Posts tagged with "Stereogum"

Taylor Swift illustration by Heather Skovlund for 360 Magazine

Fearless (Taylor’s Version)

FEARLESS (TAYLOR’S VERSION) BOWS AT #1 IN THE U.S., UK, CANADA, AUSTRALIA & MORE AND BECOMES TAYLOR SWIFT’S 3RD #1 ALBUM IN LESS THAN A YEAR & THE BIGGEST COUNTRY ALBUM DEBUT SINCE 2015
 
BIGGEST FIRST-WEEK DEBUT OF 2021 & BIGGEST FEMALE COUNTRY STREAMING WEEK EVER!

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Returning to #1 around the world and breaking numerous records, Taylor Swift has made history yet again with Fearless (Taylor’s Version). Notably, she’s the first woman with three new No. 1 albums in less than a year. Moving over 1 million units worldwide, Fearless (Taylor’s Version) logged the “biggest first week debut of any album this year,” “the biggest first week debut for a country album since 2015” and “the biggest female country streaming week ever. Fearless (Taylor’s Version) is the only No. 1 album of its kind: a re-recording of an artist’s (own or another’s) previously released album.
 
Generating 50 million-plus streams on release day, it also achieved “the biggest first day streaming debut for any album on Spotify this year” and marked her fourth consecutive album to exceed 50 million Spotify streams in 24 hoursFearless (Taylor’s Version) also becomes the first country album by a female artist to reach #1 on Apple Music’s US Albums chart.
 
In addition to capturing #1 on the Billboard Top 200, #1 on the Billboard Top Album Sales chart and #1 on the Billboard Country Albums chart, it went #1 in the UK, Canada, Australia, New Zealand, and Ireland. It debuted Top 5 in Belgium, Norway and the Netherlands and in Germany it was the biggest debut by a country album in the history of Germany’s album chart. Fearless (Taylor’s Version) charted at #1 on the iTunes Top Overall Albums Chart in 61 countries.
 
Fearless (Taylor’s Version) stands out as Taylor’s 4th #1 album in less than two years with the “3 biggest debuts since July 2020” with folkloreevermore, and Fearless (Taylor’s Version). It also emerges as “the biggest female country album debut since the inception of the Billboard Top 200 album-based conception charts in 2014.” Fearless (Taylor’s Version) is the eleven-time GRAMMY Award-winning, record-breaking superstar’s 9th #1 Album.
 
Taylor entered rarified air across the pond as Fearless (Taylor’s Version) became her 3rd album to chart #1 during its debut week in less than a year in the UK. The Beatles had previously accomplished this incredible feat the fastest in 364 days, but Taylor eclipsed the speed of The Fab Four as she reached this benchmark and accumulated three #1’s in just 259 days—a difference of 105 days.
 
Not only did it become her 7th #1 in the country, but Taylor became “the first and only solo artist ever to claim three UK #1 albums in less than 12 months during the 21st century” and “the first ever international artist and first ever female artist to land three #1 albums in the UK within one year in history.”
 
Physical sales of Fearless (Taylor’s Version) outsold the remaining combined total physical sales of the UK Top 15. The permanent downloads also bested the remaining combined total permanent downloads of the Top 70. She shattered her own record for the second time in the last year as “the first and only female artist to garner 7 #1 studio albums in the UK this century. Additionally, she has gathered “the 3rd Most #1 albums in the UK by a female artist.
 
Down Under, Taylor is now “the first artist to release three #1 albums in a 12-month period in Australia.” Taylor is the first artist to have three different albums top the ARIA Charts in a twelve-month period. She bests her own record of “the shortest span of #1 albums in Australia” with only 17 weeks between evermore and Fearless (Taylor’s Version). Her previous record was 20 weeks between folklore and evermore. With eight total #1 albums in Australia, she is second for “female artist with most #1 albums” only behind Madonna and just behind Eminem for “most consecutive #1 albums.” At radio, “Mr. Perfectly Fine (Taylor’s Version)” bows in the Top 10 on the Airplay Chart.

REVIEWS OF FEARLESS (TAYLOR’S VERSION)

