In the Studio with The Barbarians of CaliforniaMembers: Aaron Bruno, vocals; Eric Stenman, guitar; Zach Irons, guitar; Linden Reed, drums; David Amezcua, bass; Isaac Carpenter, drums (founding member, now in Guns N’ Roses)

The Origin: Across multiple creative circles — bands, production rooms, musical experiments, and songwriting sessions — the members of The Barbarians of California moved in parallel, simultaneously sharpening separate sonic identities as currents built and intensified toward an inevitable flashpoint.

The first phase manifested through the pairing of frontman Aaron Bruno’s punk band, Insurgence, with Eric Stenman behind the board. While their initial collaboration was transitory, the collision of their shared hardcore sensibilities resonated long after they diverged — Bruno with Hometown Hero and Under the Influence of Giants, and Stenman engineering and producing for bands including Senses Fail, Dashboard Confessional, and Deftones. Despite the distance, their creative momentum gathered strength within separate channels, set on a trajectory to converge once more.

Fast forward a few years, and the two aligned for a second time under the AWOLNATION banner. With Stenman at the helm, Bruno hammered out a sonic identity known for blending hard-edged electronics with arena-scale alternative rock. While AWOL’s music reached a global stage, a dormant undercurrent of abrasive punk mixed with metal pulsed beneath the polished synthesis —  steadily growing, waiting for a resurgence.

After harboring a collection of unleashed riffs for years, the next surge occurred when Stenman shared his power chord monstrosities. The barrage of discordant motifs immediately captured Bruno’s attention and ultimately evolved into full-bore hardcore arrangements, crystallizing an aggressive sonic landscape between the two.

This energy pulled in longtime collaborators — fellow AWOL musicians Zach Irons (Irontom), Isaac Carpenter (Loudermilk/Gosling now with Guns N’ Roses), David Amezcua (Under the Influence of Giants), and Linden Reed (AWOL) —  unifying the band’s collective history.

What had been a network of isolated currents transformed into The Barbarians of California, a self-contained, combustible force: louder, heavier, and more visceral than before. With the release of And Now I’m Just Gnashing My Teeth, the organically formed project became a reality, reaching critical mass, channeling years of shared creative energy into a singular explosive entity.

As The Barbarians of California continue touring and toggle from stage to studio, they offer an inside look at their creative process — a proving ground for capturing evolving, volatile energy.

The Production: When And Now I’m Just Gnashing My Teeth materialized, it was an experiment — a way to reignite a passion for a genre that had simmered beneath the surface for years. The approach was intuitive; guided by a desire to release something primal and honest, for the unfiltered soul of it all.

As Aaron Bruno recalls, the goal was straightforward: to release the material, play a proper hardcore show, and see if anyone with ears to hear would ride with them. That one show, “absolutely went off,” and the unexpected embrace of their music did more than surprise them — it inadvertently validated their conviction. What had once felt like an undercurrent became something tangible: permission to create, permission to redline the sound.

Beyond the heavy sonics and raw energy, Bruno’s lyrics cut with precision — cunning, wry, and sly — offering societal observations open to interpretation, tempered with spirited irreverent defiance.

Now, stepping into a second full release, the conviction remains — but the drive has intensified. The music is expanding in every direction: “I want it to be heavier, more brutal, and as far-reaching as artistically possible,” Bruno explains. “We have no rules… no genre to adhere to. I still don’t know if we are hardcore, metal, thrash, punk, or all of the above. Maybe it’s pop music.”

Even with this boundary pushing, the approach while recording in the studio remains minimalistic.  After years in large studios with endless options, guitarist and producer Eric Stenman has embraced restraint. “I operate out of a small studio/workspace located at [his] house. Ninety-five percent of everything Barbarians (and AWOL) happens there. It’s super modest… not a lot of gear. I have an even smaller version of the same thing at my house.”

That simplicity is intentional. In a guttural punk-meets-metal band, the foundation is clear: chords, rhythm, and vocals must occupy distinct spaces while commanding sonic strength. The challenge is carving enough room in the mix so every element hits with unfettered power, clarity, and cohesion.

Anchoring the band’s aggressive sound, Isaac Carpenter and Linden Reed’s drums provide both precision and propulsion. Whether tracked in the main studio or home setups, their playing drives the riffs and chords forward, sculpting the energy and intensity while leaving clearance for vocals to hit and soar.

