Category: Uncategorized

Styx, REO Speedwagon‘s Kevin Cronin and former Eagles guitarist Don Felder kicked off the Brotherhood of Rock tour Wednesday night in Greenville, SC with a night full of classic rock hits.

You can see fan-shot video and the complete set lists for all three artists below.

Styx began their show with a full, sequential performance of their 1977 album The Grand Illusion, home of favorites such as “Come Sail Away” and “Fooling Yourself (Angry Young Man).”

They also played their new single “Build and Destroy” live for the first time. Earlier in the day they announced that their new avian-themed concept album Circling From Above would be available for sale at their concerts this summer. It is due to hit streaming services on July 18.

Cronin is embarking on his first major tour since being forced by a public, messy battle with bassist Bruce Hall to leave the REO Speedwagon name behind. The newly rechristened band’s lineup features the exact same musicians he toured with under his former group’s name last summer.

The Kevin Cronin Band also began their set by playing a classic album –  REO’s 1980’s Hi Infidelity – in full. They concluded their show with a blitz of radio classics such as “Can’t Fight This Feeling” and a newly appropriate “Roll With the Changes.”

Felder opened the night with an evening largely comprised of songs from his time with the Eagles, although he also treated fans to his new single “I Like the Things You Do” and his 1981 hit “Heavy Metal (Takin’ a Ride).”

The Brotherhood of Rock tour continues Friday night at the Hard Rock Hotel and Casino in Hollywood, Florida and is currently scheduled to conclude on Aug. 24 in Milwaukee. You can get complete show and ticket information at StyxWorld.com.

Watch Styx Perform ‘The Grand Illusion’ and ‘Fooling Yourself (Angry Young Man)’

Styx May 28, 2025 Greenville, SC Set List

The Grand Illusion
1. “The Grand Illusion”
2. “Fooling Yourself (The Angry Young Man)”
3. “Superstars”
4. “Come Sail Away”
5. “Miss America”
6. “Man in the Wilderness”
7. “Castle Walls”
8. “The Grand Finale”

9. “Rockin’ the Paradise”
10. “Too Much Time on My Hands”
11. “Lady”
12. “Build and Destroy”
13. “The Best of Times”
14. “Blue Collar Man (Long Nights)”
15. “Mr. Roboto”
16. “Renegade”

via SetList.fm

Kevin Cronin Band May 28, 2025 Greenville, SC Set List

Hi Infidelity
1. “Don’t Let Him Go”
2. “Keep On Loving You”
3. “Follow My Heart”
4. “In Your Letter”
5. “Take It on the Run”
6. “Tough Guys”
7. “Out of Season”
8. “Shakin’ It Loose”
9. “Someone Tonight”
10. “I Wish You Were There”

11.  “Keep Pushin'”
12. “Time for Me to Fly”
13. “Ridin’ the Storm Out”
14. “Can’t Fight This Feeling”
15. “Roll With the Changes”

via SetList.fm

Watch the Kevin Cronin Band Perform ‘Don’t Let Him Go’

Don Felder May 28, 2025 Greenville, SC Set List

1. “Already Gone”
2. “One of These Nights”
3. “Victim of Love”
4. “Seven Bridges Road”
5. “I Like the Things You Do”
6. “Heavy Metal (Takin’ a Ride)”
7. “Take It Easy”
8. “Heartache Tonight”
9. “Life in the Fast Lane”
10. “Hotel California”

via SetList.fm

Watch Don Felder Perform ‘Hotel California’

John Fogerty has rerecorded many of his greatest Creedence Clearwater Revival songs, and the resulting album will arrive on Aug. 22.

Legacy: The Creedence Clearwater Revival Years includes 20 tracks in which Fogerty and his family band stay as close as possible to the songs’ original sound. The full track list and his new version of “Have You Ever Seen the Rain” can be found below.

Like several artists before him – most famously Taylor Swift – Fogerty has re-recorded his songs in a bid to bypass those who own the rights to the original tapes. His move comes after he won a long legal battle over the songs’ publishing rights two years ago.

READ MORE: John Fogerty Didn’t Understand CCR Drama: ‘Why Are You Mad?’

“Fogerty celebrates the songs that shaped rock history – on his own terms,” a statement read. “For the first time, he fully owns the rights to his music. This marks both celebration and reclamation.

“With newly recorded versions of his hits, Legacy: The Creedence Clearwater Revival Years captures his raw energy with renewed fire. Backed by his family band and buoyed by a wave of fresh recognition, he remains both fierce and joyful. Legacy is not just a celebration of one of the greatest catalogs in rock ’n’ roll – it’s the sound of an American original claiming his place, once more, at center stage.”

Fogerty told Rolling Stone: “[T]he first five or six people I’ve talked to who’ve listened to it all say it sounds ‘fresher.’ Maybe what they’re saying is it’s clearer, or the fidelity is better or something? That may be something I hadn’t even counted on, but there’s more dimension to it, more depth.”

He admitted that, when the idea of remakes was first suggested, he “didn’t want to have anything to do with that,” but his feelings changed when he tried it out. As a result the album is very different from CCR songs he’d previously tracked with his family. “Instead of going off on a tangent of, ‘Oh, let’s do a folk music version,’ or something, the idea was to sound closely like the original,” he said.

The album is available for pre-order now.

Hear John Fogerty’s New Version of ‘Have You Ever Seen the Rain’

John Fogerty – ‘Legacy: The Creedence Clearwater Revival Years’ Track List

1. “Up Around The Bend”
2. ‘Who’ll Stop The Rain”
3. “Proud Mary”
4. “Have You Ever Seen The Rain”
5. “Lookin’ Out My Back Door”
6. “Born On The Bayou”
7. “Run Through The Jungle”
8. “Someday Never Comes”
9. “Porterville”
10. “Hey Tonight”
11. “Lodi”
12. “Wrote A Song For Everyone”
13. “Bootleg”
14. “Don’t Look Now”
15. “Long As I Can See The Light”
16. “Down On The Corner”
17. “Bad Moon Rising”
18. “Travelin’ Band”
19. “Green River”
20. “Fortunate Son”

The Oldest Rockers on Tour This Summer

They helped push rock into fun and interesting places – and they’re still out there doing it in the summer of 2024.

Gallery Credit: Nick DeRiso

More From Ultimate Classic Rock

Scoring a number one album on both the UK and US charts, as Sleep Token did earlier this month with Even In Arcadia, will naturally boost an artist’s profile, and bring it to the attention of ‘normies’, people who previously would have had zero knowledge of the act’s existence. Even so, we doubt that Sleep Token frontman Vessel was expecting to find his band discussed this week by TV presenter and author Richard Osman (Pointless, Richard Osman’s House of Games) and Guardian newspaper columnist Marina Hyde on their popular podcast The Rest Is Entertainment.