  • A Rating” – The A.V. Club, Saloni Gajjar
  • “5/5 Stars” – The Daily Telegraph, Neil McCormick
  • “Fearless was always an exceptionally fine album of country-pop songs, detailing the romantic fixations of a wholesome teenage American girl on the verge of adulthood, and guess what? It still is.” – The Daily Telegraph, Neil McCormick
  • “4/5 Stars” – Rolling Stone, Jonathan Bernstein
  • “Her thirtysomething voice is richer, deeper, and more sure of itself.” – Rolling Stone, Jonathan Bernstein
  • “There are the songs that feel more moving now than they did 13 years ago.” – Rolling Stone, Jonathan Bernstein
  • “4/5 Stars” – The Guardian, Alexis Petridis
  • “Fearless is the kind of album in which fans have a genuine emotional investment.” – The Guardian, Alexis Petridis
  • “She’s changed from a talented kid with a guitar to one of today’s biggest superstars.” – USA Today, Hannah Yasharoff
  • “The new album is really well done.” – Entertainment Weekly, Lauren Huff
  • “Fearless (Taylor’s Version)” Is Even More Beautiful Than The Original Album” – Buzzfeed, Ryan Schocket
  • “Taylor’s vocals are undeniably stronger, smoother, and more connected than ever.” – Buzzfeed, Ryan Schocket
  • “The vault songs are making everyone question why the album wasn’t 27 tracks long to begin with.” – Buzzfeed, Ellie Bate
  • “Taylor Swift’s Fearless Re-Recording Is a Thrilling Timewarp.” – SPIN, Bobby Olivier
  • “4/5 Stars” – i Newspaper, Sarah Carson
  • “There are lyrics throughout Taylor Swift’s breakthrough record Fearless that nearly 13 years later, feel prophetic.” – i Newspaper, Sarah Carson
  • “There’s something really special about listening to Taylor sing these songs knowing the huge distance between where she is now and who she was when she wrote them.” – TIME, Annabel Gutterman
  • “I love that this re-recorded album is essentially a love letter to being a teenage girl. The world still dismisses teenage girls as not serious enough, too dramatic, and overall too much. Adolescence is often looked back on with embarrassment and shame. But these songs make me want to give my former 14-year-old self a hug and tell her she was doing just fine.” – TIME, Samantha
  • “It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears.” – Variety, Chris Willman
  • “Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not.” – Variety, Chris Willman
  • “It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close.” – Variety, Chris Willman
  • “4/5 Stars” – NME, Hannah Mylrea
  • “‘Fearless (Taylor’s Version)’ both celebrates and stays true to Swift’s ‘Fearless’-era.” – NME, Hannah Mylrea
  • “Swift never cringes away from her younger self. Instead, she revisits the songs with kindness and affection, celebrating the success of her teenage releases.” – NME, Hannah Mylrea
  • “Taylor Swift’s Fearless album proves her songs were written to last.” – The Independent, Roisin O’Connor
  • “We can’t help but be impressed…” – Evening Standard, David Smyth
  • “Taylor Swift has taken control.” – Forbes, Abigail Freeman
  • “ALBUM OF WEEK: The real treats are the extra tracks, previously unreleased outtakes from the Fearless sessions. Maren Morris duets on the gorgeous You All Over Me, Keith Urban crops up and Mr Perfectly Fine is the banger that should have shown 13 years ago why country alone could never contain Swift’s talent.” – The Sunday Times, Lisa Verrico
  • “I immediately went to the chorus of “Fifteen,” one of my 2000s pop high-water marks, to see if I’d get chills. Good news: I did. Felt that gut punch during “White Horse.” “You Belong With Me” had that crucial air of resignation.” – The New York Times, Jon Caramanica
  • “As she dives back into her past work, it’s another reminder of what she brought to the genre — and what it lost when she moved on.” – The Washington Post, Emily Yahr
  • “The redone tracks from the original release, which make up the album’s first portion, are almost uniformly better than their forebears: warmer, crisper, more clearly enunciated. They sound newer and, at the same time, more lived-in.” – The Washington Post, Allison Stewart
  • “Taylor Swift releases a ‘perfect replica’ of Fearless.” – BBC, Mark Savage
  • “Damn, this album holds up – not only to the hype of its initial release, but despite that, beyond that.” – Consequence of Sound, Katie Moulton
  • “8/10” – The Line of Best Fit, Ross Horton
  • “4/5 Stars” – The Times, Will Hodgkinson
  • “Swifties grab your tissues, the release of Taylor Swift’s Fearless (Taylor’s Version) is finally here in all its nostalgic and emotional glory.” – Wonderland, Staff Writer
  • “8/10” – Clash, Lucy Harbron
  • “Like a restored photograph brightening from black and white into colour, Fearless (Taylor’s Version) is the same, but better.” – Clash, Lucy Harbron
  • “It’s the latest evidence that Swift is not just fearless but also relentless.” – Stereogum, Chris DeVille
  • “8/10” – Gigwise, Kelsey Barnes
  • “Swift is creating a bridge between two worlds; one where she’s merging older, timeless songs with a mature voice and outlook.” – Gigwise, Kelsey Barnes
  • “4/5 Stars” – The Evening Standard, David Smyth
  • “A masterclass in classic Nashville songwriting, from the searing melodrama of Love Story to the breakdown of a relationship in Breathe.” – The Times, Will Hodgkinson
  • “5/5 Stars” – The Sun, Simon Boyle
  • “This is brilliant pop” – The Sun, Simon Boyle

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Lord Huron Long Lost Album Cover (By Ben Schneider) of Republic Records for use by 360 Magazine

Lord Huron – Long Lost

LORD HURON ANNOUNCE NEW ALBUM LONG LOST OUT MAY 21ST

NEW SINGLE “MINE FOREVER” OUT NOW WITH OFFICIAL MUSIC VIDEO

Who is Tubbs Tarbell? (Letter)

After causing a whole lot of chatter amongst audiences and critics alike, Lord Huron have begun to unwind the little riddle they’ve been spinning over the past few months and announce their fourth full-length album, LONG LOST, out May 21st via Whispering Pines Studios Inc./Republic Records, featuring new single “MINE FOREVER.

Pre-orderLong Lost HERE, listen to “Mine Forever HERE, and watch the official music video for Mine Forever (Directed by Anthony Wilson) HERE.

At the same time, the news only raises more questions. What can fans expect? What did the band lose and how long has it been lost? And who the hell is WBUB’s Mr. Tubbs Tarbell? All these questions (and more) have been brewing as easter eggs from the upcoming album have been revealed during Lord Huron’s Alive from Whispering Pines series.

During its first episode, viewers were introduced to Mr. Tubbs Tarbell, fell under the spell of commercials that may very well be lost tapes from the past, and were treated to some incredible performances by Lord Huron. The band played some old songs including “Meet Me In The Woods” (view video here) and provided a sneak peek at some new songs. The episode also featured a hotline where fans could call in and ask Mr. Tarbell questions and request songs from the band. Episode 2 included additional cryptic clues, more beautiful performances from Lord Huron (including  “The World Ender” and  “Frozen Pines”) and even the secret world premiere of “Mine Forever.” Last night on Alive From Whispering Pines, Lord Huron performed their triple-platinum single “The Night We Met,” as well as fan favorites “Ghost on The Shore” and “Never Ever.”

To help answer all these lingering questions, Tubbs has put out an official letter into the multi-verse from Whispering Pines Studios describing the mythical tale of recording Long Lost with Lord Huron and the origins of its cosmic music. Read the full letter HERE and below.

Long Lostwill also include previously released track “Not Dead Yet.” The single has already racked up 1.5 million Spotify streams and 500K video views. Additionally, the guys hit the stage at Jimmy Kimmel LIVE! for a show-stopping television debut performance of “Not Dead Yet.” Watch it HERE. Spin claimed, “they sharpened their teeth, while UPROXX described the track as “driving. In addition to plugs from Stereogum and more, Brooklyn Vegan touted it among “Our Favorite Songs of the Week.” See full track list for Long Lost below.

The last episode of Alive From Whispering Pines will broadcast in April, with more surprises to come. Fans can purchase tickets to each episode, a season pass to all four shows, and exclusive merch at Lord Huron’s website.

What could be in store for the band next? Only time will tell…As Tubbs says: “As ever, friends, may you live until you die”

Long Lost Track List:

  1. The Moon Doesn’t Mind
  2. Mine Forever
  3. (One Helluva Performer)
  4. Love Me Like You Used To
  5. Meet Me in The City
  6. (Sing For Us Tonight)
  7. Long Lost
  8. Twenty Long Years
  9. Drops in the Lake
  10. Where Did the Time Go
  11. Not Dead Yet
  12. (Deep Down Inside Ya)
  13. I Lied
  14. At Sea
  15. What Do It Mean
  16. Time’s Blur

About Lord Huron
Lord Huron first made a name for themselves with their debut album Lonesome Dreams and shortly after released Strange Taleswhich featured the triple-platinum single “The Night We Met.” In 2018, Lord Huron earned widespread critical acclaim with their first Top 5 debut on the Billboard Top 2—with their third album, Vide Noir. A cinematic collection of pensive, provocative and powerful rock, the record garnered praise from NPRTimeLos Angeles TimesSpinStereogumRefinery29UPROXX, and more as singles such as Wait by the River (which the band performed on “Late Night with Seth Meyers”) and When the Night is Over generated tens of millions of streams. The band’s extensive touring includes headline shows at some of the most storied venues in the country (including the Hollywood Bowl, Red Rocks, and the Ryman Auditorium) and prime slots at festivals ranging from Coachella to Lollapalooza to Bonnaroo.