Layering guitars without muddiness requires skill and taste. Stenman’s longtime go-to has been a Les Paul, though he also leans into ESP/LTD tones for heavier, more metallic textures. Zach Irons brings his own dynamic; as a left-handed guitarist, his options are naturally limited. “I’m still experimenting with all of this,” Irons adds. “I recently got a vintage Carvin (Kiesel). I wanted a guitar with a full whammy bar, and now I have it.”

While the drums and guitars frame the architecture for The Barbarians’ sound, Aaron’s voice must cut through to carry the emotion. Recorded with a handheld Shure SM7 in a modest control room, vocals are often captured in three passes or less. “With Aaron,” Stenman explains, “so much of capturing his vocals is based on instinct and vibe.  If something isn’t working, he’ll know very quickly and adjust course… or throw away an idea completely.”

Shaping this specific, heavily powered sound is a constant balancing act amid chaos and control. For the band, overthinking while tracking is the enemy.  “Keeping things just raw enough to be exciting and chaotic in the right way is very important.”  Stenman adds, “However, we also want to maintain cohesion and a level of professionalism. The bigger your drum sound, the less room there is for guitars… and vice versa. The more you edit a performance to perfection, the more you run the risk of being sterile and unexciting.”

Oscillating across polish and volatility creates a beautiful tension that defines the Barbarians of California’s work in the studio. Nothing is overdone, but nothing is careless.  The band operates in a space where passion meets experience — where minimalism sharpens aggression.

What began as separate creative currents has fused into a sound with no fixed boundaries.  In a band devoid of rules to obey, that paradox feels fitting. The Barbarians occupy a realm where crossover, metal, thrash, punk, or something else entirely could all serve as monikers, but that is the point. Whatever it is, it’s loud, visceral, deliberately crafted — and unapologetically their own.

Photo Courtesy: Atom Splitter PRThe post In the Studio with The Barbarians of California first appeared on Music Connection Magazine.

Damon Whiteside to step down as Academy of Country Music CEOWhiteside will remain as CEO Emeritus for the remainder of 2026 as the organization searches for his successor.
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FILM - TV - THEATER - GAMES: DROPS for March '26Gibson Films premiered Volume One, the first installment of a limited music docuseries series called Iommi: The Godfather of Heavy Metal, streaming exclusively on Gibson TV throughout 2026. Best known as the lead guitarist and co-founder of heavy metal icons Black Sabbath, Tony Iommi’s life and career—from his humble roots in the U.K.’s Birmingham to building a lasting, influential legacy across international stages—is captured in this series. Viewers are offered in-depth interviews with the likes of Brian May, Slash, Zakk Wylde, and Rob Halford, as well as Iommi himself. For more information, contact Libby Coffey at lcoffey@primeprgroup.com.

East West Players will present the world premiere of David Henry Hwang’s newly updated 2026 book for Rodgers and Hammerstein’s Flower Drum Song, opening in April at the Japanese American Cultural & Community Center’s Aratani Theatre in Los Angeles. Directed by EWP Artistic Director Lily Tung Crystal, the production will serve as the finale of the company’s 60th Anniversary Diamond Legacy season and the final show before the venue’s major renovation. The reimagined musical will feature a cast led by Grace Yoo, Emily Kuroda, Marc Oka, and more, with music by Richard Rodgers and lyrics by Oscar Hammerstein II. Set in 1960s San Francisco Chinatown, the revival explores themes of identity, assimilation, and cultural legacy through a contemporary Asian American lens. Visit eastwestplayers.org for tickets and details.

28 Years Later: The Bone Temple (Original Motion Picture Soundtrack), featuring an original score by Academy Award-, Emmy-, Golden Globe-, and GRAMMY-winning composer Hildur Gudnadóttir, is out now via Milan Records. The album accompanied the second chapter of the Nia DaCosta-directed horror saga, which is a dark exploration of survival, with a foreboding blend of strings, primal percussion, and unsettling instrumental effects. The film stars Ralph Fiennes, Jack O’Connell, and Alfie Williams. Gudnadóttir made history with her soundtrack for Todd Phillips’ dark psychological thriller Joker when she became the first solo woman winner of the Golden Globe Award for Best Original Score (Motion Picture) since the category’s introduction in 1947. For further details, contact Sarah Roche at sarah@whitebearpr.com.

