80s KIDS at The Virgil, Los Angeles, CAIn the world of independent artists, there are those whose musical aesthetics evolve gradually, while a rare few create rare transformations that feel almost cinematic—where everything that came before suddenly clicks into a vivid, fully realized expression. Watching Shannon Curtis confidently strut onto the stage at The Virgil as one half of 80s Kids, it’s impossible not to think back to a much earlier version of her: seated behind a keyboard at Molly Malone’s in 2009, delivering the intimate, heartfelt songs of I Play the Piano and Sing Love Songs with grace, warmth and a quietly captivating emotional pull. That artist is still very much present. But what she’s become, alongside her husband, producer and creative co-conspirator Jamie Hill, is something far more expansive, theatrical and electrifying.

What Curtis and Hill have built with 80s Kids isn’t simply a nostalgic cover project. It’s an immersive, vibrant and intricately woven aesthetic experience—a retro radio broadcast, underground synth club and deeply personal time capsule. From the moment fans entered the venue, the world was established: purple-lit ambience, a neon logo, a wall for photos, merch tables stacked with cassettes and vinyl, and the brilliantly conceived “80s Kids Radio” playing over the speakers—complete with faux ads and an over-caffeinated DJ named Ronny Rocket hyping the cultural breakthroughs of 1985 with just enough ironic hindsight to make it both hilarious and subtly dark.

This level of detail speaks to the duo’s long-standing DIY ethos. As pioneers of the modern house concert movement, they’ve spent over a decade redefining what independent artists can be—building a sustainable, community-driven career outside traditional industry structures, releasing albums at a remarkable pace, and cultivating a fiercely loyal audience through their Misfit Stars ecosystem. That same spirit of independence and innovation fuels 80s Kids, which began almost accidentally during a pause between original album cycles and quickly evolved into a full-fledged band vibe, complete with two releases (80s Kids and the just released 80s Kids 2) and a touring identity all its own.

But it’s onstage where the concept completely ignites.

Curtis appears in a striking, high-voltage look that channels the raw energy of an underground ‘80s new wave club—sheer black mesh, high-waisted shorts, fishnets, over-the-knee boots, fingerless gloves, her silver-gray hair loose and electric under saturated pink and purple lights. Gone is the seated singer-songwriter; in her place is a commanding, kinetic performer who stalks the stage, dances between vocal lines, and radiates a fierce, unapologetic presence. Part Pat Benatar grit, part Berlin-era cool, she embodies the era without ever feeling like an impersonation.

Alongside her, Hill remains mostly silent but absolutely essential, triggering meticulously crafted synth arrangements via a Roland controller and custom-programmed soft synths that recreate the original sonic architecture of each track with stunning precision. And that’s one of the show’s most refreshing choices: there’s no ironic reinterpretation, no attempt to “update” the songs. Instead, Hill faithfully rebuilds them—allowing Curtis’ powerhouse voice, drenched in reverb and heartfelt intensity, to step into and often elevate the original performances.

The set leans heavily into British and European synth-pop—a-ha, Pet Shop Boys, Erasure, OMD, New Order, Yazoo—with only a few American detours, including a crowd-erupting “Dancing in the Dark” and a torchy, deeply felt take on Berlin’s “Take My Breath Away.” From the opening pulse of “Take on Me,” Curtis commands the room with boundless energy, hitting every soaring high note while channeling the wide-eyed exuberance of her younger self discovering this music for the first time.

One of the night’s most unexpected highlights is 80s Kids’ fiery rendition of Sheena Easton’s “Strut,” a track notably absent from the 80s Kids albums but perfectly suited to Curtis’ commanding stage presence. Leaning into the song’s sly, confrontational edge, she channels its proto-feminist spirit with a knowing wink—transforming what once felt like a playful ‘80s pushback against objectification into something that resonates even more sharply in a post-#MeToo cultural landscape. With a throbbing groove beneath her and a torchy, defiant vocal delivery, Curtis turns the performance into a moment of empowerment, strutting, twirling and locking eyes with the crowd as if reclaiming every lyric in real time.

Highlights come in rapid succession. “It’s a Sin” builds from a mystical opening into a raucous, dance-fueled explosion, with Curtis punctuating each refrain with sharp, physical movement. “A Little Respect” becomes a total audience clap-along, her voice effortlessly riding the track’s emotional peaks. “If You Leave” transforms the seated crowd into a communal dance floor, while “Bizarre Love Triangle” pulses with hypnotic intensity as both performers lock into its groove.