Tune Prism Cover Artist Spotlight: Lord Huron and the Long Lost Sounds of Yore Words and Memories by Tubbs Tarbell

Friends,

I been thinkin’ a lot about the past again. I guess if you know me, that’s nothin’ new. Yeah, I smell what you’re sniffin’ at: “Oh boy, here goes ol’ Tubbs again, ramblin’ about those good ol’ bygone days of yore.” Well, sure, I’ll allow you that’n. Maybe I do tend to take a good hard glance into the rearview before I step my boot on the gas. But don’t we all? Or shouldn’t we, in any case?

It just seems to me that, these days, the past is everywhere you look. Hell, take another peek at that sentence again. The first time you read it is already in the past. Funny how time just keeps clickin’ along. These days, anyway.

So, sometime in what’s now the not-too distant past, I was sittin’ in my usual seat inside Whispering Pines, cozied up to a glass of something cozy, when, from outta nowhere, this particular tune crept into my ear. It was a funny thing, because it immediately felt familiar to me, as a song that creeps into your ear usually has to be—’specially for somebody like me who don’t write ’em…I just roll ’em. (You’ve heard me say that one more than a few times, no doubt.) But then the more I thought about it, and the more I listened to this little tune janglin’ around upstairs, I realized that I couldn’t place it as somethin’ I’d ever heard before. (And take my word for it: the ol’ upstairs is a titanium steel trap for tunes, even now.) It was a conundrum.

That little number stuck with me for more than a few days. I’d be doing something mindless— scrubbin’ my cup, combin’ my hat—when all of a sudden, here it came again: It’s hard to make friends when you’re half in the grave, but I ain’t dead yet and I’ve got something to say. It was the loveliest thing, and dang me if it didn’t keep sounding chummier and chummier. It was sublime—that drivin’ jangle of the guitar, the steady thump of the drums, those breezy, liltin’ voices—but I just couldn’t place it. Could it have been that ol’ Tubbs here had somehow tapped into that cosmic eternal and unwittingly written his first tune without even knowin’ it?

A week (or was it a month?) went by and the tune never went too far from my head. There’s a stranger in my eyes again… It almost got to where I was more used to the tune bein’ there under my hat than my own face. …I swear to God I don’t know him. But then it happened, somethin’ I’ll never forget for as long as I live: My little tune came to life before my very eyes.

Now, be patient. I’ll tell you how.

That day, one of my all-time favorite acts happened to be booked in Whispering Pines for a recordin’ spell, those good-time bootscooters and rhythm rascals known as the Lord Huron. As always, the boys showed up early—but not earlier than ol’ Tubbs here—and made haste toward the studio’s live room.

“Howdy, fellers,” says I. “Headed for the big room, I see.” (If Whispering Pines was a church—it ain’t, mind you, but iffin’ it were—the live room would be the holy pulpit, I reckon.)

Ben (he’s the singer) just looked at me, touched the brim of his hat, and nodded. “Thought we might try somethin’ different this time, good buddy,” says he.

So I just gave him my grandest grand welcome and stepped aside, happy to have them back. Those boys know what they’re doin’, havin’ made quite a few of their records with us. But the live room, this was gonna be a first, and a real treat. I tried my best to keep my grin to a simmer, sat down at the board, and watched as Mark, Miguel, Tom, and Ben started tunin’ her up

If you’ve ever had the pleasure of recordin’ at the Pines, then you know that nothin’ in the place is off limits. Guitars, cymbals, pianos, pedal steel, mandolins, microphones, saxophones—what’s ours is ours, that’s my motto. And as the Huron boys are basically my own brothers by now— well, nephews, maybe, but who’s countin’—I was glad to see their hands on all of it. I even heard ’em talk about recordin’ a gigantic string and woodwind orchestra in some dang place like Sweden or somewhat…those fellers really shoot the moon, I tell ya.

I’d barely had time to pour my coffee and hit the big red button when they settled into a dusky groove so quick I could hardly believe it. Must have been all that time playin’ out on the road together—even headlined that dang Bowl they got out in Hollywood since last I laid eyes. Hell, they’ve known each other since grade school so it don’t surprise…that’s the rumor, anyway.

Now, I’ve loved all their hits—“The Night We Met,” “Time to Run,” “When the Night is Over”—but this new stuff they started in on just sounded…well, it just sounded like somethin’ eerily familiar, as it were. Like somethin’ from a past life I’d heard before, but brand new, all at once. Like a note plucked long ago that had moseyed through time to finally belly up to my bar once and for all. It was a conundrum.

The first number they called “The Moon Doesn’t Mind,” and I say it reminded me of one of those cowboy pictures where the lone horseman is singin’ his heart out to the audience from atop his brave steed. But somethin’ about the pang in Ben’s voice made it seem like that feelin’ was more lonesome than just simply lone—or maybe it was just my view from the sidestage, as it were. Maybe the light catches a singer a little different when you’re not starin’ at him head-on, or even through a lens. I always did wonder if those cowboys were really as rootin’ and tootin’ as they looked on TV. I gave the boys a good round of applause before they launched into a real sunset of a song they called “Mine Forever,” a swingin’, full-on heart-renderer with a bubbly sound. All of a sudden I heard handclaps and female voices—I swear those ladies must have risen up outta the floorboards! Never saw ’em come in, and didn’t see ’em leave. That’s just the magic of the Pines, I suppose. Door knockin’s for strangers.

The next one, “Love Me Like You Used To,” brought to ear of one of those classic lovelorn country ballads, like one sung by Handsome Scott or even ol’ Roy Casey himself. “Long Lost” and “I Lied” both slowed the tempo down a notch or two, but sounded no less grand. The boys were really firin’ on all cylinders that day, I tell ya, fillin’ the air of that grand live room—and my own soul—with those tales of hard luck, heartbreak, and redemption. It was as if the boys had become conduits for the spirits of the room and were usin’ them to tap into that same cosmic eternal I’ve always felt—known—was hoverin’ around inside Whispering Pines.

I was feelin’ pretty fine. Our old pine clock on the wall had long stopped tickin’ and the boys surely didn’t need any help from little ol’ me, so I helped myself to a little somethin’ cozy and kicked my boots up on the board. And it was then, in that instant, that I heard it…my tune.