He might have been even more bemused to find his band described by Richard Osman, the brother of Suede bassist Matt Osman, “as the least metal thing I’ve ever heard”.

The subject arose following a discussion about the rescheduling of daytime television shows on British TV channel ITV, with Osman and Hyde then turning their attention to an analysis of Sleep Token, throwing in a mention of Ghost along the way.

“To be number one in America, number one album in America is huge,” Osman stated by way of an introduction to the band. “It’s a huge deal. And that’s exactly what Sleep Token have just done with their fourth album, which is called – and this will give you an idea of the type of band Sleep Token are – Even in Arcadia.”

“Now, Sleep Token are one of those bands, nobody knows who they are, because they are always masked, at all times,” he continued. “The lead singer is called Vessel – probably not his real name – and the other members of the band are called, in Roman numerals II, III, and IV.”

The idea of a public figure using a pseudonym to mask their true identity shouldn’t have come as a huge surprise to Marina Hyde, to be fair, given that she too uses a pseudonym. Born Marina Elizabeth Catherine Dudley-Williams, the daughter of Sir Alistair Edgcumbe James Dudley-Williams, 2nd Baronet, the journalist adopted the surname ‘Hyde’ while working for The Sun newspaper. But we digress…

“It’s hard rock,” Hyde tells the podcast’s viewers/listeners, to which Osman replies, “It’s not hard rock, this is what shocked me.”

“It’s the least metal thing I’ve ever heard,” he continues. “Basically, you could put this in your hand luggage and it would go through the scanners.”

“Genuinely, if you’ve not listened to them, go on to Spotify or, you know, buy an album and have a listen, because it’s sort of everything all at once. There’s some nu metal there, there’s EDM in there, here’s alt. pop, there’s pop-rap, there’s a bit of shoegaze… it’s a very, very peculiar sound.”

For the benefit of the podcast subscribers, Hyde adds, “Their live shows are called ‘Rituals’, the singles are ‘Offerings’. For older listeners there’s a very, very strong sense of Spinal Tap Stonehenge to this.”

If you want to hear more of the discussion, the tone of which should be familiar to any professional musicians who’ve had to endure family members asking annually if they’re “still doing your little band thing”, the full conversation is below, with the Sleep Token chat beginning around the 22 minute mark.

The Truth Behind ITV’s Daytime Cull – YouTube

Watch On

---

In the 400th issue of Metal Hammer, we uncovered Sleep Token’s secret origin story, via those who were there. From their first producer, to publicists and promoters, we revealed what Vessel was really like, and how his vision developed.

Sign up below to get the latest from Metal Hammer, plus exclusive special offers, direct to your inbox!

A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.

As Babymetal hit London’s O2 Arena and prepare to release new album Metal Forth, we speak to the trio about why they’ve gone collab crazy!

Metal Forth features a whopping seven guest stars from the modern metal scene: Poppy, Spiritbox, Electric Callboy, Slaughter To Prevail, Bloodywood, Polyphia and Tom Morello.

Babymetal singer Su-metal says they formed friendships with the artists through touring, resulting in an album that’s “incredibly rich and diverse”. The trio’s ambition now is to inspire others.

“During the making of the new album Metal Forth, and throughout these past few years of touring, we’ve really felt that Babymetal is being recognised within the metal world, and that there are people we’ve influenced who are now becoming the next generation of metal artists,” says Su-metal. “Our next goal is to help lead that next generation.”

We also speak to the guest collaborators themselves, about what it’s like to work with Japan’s biggest and brightest metal band.

“After so many years of writing music mostly on our own, it was refreshing to have totally different influences come into play,” explains Electric Callboy’s Kevin Ratajcazk of hit song Ratatata. “It made us more aware of how easy it is to get stuck in your ways, and it helped us to think more outside the box.”

Also in the issue, Metallica guitar legend Kirk Hammett reveals why he doesn’t believe in retirement, why he’s working on a new solo album – and why he cooked breakfast for Hollywood hotshot Jason Momoa.

Sign up below to get the latest from Metal Hammer, plus exclusive special offers, direct to your inbox!

Volbeat’s Michael Poulsen gets The Hammer Interview treatment, opening up about his friendship with King Diamond, his deep-dive into Satanism, and his weird obsession with… goats?! Plus, ahead of Linkin Park’s show at Wembley Stadium, we investigate their triumph, tragedy and unlikely resurrection.

Elsewhere, Opeth uncover the story behind their anthem Ghost Of Perdition, and System Of A Down bassist/Seven Hours After Violet man Shavo Odadjian talks deathcore, Cuban cigars and nonsense lyrics.

We also remember the chaos of Nine Inch Nails’ infamous Self Destruct touring cycle, find out why The Conjuring star Vera Farmiga has formed metal band The Yagas, and watch symphonic metal band Plague Of Angels take on a bunch of irate Christians by playing York Minster.

All this, along with Sleep Token, Ghost, Bury Tomorrow, Confess, Kuunatic, Malevolence, Vexed, Kalandra, Incineration festival, Inferno festival and much, much more.

Only in the new issue of Metal Hammer, on sale now. Order it online and have it delivered straight to your door.

Eleanor was promoted to the role of Editor at Metal Hammer magazine after over seven years with the company, having previously served as Deputy Editor and Features Editor. Prior to joining Metal Hammer, El spent three years as Production Editor at Kerrang! and four years as Production Editor and Deputy Editor at Bizarre. She has also written for the likes of Classic Rock, Prog, Rock Sound and Visit London amongst others, and was a regular presenter on the Metal Hammer Podcast. 

Kiss were always careful to put their best foot forward with the opening tracks of their 20 studio albums. Lead-off tracks such as “Strutter,” “Detroit Rock City” and “I Stole Your Love” are among the group’s most popular work, and quickly became staples of their live shows.

Sometimes it took a lot of work. “The hardest part for me in writing for an album is writing the first song, coming to grips with it thematically and finding out the direction for the album,” Paul Stanley explained in the band’s 2003 book Behind the Mask. “Not surprisingly, the first song written is the song that winds up as the first song on the album. It becomes the signature piece.”

Stanley proved particularly adept at writing those signature introductions, notching 18 over the band’s career compared to just two for his founding partner, Gene Simmons. Here’s our ranking of Kiss’ album opening tracks:

20. “Crazy Crazy Nights”
From: Crazy Nights (1987)

Crazy Nights was a particularly disappointing album, with Kiss abandoning the hard-earned goodwill of their four previous ’80s albums to chase Bon Jovi-style keyboard pop metal. The opening track is less guilty of this bandwagon-hopping than other songs on the album, but it’s still a bit toothless and stilted.

