg Philanthropies. 

“Since first arriving in New York in February 1964, Paul McCartney has built a strong, everlasting connection to the city. His vibrant photographs from The Beatles’ first visit capture the energy of the city, the excitement of the American fans, and the frenzy of the band’s status as celebrities. Yet the images also record The Beatles’ fun and delight with each other. Through McCartney’s lens, we feel the intensity of being at the center of such extraordinary events,” says Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts.In an immersive installation of photography, video clips, and archival material, Eyes of the Storm traces the period when The Beatles played concert halls in Liverpool and 

London and began to tour internationally, first to Paris and then to the United States. McCartney’s photographs convey the intensity of the band’s touring schedule in the U.S., as the Fab Four were swept from concerts to hotels to the road with rabid fans and paparazzi at their heels, from New York and Washington, DC, to Miami. The band’s arrival in New York signaled a turning point in popular culture, as their first televised performance on The Ed Sullivan Show was watched by around seventy-three million people and launched The Beatles into superstardom. 

McCartney’s explorations in photography reflect his commitment to both the musical and visual arts. The range of work, from portraiture and landscape photos to documentary images, reveals McCartney’s familiarity with the formal styles of early 1960s photography. References to New Wave, documentary filmmaking, and photojournalism can be found across the exhibition. 

Eyes of the Storm not only showcases McCartney’s artistic versatility but also serves as a personal and historical archive. In addition to documenting the demands of touring and nonstop media attention, the photographs evoke an affectionate family album, picturing his fellow band members, John Lennon, George Harrison, and Ringo Starr, at a time when their lives were changing irrevocably. The exhibition gives visitors a highly personal glimpse into an extraordinary time period of one of music’s enduring legends.

Born in Liverpool, England, Paul McCartney rose to prominence as a founding member of The Beatles. Throughout his lifetime, McCartney has played a pivotal role in shaping the landscape of popular music and culture more broadly.Paul McCartney Photographs 1963–64: Eyes of the Storm has been organized by the National Portrait Gallery, London, England, in collaboration with Paul McCartney. It is curated by Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery. The presentation at the Brooklyn Museum is organized by Catherine Futter, Director of Curatorial Affairs and Senior Curator of Decorative Arts, and Jennie Tang, Executive Assistant to the Deputy Director of Art and the Director of Curatorial Affairs.

Lead Sponsor:

About Bloomberg Philanthropies:
Bloomberg Philanthropies invests in 700 cities and 150 countries around the world to
ensure better, longer lives for the greatest number of people. The organization focuses
on five key areas for creating lasting change: the Arts, Education, Environment,
Government Innovation, and Public Health. Bloomberg Philanthropies encompasses all
of Michael R. Bloomberg’s giving, including his foundation, corporate, and personal
philanthropy as well as Bloomberg Associates, a pro bono consultancy that works in
cities around the world. In 2022, Bloomberg Philanthropies distributed $1.7 billion. For
more information, please visit bloomberg.org, sign up for our newsletter, or follow us on
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TIME MARCHES ON
Metallica Marching Band Competition Winners Announced

Winners in Five Categories Chosen by Metallica and Two Fan Favorites Chosen by Popular Vote to Receive Nearly $200,000 in Prizes

Presented by Metallica, Tama, Sweetwater, KHS America, Zildjian, D’Addario Woodwinds, Evans Drumheads, ProMark, Gator, Conn Selmer, and Hal Leonard

http://metallicamarchingband.com/

The members of Metallica have selected the five winners of the first annual Metallica Marching Band Competition. The winners were chosen from an overwhelming flood of submissions that saw 450+ colleges and high schools across the U.S. signing up since the contest’s April 10, 2023 announcement. The field was narrowed down to five finalists in each category by professional judges, furnished by premiere marching band instrument manufacturers Conn Selmer, with first prize in each category ultimately awarded by Metallica:

College (Division 1) – $75,000 in prizing:

Auburn University

College (Divisions 2 & 3) – $40,000 in prizing:

Eastern New Mexico University

High School (Large) – $15,000 in prizing:

Dobyns-Bennett High School (Kingsport, TN)

High School (Medium) – $15,000 each in prizing: 

TIE – Boerne High School (Boerne, TX) & Malverne High School (Malverne, NY)

High School (Small) – $15,000 in prizing: 

Oakton High School (Vienna, VA)

Additionally, two Fan Favorite winners—one Collegiate (across all divisions) and one High School—have been determined by popular vote and will receive $10,000 each in prizing.

Fan Favorite (College): Auburn University
Fan Favorite (High School): Dobyns-Bennett High School (Kingsport, TN)

The victors in each category will receive instruments and equipment for their programs at the values listed above, provided by Metallica and sponsors including TAMA, KHS America, Zildjian, D’Addario Woodwinds, Evans Drumheads, ProMark, and Gator, in partnership with Sweetwater, Conn Selmer, and Hal Leonard.

The Metallica Marching Band Competition promises to be a yearly national challenge to marching bands of all levels to craft their most exciting, unique, and impressive performances of the band’s songs. For further information, please go to http://metallicamarchingband.com