All messed up with nowhere to go, I stare at myself in the mirror alone… It’s hard to make friends when you’re half in the grave…

That drivin’ guitar jangle, the steady drum thump, those breezy, liltin’ voices…it was all unmistakable. My tune! It had somehow crept out from that titanium trap I keep under my hat and sneaked into the live room to serenade me from behind the glass studio wall. Time seemed to stand still, even more than it usually does around here. It was like some long, lost dream come to life, a forgotten classic from a parallel dimension, the echo of a memory that wasn’t mine. But the feelin’ was real.

“Say, boys, what’s that one called?” I hollered into the talkback, trying to seem casual.

They looked at one another, laughed. “Well, I’m not sure,” Ben replied. “What does it feel like it’s called to you?”

As he spoke, I caught a glimpse of myself in the unpolished studio glass, and somethin’ hit me, somethin’ I’ve never been able to explain. “Well, I reckon it’s called ‘Not Dead Yet,’” I reckoned. And wouldn’t you know it? Turned out, it was.

The Huron kept at it for a little while longer that day, but I must have drifted off peaceful-like in somethin’ of a cosmic slumber, with my tune—all of the tunes, in fact, as all of them were now mine—janglin’ heavy and happy in my heart. When I woke, the light from the next day was just startin’ to ease into the Pines, and I was alone. I stood up, stretched my creaky back, scratched a little stubble. As I turned to grab my leavin’ hat off its peg, somethin’ caught my eye: A hand- scratched note bound to a faded vinyl record sleeve was layin’ on the floor.

I bent down to snatch it up. The record was called “Long Lost,” and it looked as if it had been layin’ there on the floor since before Whispering Pines was even a whisper itself. I brushed the dust off the cover and saw that the artist was none other than the boys themselves—Lord Huron.

“Say, Tubbs,” the note read. “Time washes aways what man creates, but ‘Long Lost’ might convince you that a note can live on. Be good now. The Boys.”

And just like that, they were gone.

As ever, friends, may you live until you die, Tubbs

ABOUT REPUBLIC RECORDS

A division of Universal Music Group, the world’s leading music company, Republic Records is home to an all-star roster of multi-platinum, award-winning legends and superstar artists such as Ariana Grande, Black Thought, Drake, Florence + the Machine, Greta Van Fleet, Hailee Steinfeld, Jack Johnson, James Blake, James Bay, Jessie J, John Mellencamp, Jonas Brothers, Julia Michaels, Kid Cudi, Lil Wayne, Lorde, Metro Boomin, NAV, Nicki Minaj, Of Monsters and Men, Pearl Jam, Post Malone, Seth MacFarlane, Stevie Wonder, Taylor Swift, The Weeknd and more. Founded by brothers and chief executives Monte and Avery Lipman, it is also comprised of innovative business ventures, including American Recordings, Boominati Worldwide, Brushfire, Casablanca Records, Cash Money, Lava Records, XO, Young Money, among others. Republic also maintains a long-standing strategic alliance with Universal Music Latin Entertainment (J Balvin and Karol G).  In addition, Republic has expanded to release high-profile soundtracks for Universal Pictures (Fifty Shades of Grey), Sony Pictures (Spider-Man Into the Spider-Verse) and NBC TV (The Voice), as well as other notable film and television franchises. Extending further into the worlds of film, television, and content, Republic launched Federal Films in order to produce movies and series powered by the label’s catalog and artists. Its first production was the Jonas Brothers documentary Chasing Happiness for Amazon Prime Video.

Elle King and Miranda Lambert "Drunk" PR image for Sony music by Kimberly Manfre, uploaded by Sarah Weinstein Dennison, for use by 360 Magazine

ELLE KING × MIRANDA LAMBERT – “DRUNK (AND I DON’T WANNA GO HOME)”

ELLE KING AND MIRANDA LAMBERT’S “DRUNK (AND I DON’T WANNA GO HOME)” CRASHES INTO THE #1 SPOT ON BOTH THE BILLBOARD ROCK AND COUNTRY DIGITAL SONG CHARTS THIS WEEK.

Listen/Watch HERE

Elle King and Miranda Lambert’s brand new collaboration “Drunk (And I Don’t Wanna Go Home)” is clearly the party everyone has been missing. The single debuted at #1 on Billboard’s Country Digital Song Sales Chart and #1 on the Rock Digital Sales Chart. Listen/Watch the Video HERE.

The song was co-written by Elle King with Martin Johnson, who also produced the track, and was recorded in Nashville and New York pre-pandemic.

This is the second time the two female powerhouse performers have recorded together with their first release “Fooled Around and Fell in Love” (along with Maren Morris, Ashley McBryde, Tenille Townes and Caylee Hammack) going on to win the 2020 ACM Award for “Music Event of The Year.”  Elle also was a special guest on Miranda’s 2019 Roadside Bars & Pink Guitars tour.

To accompany the track, the pair met up in Nashville to film an 80s-inspired wedding video starring Elle as the bride and Miranda as her Maid of Honor complete with a cameo from Elle’s real-life fiancé as the groom. The video was shot in January by directing duo Running Bear using strict COVID protocols.

Watch the video HERE.

Check out what the press is saying about “Drunk”:

“’Drunk’ is a fist-pump, feel good, girl-power anthem from these two country power houses, with a nostalgic, pastel music video to match.”

360 Magazine

“This may be end up being a top-10 pop song, country song, and rock song of 2021.”

“Brilliant stuff here at the intersection King’s sassy roots-rock shtick, Lambert’s sassy country shtick, and the Nashville mainstream’s constant drift toward arena rock.”

Stereogum

“…a euphoric collaboration…exhilarating new duet.”
“When the chorus hits, it’s neon-spattered, banjo-flecked euphoria that fits perfectly with the idea of blowing off steam well into the wee hours.”

Rolling Stone

“Firebrands King and Lambert hit one out of the bar with this singalong ode to handing your keys to the bartender and drinking all night because you don’t want to go home. The song will fuel a thousand karaoke nights and a million bridal parties, but it’s the cotton candy-colored video that really sells it, with King as a feisty bride and Lambert as the maid of honor who’s the first to spike the punch.”

“… an enjoyable glass-raising anthem, but it’s the way that the ‘Ex’s and Oh’s’ singer and country veteran complement one another on the track that denotes a longstanding bond, and an opportunity to listen in on their fun.”

Billboard
“Elle King and Miranda Lambert’s Duet ‘Drunk’ Is an ‘All-In’ Party of an Event”

“Drunk” is a memorable, feel-good anthem.”