19. “Is That You?”
From: Unmasked (1980)

We’ve got a bit of a mirror-image situation to start our list. Unmasked is a highly underrated Kiss album, featuring a much more organic blend of pop hooks and rock instrumentation than Crazy Nights. But the opening “Is That You?” doesn’t gel together as well as other songs on the album. It does kick off with a rather savage “Cat’s drooling on the bar stool” shot at secretly estranged drummer Peter Criss, who did not perform on the album.

18. “Hate”
From: Carnival of Souls (1997)

After successfully reconnecting with his inner demon persona on 1992’s Revenge, Gene Simmons tried to pull Kiss into grunge territory – over Stanley’s objections – on 1997’s Carnival of Souls. Despite a distracting and dated muddy production, the plan actually works… sometimes. The opening “Hate” is one of the better songs on the album, but still sounds like a re-write of the superior “Unholy,” which we’ll talk about in a bit.

17. “The Oath”
From: Music From ‘The Elder’ (1981)

Kiss did not intend for “The Oath” to be the opening track of their widely mocked medieval concept album Music From ‘The Elder.’ That honor was supposed to go to the ornate classical music instrumental “Fanfare.” If that had happened, we would have put it 37th on this list.

Instead the label insisted on putting one of the most familiar-sounding tracks at the start of the album. “The Oath” is plenty weird but oddly appealing, with Stanley telling the story of a young warrior finding his inner courage – often in a falsetto voice – over a galloping progressive rock track.

16. “Psycho Circus”
From: Psycho Circus (1998)

Although Simmons and Stanley decided to record Kiss’ alleged original lineup reunion album without much help from Ace Frehley and Peter Criss, they did a pretty good job updating their Destroyer-era sound with the epic title track from Psycho Circus.

15. “Hell or Hallelujah”
From: Monster (2012)

Kiss’ last two studio albums found them leaving all the gimmicks, trend-chasing and outside songwriters behind in favor of straight-ahead four-piece rock and roll. “Hell or Hallelujah” from 2012’s Monster makes a very compelling case that should have been the plan all along.

14. “I’ve Had Enough (Into the Fire)”
From: Animalize (1984)

After two fantastic albums with producer Michael James Jackson pulled Kiss back from the brink of irrelevancy, Paul Stanley took over behind the board for 1984’s Animalize. With Gene Simmons focusing on his movie and label boss careers, Stanley and drummer Eric Carr steered the band into borderline speed metal territory on tracks such as “Under the Gun” and the sizzling opener “I’ve Had Enough (Into the Fire).”

13. “King of the Mountain”
From: Asylum (1985)

Animalize‘s hit single “Heaven’s on Fire” completed Kiss’ ’80s comeback, and the arrival of Bruce Kulick closed the revolving door that had been the band’s lead guitar position. Seemingly secure in their standing, Kiss brought a nice dose of their ’70s sound back for Asylum. The opening “King of the Mountain” gives both Carr and Kulick plenty of time to shine, as Stanley sings about conquering even more challenges.

12. “Exciter”
From: Lick It Up (1983)

After then-guest guitarist Vinnie Vincent made strong contributions to Kiss’ 1982 creative comeback Creatures of the Night, he was made a full-time member of the group and given an even larger role on 1983’s Lick It Up. The album featured a brighter and more accessible sound than its predecessor, and helped the band begin a commercial comeback with its catchy-as-hell title track. “Exciter” sets the opening tone very well, and features a secret guest solo from Rick Derringer.

11. “Rise to It”
From: Hot in the Shade (1989)

Apparently realizing they’d made a wrong turn with Crazy Nights, Kiss attempted to get back to basics with 1989’s Hot in the Shade. Overall the album is a bit overlong and under-cooked, but they hit the ground running with the effortlessly infectious “Rise to It.” The song’s video featured Simmons and Stanley briefly donning their famous facepaint, one of the first signs of the band reconnecting with their legacy.

10. “Creatures of the Night”
From: Creatures of the Night (1982)

Kiss was a wounded and cornered animal in 1982, having lost two original band members and being forced to watch their commercial fortunes plummet so quickly that they were unable to tour in America behind their previous two studio albums. But they came out with claws and teeth bared on 1982’s Creatures of the Night. With a pummeling drum-heavy sound courtesy of Carr and producer Michael James Jackson, the title track serves as a highly compelling mission statement.

9. “I Was Made for Lovin’ You”
From: Dynasty (1979)

“I Was Made for Lovin’ You” is undoubtedly the most divisive song in Kiss’ history. This is the first of several times where the band would risk a perfectly great formula by chasing the latest best-selling musical trend – in this case, disco. Dynasty wasn’t a great album overall, and was marred by increasing personal conflicts within the band. It is, in short, where the wheels came off for Kiss. But over 40 years later, can we admit the song itself is perfectly composed and catchy as hell?

8. “Room Service”
From: Dressed to Kill (1975)

Kiss admittedly ran a bit short of ideas on Dressed to Kill, the third studio album they released in just 13 months. But there’s an undeniable charm and energy to the album’s opening track, a throwback rocker about life on the road and all the temptations that come with it.

7. “Unholy”
From: Revenge (1992)

When Kiss took their makeup off on 1983’s Lick It Up, Gene Simmons got a bit lost. You can see it in their early videos, as he doesn’t quite know what to do with his hands or face if he’s not spitting blood or breathing fire. The decade’s glammy fashion wasn’t a perfect fit either, as the former God of Thunder himself joked that he looked “like a football player in a tutu.” But he rediscovered his muse big-time on 1992’s Bob Ezrin-produced Revenge, particularly on the sinister and thunderous opening track “Unholy.”

6. “Modern Day Delilah”
From: Sonic Boom (2009)

A decade after the near-miss of Psycho Circus, Kiss returned with the self-produced, self-written, BS-free album Sonic Boom. “Modern Day Delilah” was a near-perfect “remember us?” re-introduction, with an instantly memorable riff and smoking lead guitar work from new recruit Tommy Thayer.

5. “Strutter”
From: Kiss (1974)

One of the first songs Stanley and Simmons wrote together for the band’s debut album, “Strutter” establishes the template for Kiss’ early sound very effectively, with a dirty Rolling Stones-style main riff and glammed-up vocals.

4. “I Want You”
From: Rock and Roll Over (1976)

Concerned that the production on their previous album Destroyer had gotten a little too ornate and polished, Kiss recorded Rock and Roll Over in an abandoned theater, successfully bringing more of their raw live energy to a studio record. It helped that they had a particularly strong collection of songs, including the opening “I Want You,” which became a staple of the band’s live shows and a showcase for Stanley’s vocals.

