Symphonic Launches Fifth Annual Women Empowered+ Mentorship ProgramSymphonic, the leading music technology and services company for independent labels, managers, and artists, announced this week that it is "celebrating Women’s History Month by opening applications for its annual Women Empowered+ mentorship program. Mentees can apply today through March 23 to be paired up with established professionals in their area of focus."

Mentors participating in this year’s program include:

Kassandra Robinson, Associate Manager, Label Partnerships, Spotify

Sarah Davis, Director, Global Client Services & In-House Forensic Musicologist, Downtown Music Publishing

Mayra Vargas, VP, Publishing Sync, Concord Music Publishing

Bianca Alarcon, VP of Content Development, Spanish Broadcasting System

Juliette Leparrée, Business Development Manager, Music Story

Bilarys Ramirez, Comptroller (Accounting), Rimas Publishing

Ellen Truley, Chief Marketing & External Affairs Officer, The MLC

Isabel Echeverri, Strategic Partner Manager, Music Label Partnerships, Meta

Laurie Jakobsen, Founder & President, Jaybird Communications

According to a statement, "Additional mentors are also participating from companies including Audiomack, Chartmetric, Cinq Music, FUGA, M for Montreal, Sony, We Make Noise, and more."

"Now in its fifth year, the Women Empowered+ mentorship program has already welcomed 1,011 total participants, connecting 306 mentors from companies across the music industry with 705 mentees spanning 181 cities and 46 countries across the U.S., Mexico, Latin America, South America, Europe, Canada, Asia, and Africa."

"The Symphonic Women Empowered Mentorship Program has been an incredible experience. I’m so grateful to have been paired with my mentor, Maria, who’s shared invaluable advice from both her career and life experiences," Stephanie Falvo Liang, Senior Manager, Artist Relations, Business Development, told MC. "She’s truly gone above and beyond to support me and help shape my next steps. I’m excited to continue our mentor-mentee relationship."

“Having Maya Brown as my mentor has been an incredible experience and a perfect match,” said Patrice Ware, a Music Supervision & Licensing Manager and a mentee in last year’s program. “She’s challenged me with real-world mock assignments in sync, helped me sharpen my critical thinking, and taken the time to walk through new concepts while answering all my questions. I’m grateful to be part of this program and hopeful it opens new doors for me in the music business.”

“Mentoring for Symphonic’s Women Empowered+ mentorship program was honestly one of the best parts of my year,” said Stephanie Santiago-Rolón, Chief Executive Officer at Elevated Music Industries and a mentor in last year’s program. “Sitting with brave, ambitious women and cutting through the noise to talk about real strategy and real doubt felt grounding and energizing. Watching them refine their vision and step more boldly into leadership reminded me why community matters so much in this industry. This program creates space for honest conversation and meaningful growth. I walked away inspired and even more certain that when women support women, everything changes.”

“Five years into running this mentorship program, I am incredibly proud of the meaningful connections we’ve been able to facilitate across the music industry,” said Janette Berrios, VP of Corporate Marketing at Symphonic. “What started as an idea that Ana Maria Gamboa and I launched together has grown into a global community of women supporting one another through mentorship, guidance, and shared experience. The feedback we receive each year reinforces how important it is to continue expanding the program and advocating for female empowerment.”

Those who are interested in applying as mentors or mentees can read more about the program requirements and submit their application at symphonic.com/women-empowered.The post Symphonic Launches Fifth Annual Women Empowered+ Mentorship Program first appeared on Music Connection Magazine.

Universal Music Nordics restructures, unifying units in Denmark, Norway, Sweden, Finland, and Baltics under ‘One Nordic’ modelBig news today from Universal Music Nordics, a division of Universal Music Central Europe, which has unveiled a new operational structure.
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Is Billy Corgan an Underrated Guitarist?In his new book, I Am One: The Smashing Pumpkins Story, 1988-1994, author Greg Prato proposes that Billy Corgan was one of the top guitarists to come out of the '90s alt-rock world, with evidence from The Frogs' Jimmy Flemion, Blind Melon's Christopher Thorn, Matt Pinfield, and more.

beatBread makes run of new appointments, including ex-Spotify and CD Baby execsNew hires from CD Baby, Spotify and Countsy bring finance, operations and AI expertise to the music funding company’s leadership team.
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Live Review of TwiceKia Forum Inglewood, CA

Contact: greg.cortez@42west.comWeb: twice.jype.comPlayers: Dahyun, Chaeyoung, Jeongyeon, Jihyo, Mina, Momo, Nayeon, Sana, Tzuyu

With 10 years under their belts, it’s no surprise that TWICE is one of the best-performing girl groups in K-pop. The group (who graced the cover of Music Connection in 2024) is currently touring across North America for their 2026 THIS IS FORWorld Tour and stopped by the Kia Forum in Inglewood for four sold-out shows. The tour is different from any other tour they’ve done before. It’s more ambitious thanks to the 360-degree setup with the stage extending throughout the entire floor. 

