Louis Armstrong, whose recordings of ‘St. Louis Blues’ and ‘If I Lose, Let Me Lose (Mama Don’t Mind)’ will enter the public domain in 2026. Photo Credit: Herbert Behrens 2026
Apples of her eyeMarshall Group Supporting Independent Music Venues
Photo Credit: Marshall Group Marshall Group announces the launch of Amplify, a new membership program providing long-term support for grassroots music venues worldwide. Audio, tech, and design powerhouse Marshall Group
Pearls of wisdomAmber Kori seduced Chicago Deep House with her latest mix, Buzz Me In -
Amber Kori’s Buzz Me In is as close to ASMR seduction as deep house gets. By choosing romanticism over the superficial sheen of lust-fuelled progressions, she created a soulfully euphonic
Heart of goldJustin Timberlake Taking Legal Steps to Block DWI Arrest Video
Photo Credit: Justin Timberlake (Instagram) Justin Timberlake is suing the luxe Long Island town of Sag Harbor in a move to block the public release of the bodycam footage of
Rays of her sunshineTour news: Sleater-Kinney & Fred Armisen’s Ramones tribute band, WhoMadeWho, Surfbort, SF Bay Popfest, Wicca Phase, Concrete Collective, more
Here’s a roundup of recent tour news. Check the Tour Dates category for more. SLEATER-KINNEY AND FRED ARMISEN’S RAMONES TRIBUTE BAND The Return of Jackie and Judy, aka the Ramones tribute band
Spark in his stepGerman Music Industry Experiences 2025 Growth Slowdown
A breakdown of the German music market’s 2025 revenue by format. Photo Credit: Bundesverband Musikindustrie (BVMI) Due to modest streaming gains and an almost 6% year-over-year (YoY) physical slip, the
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Lou Waters Turned Wilt, Wonder and Quiet Soul-Driven Consolation into the Art Pop Bloom of ‘Cut Flowers Die’ -
Lou Waters used flora as a parable for transient romance in her latest single, Cut Flowers Die. The wistfully poignant exposition of watching beauty decay mellifluously flows with the traditions
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Sheera perfection Is Switching Partners Becoming Too Difficult for Music Companies?
Photo Credit: Pixabay This is becoming a tricky concern for many music companies, with difficult partner decisions routinely arising across distribution, PROs, royalty tracking, metadata, ticketing, mass payment solutions, and,
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Sheera perfection Tara Formosa spawned the heartbreak horror genre in her dark synth pop hit, Monster -
Tara Formosa framed heartbreak as an emotive horror genre in Monster; dark synth pop single that drags you straight into a retro-futurist fever dream. The Malta-based Aussie singer-songwriter channelled the
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Indie Basement is a weekly column on BrooklynVegan focusing on classic indie and alternative artists, “college rock,” and new and current acts who follow a similar path. There are reviews
Photo Credit: Kelly Sikkema YouTube has reportedly started terminating some of the channels behind unauthorized artificial intelligence film trailers. Is a crackdown on AI music accounts next? Though it’ll be
Daniel Lopatin, aka Oneohtrix Point Never, has had a busy 2025. He released his new 0PN album, Tranquilizer, and scored new film Marty Supreme. The movie is the solo directorial
MERCY VIBE never keeps creativity on a leash, and in Mercy’s Chill, she floods the soundscape with a current strong enough to sweep the weight off your shoulders. The deep
The Let’s Rap About It Podcast—Maino, Jim Jones, Fabolous and Dave East—are taking aim at 50 Cent on a new freestyle released on Christmas Day. On Thursday (Dec. 25), the
Perry Bamonte, who played guitar and other instruments in The Cure, has died after a short illness. He was 65. The news was shared via The Cure’s website: IT IS
Photo Credit: Bandcamp Bandcamp Fridays saw fans contribute $19 million directly to artists and labels this year, surpassing 2024’s total and underscoring the value of fan-driven support on the platform.
SUGARAE knew exactly how to juxtapose luminous synth lines with caustic, bass-heavy reverberations to summon pure emotive tension in Won’t Let You Down. While ‘cinematic’ gets flung about far too
Photo Credit: Gabriel Gurrola PPL paid out £54.3 million ($73.2 million) to performers and rightsholders this quarter, bringing its total payments in 2025 to £277.7 million ($374.6 million). On December
