Neil Young’s name may have been on this years line up for this year’s Farm Aid, but until he walked onstage at the KeyBank Pavilion in Burgettstown, Pennsylvania it was impossible to know for sure if he’d even make it. Neil Young hasn’t missed a single Farm Aid since the original event back in 1985 and he sits on the board, but this is also the same year he cancelled a festival appearance in Australia, Cancelled a tour of South America and Japan. He also put the Bridge School Benefit on hold, he hadn’t stepped foot on a stage the entire year.

But for Farm Aid 2017 he came roaring onto the stage like a feral beast finally let out of his cage and delivered a 45-minute set of unbelievable passion and energy. Backed by Promise of the Real (who he first met at Farm Aid in 2014 and has used as his primary backing band ever since), “Thanks for coming to Farm Aid,” he said in the only moment of the set where he paused long enough to speak.

He opened up with a blistering “Fuckin’ Up” that lead right into a hypnotic “Cortez The Killer” that stretched out to nearly eleven minutes. He didn’t even sing a note of it until four and a half minutes in as he built up a haunting intro on his battered guitar Old Black, grinned from ear to ear and reveled in the effortless interplay he’s developed with guitarists Lukas and Micah Nelson. Near the end, he seemed to remember he had a ticking clock and he quickly wrapped it up and called out for “Cinnamon Girl,” forcing the band to scramble for the right instruments as he pounded out the opening chords.

Young then strapped on a harmonica and acoustic guitar for singalong renditions of “Human Highway,” “Heart of Gold” and “Comes a Time,” before seeming to again call an audible, this time for “Like a Hurricane.”

It didn’t give Micah enough time to get behind the keyboard for the intro, but once the band locked in it almost felt like Crazy Horse was on the stage too. By this point, the crowd was in a state of complete hysteria, which only got crazier when Young mouthed the words “Rockin’ In The Free World” to the band and they kicked into it Ramones-style, not pausing for even a split second after the abbreviated end to “Like a Hurricane.” They had a bit over four minutes on the clock, not giving them enough time to even get to the third verse, but Young milked what time he had for everything it was worth. Somehow or another, he managed to cram a three-hour Neil Young concert into 45 minutes that will surely go down as one of the greatest sets in Farm Aid history.

For more information about Farm Aid, visit: Farm Aid’s performances are donated by the artists in order to raise funds and raise awareness for family farmers. They’ve raised their voices to help — what can you do?

Farm Aid was started by Willie Nelson, Neil Young and John Mellencamp in 1985 to keep family farmers on the land and has worked since then to make sure everyone has access to good food from family farmers. Dave Matthews joined Farm Aid’s board of directors in 2001.

the setlist  Fuckin’ Up , Cortez the Killer,  Cinnamon Girl,  Human Highway, Heart of Gold, Comes a Time , Like a Hurricane, Rockin’ in the Free World.


No automatic alt text available.

Finally! It’s only been eight years since the last album—and it appears there’s something very, very weird going on: a strange series of conspiracy theories tied to this record that will suck you into a rat hole and may not let go. Think very, very carefully before you click here. Remember that I did try to warn you…Taken from their new album ‘Science Fiction’, 

LP5, available for pre-order on limited vinyl:

Tour dates across the United States and United Kingdom in September, October, and November

Image may contain: 4 people, people standing, mountain, outdoor and nature

‘Kindling (Fickle Flame)’, a special re-recorded version of the ‘Little Fictions’ album track, has been transformed into a duet between Guy and John Grant

The annual Farm Aid took place yesterday at KeyBank Pavilion just outside of Pittsburgh as the organization’s board members—Dave Matthews, Neil Young, Willie Nelson and John Mellencamp all performed and welcomed a lineup that also included Sheryl Crow, Jack Johnson, The Avett Brothers and more. There were a number of the highlights on the night.

Johnson embodied the collaborative spirit of the event with a cover of Bob Dylan’s “I Shall Be Released” with Sheryl Crow, Nathaniel Rateliff and Jamey Johnson sitting in. Lukas Nelson later emerged for “Breakdown” and The Avett Brothers helped Johnson close his set with “Mudfootball” and “Better Together.”

Elsewhere on the day, Nelson welcomed Margo Price with his band Promise of the Real for “Find Yourself.” Price later duetted with Sheryl Crow on “Strong Enough,” who also paid tribute to Gregg Allman with a cover of “Midnight Rider” featuring Lukas and Willie Nelson as well as Jack Johnson.

Jamey Johnson made waves with the country artist delivering covers of “Up on Cripple Creek” as well as Little Feat’s “Willin’” and Woody Guthrie’s “This Land is Your Land” before The Avett Brothers came out for their classic brand of folk rock after a few collaborations earlier in the day.