3. “I Stole Your Love”
From: Love Gun (1977)

Kiss pretty much perfected their post-Alive! second stage formula on the last of their golden-era albums, 1977’s Love Gun. Stanley delivers his own version of the Stones’ spiteful “Under My Thumb” story over a blistering guitar riff on the opening “I Stole Your Love,” which also served as one of the band’s best concert-opening songs.

2. “Detroit Rock City”
From: Destroyer (1976)

After finally breaking through to the mainstream public with Alive!, Kiss recruited Alice Cooper producer Bob Ezrin to help them take their studio work to a new level. The resulting Destroyer featured some of the band’s most diverse and enduring songs, including “Do You Love Me,” “God of Thunder” and the left-field hit “Beth.” “Detroit Rock City” leads off the album in high style, showing off their newfound songwriting sophistication. It frequently and deservedly served as Kiss’ concert opening song for big chunks of their career.

1. “Got to Choose”
From: Hotter Than Hell (1974)

As excellent as Destroyer is, could it be that Kiss were actually better, or at least more unique, before Ezrin took them to musical boot camp? Undoubtedly they gained new levels of skill that served them well on their future albums, but there’s something magical about the band’s first three records that they never fully recaptured again.

Hotter Than Hell is a perfect example, full of dark, deep grooves, welcome trips into progressive rock and genuinely out-there musical moments such as “Goin’ Blind” and “Strange Ways.” The opening “Got to Choose” is a perfect example, a big lurching brontosaurus of a song balanced out by big and surprisingly sweet group vocals.

Five seasoned Nashville musicians gathered in 2005 for what was intended as casual bluegrass jams, ultimately creating one of contemporary Americana’s most enduring and celebrated ensembles. The SteelDrivers emerged from informal Sunday night sessions orchestrated by songwriter Mike Henderson and featuring the then-unknown Chris Stapleton, evolving into a Grammy-winning force that would redefine bluegrass boundaries. The band has experienced multiple lineup changes throughout its twenty-year history while maintaining its core instrumental foundation.

Their recorded legacy encompasses four studio albums on Rounder Records and one independent live recording captured at Nashville’s legendary Station Inn. The discography includes The SteelDrivers (2008), Reckless (2010), Hammer Down (2013), The Muscle Shoals Recordings (2015), and Bad for You (2020), with their fifth studio album Outrun scheduled for release in 2025. Commercial achievements include Grammy nominations for their early work and a Best Bluegrass Album Grammy win for The Muscle Shoals Recordings, while their debut album reached number 57 on the Billboard Top Country Albums chart.

The current lineup consists of founding members Tammy Rogers on fiddle and vocals, Mike Fleming on bass, and Richard Bailey on banjo, alongside newer members Matt Dame on guitar and vocals, and Brent Truitt on mandolin. Former members include co-founder Chris Stapleton, Gary Nichols, Kelvin Damrell, and the late Mike Henderson, whose death in 2023 marked the end of an era for the band. The SteelDrivers continue performing approximately 75 shows annually across major festivals and concert venues, maintaining their reputation as one of the most compelling live acts in American roots music.

Tammy Rogers

Tammy Rogers joined The SteelDrivers as a founding member in 2005, bringing her distinctive fiddle style and songwriting abilities to the group’s unique sound. Born in Tennessee in 1966 and raised in Irving, Texas, she serves as the band’s primary songwriter and has effectively become their frontwoman since Chris Stapleton’s departure. Her classical violin training and subsequent transition to bluegrass and country music provided the technical foundation for her versatile approach to The SteelDrivers’ genre-blending style.

Her musical journey began with classical violin lessons in fifth grade, followed by performance experiences at bluegrass festivals with her family. After graduating from Belmont University, she quickly established herself in Nashville’s music scene through her audition for Patty Loveless’s touring band in 1990. Subsequent work with artists including Reba McEntire, Emmylou Harris, and numerous session recording projects established her reputation as one of Nashville’s most respected fiddlers.

Rogers’s contributions to The SteelDrivers have been substantial across all their releases. On their self-titled debut, she provided the fiddle framework that helped define their distinctive sound. Reckless showcased her growing confidence as a songwriter and harmony vocalist. Hammer Down featured more prominent contributions from her pen, while The Muscle Shoals Recordings highlighted her role as the band’s creative anchor following personnel changes. Bad for You represents her full emergence as the band’s primary songwriter and creative force, with several deeply personal compositions.

Beyond The SteelDrivers, Rogers has maintained an active solo career and collaborative projects. Her co-founding of Dead Reckoning Records in the 1990s with artists including Mike Henderson established her as a pioneer in Nashville’s alternative country movement. Her recent collaboration with songwriter Thomm Jutz has produced over 140 co-written songs and the album Surely Will Be Singing. Her teaching position at Belmont University allows her to pass her expertise to the next generation of musicians, while her continued session work keeps her connected to Nashville’s broader musical community.

Mike Fleming

Mike Fleming joined The SteelDrivers as a founding member in 2005, providing the bass foundation that anchors their energetic sound. His role extends beyond rhythm section duties to include harmony vocals and creative input that has shaped the band’s musical direction throughout their various lineup changes. Fleming’s consistency has provided stability during The SteelDrivers’ multiple transitions, making him an essential element of their enduring identity.

His musical background includes extensive bluegrass experience dating back to his college years at the University of Missouri, where he first met Mike Henderson in a house full of young musicians exploring various styles. Their bluegrass collaboration lasted approximately seven years before both musicians pursued different directions, with Fleming eventually moving to Nashville to establish himself in the city’s music scene.

Fleming’s bass work across The SteelDrivers’ catalog demonstrates both technical proficiency and musical sensitivity appropriate to their diverse repertoire. His contributions to their debut album established the rhythmic foundation that would become their signature. Reckless featured his adaptation to the band’s evolving sound under evolving leadership structures. Hammer Down, The Muscle Shoals Recordings, and Bad for You all showcase his ability to provide consistent support while adapting to different vocal leaderships and musical approaches.

His relationship with the band extends beyond musical performance to include his role as a steady presence during personnel transitions. His long friendship with Mike Henderson, dating back to their college years, provided emotional continuity during the band’s formation and early development. His professional approach to touring and recording has contributed to The SteelDrivers’ reputation for consistent live performances and quality studio work.

Richard Bailey

Richard Bailey joined The SteelDrivers as a founding member in 2005, bringing his banjo expertise to their innovative approach to bluegrass music. His traditional bluegrass background provides counterpoint to the band’s more contemporary influences, creating the tension that defines their distinctive sound. Bailey’s playing combines technical mastery with musical creativity that pushes banjo boundaries within bluegrass contexts.