In response to early demand, Pasadena Playhouse extended its production of Peter Shaffer’s Amadeus to now run through March 15. Directed by Tony Award-winner Darko Tresnjak, the production stars Tony winners Jefferson Mays as Salieri, Sam Clemmett as Mozart, and Tony nominee Lauren Worsham as Constanze, alongside a talented ensemble including Kenajuan Bentley, Matthew Patrick Davis, Jennifer Chang, and more. Theater goers will see rivals Antonio Salieri, the court’s celebrated musician, and Wolfgang Amadeus Mozart, the vulgar prodigy, go head to head in this beloved, award-winning and witty drama. Visit pasadenaplayhouse.org for tickets and more information or contact Peter Goldman at p.goldman@dcpublicity.com.

The digital soundtrack for Return to Silent Hill is out now, coinciding with the 20th anniversary since the first Silent Hill film hit theaters. Directed by Christophe Gans and starring Jeremy Irvine as James Sunderland, the film was based on Konami’s classic horror video game Silent Hill 2. The score was composed by longtime series collaborator and executive producer Akira Yamaoka, who revisited familiar melodies in tracks like “Chasing Laura” and “Moth Mary.” Yamaoka’s soundscape was intentionally composed not to tell listeners or viewers what to feel, but to leave them with an unsettling feeling of ambiguity. Contact Greg O'Connor-Read at greg@topdollarpr.com for more information.The post FILM - TV - THEATER - GAMES: DROPS for March '26 first appeared on Music Connection Magazine.

Live Nation Antitrust Trial: 3 things to know as landmark case kicks off in New York courtHere are three things to know as the trial gets underway.
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How Jeff Waye and Patrick Curley built Third Side Music into an indie publishing powerhouse with USD $25M in annual revenuesMBW's Trailblazers meets Jeff Waye, Co-Founder and COO, and Patrick Curley, Co-Founder, President and CEO, of independent publisher Third Side Music
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Mixed Notes March 2026: Hotel Fiction, Holly Humberstone, Katie Tupper, and MoreHOTEL FICTION RELEASE DELUXE VERSION OF 2024 ALBUM STARING AT THE SUN 

Hotel Fiction, the indie project of Athens, GA-based duo Jade Ireland Long and Jess Thompson, released their sophomore album Staring at the Sunin 2024, and now, the band has shared the album’s deluxe version, featuring four never before heard tracks. On the deluxe version, Hotel Fiction pulls back the curtain on the early years of their singular creative partnership, crystallizing the first phase of their music as they prepare to move into the next.

ADRIATIQUE JOINS FORCES WITH YUBIK AND VINCENT VOSSEN ON MELODIC HOUSE/TECHNO TRACK “NEVER ALONE”

Adriatique explores fresh artistic territory for their latest club record “Never Alone,” a three-way production with rising melodic maestro Yubik, and emotional genre-blender Vincent Vossen. “Never Alone” is the first of many new tracks to come from the pair moving into 2026.

POP STAR NAÏKA RELEASES HIGHLY ANTICIPATED DEBUT ALBUM ECLESIA 

French-Haitian singer and global pop artist Naïka returns with her highly anticipated debut album ECLESIA, a project deeply rooted in community, self-reflection, identity, and spiritual clarity. In support of the album, Naïka is bringing ECLESIA to the stage on an almost sold-outinternationaltour across Europe and North America, marking her largest global run to date.

GEN Z ALT POWERHOUSE LIA PAPPAS-KEMPS SET TO RELEASE DEBUT ALBUM WINGED

Following the release of her single “Towers,” alt singer-songwriter Lia Pappas-Kemps is set to release her debutalbumWinged on March 13. Acting as a continuation of the Toronto-basedmusician’s intimate, emotionally textured sound, it’s the kind of close-to-the-bone storytelling that makes her a new voice to watch in 2026.

