Tips From A Deathrock Lifer: Scarlet's Remains' Tony HavocWe asked Scarlet’s Remains drummer Tony Havoc to share advice for fellow musicians from his extensive experience as a member of multiple beloved LA deathrock acts. Havoc has been a fixture on the global deathrock scene for decades. Renowned for his powerful “tribal” drumming and striking, ghoulish image, he has also played for Voodoo Church, The Dirty Horror, and Fear Cult, among many others. 

But Scarlet’s Remains is Havoc’s proudest achievement, having released two genre-classic albums in the 2000s, toured Europe, and recently reformed with a vibrant new lineup. With Havoc not only drumming but also being principal songwriter and de facto bandleader, the female-fronted quartet has been performing on the West Coast and in Mexico since earlier this year and is currently recording a new full-length.

Practice & Pump

Havoc originally aspired to be a guitarist, until his dad suggested, “Everybody plays guitar – why don’t you get into the drums?” He fell in love with drumming and would frequently skip school to practice in the family home by day. He cites diverse influences including Stephen Perkins of Jane’s Addiction, Wullie Buchan of The Exploited (especially on the Horror Epics album), and even Motley Crue’s Tommy Lee. 

“I like [Lee’s] showmanship. I don’t do any of that, but I appreciate it,” Havoc explains. “I like being in the back and sitting behind cymbals – I’m not an upfront, limelight type.” 

These days, Havoc is restricted to keeping his chops up on a practice pad at home and the one night a week that Scarlet’s Remains have at a Downtown LA practice space shared with multiple other bands. So, he takes another approach to maintaining his strength and stamina for the band’s frenetic live shows.

“It’s very good for a drummer to lift weights,” he offers. “You don’t need to be buffed and huge, but just to keep up the strength, because you don’t get to play your instrument every day the way a guitarist or bassist can.”

Do It Yourself Deathrock

“There’s a Minor Threat song that says ‘Make do with what you have / Take what you can get,’ and that really stuck with me,” Havoc recalls. “Because you can do it yourself. You don’t need anybody else. If you’ve got someone with money backing you, it’s a lot easier, but it can be done.”

True to this ethos, Havoc has learned to approach venues and promoters with a “package” of three or four bands already lined up, a particular night of the week in mind, and with an idea of the likely draw and the cover charge required for everyone to walk away happy. Upon first moving to L.A., he strolled into the famed Troubadour and did exactly that.

“When you approach a venue with a pre-made lineup, they don’t have to do anything except open their doors,” Havoc explains. “I think they appreciate that.”

Adapt & Survive

Like most semi-pro drummers, Havoc seldom gets to use his own kit on stage. Typically, he’s making do with a backlined kit provided by the venue, promoter, or one of the other bands on the bill. It’s a reality that Havoc is amazingly sanguine about, once again leaning into his “make do with what you have” punk ethic.

“I’ve played with cracked cymbals and cracked heads – I’ve kind of just gotten used to whatever’s thrown my way,” he says. “It takes about three songs to get used to a ‘foreign’ kit, but everyone’s warming up the first three songs, anyway.”

Typically, Havoc will bring his own kick pedal, cymbals (which venues often don’t supply), and an extra rack tom. “I’m a kind of ‘80s style drummer; I like two high toms,” he explains. “And the kits today usually just have one.”

When Havoc does get to play his own kit, it’s a Spaun set-up comprising a 22-inch kick, 12- and 13-inch rack toms, and a 16-inch floor tom (“I spend a lot of time on toms”). After years of choosing Zildjian cymbals, he now prefers Sabians simply for their sound. (Spaun Drums is a small Colorado-based company that manufactures all its products in the U.S.)

Dark Genre Realities

Havoc’s gateway to deathrock was the punk rock he first encountered as a teen, which has shaped his entire worldview and lifestyle ever since.

“I was raised by punk rock,” he mulls. “All my ideals, all my thoughts, my emotions – everything was learned through punk.” But there came a time when Havoc started encountering increasing racism, sexism, and homophobia in a punk scene that had been infiltrated by skinheads. Once he picked up a Christian Death record, he was sold on deathrock – an amalgam of punk, goth, and glam influences – as an adjacent alternative.