Just as infectious is their take on The Human League’s “Don’t You Want Me,” which becomes a playful, semi-theatrical duet. As Hill steps in with the filtered vocal in the second verse – interestingly taking the female role – Curtis reacts in real time, half incredulous, half amused, turning the song’s familiar back-and-forth into a bit of live storytelling. She leans into the drama, punctuating lines with expressive gestures and sly glances, transforming the synth-pop classics into a wildly retro yet freshly animated crowd pleasing singalong.  

Yet what truly elevates the evening is the storytelling woven throughout. Curtis is a natural, hilarious and disarmingly honest narrator, spinning anecdotes about Gen X identity, early encounters with technology, adolescent crushes and the cultural artifacts that shaped her worldview. A particularly memorable sequence leads into “Take My Breath Away,” where she recounts seeing Top Gun at age eleven, sitting between her parents while processing the film’s now-iconic love scene knowing her ex-beau is in the audience—an experience she describes with such vivid, comedic detail that the eventual performance lands with both humor and genuine reflective resonance.

Elsewhere, she riffs on everything from Short Circuit to menopause to mixtapes, framing her generation as “punks and weirdos, theater kids and band geeks” who found belonging through music. These moments aren’t filler—they’re connective tissue, grounding the performance in lived experience and reinforcing the idea that 80s Kids is as much about identity as it is about sound.

Musically, the band moves fluidly between high-energy dance numbers and more introspective ballads. “Broken Wings” showcases Curtis’ ability to pull back into a more restrained, haunting delivery, while “Only You” creates a hypnotic, almost intimate atmosphere. Even lighter tracks like “Always Something There to Remind Me” carry a sense of joy that balances their lyrical melancholy.

By the time the show closes with “The Promise” and a soaring, deeply felt “Forever Young,” the through-line becomes clear. This isn’t just a fond, powerfully produced look back - it’s reclamation. Curtis and Hill aren’t simply revisiting the music of their youth; they’re reinhabiting it, reinterpreting their own histories through it, and offering it back to an audience that, whether they lived it or not, can feel its enduring pulse.

In that sense, 80s Kids represents not just an artistic evolution for Shannon Curtis, but a kind of full-circle arrival. The young woman who once sang alone at a keyboard has become a fearless, totally embodied performer—one who understands that the songs we grow up with don’t just shape us; they stay with us, waiting for the moment we’re ready to truly live inside them.

Photo credit: Nancy SchoegglThe post 80s KIDS at The Virgil, Los Angeles, CA first appeared on Music Connection Magazine.

From 75,000 AI tracks hitting Deezer daily to UMG’s copyright lawsuit against Quince… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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Brennan Wedl Signs with ANTI-Date Signed: March 2026Label: ANTI-Type of Music: Indie rock / Country / GrungeManagement: Another Management CompanyBooking: TBA AgencyPublicity: Kelly @ ANTI- A&R: Andy Kaulkin + Allison CrutchfieldWeb: brennanwedl.com

When singer, songwriter, and multi-instrumentalist Brennan Wedl signed with ANTI- Records, the alt-roots sister label to the very punk-centric Epitaph, the deal made perfect sense. Placing Wedl on a roster that also included the likes of Fleet Foxes, Gitterer, and Mavis Staples saw the appropriate stars align. 

Her debut for the label is a cover of Canadian artist Kathleen Edwards’ “Six O’Clock News,” though listeners should be ready for Wedl’s original material.

“I made up songs a lot as a kid—always testing my two younger brothers’ patience and eardrum receptivity levels,” Wedl says. “I started writing songs on the acoustic guitar in fifth grade, and my first show was on November 26th, 2011. I took it upon myself in that coffeeshop to humbly offer the world my rendition of his 2011 hit song, ‘How To Love.’” 

Wedl describes her sound as, “acoustic guitar singer/songwriter roots hot-wired to a pair of go-go boots playing an electric guitar telecasting spells of crunchy, twangy truth bombs with hooky, singable melodies.”

The artist claims that the deal with ANTI- came about “through the power of music, magic, and madness.” For Wedl, “Six O’Clock News” was the perfect vehicle to introduce herself to her new label.

“[Kathleen Edwards] is a legendary alternative country Queen and this song has always been a standout favorite of mine,” she says. 