His musical foundation encompasses decades of experience in Nashville’s bluegrass community, where he developed relationships with the musicians who would eventually become The SteelDrivers. His reputation as a skilled banjo player made him an obvious choice when Mike Henderson began assembling the group for their initial casual sessions at his home in 2005.

Bailey’s banjo contributions across The SteelDrivers’ albums showcase both traditional elements and innovative approaches to the instrument. His work on their debut demonstrated his ability to provide classic bluegrass drive while adapting to Chris Stapleton’s soulful vocal style. Reckless featured his growing comfort with the band’s expanding musical palette. Subsequent albums including Hammer Down, The Muscle Shoals Recordings, and Bad for You highlight his continued evolution as both traditionalist and innovator.

His touring experience with The SteelDrivers includes major festivals and concert halls where his stage presence contributes to their dynamic live performances. His banjo work provides rhythmic drive during uptempo numbers while offering melodic counterpoint during ballads. His collaboration with the other founding members has created a musical chemistry that survives personnel changes and maintains The SteelDrivers’ essential character.

Matt Dame

Matt Dame joined The SteelDrivers as their current lead vocalist and guitarist, bringing a fresh voice to the band’s continuing evolution. His addition represents The SteelDrivers’ ongoing commitment to maintaining their musical vitality while honoring their established sound. Dame’s vocal style and guitar work provide continuity with the band’s tradition while introducing new elements that keep their music current.

His musical background includes experience in various Nashville musical contexts that prepared him for The SteelDrivers’ demanding performance requirements. His understanding of both traditional bluegrass and contemporary Americana allows him to navigate the band’s diverse repertoire with confidence and authenticity.

Dame’s integration into The SteelDrivers has allowed the band to continue their touring and recording activities following previous lineup changes. His vocal contributions complement the band’s established sound while adding personal elements that distinguish his tenure. His guitar work provides both rhythmic support and melodic enhancement that fulfills the requirements established by previous band members.

His stage presence contributes to The SteelDrivers’ continued reputation as compelling live performers. His interaction with veteran band members demonstrates the professional chemistry that allows The SteelDrivers to maintain their musical excellence across different personnel configurations. His commitment to the band’s artistic vision ensures their continued relevance in the competitive Americana music landscape.

Brent Truitt

Brent Truitt joined The SteelDrivers as mandolinist in December 2011, replacing founding member Mike Henderson and bringing his own production experience to the band. A Nashville musician and record producer, Truitt’s addition coincided with The SteelDrivers’ transition to a new phase of their career following Chris Stapleton’s departure. His mandolin work and production insights have contributed significantly to their continued success.

His musical background includes extensive experience as both performer and producer in Nashville’s music community. His production work with various artists provided him with studio expertise that benefits The SteelDrivers’ recording processes. His understanding of both traditional and contemporary approaches to string band music makes him well-suited to their genre-blending approach.

Truitt’s mandolin contributions began with Hammer Down, where he helped define the band’s post-Henderson sound. The Muscle Shoals Recordings showcased his ability to provide both traditional bluegrass elements and more contemporary textures. Bad for You demonstrates his full integration into the band’s creative process, with his mandolin work essential to their current sound.

His production involvement extends beyond performance to include creative input on arrangements and sonic approaches. His technical knowledge helps The SteelDrivers achieve the sound quality that maintains their professional reputation. His collaborative relationship with veteran band members ensures continuity with their established artistic vision while allowing for creative growth.

Chris Stapleton (Former Member)

Chris Stapleton joined The SteelDrivers as founding member and lead vocalist in 2005, serving as the band’s original frontman until his departure in April 2010. His powerful vocal style and songwriting collaboration with Mike Henderson established The SteelDrivers’ signature sound that would influence American music far beyond bluegrass boundaries. His tenure produced the band’s most commercially successful and critically acclaimed early material.

Stapleton’s background included extensive songwriting experience in Nashville, where he had established himself as a versatile composer capable of working across multiple genres. His collaboration with Mike Henderson on songs that would become SteelDrivers’ standards began years before the band’s formation. His vocal approach combined traditional country elements with soul and blues influences that distinguished The SteelDrivers from conventional bluegrass groups.

His contributions to The SteelDrivers included lead vocals on their self-titled debut and Reckless, both of which achieved significant commercial and critical success. Songs like “Blue Side of the Mountain,” “If It Hadn’t Been for Love,” and “Sticks That Made Thunder” established templates that would influence the band’s approach long after his departure. His guitar work provided rhythmic support while his songwriting collaboration with Henderson created material that remains central to their repertoire.

Stapleton’s departure from The SteelDrivers in 2010 to focus on family and songwriting marked a significant transition for the band. His subsequent solo career launched with Traveller in 2015, bringing him international recognition and multiple Grammy Awards. His continued friendship with former band members and his performance of SteelDrivers’ material in his solo career maintains connections to his bluegrass roots while demonstrating the lasting impact of his time with the band.

Gary Nichols (Former Member)

Gary Nichols joined The SteelDrivers as lead vocalist and guitarist in 2010, replacing Chris Stapleton and bringing his own distinctive voice to the band’s evolving sound. A former Mercury Records artist, Nichols provided stability during a crucial transition period while helping The SteelDrivers maintain their commercial momentum. His seven-year tenure produced some of the band’s most cohesive and impactful recorded material.

His musical background included solo recording experience and extensive performing credentials that prepared him for The SteelDrivers’ demanding tour schedule. His vocal style differed from Stapleton’s approach while maintaining the emotional intensity that defined the band’s sound. His guitar work complemented the band’s instrumental arrangements while providing the foundational rhythmic support required by their high-energy performances.

Nichols’s contributions spanned three studio albums with The SteelDrivers: Hammer Down, The Muscle Shoals Recordings, and initial work on what would become Bad for You. His vocal performances on The Muscle Shoals Recordings contributed to their Grammy Award win for Best Bluegrass Album in 2015. His songwriting collaboration with band members added new material to their repertoire while maintaining continuity with their established style.

His departure in August 2017 marked another transition period for The SteelDrivers, though his professional approach to the change ensured continued respect from band members and fans. His work with the band demonstrated their ability to maintain musical excellence across different vocal leaderships. His contributions to their Grammy-winning material established his permanent place in The SteelDrivers’ history.

Kelvin Damrell (Former Member)

Kelvin Damrell joined The SteelDrivers as lead vocalist in 2017, replacing Gary Nichols after being discovered through a YouTube video spotted by Tammy Rogers’s daughter. The Kentucky native brought fresh energy and vocal interpretation to the band’s established repertoire while contributing to their 2020 album Bad for You. His tenure marked another successful transition in The SteelDrivers’ ability to reinvent their sound with new personnel.