“In the deathrock scene, everybody was welcome. And I really, really like the idea behind that,” Havoc recalls. “Deathrock just seemed very wide open and there was so much you could do with it. Punk rock started to seem a little in a box.”

But, like any niche genre, deathrock is much more about passion than profit, and Havoc advises fellow subgenre musicians to be realistic about commercial aspirations. “If you’re going to do pop music, I mean you’re doing that strictly for the money. I get it,” he says. “But when you do a genre like deathrock, you’re doing it because it’s the music that comes out of your soul and it’s what you love to do.”

Havoc describes L.A.’s deathrock scene as much smaller than it was during Scarlet’s Remains’ original 2000s run, meaning sparse local crowds and scant revenue. (By contrast, the band experienced sold-out pandemonium at a recent show in Mexico City). But although he’s the band’s sole original member and wrote the bulk of its existing material, he splits everything equally with his bandmates, who also contribute funds evenly when required.

“What I get out of it is just for my soul, my brain, and my heart. That’s payment enough,” Havoc concludes. “Being in a room with three other people, when the music’s tight and everybody’s on and it’s connecting, that’s a really magical feeling that you just can’t get anywhere else.”

instagram.com/scarlets_remains_official

The post Tips From A Deathrock Lifer: Scarlet's Remains' Tony Havoc first appeared on Music Connection Magazine.

Assignments: Torben Müller at CelestionBusiness Development Manager

Celestion

Celestion has announced the appointment of Torben Müller to the position of Business Development Manager. Müller’s primary focus will be  identifying, exploring, and developing new opportunities for growth alongside Celestion’s valued customers and partners.

He is also responsible for serving many of Celestion’s international distributors, plus several key OEMs across pro audio and guitar.

“I look forward to being part of a devoted and dedicated team, meeting and working with our great partners and customers, and contributing to strengthening and growing the Celestion brand,” said Müller.

For more, contact john.paice@celestion.com.The post Assignments: Torben Müller at Celestion first appeared on Music Connection Magazine.

From Universal suing DistroKid (for the first time) to UMG and Sony suing Suno (again)… it’s MBW’s Weekly Round-UpThe biggest headlines from the past few days...
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Song Biz, September 2026Pophouse’s Iron Maiden

Pophouse Entertainment secures 50% of Grammy-Brit-Ivor Novello-winning Iron Maiden’s publishing, masters, rights to name, likeness, image. With 17 albums, 100+ million records sold, 2,500 concerts in 64 countries, Maiden’s 50th celebration includes movie plans, Infinite Dreams Museum Experience at EddFest.

Durango Songwriters Returns

Returning this October (8-10) to Broomfield, Colorado, the Durango Songwriters Expo is held twice a year (once In Colorado and once in California). Aspiring and established songwriters are given access to publishers, A&R executives, and music supervisors at the forefront of musical decision-making, while getting feedback and an opportunity to showcase their work.

Details and registration at: durangosong.com/

AIMP ATL Summit

The Association for Independent Music Publishers (AIMP) presents Atlanta’s 2026 Creative Entrepreneurship Summit on September 15-16 at the Ray Charles Performing Arts Center. Crafted for independent artists, songwriters, producers, managers, students and music business entrepreneurs, the program includes workshops and panels on publishing, administration, sync licensing, and revenue, as well as networking opportunities with industry decision-makers. Registration information at: bit.ly/452Stra.

Decca Signs Hopkins

Sir Anthony Hopkins has signed exclusively with Decca Records, with new recording project Life Is A Dream encompassing over 60 years of original compositions inspired by Wales, his life, and his family (music was his first love and he began piano at age 4). Conductor Gustavo Dudamel leads the Philharmonia Orchestra.

