Mannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times.
“There’s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act,” says Dabice. “The ethos of this band has always been to bring people together.”
Their latest album, “I Got Heaven“, is the band’s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive.
When Missy Dabice sings, the words course through her entire body. Just as quickly as she screams about the cyclical nature of lust, she whispers her heartbreak and longing. Mannequin Pussy lives between those two spaces: the raw ferocity of feminine rage and the quiet moments of hopeless vulnerability. “I want to be a danger,” she sighs. “I want to be adored.”
When an artist comes to the Tiny Desk, they often seize upon the opportunity to reimagine their music. Here, a string quartet helps to crack these songs wide open, swelling with urgency and overflowing with emotion. “I Don’t Know You” and “Split Me Open,” in particular, soar with lush string arrangements, yet don’t stray from the songs’ uninhibited and deeply relatable appetite to be desired.
If, like me, Mannequin Pussy’s Romantic found a way into your tender heart 10 years ago; thankfully, the band commemorates the anniversary by performing the title track with nostalgic appreciation. But the highlight of the show, just before “Loud Bark,” lies in Dabice’s deep acknowledgement of how it feels to be human right now: the pain, the grief and the sadness that swirls inside of us.
“Your rage is a part of you and you have to honour it. Give it the space to breathe,” says Dabice, before she leads the audience in a primal, cathartic scream.
SET LIST “I Don’t Know You” “Split Me Open” “Loud Bark” “Romantic”
Johanna Samuels announces her new album, “Sorry, Kid“.
Gathering nearly two decades of songwriting into something lived-in, luminous, and fully realized, “Sorry, Kid” balances warm 70s tones, emotional precision, and the feeling of looking backward without losing forward motion.
Johanna shares “Circles” featuring Tyler Ballgame, a song that reframes repetition as evolution. What first feels like distance slowly reveals itself as movement, kindness, and return. Piano, mellotron, and sun-faded harmonies drift through a song that strolls in with summer ease while asking what it means to stay connected in a world grown disengaged and unkind.
When sincerity is lost, all we can do is wait for it to come around again. “Circles” gives hope that it will.
“Sorry, Kid”never feels brittle. There’s humour in its edges and steadiness in its performances. You can hear the tape hiss, the room, and the breaths between lines. The record trusts that imperfection can hold weight.
‘Mildly scandalous’: Raspberries lead singer Eric Carmen – In the early ’70s, when rock was either sprawling (prog) or heavy (hard rock), the Raspberries championed something different: concise, melodic power-pop. Fronted by Eric Carmen, they delivered sugary harmonies with a rock punch, and their single ‘Go All the Way’ was a huge radio smash.
For a time, they looked like inheritors of The Beatles’ pop mantle. But power-pop rarely sells longevity, and after four albums, they split. Carmen’s solo career and ballads (‘All By Myself’) overshadowed his former band. Today, the Raspberries are remembered mainly by power-pop aficionados, but their best singles still sparkle.
Though one could argue that the inclusion of the Raspberries’ 1972 hit “Go All The Way” on the Guardians of the Galaxy soundtrack – as well as being briefly featured in an episode of HBO’s short-lived series Vinyl – represents a bit of a cultural rediscovery of the Cleveland, Ohio pop rock band, the truth is that the group remains mostly forgotten. One of the biggest issues that worked against the Raspberries is that their record company – and by extension, the record-buying public at large – couldn’t figure out where the band fit into the larger pop landscape and were summarily ignored.
That’s a crying shame because, while it’s true that the Raspberries sounded quite different from many of their contemporaries, this is what made them a cut above many of those same acts, as Raspberries songs were built around ear-pleasing melodies and strong vocal harmonies. Following brief mainstream success with the aforementioned single “Go All The Way,” the band inadvertently shot themselves in the foot by experimenting with their sound over their next few records; a decision that produced plenty of great music that no one listened to. After trying and failing to make it big, the Raspberries called it quits in 1974, leaving fans to wait until 30 years later for a reunion tour in 2004.
From the heart of the Australian psych scene… rainbow rockersBabe Rainbow return with their 7th studio album “Acid And Honey” recorded on an op shop acoustic on a houseboat in Amsterdam and finished at zen master Mullarky’s Malibu ranch. Exciting country-pop beat production backs wailing Babe Rainbow vocals on solid skanking hip-hop hard rocking finger funky sounds.