Marking the start of the show on January 22nd, the venue lights dimmed as the words “TWICE THIS IS FOR” dramatically appeared on the screens. The screens then lowered down as the opening visuals showcased Dahyun, Chaeyoung, Jeongyeon, Jihyo, Mina, Momo, Nayeon, Sana, and Tzuyu. It was fun seeing fans cheer with their glowing candybong light stick for their favorite member when they appeared onscreen. As the video montage ended, the screens raised to reveal the group on stage. TWICE aptly began their performance with “This is For,” from their fourth Korean studio album of the same name. This was the perfect song to start the night as the opening verse from Momo is meant to energize fans, “This is for all my ladies who don’t get hyped enough / If you’ve been done wrong, then this your song, so turn it up.”

With a discography of over 200 songs, it’s no surprise that the setlist leaned heavily on their biggest hits. The first act started off strong with fan-favorite songs, including “SET ME FREE” and “I CAN’T STOP ME.”The stage setup allowed the group to freely move around with their dance routines, switching sides throughout the songs. Unfortunately, Dahyun sustained an ankle injury and remained seated for the entire show. That didn’t stop her as she participated by doing the dance routines with her hands. Most K-pop acts sing with a backing track, but that wasn’t the case for TWICE, as they had a live band performing alongside them. Each girl has a distinctive vocal tone that complements the others very well. The R&B track “Gone” specifically stands out for highlighting the group’s strengths. Jiyho, Jeongyeon, and Naeyon have powerful vocals with dynamic vocal ranges. Momo, Chaeyoung, and Daeyon have great rhythm and rapping delivery, while Mina, Sana, and Tzuyu have softer and breathier vocals. 

The group saved the best for last as the fourth act of the show included all their biggest hits, including “FANCY,” “What is Love?,” ”YES or YES,” ”Dance the Night Away,” and “ONE SPARK.” After a short break, the girls returned on stage dressed in their own merchandise for a very casual encore. The post Live Review of Twice first appeared on Music Connection Magazine.

Book Store: "Descenes and Discords: An Anthology" By Howard WuelfingAny fans of Washington D.C. punk rock and hardcore need, genuinely need, to own this incredible anthology of work originally published in the two separate fanzines Descenes and Discords during the 1970s and ‘80s. Industry vet Howard Wuelfing is the cat responsible, and the joy here is that he’s retained the DIY feel of the ‘zines, so it feels like we’re in some ragged, ink-stained time capsule. There have been similar anthologies of the likes of Sniffin’ Glue and Touch & Go, and this is right up there with them. Ian MacKaye pops up right at the start, and there’s a foreword by Mark Jenkins. 

(Paperback) $38The post Book Store: "Descenes and Discords: An Anthology" By Howard Wuelfing first appeared on Music Connection Magazine.

Lucy Dickins, long-time agent for Adele and Mumford & Sons, to exit WME after seven yearsCurrent Co-Head Kirk Sommer will continue to lead WME's Contemporary Music division.
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UMG puts US listing plans on holdCompany confirmed the decision as part of its Q4 and full-year 2025 earnings announcement on March 5
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Harmonica Pocket's Keeth Apgar Wins ASCAP Foundation Joe Raposo Children's Music AwardNews broke this week that, "Singer-songwriter-educator Keeth Apgar, founder and frontman of the Pacific Northwest-based The Harmonica Pocket, has won the prestigious ASCAP Foundation Joe Raposo Children’s Music Award for a body of work that spans nearly 30 years."

"Equal parts silly and sweet, The Harmonica Pocket is a young-at-heart band bursting with thoughtful, fun-loving songs for 'ages zero to Grandma' that inspire spontaneous family dance parties wherever they’re played," a statement reads. "The band makes the case for blurring the lines between children’s and grown-up music, elevating 'kids’ music' into something meaningful, moving, and joyful. Kids can handle rich, nuanced subjects!"