New AI Labeling

With support across the industry—including IFPI, RIAA, A2IM, WIN, IMPALA, The Grammys, SAG-AFTRA and the Human Artistry Campaign—the music community has joined forces to propose a new unified approach to help provide clarity and transparency around AI use in music. Proposed ‘AI-Generated’ and ‘AI-Assisted’ visual icons would provide a method of quick identification in voluntary track labeling.

Following Deezer reports that AI-generated music makes up 44% of all new music on its platform, and Apple sharing that a third of their uploads are 100% AI, organizations involved are enlisting digital music services, distributors, aggregators and standard-setting bodies to encourage industry-wide implementation. More at: bit.ly/4xg4DsT.

ASCAP Theatre & Scholarships

In partnership with the Educational Theatre Association, the ASCAP Foundation extends warm congratulations to Theatre Director Shawn Hann at the Denver School of the Arts after being named the 2026 Stephen Schwartz Musical Theatre Teacher of the Year. The national award recognizes Hann’s 25 years of exceptional arts instruction, antirational leadership, and her dedicated mentorship of the next generation of performers.

The ASCAP Foundation "Music is our Foundation" Scholarship aims to reduce the financial burden of music education, providing financial assistance to undergraduate and graduate students actively studying music, and is open to students pursuing music majors so that students are free to focus on their education and development. The deadline for this year’s scholarship applications is August 31, 2026 (details HERE).

Magnificent Lachi Album

Award-winning artist/disability advocate Lachi releases debut children’s album, Magnificent, celebrating disability, neurodiversity, identity, inclusion, with collaborators Lisa Loeb, Mandy Harvey, 123 Andrés, Alphabet Rockers. Blending pop, hip-hop, world sound, it includes class curriculum from The Nora Project.

SOCAN Joins Musical AI

Canadian Performing Rights Organization SOCAN, which represents songwriters, composers, and music publishers North of the border, has joined forces with Canada-based rights management technology company Musical AI, with a mission to protect creators and help to control how their music is used, created and monetized. Their joint vision is based on AI being an opt-in technology, and the belief that creators must receive credit and compensation when works influence AI output.

The collaboration looks to address situations where AI music created using data from artist materials is played/used in public spaces (i.e. coffee shops, or through a sound system before a concert).  When it is an artist piece, SOCAN and other PROs collect and distribute the royalties (and calculations are based on licensing and specific use of the music). The same system does not exist for instances of AI music (despite frequently pulls from existing creator work). Musical AI’s tech analyzes AI-generated outputs to trace the exact source material down to the percentage, differentiating between sound recording and musical composition licensing.

The Canadian government has lent its full support for the partnership and is taking a strong stance on the preservation of Canadian music, cultural identity, and the creative economic infrastructure across a shifting musical landscape. More at: bit.ly/4hI8r1g.

Grande Joins Backline

Launching The Brighter Days Ahead Foundation, Ariana Grande expands her philanthropy in a partnership with Backline in an organization with an initial focus on uplifting and protecting the rights of the trans and LGBTQ+ community, expanding access to mental health tools, and providing care during times of crisis. Backline is lending their support through the Heal & Dream Fund, which expands access to mental health care and community support, including B-Line, a 24/7 support line designed exclusively for the music industry (which 400 people have already accessed for support), and delivering 200 hand-packed wellness packs to crew members working behind-the-scenes on Grande’s recent Eternal Sunshine Tour (including thoughtful wellness products for good mental health, stress reduction and self-care for touring professionals, as well as access to therapy grants through Music’s Mental Health Fund).

Soft Control: Wigs

Adding elements of soul and R&B to their trademark alt-rock sound, the Afghan Wigs release Soft Control (via Royal Cream/BMG), right on time to celebrate their 40th anniversary and a major US tour. First jamming in basements in the mid ‘80s, the Wigs remain unmistakably feisty and original in their sound and delivery.