The first single “Polymucalsaccharride” is just something Perry Farrell says and it means“drool, like you’re dribbling cos the truth is once you hit the road you don’t remember the good shows, they’re just like every other show”
The Black Crowes made a recent return visit to their Atlanta roots a special one during an concert stop in the area thanks to a couple of surprises, including an unexpected AC/DC cover.
It happened Saturday evening (May 23rd) in the closing moments of the group’s performance at the Ameris Bank Amphitheatre in the local suburb of Alpharetta. The night had already seen an appearance from Drivin’ n’ Cryin‘ frontman Kevn Kinney, a Georgia musical fixture, who came out to guest with the group on a version of his band’s “Acceleration.” That would have been plenty of excitement for the fans in attendance, but the Black Crowes had one more ace up their sleeves.
After closing out the main set with strong versions of a couple of proven catalogue tracks, “Twice as Hard” and “Remedy”, the band returned to the stage for an encore and Chris Robinson addressed the crowd. “I know you can probably guess this, but we always love coming home,” he shared. “Although I left Atlanta in 1990, so it doesn’t look like it when I drive around, but I know we’re home.” Thanking both Whiskey Myers and Southall, their current touring partners on the ongoing Southern Hospitality tour, he added, “I hope y’all like this one!”
A fiery version of “Riff Raff” from AC/DC’s 1978 Bon Scott-era album “Powerage” proved to be the perfect way to wrap up their evening in Georgia.
“The interesting thing about it, you know, [early Black Crowes bassist] Johnny [Colt] is rockin’ the Cliff [Williams] bass parts pretty much [back then],” Rich Robinson shared with UCR in 2024. “The drum parts were very groove-oriented. Very Phil Rudd, not a ton of fills. And a lot of the guitar parts were just doubled. It was minimalist in that approach.”
Each night on the band’s summer run supporting their newest album, “A Pound of Feathers”, has brought along new surprises. The trek kicked off May in Austin, Texas with guest appearances from John Doe of X, who joined the Crowes to perform “The New World” from the 1983 X release “More Fun in the New World“. Guitar legend Charlie Sexton came out that same night to jam “Feelin’ Alright?” from the Traffic catalogue (also made famous in a whole different way, by of course, Joe Cocker’s subsequent version).
“But also, obviously, there was also Rolling Stones, the Faces — everything and in between that you could imagine,” he continued. “But there was a lot more of that [AC/DC feel] and listening to [the first Black Crowes album] “Shake Your Money Maker” [in recent years] really brought that back. I was like, ‘Oh, I forgot.’ We were way into that rhythm section and the interplay between the guitars and what’s happening between Cliff and Phil Rudd. So it was eye-opening to look back.”
An opportunity to relive (or experience for the first time) that enthralling evening; a historic occasion that found Annie Clark, Buckley and the orchestra reimagining 19 classics, staples and rarely played deep cuts spanning the St. Vincent catalogue from 2007’s solo debut, “Marry Me”, up to 2024’s multiple-GRAMMY-winning “All Born Screaming”.
Featuring reimagined works from across her entire career, this is a chance for fans to experience an evening that Rolling Stone UK called “A glorious re-imagination,” what The Times Of London classified as “Here’s how to do a classical crossover,” and about which Far Out Magazine UK said “There are certain gigs that are always destined to be great — like St. Vincent, at the Royal Albert Hall, with an orchestra.”
’Digital Witness’ comes from ‘Live in London!’ an album capturing last year’s majestic BBC Proms performance at London’s Royal Albert Hall accompanied by the 60-piece Jules Buckley Orchestra. Available on vinyl July 10th.
Manchester, four-piece Westside Cowboy have announced their debut album, “It Goes On” on Island Records, and shared a new single, “Kick Stones (The Boys),” via a music video.
The of the album, the band say: “We wanted the music to be instant, concise, and honest to us as people today. There will be plenty of time in the future for the sprawling triple album with horns and string sections but for now, it’s young music made by some young(ish) people. We want to make songs that are lean and imperfect.”