KATIE TUPPER RELEASES DEBUT ALBUM, GREYHOUND, ANNOUNCES HEADLINE TOUR DATES IN NORTH AMERICA AND EUROPE

Katie Tupper has released her debut album Greyhound via Arts&Crafts. The record is about the instinct to chase—fleeting desires, guaranteed mistakes, the feeling of home, love in all its shapes and forms. Born in Saskatoon, Saskatchewan, Greyhound will bring the prairie roots of Tupper’s past to meet the blended and expanded worldview of her present. Kicking off in May, Tupper will embark on a headline world tour. Making stops across the U.S., Canada, and Europe, Greyhound will take on a new form for audiences across the globe.

GIRL TONES JOIN AMAZON MUSIC'S LIST OF ARTISTS TO WATCH, FORGE AHEAD INTO 2026

After releasing their first single of the year titled “Volcano,” Girl Tones, the high-energy rock duo brought to life by sisters Kenzie and Laila, are currently on the road with supporting Peter McPoland on tour before stepping up as a Showcasting Artist at SXSW. The duo was also has also joined Amazon Music’s list of Artists to Watch in 2026, joining peers like Fcukers, Florence Road, Folk Bitch Trio, and NewDad.

HOLLY HUMBERSTONE SET TO RELEASE SECOND STUDIO ALBUM CRUEL WORLD ON APRIL 10 VIA INTERSCOPE RECORDS

HollyHumberstone’s forthcoming release of her highly anticipated sophomore album, Cruel World, is due on April 10via Interscope Records. Cruel World was written with a new discipline through daily studio sessions with collaborator RobMilton and draws deeply on love (romantic, platonic, and feminine). Looking ahead, Humberstone will perform in Europe for a run of intimate headline dates, tour in the U.K. this spring, and is set to make major festival appearances at Coachella, Governors Ball, and Bonnaroo.The post Mixed Notes March 2026: Hotel Fiction, Holly Humberstone, Katie Tupper, and More first appeared on Music Connection Magazine.

Reservoir receives unsolicited $1.2B bid from activist investor Irenic Capital (report)Reservoir's shares jumped as much as 15% on Thursday (February 26) following the report.
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Album Review of "Declaration of Resistance" By My Ruin (8/10)Magick Room RecordingsProducers: My Ruin

While people are dying in the streets, Declaration of Resistance is the sort of album that we need; a no-punches-pulled, lyrically sharp slab of aural resistance (as the album title suggests). Anyone familiar with the band’s catalog, and indeed Tairrie B. Murphy’s previous work with Manhole and Tura Satana, won’t be surprised by any of this. But still, it’s refreshing during these shocking times to hear demands for women’s rights and the rights of minorities spelled out so succinctly. “I resist the fascists when push comes to shove, because there’s no hate like Christian love.” Incredible!The post Album Review of "Declaration of Resistance" By My Ruin (8/10) first appeared on Music Connection Magazine.

Charles Goldstuck’s GoldState secures ‘significant’ Bridgepoint investment for growth equity fund targeting music companiesA source close to the details told MBW: 'Charles is looking to deploy up to a billion dollars in growth equity capital over the next few years.'
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Sony Group’s blueprint for AI music detection tech is promising. Here’s what it’s working on…MBW reacts to three research papers detailed by Sony AI.
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Release Radar: Jai’Len Josey Is A Serial RomanticIt’s a rare thing in the current R&B landscape to find an artist who doesn’t just sing about the cycle of heartbreak, but actually hands you the exit map. Enter Jai’Len Josey.

After years of being the "songwriter’s songwriter"—including co-writing gold-certified hits like Ari Lennox’s “Pressure”—Josey is finally stepping into her own light with her debut album, Serial Romantic. Executive produced by five-time GRAMMY Award-winner Tricky Stewart, the project is a masterclass in what happens when a Broadway-trained powerhouse decides to stop looking for salvation in other people and starts finding it in the mirror.

While the industry has been buzzing about Jai’Len since her 2026 "Artist to Watch" nod from Spotify, the soul of this record was forged in the fire of a 2024 breakup. It wasn't just a "sad girl" moment; it was a total recalibration.

“This project really came together at the breaking point of a relationship I was in back in 2024,” Josey tells us. “I had all these songs accumulated, and I didn’t know what to do with them. My A&R, Drew Corria, had the idea to bring Tricky Stewart into the picture, and the rest is history.”