"I believe in finishing things," says Apgar. "Even writing bad songs is part of my practice - The last song I wrote is called 'Stupid Song.' You can’t pick up a guitar and order a timeless classic, but you can sit down and finish a tune. Emphasizing quantity over quality eventually leads to better songs."

"A song is a puzzle," he adds. "You can study the picture on the box and build the border first, or you can start by fitting together small pieces without knowing what you’re making. Once the song has some shape, you enter a new phase - making the natural rhythm of words line up with rhyme. It’s fascinating, challenging, and maddening — and beautifully rewarding when the pieces finally lock."

According to the press release, "The ASCAP Foundation Joe Raposo Children’s Music Award was established in 2010 by Joe Raposo’s family to honor his legacy. Raposo, one of the creators and longtime musical director of Sesame Street, wrote music for diverse talents such as Kermit The Frog, Frank Sinatra, Ray Charles, Dr. Seuss, Barbra Streisand, and Cookie Monster. His songs like “Sing,” “It’s Not Easy Bein’ Green,” and the “Sesame Street Theme” paved the way for him to receive five Grammys and multiple Gold and Platinum albums."

The Harmonica Pocket's "Imperfection is a Gift" is out now.

The post Harmonica Pocket's Keeth Apgar Wins ASCAP Foundation Joe Raposo Children's Music Award first appeared on Music Connection Magazine.

South Korea’s music industry unites to declare ‘war’ on AI copyright infringementSix music rights organizations have formed a coalition, declaring a "state of emergency" and making what they describe as a "declaration of war" against AI copyright infringement.
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Legendary Drummer Thomas Lang to Rock DW London on March 19

London’s drum community just got an early spring surprise: legendary Austrian drummer Thomas Lang will be kicking off the launch of DW London with a live performance that promises to shake Denmark Street. The event takes place on Thursday, 19th March 2026, from 18:00 to 21:00 at the brand‑new DW showroom inside the Roland Store London, and best of all, it’s free to attend.

Lang isn’t just another face behind the kit. He’s earned global respect for his jaw‑dropping technique, musical versatility, and decades of session work spanning pop, rock, jazz fusion and more, having played with artists from George Michael and Robbie Williams to Robert Fripp and Tina Turner. What makes him especially exciting for this opening gig is how he bridges the worlds of elite playing and education—a drummer’s drummer who truly understands what it takes to bring out the best in both talent and gear.

“I am excited to be playing live at the opening off the new DW London showroom,” Lang said, adding with his trademark enthusiasm, “Every drummer knows you can’t beat going to a real drum shop and trying an actual kit to truly begin to understand exactly what drums you really want to play! This is an exciting place for drummers to visit." That sentiment—about feeling the sticks in your hands and hearing drums resonate in the room—captures the spirit of this launch.

The DW London showroom, set in the historic musical hub of Denmark Street, will house the largest selection of DW Drums in the U.K., including Slingerland and PDP lines. Designed as a hands‑on space, it aims to help drummers explore shell configurations, woods, finishes and hardware firsthand—a haven for pros, educators, collectors, and anyone serious about how a drum feels and sounds.

Roland Store London manager Jueze Phoenix emphasises that this isn’t just a retail space, but a place to collaborate and experiment: “Here at Roland Store London, we’ve created a space where you can come in, explore, and build the DW kit you’ve always wanted. Our expert team is here to share our experience and help you get exactly what feels right. Whether you’re just starting out or a seasoned pro, there’s something here for every drummer.”

Whether you’re aiming to audition the latest DW shells, chat with gear experts, or simply catch a master at work, this launch night is shaping up to be one of the year’s must‑attend rhythm events in the U.K. Mark your calendar, grab your (free) ticket, and come hear why DW is touted as The Drummer’s Choice.

Find out more about DW Drums at dwdrums.comThe post Legendary Drummer Thomas Lang to Rock DW London on March 19 first appeared on Music Connection Magazine.

Songs for Good: The Sudden Resurgence of the Protest SongA common refrain during the first Trump presidency was "With so many people upset, where are the protest songs?" Something began stirring in Trump's second term, and beginning in the middle of 2025, politically-minded (or just fed up) musicians slowly began making their rage and frustration known. Here is a loose timeline of some of the recorded protest music thus far in the President's current term.

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.