His musical background included performing experience that qualified him for The SteelDrivers’ professional requirements. His vocal style incorporated elements that distinguished his approach from previous lead singers while maintaining the emotional intensity that defines the band’s character. His guitar work provided competent support to the band’s arrangements while allowing focus on his vocal contributions.

Damrell’s primary recorded contribution appears on Bad for You, where his voice defines the album’s sound and approach. His interpretation of both new material and reimagined older songs demonstrated his ability to honor The SteelDrivers’ tradition while adding personal elements. His collaborative relationship with band members suggested potential for long-term creative development.

His period with The SteelDrivers included extensive touring that allowed audiences to experience his interpretation of their catalog. His stage presence contributed to their continued reputation as compelling live performers. His departure marked another transition in the band’s ongoing evolution, illustrating their pattern of successful personnel changes that maintain musical quality while introducing fresh elements.

Mike Henderson (Former Member, Deceased)

Mike Henderson co-founded The SteelDrivers in 2005, serving as mandolinist, songwriter, and the band’s original musical architect until his departure in 2011. Born in Independence, Missouri, in 1953, Henderson’s diverse musical background encompassed blues, country, and bluegrass that directly informed The SteelDrivers’ genre-defying approach. His death in September 2023 marked the loss of one of Nashville’s most respected musicians and the original creative force behind The SteelDrivers.

Henderson’s musical journey began in Missouri where he met future bandmate Mike Fleming during college years at the University of Missouri. Their early bluegrass collaboration laid groundwork for relationships that would eventually lead to The SteelDrivers’ formation. His move to Nashville in the 1980s led to staff songwriter positions with EMI and solo recording contracts that established his reputation as performer and composer.

His contributions to The SteelDrivers included mandolin performance and songwriting on their self-titled debut and Reckless albums. His collaboration with Chris Stapleton produced many of the band’s most enduring songs, including material that would later become central to Stapleton’s solo career. His mandolin work provided melodic counterpoint to the band’s rhythmic foundation while his production insights shaped their studio approach.

Henderson’s continued collaboration with Chris Stapleton after leaving The SteelDrivers produced Grammy-winning songs including “Broken Halos” and “Starting Over.” His Monday night residency at Nashville’s Bluebird Cafe for nearly forty years demonstrated his commitment to live musical community. His influence on The SteelDrivers’ sound and approach continues through the band’s ongoing commitment to his musical vision and their dedication to songs from their Henderson era.

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of The SteelDrivers Band Members article published on ClassicRockHistory.com© 2025

Grimes, known offstage as Claire Elise Boucher, began shaping her experimental sound in the underground music scene of Montreal after relocating from Vancouver in the late 2000s. While attending McGill University, she immersed herself in visual art and electronic music production, setting the stage for what would become one of the most genre-defying careers in modern pop. Working independently, she released her first two albums in 2010—Geidi Primes and Halfaxa. These early records fused elements of industrial, dream pop, and lo-fi aesthetics, laying the foundation for a new kind of sonic identity that would set her apart from mainstream artists.

The breakout came in 2012 with her third studio album, Visions, released on Arbutus Records and 4AD. The album was written, recorded, and produced entirely by Grimes in her apartment over a three-week period, demonstrating her independent ethos and DIY commitment. The lead single, “Oblivion,” became an unexpected critical success, topping multiple year-end lists, including Pitchfork’s Best Song of 2012. The album itself was shortlisted for Canada’s Polaris Music Prize and won Electronic Album of the Year at the Juno Awards. With Visions, she proved that intricate production, ethereal vocals, and deeply personal songwriting could be packaged into a singular vision that still reached a wide audience.

Her fourth album, Art Angels, arrived in 2015 and marked a dramatic shift in her sound. Brighter, bolder, and more accessible, it featured tracks like “Flesh Without Blood” and “Kill V. Maim,” both of which showcased her ability to merge pop energy with avant-garde style. The album was met with widespread acclaim—NME named it the best album of the year—and it confirmed her status not just as an innovator in indie-electronica, but as a dominant force in contemporary pop culture. Grimes took on every aspect of the album’s creation: she wrote, produced, performed, engineered, and even directed the visuals, pushing the limits of what one person could accomplish independently in the digital age.

Following the success of Art Angels, Grimes took more time before releasing her fifth album, Miss Anthropocene, in 2020. A concept album centered on themes of climate change and technology personified through a goddess-like figure, the project allowed her to explore darker and more cinematic terrain. Tracks such as “Delete Forever,” “Violence,” and “So Heavy I Fell Through the Earth” displayed her continued interest in blending emotional vulnerability with complex sonic landscapes. The album received strong reviews and topped year-end lists once again, demonstrating her consistency and artistic growth over a decade in the business.

Grimes is not only a musician but a multidisciplinary artist whose creativity extends into visual design, digital art, and performance aesthetics. She’s been involved in designing her own album artwork, directing her music videos, and staging immersive live performances. Her artistic sensibility is also evident in collaborations outside of music: she has partnered with fashion brands such as Saint Laurent and Stella McCartney and created a digital capsule wardrobe as part of her NFT ventures. In 2021, she entered the blockchain art world with a series of NFT releases that brought in millions of dollars, cementing her place at the cutting edge of tech-art intersections.

In addition to studio albums, she has released numerous standalone singles and collaborations. These include contributions to film and TV, such as “Medieval Warfare” on the Suicide Squad soundtrack, and appearances with artists like Janelle Monáe and Bring Me the Horizon. Her ability to effortlessly cross genres—from industrial pop to sci-fi balladry—makes her one of the most unpredictable and adventurous artists of the last 15 years.

Grimes’s work is often infused with philosophical and science fiction themes, touching on transhumanism, AI, and the future of art in a post-human world. This intellectual curiosity sets her apart and brings academic weight to her discography. Whether she’s referencing anime, 20th-century theory, or the ethics of machine consciousness, she’s never content to deliver surface-level content. Each album comes with its own world-building, complete with alternate personas, mythological references, and visual symbols that demand deep attention.

Outside of her professional work, her personal life became a global talking point due to her high-profile relationship with Elon Musk. The couple has three children together and has remained in the media spotlight, especially as Grimes continued her public commentary on AI, gender, and the future of human evolution. Though her fame grew through these associations, she consistently redirected attention back to her art, ensuring that her body of work—not tabloid headlines—defined her career.

Her accolades span both critical and industry acclaim. She’s won multiple Juno Awards, received widespread recognition from international press outlets, and has built a reputation as a singular creative voice in music and art. In 2013, she was named Artist of the Year by the Webby Awards, and her continued recognition in global media outlets speaks to the lasting impression of her artistic contributions. Whether performing on major festival stages or releasing experimental tracks from her home studio, Grimes retains full creative control over her music and public image.