CMT

“…a rip-roarin’ good time!”
“…this catchy tribute to a blackout night, complete with a fun-filled, wedding-themed music video…”

“Go Behind the Scenes of Their Gender-Bending Music Video (Exclusive)

Miranda Lambert and Elle King’s ‘Drunk’”- Watch HERE

Entertainment Tonight

“…hilarious music video…”
People

“Country superstar Miranda Lambert and rocker Elle King let loose for a wild-night duet …up-tempo anthem…features a driving rhythmic stomp and maxed out country-rock edge, mixing rolling banjos with party-all-night vocals. Lambert leads the rebellious second verse and also blends her vocal in with King’s gritty delivery throughout, and King says track’s devil-may-care attitude suits them both well.”
Sounds Like Nashville

“It’s a wild wedding — and Miranda and Elle are there to party.”
The Boot

“the badassery levels are off the charts. Co-written by King and Martin Johnson, it’s a fun tribute to staying out till dawn and drinking the night away (remember that?).”

Whiskey Riff

“…unapologetic anthem…a first pumping, banjo-led party song to rule any dance floor.”

“’Drunk’ is coasting at the top of the charts right now because the track crosses any sort of existing genre barriers – the long hailing queen of country revenge tales and the rock/pop King belting out how they’re both not ready to leave the cash bar just yet. It’s a wedding party we all want to be a part of.”

Earmilk

“…a dizzying new party anthem”

“One-time tourmates Miranda Lambert and Elle King join forces once again for the genre-bending party banger…”

ABC Radio News

“Fun, upbeat…Exhilarating…a party anthem all about living your best life on the spur of the moment.”

iHeart Radio

HEY VIOLET debut new video for “CLOSE MY EYES”

Fresh off a headline mini tour of the U.S., Hey Violet premiere the video for their new track Close My Eye today on Vevo. Watch it HERE. Shot in Los Angeles, the video was directed by Marcella Cytrynowicz who also lensed the video for the bands recent single Better By Myself.

Close My Eyes, which was written by Hey Violet with Sean Kennedy, Tim Anderson, and Aron Forbes (the latter two who co-produced), is the second of four new tracks the band is set to release throughout the spring and summer. The first, Better By Myself, was released in April, along with an official video that can be watched HERE. Idolator called Better By Myself as catchy as it is relatable, while Celeb Mix says the song’s mid-tempo beat and addictive chorus will leave the listener singing [it] all day. Watch Hey Violet perform Better By Myself live at Capitol Studios HERE.

Close My Eyes is essentially about living in a fantasy land, says front woman Rena Lovelis. It’s about the idea of still wanting to be with an ex who has already moved on. There’s definitely a level of denial that goes into being in that sort of headspace because you’re basically rejecting the present reality and not allowing yourself to move forward. The song sounds very calm and chill but in the lyrical content there’s an air of tension because of that refusal to accept things as they are.

Hey Violet’s 2017 debut album From the Outside featured the singles Guys My Age, which has amassed over 250 million global streams, Break My Heart, and Hoodie which is approaching 200 million streams. The album racked up critical praise, including accolades from The New York Times, which called it one of this year’s best and most provocative pop albums. Stereogum noted that it has plenty of attitude thanks to Lovelis vocal and lyrical presence, and NYLON declared, I challenge you to find a debut album as explosive and technicolored as Hey Violet’s From The Outside(the album) pulses with cheeky hooks and middle fingers to the status quo. Lead singer Rena Lovelis’ voice is arena-shaking. You’re in for one hell of a ride.

Over the past few years, Hey Violet, which is Rena Lovelis, her sister Nia Lovelis (drums), and Casey Moreta (lead guitar) have steadily built an engaged fanbase with their powerful, immaculately crafted alt-pop songs. Guys My Age was named one of the Best Songs of 2016 by The New York Times, who called it teen-pop’s revenge: an urgent dark song about sexual rebellion and one of the 20 Best Songs of 2016 by V Magazine. In 2017, Hey Violet was also nominated for an iHeart Radio award for Best Underground Alternative Band, dubbed an Artist Primed For A Breakout by Billboard, and named Artist To Watch by The Guardian, PopCrush, and more. The band has racked over half a billion streams worldwide, sold out their North American headline tour and performed on both The Late Late Show With James Corden and Late Night With Seth Meyers.

Photo Credit: Valentina Cytrynowicz

For more on Hey Violet:

Hey Violet’s “Better By Myself”

HEY VIOLET RELEASE NEW SINGLE “BETTER BY MYSELF” TODAY

ON HI OR HEY/CAPITOL RECORDS

OFFICIAL VIDEO ALSO DEBUTS TODAY HERE

TICKETS ON-SALE TODAY FOR UPCOMING SHOWS IN SAN FRANCISCO, L.A., NYC, AND WASHINGTON DC

“Better By Myself” is the first new music the Los Angeles-based alt-pop band has released since

their critically acclaimed 2017 debut album From the Outside.

Hey Violet release a new single “Better By Myself” today on Hi or Hey/Capitol Records and available for streaming and purchase from all digital partners. In addition, an official video for the song, directed by Marcella Cytrynowicz, debuts today. Watch it HERE. “Better By Myself” which was co-written by Hey Violet, Gabe Simon, and producer Daniel Nigro, is the first of four new tracks the band is set to release throughout the Spring and Summer.

“Better By Myself” captures the duality inherent in feeling invincible in solitude because you don’t need anyone, but recognizing that perhaps being totally alone isn’t necessarily the best path forward. “It’s about being in an unhealthy relationship and having the courage to leave, but realizing maybe you’re isolating a little much,” says Hey Violet frontwoman Rena Lovelis. “I think we need to fall in love with ourselves before we fall in love with anybody else and that’s why the song sounds so celebratory. It’s about finding that happy medium between I don’t need anyone, which tends to be a defense mechanism, and being truly okay with yourself.”

Hey Violet’s 2017 debut album From the Outside featured the singles “Guys My Age,” which has amassed over 230 million global streams, “Break My Heart,” and “Hoodie,” which is approaching 200 million streams. The album racked up critical praise, including accolades from The New York Times, which called it “one of this year’s best and most provocative pop albums.” Stereogum noted that it “has plenty of attitude thanks to Lovelis’ vocal and lyrical presence,” and NYLON declared, “I challenge you to find a debut album as explosive and technicolored as Hey Violet’s From The Outside (the album) pulses with cheeky hooks and middle fingers to the status quo. Lead singer Rena Lovelis’ voice is arena-shaking. You’re in for one hell of a ride.”