‘It Goes On’ is the debut album from the Manchester-based four piece Westside Cowboy, produced by Loren Humphrey.
In an age of algorithms, Westside Cowboy are pure-spirited proof of the magic that can only come from human connection. Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet – Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O’Connell (vocals, bass) and Paddy Murphy (drums) – have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.
“There’s no computer that could make “It Goes On”. No formula to creating the joyous whack of emotion that comes from these four mates pooling their ideas and watching them fly. “If you go in with a preconceived notion of what you’re doing, it’s sort of destined to fail because you’re not truly being yourself,” suggests Aoife. “So because we didn’t think we were gonna [do any of this] at the beginning, all we were thinking was: ‘What’s going to be the most enjoyable thing to play right now?’”
Aoife, Reuben and Paddy all knew each other from the Royal Northern College of Music; Jimmy and Paddy had played in a band together a few years previously. When they decided to sit in a practice room as a quartet for the first time, there was only one rule for what would follow. “We just wanted to make simple music. I think the reason there was such chemistry – and when we look back, even after two weeks we were really working well together – is because it was such a simple statement of intent,” recalls Reuben. “Any time we’d disagree on something – which was very rare – we’d just consult the original mission statement: if you’ve got too many chords in it, you’re wrong.”
A purposeful reaction against the “more abstract” styles they’d individually been dallying with before, Westside Cowboy swiftly became a place for concise, straight-hitting ideas influenced by “early rock’n’roll: Lonnie Donegan, The Beatles and The Velvet Underground,” says Paddy. Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly – you know, that guy!’” Aoife laughs.
If these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of “It Goes On’s” propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.
“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of It Goes On, Westside Cowboy have underlined exactly what kind of band they want to be.
Recorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to “It Goes On” that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. You’re firing on all cylinders because you know that this may never happen again,” says Paddy. “You’re trying to create these big feelings, but all you have with you to string it together is a pencil and a Pritt Stick.”
In a time of terrifying division and conflict, Westside Cowboy always try to focus on what unites us. Early on in the group’s life, they co-created No Band Is An Island: a Manchester-based collective putting on fundraising nights to spotlight both local artists and important issues via speakers from charities and direct action groups.I think we wanted to engage with politics in a way that felt more impactful beyond the music,” notes Aoife. In their current video for ‘Kick Stones (The Boys)’, they called upon the skills of FC United: a splinter team that started when Man United were sold to an American corporation. “They’re very community minded and they have a similar atmosphere to what we want to be,” says Reuben. “Their ethos is ‘making friends not millionaires’.”
Florida-born, Louisiana-based songwriter Thomas Dollbaum’s specific strain of heartland rock is all about place. He has the type of rich baritone that reverberates throughout a room, outlining its every identifying nook and cranny in the process. However, on his second album, he draws inspiration from the great American pastime of roaming, revisiting past relationships and old wounds like familiar haunts.
Digital AlbumStreaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Download available in 16-bit/44.1kHz.Buy Digital Album $12 USD or moreSend as Gift
Black Vinyl LPRecord/Vinyl + Digital Album
Includes unlimited streaming of Birds of Paradise via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Includes unlimited streaming of Birds of Paradise via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Download available in 16-bit/44.1kHz.shipping out on or around May 22, 2026Buy Vinyl $21.98 USD or more Send as Gift
Roseate Spoonbill Pink Vinyl LPRecord/Vinyl + Digital Album
Includes unlimited streaming of Birds of Paradise via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
First 100 Purchasers get a limited “Thomas Dollbaum” carpenter pencil!
Includes unlimited streaming of Birds of Paradise via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Download available in 16-bit/44.1kHz.Sold Out
Compact DiscCompact Disc (CD) + Digital Album
Includes unlimited streaming of Birds of Paradise via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Includes unlimited streaming of Birds of Paradise via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Download available in 16-bit/44.1kHz.Sold Out
The realest-deal storyteller in indie-rock today is the Tampa-born, New Orleans-based singer/songwriter Thomas Dollbaum, and “Birds of Paradise” is his most powerful and dynamic work yet. Following up his critically acclaimed “Wellswood” (Big Legal Mess, 2022) and “Drive All Night” EP (Dear Life Records, 2025), “Birds of Paradise” is a goodbye letter to lost loved ones and former selves. These songs find Dollbaum searching for acceptance in the transient in-between places: Florida’s pine flatwoods, backroads leading to I-95, where birds fly across the water. And even though the ghosts of his alt-county predecessors Townes and Molina are definitely present, on “Birds of Paradise”, Dollbaum emerges from their shadows–waving to the past, sounding all the more like himself.