With her feet firmly under the table at her new spiritual home, Wedl is ready for a big 2026. “I’m opening the shows on the Waxahatchee / MJ Lenderman tour starting April 13th in Atlanta,” she says. “The joy and enthusiasm that fills my soul is beyond compare. I’m going to be playing solo and experimenting with the good ole trusty six-string acoustic guitar. Beyond that, more exciting tours—support and headline dates, hanging with loved ones, taking Spanish lessons, continuing to grow together in community and fighting to protect one another from the fallout of the American imperial war machine imploding all around us with each new day. We have the power in numbers, people. It’s never too late to speak out. Time to join local organizations that align with what’s right! We can build a better future when we organize together. Love you thanks for reading.”The post Brennan Wedl Signs with ANTI- first appeared on Music Connection Magazine.

How will the major labels overcome the copyright threat from AI music? By turning to the most powerful weapon available: AI itself.MBW digs through new patent filings describing a 'media rights platform' that sits between rightsholders, gen AI systems, and the end users who want to prompt AI to create derivative works from copyrighted music
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Martin Guitar Celebrates Earth Day 2026 with New Biosphere® GuitarNews broke on Wednesday that, "In honor of Earth Day 2026, C. F. Martin & Co.® continues its long-standing commitment to sustainability with the release of the 00L Biosphere IV and its latest Impact Report. Together, these initiatives reflect Martin’s belief that protecting the planet and creating exceptional instruments go hand in hand."

"In the Biosphere series, we have been following a story around the world, and this year we picked the Emperor Penguin in Antarctica for our focus," said Robert Goetzl, who creates the artwork for the Martin Biosphere guitars. "The instruments showcase the biodiversity of water around the globe and highlight the importance of water to all life. The guitars are not only made sustainably, but they also highlight different areas of our planet. They thread together in a larger message of the importance of protecting our environment for all life worldwide."

A company statement reads as follows:

Introducing the 00L Biosphere IV: A Tribute to Antarctica 

Each Earth Day, Martin unveils a special Biosphere guitar that brings together meaningful artistry and responsibly sourced materials—and this year’s model turns its focus to one of the most extreme and fragile environments on Earth. 

The 00L Biosphere IV features original artwork by renowned artist Robert Goetzl, capturing a powerful moment between an emperor penguin parent and its chick. Shielded from the Antarctic wind, the image reflects both resilience and vulnerability in a rapidly changing world. 

“When your environment is at threat, you feel very protective of your offspring—and the creatures around you that need protecting,” says Goetzl. “That’s what this piece is about.” 

Crafted entirely from FSC-certified woods, this sloped-shoulder 00L model features a Sitka spruce top, sapele back and sides, and flamed maple binding. It’s a guitar designed not only to be played, but to spark awareness and inspire action. 

As part of this year’s release, Martin is proud to support the Global Penguin Society with a donation to advance its mission of protecting penguin species, preserving critical coastal ecosystems, and fostering environmental education worldwide. 

2025 Impact Report: Measurable Progress, Meaningful Change 

Alongside the launch of the new Biosphere guitar, Martin is also releasing its 2025 Impact Report, highlighting continued progress across environmental stewardship, community engagement, and philanthropy.  Key highlights include: 

103 grants awarded through the Martin Guitar Charitable Foundation, totaling $594,750 $35,000+ in donated instruments for music education and environmental causes First Martin Sustainability Summit held at the solar-powered Commerce Lane facility Six new instruments built with sustainable and domestically abundant tonewoods 200+ tons of recycled material across Martin facilities 

These efforts represent tangible steps forward in Martin’s ongoing journey to reduce its environmental footprint while supporting the communities it serves. 

A Commitment That Continues 

For nearly two centuries, Martin has relied on the natural world to craft its instruments—and protecting those resources remains essential to its future. From responsible wood sourcing to partnerships with global conservation organizations, sustainability is embedded in every part of the company’s work.  

To learn more about the 00L Biosphere IV and explore the full 2025 Impact Report, visit martinguitar.com/sustainability. The post Martin Guitar Celebrates Earth Day 2026 with New Biosphere® Guitar first appeared on Music Connection Magazine.