Over the past few years, Hey Violet, which is Rena Lovelis, her sister Nia Lovelis (drums), Casey Moreta (lead guitar) and Iain Shipp (bass) have steadily built an engaged fanbase with their powerful, immaculately crafted alt-pop songs. “Guys My Age” was named one of the Best Songs of 2016 by The New York Times, who called it “teen-pop’s revenge: an urgent dark song about sexual rebellion” and one of the 20 Best Songs of 2016 by V Magazine. In 2017, Hey Violet was also nominated for an iHeart Radio award for Best Underground Alternative Band, dubbed an “Artist Primed For A Breakout” by Billboard, and named “Artist To Watch” by The Guardian, PopCrush, and more. The band has racked over half a billion streams worldwide, sold out their North American headline tour and performed on both The Late Late Show With James Corden and Late Night With Seth Meyers.

Hey Violet will perform several upcoming shows to celebrate the release of their new music.

All dates are below. Tickets go on sale today here.

May 28th San Francisco, CA – Swedish American Hall

May 30th Los Angeles, CA – The Troubadour

June 5th New York, NY – Bowery Ballroom

June 6th Washington, DC – Union Stage

For more on Hey Violet

Website / Facebook / Instagram / Twitter

Noah Kahan “Mess”

Today, Noah Kahan debuts his new single, “Mess,” from his highly anticipated debut album set for release this spring. Listen to “Mess” HERE!

Produced by Kahan’s frequent collaborator Joel Little (Lorde, Khalid), Noah wrote “Mess” last fall while he was home in Vermont in between sold out tours. Of the song, Noah explains, “My life has taken a 180° turn. I’m on a very different path than what I thought I would do. I get nostalgic for the locale where I grew up because the scenery is so beautiful. Going from this to bigger cities and tours is crazy for me. The truth is—regardless of where I’ve gone—my parents still yell at me to pick up the dogs’ shit when I’m back home.”

 He continues, “‘Mess’ is a song I wrote during a very overwhelming and generally sad time in my life. Being able to work on this song and bring these feelings to light was a lifeline for me, and I hope it provides you with similar comfort.”

 “Mess” follows the global success of Kahan’s breakout singles, “Hurt Somebody” and “False Confidence.” With over 200 million global streams to date, “Hurt Somebody” is triple platinum in Australia and gold in Canada, Sweden, Norway, Netherlands, Switzerland and New Zealand; and it peaked at #1 on the Top 40 radio charts in Australia for three weeks, making it the third most played song on the Australian airwaves in all of 2018 where Noah has become one of the most buzzworthy new acts. “False Confidence” continues to grow with over 15 million streams to date and is currently sitting in the top 5 at Triple A radio in the U.S.

 Noah Kahan will be hitting the road with James Bay this month on his North American tour, performing at New York’s iconic Beacon Theatre for two nights on March 12 and 13 and at Los Angeles’ The Wiltern on March 25. He will also be joining Dean Lewis on his headline tour in Europe and the U.K. in April. See the full list of upcoming dates below. Tickets are available now at www.NoahKahan.com/tour.

 In two short years, music quite literally carried 22-year-old singer, songwriter and artist Noah Kahan around the world—a long way from his native Strafford, VT (pop. 1,045) and the 133-acre tree farm where he resides. On the trip, the alternative troubadour notched an international hit in the form of “Hurt Somebody” [feat. Julia Michaels], while his singles “Young Blood” and “False Confidence” also racked up millions of streams and he sold out headline tours in North America, Europe, and the UK and hit the road with artists like George Ezra and Leon Bridges. Not to mention, he has garnered critical acclaim from Billboard, Stereogum, Clash, Idolator, and more. In the midst of this whirlwind, he assembled his upcoming full-length debut album. The first single “Mess” illuminates his marked growth as a songwriter and storyteller by way of its biting lyrics and undeniable sing-a-long, underscoring a heartwarming and often hilarious portrait of hometown longing.

Maggie Rogers

[On Give A Little] Rogers churned out a cathartic pop song about empathy and unity

Toss in a righteous guitar riff, plus a cascade of affirming handclaps, and Rogers emerges with a much-needed sunbeam of a song.” – Pitchfork

Give A Little is a natural and groovy extension of her stunning organic soundscapes.” –V Magazine

Like every song she puts out, [Give A Little] is a surprise that further proves her dexterity and versatility as an artist.” –Paper

It’s a warm, rippling pop song that makes the most of Rogers’ graceful, approachable voice. It already sounds like a hit.” –Stereogum

Today Maggie Rogers debuts the video for her new track Give A Little from her forthcoming debut album on Capitol Records. Filmed in Pacoima, CA the video was co-directed by Rogers and Alan Del Rio Ortiz and features Rachel Matthews, Camila Mendes, Myriah Rose, Firefly, Makayla Menard and Bridget Gamble.

Watch it HERE.

I had so much fun directing this video alongside Alan Del Rio Ortiz,” says Rogers. “I was obsessed with 70s skate culture in high school and really just wanted to have a silly day recreating my favorite scenes from Lords of Dogtown and paying homage to my favorite Farrah Fawcett photos. Those early skate videos feel so raw and powerful, it was important to me to show that that energy could also be female. It was super special to have my two college pals, Rachel Matthews and Camila Mendes, along for the ride. We’ve been friends since the first week of our freshman year, but our schedules have gotten so beautifully and amazingly kind of crazy since we graduated a couple years ago. It was so much fun just to spend the day dancing and giggling with each other like the old days.

Produced by GRAMMY winning producer Greg Kurstin (Adele, Sia, Foo Fighters) and Rogers, the upbeat, effervescent song can be streamed / downloaded HERE. Give A Little follows the acclaimed single Fallingwater, which NPR hailed as a powerful, mesmerizing depiction of Rogers’ transition over the last two years a celebration of the terrifying yet thrilling process of change.

Rogers will kick off a North American headline tour on October 15 at The Fillmore in San Francisco, CA. The run will include shows at The Observatory in Santa Ana, CA (October 18), The Vic Theatre in Chicago, IL (October 30) and Royale in Boston, MA (November 5). Mallrat will support on all dates- see all dates here. The outing marks Rogers’ first headline tour since her summer 2017 outing, which sold out in minutes.
Rogers will also headline two sold out shows at Koko in London (August 29 + 30) following her performances at the U.K.’s Reading and Leeds festival. She will also perform at the Pilgrimage Music & Cultural Festival in Franklin, TN (September 22 + 23) and co-headline the 2018 All Things Go Fall Classic, one of Washington, DC’s largest signature festivals. She and LPX (Lizzy Plapinger) curated for opening day, October 6.