BMI Christian Awards

Celebrating the best in Christian music from 2025, BMI extends congratulations to the nominees and honorees of the 2026 BMI Christian Awards. Top honors this year go to “Made For More” (Jessie Early / Jonathan Smith / Blake Wiggins, performed by Josh Baldwin) for BMI Song of the Year, which garnered over 95 million global streams and placed No. 1 on the Billboard Christian AC Airplay chart. As Primary Executive Producer and songwriter for Elevation Worship (“Another One,” “Lion”) and Elevation Rhythm (“Goodbye Yesterday”), Steven Furtick was named BMI Songwriter of the Year (penning 25 of the most performed Christian songs from 25), and Capitol CMG Publishing was named BMI Publisher of the Year (as representative of 19 of the 25 most-performed songs, including Song of the Year, “Made For More”).

For a full list of this year’s winders, please visit: bit.ly/45zSfrL.

V8 Splash Prescription

Independent publisher Prescription Songs signs Memphis-born producer-songwriter-mixer V8 Splash to their roster. Collaborations include K Carbon, Tay Money, Big Homiie G, Jayy Wick, FTO Sett and Big Mo, and he is known for Southern sound, melodic sensibilities, and a blend of R&B, Hip-hop and country style.

SESAC Celebrates Honorees

            The namesake himself a songwriter and major figure in music publishing, the Songwriters Hall of Fame Abe Olman Scholarship was established by Olman’s family to continue supporting and encouraging young songwriters in the early stages of their career. SESAC congratulates 2026’s recipients Bryan Andrews (“Backwoods Backwards,” “Liquor & Pills”), Courtney Paige Nelson (“Scream and Shout,” “Bury It”), Benni Ola (“Can’t Say Nah,” “Bonita”), and Oceanic (“Insanity,” “Wicked Love”). See: bit.ly/4hEdLTu.

Sureel Joins Symphonic

Symphonic Distribution has teamed up with Sureel AI to help unlock additional revenue streams for the members of their roster who opt-in. Sureel will track owners of compositions, lyrics, and sound recordings to track their use in AI-generated materials, while Symphonic grants independent artists, labels and managers under their umbrella access to AI-driven revenue. Symphonic’s roster will be in a position to monetize their work whenever and wherever it is used in AI models, and share in the revenue generated, while Sureel will tie payments to measurable contribution and enforce permission and restrictions on use. More at: sureel.ai.

Read Jarre’s Machines

Electro pioneer Jean-Michel Jarre releases Machines: A History of Electronic Music, navigating avant-garde radio, pioneering studios, and technological breakthroughs from tape/analogue systems to digital/3D/AI. 130 examples and excepts from Armin van Buuren, Vince Clarke, Gillian Gilbert, Nicolas Godin, and more.

SONGSALIVE! Songwriters Workshop

For over 25 years, the Songsalive! Songwriters workshop has supported songwriters and composers from around the world in taking their songwriting to the next level. Share your work, get valuable feedback and industry insights, and connect with a thriving creative community. Most programs and events are 100% virtual, making it easier than ever to attend from the comfort of your own home, and to navigate workshops at your own pace. The program includes song critiques, industry guest speakers, and reciprocal feedback between presenters and attendees. Workshop details, community membership, and program registration at: songsalive.org.

TSM’s Animal Talk

Third Side Music (TSM) and electronic music group SOFI TUKKER (Sophie Hawley-Weld and Tucker Halpern) launch joint venture Animal Talk Publishing, with TSM extending the duo’s global publishing administration agreement (following their original 2017 signing). The agreement will see TSM providing the Animal Talk roster with global administration, rights management, synch and creative services.

Benson Does Cole

Legendary 10x Grammy-winner George Benson reissues Inspiration: A Tribute to Nat King Cole (his Candid Records debut). The 15-track John Burk production includes bonuses “Ramblin’ Rose,” “Almost Like Being in Love” “That Sunday, That Summer.” Features Wynton Marsalis, Idina Menzel, Till Brönner, Judith Hill.