Inside the UMG-backed patent portfolio targeting AI music derivatives: A technical blueprint for the walled garden model?An entity linked to UMG has been building a patent portfolio around AI-music infrastructure
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Up Close: Sean Healy Presentswebookbands.com

An Actor Championing Musicians: Armed with his BFA in Acting from Arizona State University, Sean Healy moved to L.A. in the early ‘90s to conquer the world and, over the last few decades, he has—just not in the way he expected. As a paying member of a 99-seat theatre company in Hollywood, he took advantage of their open space on Sunday nights to create a popular underground spoken-word performance space, which connected him to many local musicians. While pounding the pavement and auditioning, Healy channeled his frustration with his acting career into exciting opportunities to book bands at venues throughout the city—which quickly led him to launching a call-in service for artists looking for gigs. Cut to 30 years and hundreds of bands and clubs and theatres later, and Sean Healy Presents—a name that came from his shows listed in LA Weekly—is a full-service nationwide concert promoter specializing in national touring acts working with major agencies in the same space as AEG and Live Nation. 

Genres and Services: Though often best known for their years booking groundbreaking hip-hop acts, Sean Healy Presents has morphed into different specialties over the years, booking pop, rock, metal, and (since 2021) K-pop, among other genres. The company is renowned for its “We Book Bands” initiative, which provides emerging artists with local performance opportunities and showcase gigs. Unsigned acts can apply for local showcases to build a relationship with the company with an eye towards eventually opening for national headliners. While centered in L.A., SHP regularly books shows in San Francisco, Portland, Seattle, N.Y.C., and Healy’s hometown of Chicago. Artists can submit promo packages, including music links and bios, via email for review. 

Success Stories: Kendrick Lamar is easily one of SHP’s greatest success stories. The 27-time GRAMMY winner performed his first major L.A. show with SHP at the Key Club in 2010. The show sold out, and Dr. Dre came out on stage to proclaim Lamar as the new start of hip-hop—launching one of hip-hop’s most storied and influential careers. In 2010, SHP also hosted a sell-out show at the same venue headlined by Big Sean, followed the next year with concerts in L.A. and Oakland. Other greats the company has booked include Sza, Too $hort, Future, Lil Uzi Vert, YG, The Strokes, 21 Savage, Plain White T’s (a co-promote with the Knitting Factory), J. Cole, Lupe Fiasco, Machine Gun Kelly, and OneRepublic, which was known as Republic when SHP booked them in 2003 at the Viper Room. More recently, SHP sold out the Kia Forum in 2025 with K-pop artist Taemin. 

Contact 323-651-1582  The post Up Close: Sean Healy Presents first appeared on Music Connection Magazine.

Soccer legend Ronaldinho launches Tu Música record label in partnership with Brazil’s Sua Música GroupNew venture, led alongside executives from Sua Música Group and ASJ, plans World Cup-themed debut project.
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Five Star Spotlight: The Postal Service - 'Give Up'We recently went though a pass of revisiting classic albums and bumping a deserving handful to five stars. Among these reclassified records is a sweetly quiet indie-electronic milestone with a charming origin story. Check out this Five Star Spotlight.

Chord Music-linked ABS vehicle plans $500M deal, backed by $830M catalog led by Suicideboys, Morgan Wallen, and Ryan Tedder rightsDeal collateralized by royalties from a catalog of more than 3,750 works
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Live Review of MaanuSony Hall, New York, NY

Web: yain.coContact: sikki@sylaforever.comPlayers: Maanu, vocals; Asfandyar Ali, instrumental accompaniment

New Yorkers braved the cold at the end of January to see Maanu at Sony Hall. They arrived in droves, packing the theater wall to wall with a buzzing energy.

From Lahore, Maanu’s music blends pop, R&B, ballads, and hip-hop with his local culture to create something new and enthralling. Primarily in Urdu or Punjabi, his music leaves its hooks in the audience, making it impossible to forget. Maanu sprang on stage with high energy, amplified by hip-hop beats and bright lights. A slight tinge of melancholy from the vocal melody bubbled below, adding a deeper color than that of the high hats and fast beats. From the first note, the audience was dancing and singing along, utterly enamored.

Maanu’s stage set up was simple—he was joined only by Asfandyar Ali. Ali opened the show with his own set, playing stripped back tracks to warm up the crowd. He remained on stage playing live guitar and beats from a laptop. Together they created an intimate yet impactful dynamic. Throughout the show, beats ranged from mallets to sizzling high hats to dark bass drum. After a few minutes, Maanu chatted with the crowd, welcoming them in and announcing his recent marriage. Serving as a segue, Maanu shifted from upbeat anthems to tender ballads. Sweet guitar riffs from Ali and lilting melodies paired with pink lights to fill the room with an endearing atmosphere. Maanu’s ballad melodies swelled with emotion, filled with impressive vocal runs and gentle reverb in the guitar. Maanu and Ali rounded out the ballads with a pivot to R&B before bringing back some of the energy.