Dave Matthews, along with acoustic partner Tim Reynolds, was the first of the four board members to play, rolling through a brief set highlighted by a new song “The Odds are Against Us.” Mellencamp then rolled through his hits before Young roared with Promise of the Real, playing hits like “Fuckin’ Up,” “Cortez the Killer,” “Cinnamon Girl” and “Heart of Gold,” among others.

As he always does, Willie Nelson closed down the evening, welcoming Jamey Johnson for the Merle Haggard collaboration “It’s All Going to Pot” before Sheryl Crow, Valerie June, Seth and Scott Avett emerged for “Will the Circle Be Unbroken” and “I’ll Fly Away.” Nelson then brought out son Lukas for one of the last songs of the night, an appropriate tribute to Texas with “Texas Flood.” The singalong “I Saw the Light” brought the evening to a close.

Neil Young and Promise of the Real perform “Fuckin’ Up” at Farm Aid 2017 at KeyBank Pavilion in Burgettstown, Pennsylvania, on September 16.

Image may contain: 1 person, text

“I’m not my type, but I love my bed”, croons Morrissey on ‘Spent The Day In Bed’, the lead single from his forthcoming album, Low In High School.

While the song suggests you turn off the TV news and instead bury yourself under the sheets, it’s not likely to be the most politically-charged tune on the record, given there are songs with titles such as ‘The Girl from Tel-Aviv Who Wouldn’t Kneel’, ‘Israel’ and ‘Who Will Protect Us From the Police?’

There’s also a song named ‘When You Open Up Your Legs’, but that’s just Morrissey being Morrissey, is’nt it.

Low In High School is out on November 17.

Photo published for Nieuwe single Electric Eye – “Turn Around, Face The Sun”

Electric Eye play droned out psych-rock inspired by the blues, India and the ever more expanding universe. On the bands inspirational mix tape, you will probably find songs from the The Black Angels, Wooden Shjips and Pink Floyd in Pompeii. With members from some of Bergen’s foremost underground bands, a couple of spectacular songs and live shows, the buzz about Electric Eye swiftly spread from Norway to music fans world wide. Electric Eye released their debut-LP “Pick-up, Lift-off, Space, Time” in April. The album received rave reviews in the Norwegian music press, and has over the last few months spread to blogs and radio stations all over the world. The album was a co-release between Norway’s Klangkollektivet and London based Fuzz Club Records, who put out “Pick-up, Lift-off, Space, Time” in both the UK and US. After the release Electric Eye have toured Scandinavia and the EU, appeared at several Psych Fests across the continent. They performed at the Iceland Airwaves Festival, Eurosonic Noordenslag



Image may contain: 4 people

A Rock & Roll band, first and last. From the mountains of Virginia in the Southern US. Led by the prolific, multi-talented wunderkind Samuel J. Lunsford. Writing, producing, and engineering their own timeless creations since 2005 in their personal analog recording studio . We’ve been away for a while. Sorry about that. We have a new album coming, we’re just running a little behind schedule. Sorry about that. Rest assured, it is coming soon. Here is the first single, “Same Old Now”:


Gram Parsons’ Last Ride

With the benefit of hindsight, Cecil Connor III, rather better known to us as Gram Parsons, was always a candidate to live fast and die young. The hedonistic lifestyle of the man from Waycross, Georgia had hit his health badly even during his brief few years of brilliant creativity. But it was still a tragedy when the news emerged that Gram’s last ride, to the Joshua Tree National Monument in California, had led to his death on this date 42 years ago, on September 19, 1973.

The excursion to one of his favourite spots was planned as rest and recreation before the start of a new tour. He’d played live earlier in the year, including a show in Boston in April, where he performed some of the songs with which he had helped to create the very genre of country rock, such as ‘Drug Store Truck Driving Man,’ ‘Sin City’ and ‘That’s All It Took.

But only two days into the trip, Parsons was found unresponsive in his bedroom and after all attempts to revive him failed, was pronounced dead at Hi-Desert Memorial Hospital at 12.15am. The official cause of death was an overdose of morphine and alcohol. His coffin was stolen by his then manager Phil Kaufman and former Byrds roadie Michael Martin and taken to Cap Rock in the California desert. There, as per his own wishes, the body was set alight. Gram Parsons was later buried at the Garden of Memories Cemetery in Metairie, Louisiana.

But Parsons’ musical legacy is a rich one, in earlier days with the International Submarine Band, after he arrived on the West Coast in 1967, and his brief but pivotal time with the Byrds; then with Chris Hillman in the Flying Burrito Brothers and finally on his two solo albums, 1973’s ‘GP’ and the posthumously-released ‘Grievous Angel.’

When ‘GP’ was released, Rolling Stone described Parsons as “an artist with a vision as unique and personal as those of Jagger-Richard[s], Ray Davies, or any of the other celebrated figures.”