Recorded in Oxford, Mississippi over the course of a week, the record features a backing band of Josh Halper, Nick Corson, and MJ Lenderman, the latter of whom tackles drums, guitar, and backing vocals.
“Dozen Roses” is from “Birds of Paradise” by Thomas Dollbaum, out May 22nd, 2026 via Dear Life Records
Future Islands can still swell and surge, but this release turns toward something quieter and more reflective. “This is for everyone who has carried these songs with them,” Cashion explains, “from the first house parties to the rooms we’re playing today.”
Over the past 20 years Future Islands have travelled a rare arc, from promising newcomers to best-kept secret, from cult favourites to heroes of the genre. As they reach this remarkable milestone, they resist the obvious move. Instead of a ‘best-of’ compilation victory lap, Future Islands present “From A Hole In The Floor To A Fountain Of Youth”,an immediate and accessible collection — half of which has never appeared on streaming services — comprising alternate hits, rarities, and fan favourites that showcase the band’s palette and bring further colour to their uniquely universal appeal.
As the title suggests, this double-LP traces the group’s journey from humble origins toward ever-widening horizons. It has 20 songs for 20 years, from four members of the band, on four sides of vinyl. Future Islands have always been more than a viral moment; their career contains extraordinary depth and nuance, often overshadowed by louder peaks. These songs reveal a band comfortable with subtlety, grace, and emotional endurance – and they have never sounded more eternal.”
The songs were first gathered into a playlist by bass lynchpin William Cashion, who also chose the title – “I’ve always loved the imagery of that lyric,” he makes clear, “The hole in the floor is the everyday, but the fountain is the magic that happens when the life you dreamed about actually becomes the one you’re living. It’s the dream and the reality existing in the same room.” A well-known Tennessee Williams quote talks of this kind of duration – “time is the longest distance between two places.” It is time that really separates the floor from the fountain.
Coinciding with both the album and their 20th anniversary, Future Islands is also in the midst of a run of hometown shows across North Carolina (Wilmington, Carrboro, Asheville, and Greenville) and Baltimore — the ‘Fountain of Youth Tour’ — with support from friends and collaborators including Dan Deacon, Ed Schrader’s Music Beat, Lonnie Walker, and more. Tonight, they perform in Asheville at The Orange Peel.
Grateful Dead are taking it back to their early career with their latest live release.
“Fillmore Auditorium, San Francisco, CA (7/3/66)” will be released on July 3rd, on the 60th anniversary of the concert, which took place seven months after the band changed their name from the Warlocks. The performance was part of legendary promoter Bill Graham’s Independence Ball, with the band at the time made up of Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan and Bob Weir.
The concert features some of the earliest known recordings of songs like “Tastebud,” “You Don’t Have To Ask” and “Cardboard Cowboy,” which the band would stop playing by the end of that summer. It also includes “Cold Rain and Snow,” which would go on to be a Dead staple.
The performance of “Cold Rain and Snow” is available now . “One of the Grateful Dead’s longest-tenured songs in their repertoire, “Cold Rain & Snow” was around from 1965 to 1995, played every year of the Dead’s performing career aside from 1968 and 1975. This was played when it was still in its peppier arrangement.” – David Lemieux
“Fillmore Auditorium, San Francisco, CA (7/3/66)”, which was previously available in 2015 as part of the 50th anniversary boxed set “30 Trips Around the Sun“, will be released digitally and as a two-CD set. It will also be released as a three-LP set, its first time ever on vinyl, limited to 6,600 copies. The vinyl release is available exclusively at Dead.net.
![Mannequin Pussy - I Got Heaven [Indie Exclusive Tie Dye Splash]](https://mediacdn.aent-m.com/prod-img/500/10/4492310-3523541.jpg "I Got Heaven [Indie Exclusive Tie Dye Splash]")
The Fat Angel Sings 