After this tender and earnest section, bright guitar and 2010’s hip-hop beats returned. The audience reacted immediately. These tracks were accompanied by enthusiastic singing, shouting, and clapping from the crowd. Grittier vibes in the guitar, deeper colors in the beat, and quicker lyrics had everyone on their feet dancing along. It felt like a party instead of a concert. Maanu’s connection with his audience is palpable, and they fed off each other’s energy all night long.

 Maanu does not tour in the United States often but embarked on a North American tour following the release of his album thikaana in 2025. There’s no news yet of any future projects, but I’m sure Maanu will be back with something new before long.The post Live Review of Maanu first appeared on Music Connection Magazine.

From Live Nation’s antitrust trial loss to Max Lousada and Julie Greenwald’s 26.2 launch… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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Emperor Reigns at the WilternHowever closely associated one is to the infamous Norwegian black metal scene, the name of pioneering band Emperor is one that looms large. Maybe you saw the Lords of Chaos fictionalized horror-crime movie that centered on fellow black metal band Mayhem and the surrounding murders and church burnings. Or maybe you've marveled at former Emperor man and self-proclaimed goblin Mortiis. Either way, it's long been hard to ignore Emperor, even if you tried.

Emperor formed in 1991, and frontman Ihsahn has been there from the start. Guitarist Samoth joined shortly afterwards in '92, with drummer Trym Torson joining the Satanic ranks in '96. Thirty years later, the trio is joined by a few live musicians to fill out the sound.

We saw Mayhem live in L.A. a couple of years ago, and it wasn't good. Turgid and wooden, it felt like they were going through the motions. Meh, maybe it was a bad night. However, Emperor were superb at the Wiltern.

Long gone are the days of corpse makeup and weaponry. That said, they don't need it. There might be more years on the clock, but Emperor 2026 is as imposing, heavy and evil (musically) as they've ever been.

Early tracks "Wrath of the Tyrant" from the 1992 debut EP of the same name) and "I Am the Black Wizards" (from 1994's In the Nighttime Eclipse debut full-lengther) sounded raw and just plain nasty.

The most recent Emperor album is 2001's Prometheus: The Discipline of Fire & Demise, and we got a brutal "In the Wordless Chamber" from that. Killers from the sophomore Anthems to the Welkin at Dusk included "The Loss and Curse of Reverence" and "With Strength I Burn."

But it was those wide-eyed, gnarly songs from the first album that were the highlights for us. "Inno a Satana" was particularly moody and gloriously grim.

The legend of black metal has calmed down a bit. Everybody got old, and church-burning isn't on the agenda when you've got kids to pick up from school. That said, there's still a huge market for the scene. The line for the merch went on forever.

You can't keep a good devil-worshipper down!

The post Emperor Reigns at the Wiltern first appeared on Music Connection Magazine.

As K-pop concert revenues rise, HYBE, SM Entertainment, JYP, and YG plot music festival joint ventureNews arrives as live music becomes an increasingly important revenue stream for K-pop's biggest companies
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Ten of the Best Iron Maiden SongsAt long, long last, heavy metal icons Iron Maiden are being inducted into the Rock & Roll Hall of Fame. After five decades, and 17 albums with three vocalists, Maiden is finally getting its dues. Sadly, former vocalist Paul Di'Anno and former drummer Clive Burr are no longer around to celebrate. But we can all revel in the glory of all things Maiden. Here are 10 of their best songs, in order of release.

"Iron Maiden"

From Iron Maiden (1980)

"Wrathchild"

From Killers (1981)

"The Number of the Beast"

From The Number of the Beast (1982)

"The Trooper"

From Piece of Mind (1983)

"Aces High"

From Powerslave (1984)

"Wasted Years"

From Somewhere in Time (1986)

"The Clairvoyant"

From Seventh Son of a Seventh Son (1988)

"Fear of the Dark"

From Fear of the Dark (1992)

"The Clansman"

From Virtual XI (1998)

"These Colours Don't Run"

From A Matter of Life and Death (2006)

Photo by Ceedub13, licensed under the Creative Commons Attribution 2.0 Generic license.The post Ten of the Best Iron Maiden Songs first appeared on Music Connection Magazine.