In its report on his death, the Village Voice quoted former Byrds drummer Mike Clarke, who said: “Man, I don’t think Gram ever met a drug he didn’t like. I guess there’s an object lesson there somewhere.”

No automatic alt text available.

Tegan and Sara are marking the 10th anniversary of their pivotal album ‘The Con’ with a ‘The Con X: Covers’ featuring interpretations of the album by various artists including Ryan Adams.
Proceeds from the album will go to the Tegan and Sara Foundation. The album will be available for pre-order on 19th September. More details on the album’s upcoming release can be found here:

This past winter, as the 10th anniversary of The Con quickly approached, Sara and I started to brainstorm meaningful ways to celebrate what was easily one of our most important records. Important not just because of the music or the elaborate way we approached recording it 10 years ago with Chris Walla. Important because it was the biggest leap we had made in attempting to write a cohesive group of songs that told a painful and anxious story about our different relationships to loss, death, love, compulsion, fear, letting go and moving on. Indisputably our most raw and intimate record, we wanted to ensure we created a new package that did justice to the layers of attachment that both we and our fans have had to The Con.

Almost immediately we established that a tour playing all 14 songs in a more intimate and stripped-down arrangement would be special and memorable for our diehard fans. But we also wanted a companion piece that would live on past the anniversary, hence The Con X: Covers album was born.

From day one we wanted the proceeds to go to our newly-launched Tegan and Sara Foundation, which raises money for self-identified women and girls in the LGBTQ community. With that intention set, we asked 14 artists who were either outspoken allies of the LGTBQ community or LGBTQ themselves to each cover a song from The Con. We encouraged each artist to approach the song they were covering in any fashion they saw fit. Their inspiration could come from the original record or The Con Demos, our first home recordings that were released after The Con came out. All the artists agreed to donate their time and energy to the project and their labels all agreed to waive their fees as well.

At the core of our planning was the hope that this new project would tell another chapter in the story that was The Con. Music allows us to project our own stories, losses, and anxieties onto the melodies and words of someone else. It’s a universal language that bonds people together from different worlds, countries, and experiences. Somehow all these new covers manage to come together to add a new chapter to The Con. We are beyond grateful for the contributions of each artist, and we hope fans of The Con will be moved by their interpretations.

The preorder for The Con X: Covers will begin on September 19th via
The CD and digital/streaming album will be released on October 20.
Vinyl will be released on December 22nd.
Below is the tracklisting!

xo Tegan and Sara

CD and Vinyl Tracklisting:

1. Ruth B. – I Was Married
2. MUNA – Relief Next to Me
3. Shura – The Con
4. Mykki Blanco – Knife Going In
5. PVRIS – Are You Ten Years Ago
6. Ryan Adams – Back in Your Head
7. City and Colour – Hop a Plane
8. Kelly Lee Owens – Soil, Soil
9. Bleachers – Burn Your Life Down
10. Hayley Williams of Paramore – Nineteen
11. Sara Bareilles – Floorplan
12. Shamir – Like O, Like H
13. Trashique (GRIMES X HANA) – Dark Come Soon
14. CHVRCHES – Call it Off

Digital Bonus Tracks:

15. Cyndi Lauper  – Back in Your Head (Bonus Track)
16. Bleached – One Second (Bonus Track)
17. Vivek Shraya – I Take All the Blame (Bonus Track)
18. Tegan and Sara – Miami Still (Bonus Track Demo)…/

No automatic alt text available.

One of the more anticipated new releases this year comes from Becca Mancari, a Nashville-based songwriter with ties to Brittany Howard of the Alabama Shakes as well as a vibrant solo career of her own. Good Woman, out October 6th, sees Mancari carving out a niche for herself within the looser fringes of Nashville’s increasingly crowded Americana scene, bucking current trends of “outlaw” and throwback country in favor of richly rendered songs that would be minimized by attempts to categorize them.

Ahead of the album’s release, Mancari has shared Good Woman track “Golden.” The track begins on a gentle note before swelling to a sparkling, layered chorus evocative of the song’s bittersweet message.

“When I wrote ‘Golden,’ I was living with a friend who was going through a divorce,” Mancari says. “Although she loved him, they were terrible together. Even still, in moments of kindness, they would come back together and remember why they loved each other. As far as they ran away from each other they came back together until they finally and forever put it away.”

While the song is inspired by the perspective of a friend, it still has deep personal significance for Mancari herself. “The other aspect of the song which is the most personal part, and one that I don’t talk about often, are the lines at the very beginning,” she adds. “I have a dear family member who deals with deep depression and thoughts of suicide. The lines, ‘And you’re living your whole life with your head in a noose,’ and, ‘Oh darling darling won’t you see this thing through,’ are the hardest lines for me to sing on the record.”

Listen to “Golden” below.