Her refusal to be boxed in by genre or expectation has become part of her legacy. She has repeatedly emphasized the importance of artistic autonomy and the value of building independent platforms, often speaking out about the challenges female producers face in the music industry. As a producer, engineer, and performer of her own work, she is one of the few women in the industry with complete authorship over her sound, and she’s used that platform to call for greater inclusivity and recognition for others following in her path.

To date, Grimes has released five studio albums, numerous EPs, and dozens of singles. Each album builds on the last, reflecting her continual reinvention and evolution as an artist. Her music resists easy classification but always returns to themes of identity, futurism, and emotional conflict. She continues to hint at a sixth studio album, teasing fragments online and using platforms like TikTok and Discord to engage with fans in unconventional ways.

As of now, Grimes remains one of the most influential voices at the intersection of music, visual art, and digital culture. Her influence can be felt not only in the sonic innovations she’s brought to pop and electronic music, but in the way she’s redefined what it means to be a multi-platform artist in the 21st century. Her career continues to evolve in tandem with the technology she often sings about, making her not only a chronicler of modern life but one of its most original architects.

Complete List Of Grimes Songs From A to Z

1. 4ÆM – Miss Anthropocene – 2020
2. Ambrosia – Visions – 2012
3. Angel – Visions – 2012
4. Artangels – Art Angels – 2015
5. Avi – Geidi Primes – 2010
6. Be a Body (侘寂) – Visions – 2012
7. Be a Body (Baardsen Rework) – Visions – 2012
8. Be a Body (Tokori Remix) – Visions – 2012
9. Beast Infection – Geidi Primes – 2010
10. Before the Fever – Miss Anthropocene – 2020
11. Belly of the Beat – Art Angels – 2015
12. Butterfly – Art Angels – 2015
13. Caladan – Geidi Primes – 2010
14. California – Art Angels – 2015
15. Christmas Song (featuring Jay Worthy) – Visions – 2012
16. Circumambient – Visions – 2012
17. Colour of Moonlight (Antiochus) (featuring Doldrums) – Visions – 2012
18. Cry (Ashnikko featuring Grimes) – Non-album single – 2020
19. Dark Come Soon (guest appearance) – Non-album single – 2017
20. Darkseid (with 潘PAN) – Miss Anthropocene – 2020
21. Darkseid (Richie Hawtin remix) (featuring 潘PAN) – Miss Anthropocene – 2020
22. Delicate Weapon (guest appearance) – Non-album single – 2020
23. Delete Forever – Miss Anthropocene – 2020
24. Delete Forever (Channel Tres remix) – Miss Anthropocene – 2020
25. Devon – Halfaxa – 2010
26. Dragvandil – Halfaxa – 2010
27. Dream Fortress – Halfaxa – 2010
28. Easily – Art Angels – 2015
29. Eight – Visions – 2012
30. Entropy (with Bleachers) – Non-album single – 2015
31. Favriel – Halfaxa – 2010
32. Feyd Rautha Dark Heart – Geidi Primes – 2010
33. Flesh Without Blood – Art Angels – 2015
34. Fly to You (guest appearance) – Non-album single – 2023
35. Gambang – Geidi Primes – 2010
36. Genesis – Visions – 2012
37. Genesis (Skip Remix) – Visions – 2012
38. Go (featuring Blood Diamonds) – Non-album single – 2014
39. Go (BloodPop Remix) – Art Angels – 2015
40. Golden Calf (guest appearance) – Non-album single – 2013
41. Grisgris – Geidi Primes – 2010
42. Hallways – Halfaxa – 2010
43. Heartbeats – Halfaxa – 2010
44. Heaven (guest appearance) – Non-album single – 2015
45. I Wanna Be Software (with Illangelo) – Non-album single – 2023
46. Idoru (algorithm mix) – Miss Anthropocene – 2020
47. Idoru (Art Mix) – Miss Anthropocene – 2020
48. Idoru (Modeselektor remix) – Miss Anthropocene – 2020
49. Image (Grimes Special) (with Magdalena Bay) – Non-album single – 2024
50. Infinite ♡ Without Fulfilment – Visions – 2012
51. Intor / Flowers – Halfaxa – 2010
52. Kill V. Maim – Art Angels – 2015
53. know the way (outro) – Visions – 2012
54. Last Day / Новый День (guest appearance) – Non-album single – 2022
55. Laughing and Not Being Normal – Art Angels – 2015
56. Life After Death – Visions – 2012
57. Life in the Vivid Dream – Art Angels – 2015
58. Love4eva (Loona yyxy featuring Grimes) – Non-album single – 2018
59. Medieval Warfare – Non-album single – 2016
60. My Name Is Dark (algorithm mix) – Miss Anthropocene – 2020
61. My Name Is Dark (art mix) – Miss Anthropocene – 2020
62. My Name Is Dark (Julien Bracht remix) – Miss Anthropocene – 2020
63. My Sister Says the Saddest Things – Halfaxa – 2010
64. New Gods – Miss Anthropocene – 2020
65. New Gods (Tale of Us & Âme remix) – Miss Anthropocene – 2020
66. Nihilist Blues (Bring Me the Horizon featuring Grimes) – Non-album single – 2019
67. Nightmusic (featuring Majical Cloudz) – Visions – 2012
68. No Man’s Land (guest appearance) – Non-album single – 2022
69. Nothing Lasts Forever (with Sevdaliza) – Non-album single – 2023
70. Oblivion – Visions – 2012
71. Oblivion (Baardsen Remix) – Visions – 2012
72. Outer – Halfaxa – 2010
73. Phone Sex (Blood Diamonds featuring Grimes) – Non-album single – 2012
74. Pin – Art Angels – 2015
75. Play Destroy (guest appearance) – Non-album single – 2018
76. Player of Games – Non-album single – 2021
77. Pretty Dark – Non-album single – 2019
78. Pynk (Janelle Monáe featuring Grimes) – Non-album single – 2018
79. Realiti – Art Angels – 2015
80. Realiti (demo) – Art Angels – 2015
81. Rosa – Geidi Primes – 2010
82. Sagrad Прекрасный – Halfaxa – 2010
83. Sardaukar Levenbrech – Geidi Primes – 2010
84. Scream (featuring Aristophanes) – Art Angels – 2015
85. Shadout Mapes – Geidi Primes – 2010
86. Sheesh (Benee featuring Grimes) – Non-album single – 2020
87. Shinigami Eyes – Non-album single – 2022
88. Skin – Visions – 2012
89. So Heavy I Fell Through the Earth (algorithm mix) – Miss Anthropocene – 2020
90. So Heavy I Fell Through the Earth (ANNA remix) – Miss Anthropocene – 2020
91. So Heavy I Fell Through the Earth (art mix) – Miss Anthropocene – 2020
92. Song for Ric (featuring Majical Cloudz) – Visions – 2012
93. Swan Song – Halfaxa – 2010
94. Symphonia IX (my wait is u) – Visions – 2012
95. Take Me Away (guest appearance) – Non-album single – 2014
96. The Medicine Does Not Control Me (guest appearance) – Non-album single – 2018
97. Venus Fly (featuring Janelle Monáe) – Art Angels – 2015
98. Venus in Fleurs – Geidi Primes – 2010
99. Violence (with I_o) – Miss Anthropocene – 2020
100. Violence (with I_o) (club mix) – Miss Anthropocene – 2020
101. Violence (REZZ remix) (featuring I_o) – Miss Anthropocene – 2020
102. Visiting Statue – Visions – 2012
103. Vowels = Space and Time – Visions – 2012
104. We Appreciate Power (algorithm mix) – Miss Anthropocene – 2020
105. We Appreciate Power (BloodPop remix) – Miss Anthropocene – 2020
106. We Appreciate Power (featuring Hana) – Miss Anthropocene – 2020
107. Welcome to the Opera (with Anyma) – Genesys – 2023
108. Weregild – Halfaxa – 2010
109. World ♡ Princess – Halfaxa – 2010
110. World Princess Part II – Art Angels – 2015
111. You’ll Miss Me When I’m Not Around – Miss Anthropocene – 2020
112. You’ll Miss Me When I’m Not Around (Things You Say remix) – Miss Anthropocene – 2020
113. Zoal, Face Dancer – Geidi Primes – 2010
114. † River † – Halfaxa – 2010
115. ∆∆∆∆Rasik∆∆∆∆ – Halfaxa – 2010
116. ≈Ω≈Ω≈Ω≈Ω≈Ω≈Ω≈Ω≈Ω≈ – Halfaxa – 2010