Maggie Rogers is a producer, songwriter and performer from Easton, Maryland. After her education at NYU’s Tisch School of the Arts, she released her breakout single Alaska and subsequent critically acclaimed debut EP, Now That The Light Is Fading. Alaska has since charted in Spotify’s Viral 50 in 40 countries, hit #1 in 23 countries and now has over 100 million global combined streams to date. The BBC, Tidal, Google Play, Vevo, Pandora and numerous publications including Rolling Stone, NYLON, SPIN, Billboard and more have tipped her as an artist to watch. NPR named her one of its Favorite Musicians and The New Yorker declares, Maggie Rogers is an artist of her time.

Website | Instagram| Twitter | Facebook | YouTube

Lord Huron’s Spotify Singles Debut Out Now

TO PERFORM “NEVER EVER” ON “THE LATE LATE SHOW WITH JAMES CORDEN” AUGUST 8 AND “CBS THIS MORNING: SATURDAY SESSIONS” AUGUST 11

VIDE NOIR RELEASED TO WIDESPREAD CRITICAL PRAISE

ON TOUR NOW

Photo credit: Pamela Littky

Lord Huron’s Spotify Singles debut today, including a performance of their hit single “When The Night Is Over” as well as a cover of Neil Young’s “Harvest Moon.” Listen/share the singles HERE.

Additionally, the band will preform “Never Ever” on “The Late Late Show with James Corden” on August 8 and will appear on “CBS This Morning: Saturday Sessions” on August 11.

The band’s acclaimed new album Vide Noir—out now on Whispering Pines/Republic Records—debuted at #4 on the Billboard 200 chart and continues to receive widespread critical praise. See below for what the press is saying about the album.

The group continues to take their lauded live show on the road this summer and fall, including headlining performances at Boston’s House Of Blues, as well as two shows each at Brooklyn’s Brooklyn Steel, Austin’s Stubb’s Waller Creek and Denver’s Ogden Theatre. See below for complete tour details, tickets are on sale now at http://lordhuron.com.

LORD HURON, VIDE NOIR:

“cinematic”

Vide Noir adds touches of garage-rock distortion to a narrative of love and fortune found, inspired by classic pulp fiction writers like Raymond Chandler and illuminated by a mysterious emerald glow. It’s the spookiest entry yet in a growing catalog of the atmospheric, the melodic, and the arcane.”

“They evolved into an expansive festival-folk juggernaut that will take their fizzy

and fuzzy upcoming third LP, the Dave Fridmann-mixed Vide Noir, to a large outdoor amphitheater near you.”

“More than ever before, it sounds like Lord Huron had the ambition and the confidence to take their sound to all kinds of new places, with no rules, and no concern for what anyone expects Lord Huron to sound like.”

“The tracks are robust and muscular, hitting on the tune-fulness and warm

melodies that fans of the band would expect, but sounding more ready than ever for the big stages that they will be playing.”

LORD HURON TOUR DATES

July 15—Marrickville, AU—Factory Theatre

July 18—Melbourne, AU—Recital Centre

July 20—Yelgun, AU—Splendour in the Grass Festival

July 25—Toronto, ON—Sony Centre

July 26—Pittsburgh, PA—Stage AE

July 27—Cleveland, OH—House Of Blues   

July 28—North Tonawanda, NY—Brews and Wines on the Water

July 30—Portland, ME—State Theatre

August 1—Brooklyn, NY—Brooklyn Steel   

August 2—Brooklyn, NY—Brooklyn Steel

August 3—Portsmouth, NH—Prescott Park Arts Festival

August 4—Montreal, QC—Osheaga Festival

August 5—Boston, MA—House Of Blues  

August 25—Saint Paul, MN—Minnesota State Fair

September 21—St. Louis, MO—The Pageant

September 22—Franklin, TN—Pilgrimage Festival

September 23—Franklin, TN—Pilgrimage Festival

September 25—New Orleans, LA—Civic Theatre

September 27—Houston, TX—Revention Music Center

September 28—Dallas, TX—Bomb Factory

September 29—Austin, TX—Stubb’s Waller Creek

October 1—Tulsa, OK—Cain’s Ballroom

October 3—Omaha, NE—Sokol Auditorium

October 4—Denver, CO—Ogden Theatre

October 5—Denver, CO—Ogden Theatre 

October 7—Bloomingburg, NY—Catskills Food & Wine Festival

October 13—Oakland, CA—Treasure Island Music Festival

October 14—Oakland, CA—Treasure Island Music Festival

October 19—Copenhagen, DK—Vega

October 20—Aarhus, DK—Fonden Voxhall

October 21—Hamburg, DE—Gruenspan

October 22—Amsterdam, NL—Paradiso

October 23—Brussels, BE—Ancienne Belgique

October 25—Cambridge, UK—The Junction

October 26—London, UK—Roundhouse

October 27—Sheffield, UK—Plug

October 28—Gateshead, UK—Sage Gateshead

October 29—Liverpool, UK—Invisible Wind Factory

October 31—Paris, FR—Le Trianon

November 2—Munich, DE—Technikum

November 3—Cologne, DE—Gloria

November 5—Berlin, DE—Columbia Theater

BOLD—sold out 

NIGOS Release MV for Narcos

Straight off the heels of winning the BET Award as Best Group, superstar multi-platinum hip-hop trio Migos today release the video for their chart-topping song Narcos. This marks Quavo’s directorial debut, with co-direction by Joseph Desrosiers.
WATCH HERE.
Narcos already has more than 153 million streams and was recently performed by the group on Saturday Night Live. Migos take the music on the road this summer on Aubrey and the Three Migos tour with Drake (full dates below).
The GRAMMY-nominated trio of Quavo, Offset and Takeoff released their second consecutive album to land at #1 on Billboard’s Top 200 Chart, CULTURE II (Quality Control Music Motown Records / Capitol), in January of 2018. Sunday at the 2018 BET Awards Migos were recognized as the Best Group, the award given to the overall best R&B, hip hop or gospel group who has release an album in the previous or same year. Migos has hit another milestone this year being honored with the ASCAP Vanguard Award from the 31stAnnual ASACAP Rhythm & Soul Music Awards.
Recently Migos made history by tying The Beatles for the most simultaneous entries on the Billboard Hot 100 song chart among groups (with 14 songs on the chart) according to Nielsen Music. CULTURE II has been streamed over 1 billion times and is RIAA Certified Platinum. Migos is now one of only five rap groups with multiple No. 1 albums. CULTURE II topped the iTunes albums charts in 60 countries and debuted at No. 1 in 62 countries on Apple Music, achieving one of the largest streaming debut weeks in Apple Music’s history.
In a cover story, Rolling Stone said, Migos aren’t big. They’re gigantic. Twenty-six-year-old Offset, his 26-year-old cousin Quavo and Quavo’s 23-year-old nephew Takeoff have transcended hip-hop to become shapers of the culture.
Their blockbuster single MotorSport, featuring Nicki Minaj and Cardi B, earned Double Platinum status in Canada, and RIAA Certified Platinum status in the US. Their second single, Stir Fry, produced by Pharrell Williams, was the official song for NBA’s All-Star weekend. This year alone the group performed on Saturday Night Live, The Tonight Show Starring Jimmy Fallon, graced the covers of Rolling Stone and Complex and was nominated for Best Rap Album and Best Rap Performance at the 2018 Grammy Awards.
(They) knock the meringue trap ballad beat out of the bando. -XXL
Narcos beat (is) just staggering. -Stereogum
It’s a standout track for its display of technical rapping ability alone. -Hypebeast
“Arguably the most influential group – in any genre – of the past few years.”Rolling Stone