The title Serial Romantic might sound like a diagnosis, but for Josey, it’s an autopsy of her past self. She’s remarkably candid about the "tests" that led her here.

“The inspiration was all the experiences, failed relationships, and tests that ultimately led me back to myself. Every lesson, every heartbreak—it all pointed me inward.”

She isn't just making music to fill space in a playlist; she’s trying to disrupt a pattern.

“Being a ‘Serial Romantic’ was the loop I was stuck in—trying to find God in romantic partners when I really needed to recognize God’s love within myself. I want my listeners to feel strong enough to break that loop. That’s what excites me most—the possibility of someone hearing this album and choosing themselves.”

If you’ve been following her journey from her days as "Pearl" in The SpongeBob Musical to her 2020 Illustrations EP, you know Josey’s voice is seismic. But Serial Romantic is where the storytelling catches up to the scale of the vocals.

Whether it's the flirtatious energy of "New Girl" or the raw, boundary-setting vulnerability of "Won't Force You," the album plays like a cohesive narrative. While she’s biased toward the whole tracklist, she urges fans to listen to the project as a single piece of architecture.

“I’m excited for supporters to hear every song… but I really can’t wait for people to experience them in the full context of the story. It’s meant to be heard as a journey.”

For an artist who has spent years perfecting the art of the "creative therapy session," the actual mechanics of the music industry are the only things that still feel daunting.

“Honestly, the hardest part has just been getting the music out for people to hear. Creating it was therapy. Releasing it? That’s the real leap of faith.”

But don't mistake her vulnerability for hesitation. When asked about her plans for the rest of 2026 and beyond, Jai’Len’s answer was clear:

“The first plan for 2026 is simple: release this album. After that? The world is mine.”

If Serial Romantic is the sound of breaking a cycle, it’s also the sound of stepping into something bigger. Not searching for salvation in somebody else’s arms—but recognizing it in your own voice.

Look out for Serial Romantic in the coming months.

Photo Credit: Zoë MillsThe post Release Radar: Jai’Len Josey Is A Serial Romantic first appeared on Music Connection Magazine.

A Song That Changed My Life: Hawthorne Heights on Saves the DayBand Members: JT Woodruff, vocals and guitar; Matt Ridenour, bass and vocals; Mark McMillon, guitar, backing vocals, and Chris Popadak, drums

The Storyteller: JT Woodruff

The Song: “Shoulder to the Wheel” by Saves the Day

With its earnest, get-in-the-car-and-go sing-along chorus and propulsive, hook-laced rhythm, Saves the Day’s “Shoulder to the Wheel” captured the house-show spirit of the late ‘90s New Brunswick underground. The track — a melodic punk snapshot of believe-in-yourself ambition — awakened bands to an escapist state of mind, pushing them beyond basement parties and onto the open road.

The Background:

Always leaning toward movement, Hawthorne Heights — an anchor of the Midwest emo-core punk scene since the early aughts — have continued to evolve, expanding their harmonious choruses and surges of cathartic screams across seven studio albums with threads of alt-rock textures. That restless evolution of sound, combined with touring, has galvanized the band as one of the defining acts of the hardcore scene.

For frontman JT Woodruff, his aversion to daily norms — coupled with a Jack Kerouac On the Road “nowhere to go but everywhere” mindset — first flickered to life growing up in his hometown of St. Mary’s, West Virginia. He recalls, specifically January 1999, the moment when he first connected with “Shoulder to the Wheel” — its melodic alacrity and rhythmic drive hitting him immediately. Moreover, the song’s believe-in-yourself, hit-the-road chant became a directive: he sought out a copy of BYOFL (Book Your Own F*cking Life) as a manual for his wanderlust. The pairing — song plus DIY guide — established JT’s mantra: seize every opportunity and never hold back; just go.

That early mix of song plus guide set the tone for decades of music and life on the road. Now — as Hawthorne Heights celebrates the 20th anniversary of If Only You Were Lonely with an international Lonely World Tour — the experience has come full circle, a reminder that the open road can still lead anywhere.

The Story:

For JT, the energy of the road and the restless, wandering spirit embedded in “Shoulder to the Wheel” quickly became his compass for navigating the rugged terrain of early indie-rock touring. What began as a dream didn’t stay abstract for long — the song triggered a transformational shift. It wasn’t just about having fun or discovering newfound freedom; it revealed the physical grit and mental fortitude required for emerging acts to survive and thrive in the pre-ultrafast broadband Internet era.