Albums

Geidi Primes (2010): 11 songs

Halfaxa (2010): 16 songs

Visions (2012): 22 songs

Art Angels (2015): 16 songs

Miss Anthropocene (2020): 25 songs

Check out our fantastic and entertaining Grimes articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Grimes Songs From A to Z article published on ClassicRockHistory.com© 2025

US rockers Styx shared the first new music from their upcoming new album, Circling From Above, releasing a video for new single Build And Destroy.

The septet have just announced that they will release their 18th studio album, Circling From Above, through their Alpha Dog 2T/UMe label on July 18, and which the band say looks at the “complexities of the human experience through the intersecting lenses of technology and nature.”

The new album continues the more progressive direction the band have taken on recent albums such as The Mission (2017) and Crash Of The Crown (2021), mixing the prog approach of the early Wooden Nickel albums with the melodic hard rock with which they made ntheir name in the late 70s and early 80s.

“When you start writing an album, there’s generally something that piques your imagination, and all of a sudden, you’re a storyteller starting with the seed of a story,” says guitarist and vocalist Tommy Shaw. “A good song is like a straight road — it’ll get you to the next place.”

“That little melody, I kept singing Build And Destroy,” explains singer/keyboardist Lawrence Gowan, who takes the lead vocal on the new single. “Even though we don’t sing over that part, I kept thinking that would be a good title. It’s thematic. The melody feels like a little Star Trek or Twilight Zone thing — just a small tag that reinforces the title.”

“We knew it was strong,” Gowan says. “Even though it was the second-to-last song we finished, it felt like a quick way into the album’s overall theme.”

Circling From Above has been produced by the band’s guitarist and multi-instrumentalist Will Evankovich, who also produced the band’s previous two albums before becoming a full-time band member.

Sign up below to get the latest from Prog, plus exclusive special offers, direct to your inbox!

Styx will embark on a summer tour of the US with The Kevin Cornin Band, on what is being dubbed the Brotherhood Of Rock tour.

Pre-order Circling From Above.

Styx – Build & Destroy (Official Music Video) – YouTube

Watch On

Styx: Circling From Above
1. Circling From Above
2. Build and Destroy
3. Michigan
4. King of Love
5. It’s Clear
6. Forgive
7. Everyone Raise A Glass
8. Blue Eyed Raven
9. She Knows
10. Ease Your Mind
11. The Things That You Said
12. We Lost the Wheel Again
13. Only You Can Decide

Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.

U2 frontman Bono has spoken about his band’s work on a new album, saying, “Nobody needs a new U2 album unless it’s an extraordinary one.”

The 65-year-old Dubliner was talking to US chat show host Jimmy Kimmel, promoting his new film, Bono: Stories of Surrender, which will premiere on Apple TV+ tomorrow, May 30.

During the conversation, Kimmel asks Bono if “you guys are working on anything right now?”, to which the singer replies, “Oh yes” to cheers from the show’s audience.

“We’ve been in the studio,” he confirms, “and, you know, I think you’ve sometimes got to deal with the past to get to the present, in order to make the sound of the future, which is what we want to do.”

“It’s the sound of four men, who feel like their lives depend on it… Nobody needs a new U2 album unless it’s an extraordinary one. And I’m feeling very strong about it.”

Bono goes to say that the album features, “songs for the kitchen, songs for the speedway, the garage… for every part of your life, songs to make up to, songs to break up to.

“U2 makes a very unique sound when we play together.” he adds. “The sound of a room is what we’re going for.”

Previously, Bono told The New York Times that he wanted U2 to make a “noisy, uncompromising, unreasonable guitar album”, stating “Right now I want to write the most unforgiving, obnoxious, defiant, fuck-off-to-the-pop-charts rock ‘n’ roll song that we’ve ever made.”

However, guitarist The Edge later stated that he and the vocalist were working on “some crazy kind of sci-fi Irish folk music.”

Watch the full interview below:

Bono on His Film’s Ovation at Cannes, Combative Relationship with His Father & Springsteen vs Trump – YouTube

Watch On

---

Bono: Stories of Surrender, filmed at the Beacon Theatre in New York, is described as “a bold and lyrical visual exploration of Bono’s one-man show by the same name, based on his celebrated memoir, Surrender: 40 Songs, One Story, and the accompanying book/theatre tour.”

The latest news, features and interviews direct to your inbox, from the global home of alternative music.

A synopsis for the film adds that it captures the singer as “he pulls back the curtain on a remarkable life and the family, friends, and faith that have challenged and sustained him, revealing personal stories about his journey as a son, father, husband, activist and rockstar.”

Along with never-before-seen, exclusive footage from the Beacon Theatre shows, the film features Bono performing iconic U2 songs that have shaped his life and legacy.

Bono: Stories of Surrender — Official Trailer | Apple TV+ – YouTube

Watch On

A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.