Tour Dates

07-26 Salt Lake City, UT – Vivint Smart Home Arena
07-28 Denver, CO – Pepsi Center
07-29 Denver, CO – Pepsi Center
07-31 Kansas City, MO – Sprint Center
08-01 St. Paul, MN – Xcel Energy Center
08-10 Toronto, Ontario – Air Canada Centre
08-11 Toronto, Ontario – Air Canada Centre
08-12 Toronto, Ontario – Air Canada Centre
08-14 Detroit, MI – Little Caesars Arena
08-15 Detroit, MI – Little Caesars Arena
08-17 Chicago, IL – United Center
08-18 Chicago, IL – United Center
08-20 Chicago, IL – United Center
08-24 New York, NY – Madison Square Garden
08-25 New York, NY – Madison Square Garden
08-27 New York, NY – Madison Square Garden
08-28 New York, NY – Madison Square Garden
08-30 Brooklyn, NY – Barclays Center
08-31 Brooklyn, NY – Barclays Center
09-01 Brooklyn, NY – Barclays Center
09-04 Montreal, Quebec – Bell Centre
09-05 Montreal, Quebec – Bell Centre
09-07 Boston, MA – TD Garden
09-08 Boston, MA – TD Garden
09-09 Boston, MA – TD Garden
09-12 Washington, DC – Capital One Arena
09-13 Washington, DC – Capital One Arena
09-15 Philadelphia, PA – Wells Fargo Center
09-16 Philadelphia, PA – Wells Fargo Center
09-18 Nashville, TN – Bridgestone Arena
09-21 Miami, FL – American Airlines Arena
09-22 Miami, FL – American Airlines Arena
09-24 New Orleans, LA – Smoothie King Center
09-26 Dallas, TX – American Airlines Center
09-27 Dallas, TX – American Airlines Center
09-29 Houston, TX – Toyota Center
09-30 Houston, TX – Toyota Center
10-02 Houston, TX – Toyota Center
10-05 Las Vegas, NV – MGM Grand Garden Arena
10-06 Las Vegas, NV – MGM Grand Garden Arena
10-08 Phoenix, AZ – Gila River Arena
10-12 Los Angeles, CA – STAPLES Center
10-13 Los Angeles, CA – STAPLES Center
10-14 Los Angeles, CA – STAPLES Center
10-16 Los Angeles, CA – The Forum
10-17 Los Angeles, CA – The Forum
10-19 Los Angeles, CA – The Forum
10-26 Oakland, CA – Oracle Arena
10-27 Oakland, CA – Oracle Arena
10-29 Oakland, CA – Oracle Arena
11-01 Seattle, WA – Tacoma Dome
11-03 Vancouver, British Columbia – Rogers Arena
11-04 Vancouver, British Columbia – Rogers Arena
11-06 Edmonton, Alberta – Rogers Place
11-07 Edmonton, Alberta – Rogers Place
11-16 Atlanta, GA – Philips Arena
11-17 Atlanta, GA – Philips Arena
MIGOS SOCIALS

Facebook|Twitter|Instagram|Soundcloud

DREAMS x SILENCE

Highly danceable, super-sticky, deceptively simple blend of electrified pop” – LA Weekly

No One Defeats Us’ funky dance-rock groove” – Stereogum

Booming electro-anthem” – Idolator

Following their explosive debut song “No One Defeats Us,” DREAMS have dropped their new track “Silence” today via Astralwerks. On the day of their first ever live performance at Coachella, “Silence” reveals a darker side and pulse to DREAMS, led by the brooding vocals of Daniel Johns. The duo also shares a striking video for the track, which can be viewed HERE.

Purchase or Stream “Silence” HERE.

A much-anticipated debut live set at Coachella this weekend promises high drama and a truly unmissable performance. The only band ever to be booked for the festival before releasing any music, the duo is the highest-billed Australian band. DREAMS will perform tonight at 8:40pm on the Mojave Stage. The duo will also perform next Friday, April 20. Fans can view their performance via the live stream on the Official Coachella YouTube Channel.

“Silence’ is a song which came to us after the Charlottesville riots. It broke our hearts to see the violence and hatred that occurred. We wanted this song to elevate the people, let their voices be heard, inspire them with courage and bravery.” Luke Steele (aka Miracle) says of the track. Daniel Johns (aka Dr Dreams), says “The live version is out of this world and we cannot wait to debut it at Coachella. »

DREAMS is the realization of a long-time friendship and musical kinship between these two iconic Australian artists. Daniel Johns is best known as the front man of Silverchair whilst the enigmatic Luke Steele fronts Empire of The Sun and The Sleepy Jackson. The artists first met in 2004 when Luke’s band The Sleepy Jackson supported Silverchair on their sold-out Diorama tour.

With over ten million albums sold worldwide and an undefeatable twenty-nine ARIA Awards won between both of their respective acts, the pedigree of Daniel and Luke’s new collaboration is unquestionable.

Since Silverchair’s debut release “Tomorrow” in 1994, Daniel has taken home a record twenty-one statues, the most of any Australian artist in ARIA history. Daniel has also won APRA Songwriter of the Year three times, and impressively, Silverchair is the only Australian act to have all of their studio albums, five in total, debut at #1 on the ARIA chart.

Sweeping the ARIAs clean in 2008 was Luke Steele’s Empire of the Sun, taking home gongs for Best Album, Best Single, Best Group and Best Pop Release. With a total of eight ARIAs and two APRA song writing awards to date, Empire of the Sun has gone from strength to strength internationally, including a spectacular sold out performance at Hollywood Bowl in 2015, in front of an audience of 17,000 US fans.

FOLLOW DREAMS:

Instagram

Twitter

www.dreams.band