“This song specifically made me want to buy a van, grab my band and friends, and just hit the open road. And that’s what I did.” 

Knowing enthusiasm alone wouldn’t be enough, JT leaned on his fresh hardbound edition of BYOFL, Book Your Own Fucking Life, a DIY touring guide before everything was readily available online. With it, he had both the practical roadmap and the musical conviction to chase something bigger.

By the summer of 1999, JT bought a van and booked an entire tour. Long drives, nights on the road, and a steady flow of local shows forged resilience, cohesion, and deep friendships — the kind that help carry the mental weight of touring. He elaborates, “Saves The Day introduced me to the New Jersey music scene in general. Back then, the bills on shows were so diverse. Through them, I found bands like Lifetime, New Found Glory, and Reggie and The Full Effect. It made me scour the entire Equal Vision roster.”

That dreamy, out-of-the-window state watching the world pass by eventually morphed into more than a touring philosophy — it influenced songwriting. JT moved toward internal, personal themes that reflected Quixotic philosophies. One lyric in particular struck him: "Get us as far as far can be, get us away from tonight.”

During these long stretches of travel, buried dreams often rise under an open sky. JT explains, “The interstate can take you anywhere in the United States, which is why it is so beautiful. I've lost myself out there and found myself at the same time.”  The underlying On the Road “keep rolling under the stars” mindset — restless and expansive — became his motto for both touring and life: “The world is out there to chase your dreams — you have to go after them; they won’t chase you.”

Even now, decades later, JT returns to the song. “A few days ago, I listened to it on a cruise ship with my wife of 20 years. I still feel everything I felt the first time I heard it — which is why it is so magical.”  For JT, dreams rarely come easy; they demand initiative, courage, and persistence — all stemming from within.

He concludes: “Chase every dream you have ever had. It will help you tear down all the walls and set aside excuses. Just get in the van, so to speak. Let it rip — gun it to 70 mph on the interstate.”

Photo credit: Sarai Kelley

The post A Song That Changed My Life: Hawthorne Heights on Saves the Day first appeared on Music Connection Magazine.

Lauren Demarte promoted to Chief Operating Officer at GoDigital MusicExec also oversees operations in Colombia
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Stevie Wonder Returns to the Lutefish Stage for a NAMM ReunionLutefish recently reported that, on Day 1 of this year's NAMM, Motown icon Steve Wonder "made his way back to the Lutefish booth to reconnect with artist Devyn Rush and her remote band members, highlighting how music can bring people back together."

According to a statement from Lutefish, "Last year, Wonder encountered Rush performing live on the Lutefish stage, debuting the Lutefish Stream (technology built to jam online in real time) before joining in to create a spontaneous duet that captivated onlookers and social media alike. Rush, reflecting on that moment, said, 'I didn’t think anything could top last year’s duet, but having Stevie come back to me — pun intended — this year was even more beyond my wildest dreams.'"

Rush summed up the encounter publicly, noting, “There is no doubt that Stevie Wonder is a special person and a true gift to this world, but like I told him on the mic… his music isn’t about what he does, it’s about who he is.”

Wonder also shared stories and talked about his love of music, technology, and reuniting the world.

“We created Lutefish and the online platform for people to make more music,” stated Whitney Winkels, Sr. Marketing Manager at Lutefish. “We are musicians ourselves, and to enable others to make more music, connect, and utilize music as a universal language, well, that is truly something special.”

"It was an absolute thrill to have Stevie Wonder stop by our Lutefish booth for the second year in a row," Winkels told MC. "This year, he spent an extended time with us in our isolation booth, where he asked us all about our new features and experienced the Lutefish stream live. He even took a few of our streams to try from home! Definitely a magical NAMM occurance."For more information, visit www.lutefish.com. The post Stevie Wonder Returns to the Lutefish Stage for a NAMM Reunion first appeared on Music Connection Magazine.

Live Nation files to pause antitrust case for appeal, days after pulling public post calling for DOJ to ‘move on’ and settleLive Nation Entertainment asks judge to pause the DOJ antitrust case while two legal questions are reviewed by an appeals court.

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