Sony Scoops Wendell

Sony Music Nashville signs Jackson Wendell. Starting out on a worship team, he wrote his “Ain’t Coming Home” at 14. He has since performed with Parker McCollum, Tucker Wetmore, Flatland Cavalry, Randy Rogers, William Beckmann. 2025’s “Drunk Words Are Sober Thoughts” has almost 3 million global streams

SOFI TUKKER credits TSM with landing over 450 placements for them in film, television, video games, movie trailers, and brand deals with Apple, Smartwater, Peloton, Absolut vodka, Lancôme, Acura, and more, With billions if streams and almost 8 million monthly Spotify listeners, SOFI TUKKER’s hits include  “Best Friend,” “Purple Hat,” “Summer in New York,” “Original Sin,”  “Drinkee,” and recent single “Cook” with J. Balvin (which reached No. 20 on Billboard’s Hot Dance/Electronic Songs chart and has over 13 million streams) and “Pick Up the Phone” hitting No. 6 on Beatport’s Top 100 Tech House Chart.

Joint AI Labeling

Music industry groups, including the RIAA, A2IM, IMPALA, and others, are pushing for a system of standardized AI labeling on streaming platforms. The group is proposing a system to identify recordings as AI-generated or AI-assisted in order to bring clarity to the new world of machine-generated creative works. Under this system, humans must have performed ‘lead vocal and primary instruments’ in order to receive AI-Assisted (rather than AI-generated) labeling. Conversations have begun between the group proposing the changes, along with digital music platforms, distribution engines, and music aggregators, as well as regulatory groups. One of the challenges to the proposal is that the system relies on voluntary disclosure (not automatic AI tagging, as used on the Deezer platform). There is also discussion around the monetization of AI-generated music, which will likely be a part of the rollout moving forward.

The post Song Biz, September 2026 first appeared on Music Connection Magazine.

Atlantic Records to release Grand Theft Auto VI: The Album, featuring Travis Scott, PinkPantheress, Morgan Wallen, and Keith RichardsThe LP contains 34 original tracks, six of which were issued as singles on Thursday (September 17).
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Jay B Kicks Off US Tour "2026 tape: roots" in Los AngelesSouth Korean singer-songwriter and GOT7 leader Jay B kicked off the US leg of the "2026 tape: roots" Tour at the Wilshire Ebell Theatre in Los Angeles on September 13th. After last year's disastrous tour filled with visa-related delays and mismanagement, Jay B is making sure this tour is filled with better memories. 
The show started on a fun note with a witty commercial spoof for a fictional cologne called Smells Like Jay B. It’s always nice to see artists have fun and be creative with their art. The video spoofs continued through the night and served as brief intermission breaks. The video had everyone laughing and cheering; fans even asked him at the end of the night to start selling the cologne. 
The concert setlist had a little of everything; a mix of solo hits, unreleased music and GOT7 fan favorites. As a nod to the tour title, Jay B’s focused on showcasing his powerhouse vocals through his rooted blend of R&B and soul. His vocals are dynamic with an impressive range. He can hit high notes with control, especially on serenade ballads like “We” and “Dive into You.” His voice has a lot of character, easily showing off emotions of yearning and wistfulness. The last note of “Layback” seemed extra tough to perform as Jay B confessed he needed a breather and jokingly said he thought he was going to die after hitting the high notes. He sang live the entire show. He only relied on the backtrack sparingly, only when he wanted to show off his dance moves with his three backup dancers.

The Wilshire Ebell Theatre is a small theater, which made the night feel more intimate and personable. Jay B is a veteran performer and knows how to charm the crowd with his charismatic personality. As a result, the crowd was extra rowdy and would scream out to him any chance they got. Although Jay B is not fluent in English and would occasionally use a translator, he still played along with the fans and tried to answer as many questions as possible while joking around. During one of the talking segments, Jay B revealed he will officially be releasing “Sweetie” at the end of October along with another untitled song. 
The highlight of the night was the encore performance as Jay B let loose and amped up the crowd with dance moves and occasional shirt lifting. As he was vibing to the music and energy from the crowd, he jumped down from the stage and walked through every aisle, high-fiving fans and interacting with everyone. Jay B ended his set on a high note with a medley of GOT7 songs including “THURSDAY” and “Before the Full Moon Rises.” Fans cheered with thunderous applause and barking noises, leaving him smiling from ear to ear. 
The US leg of the "2026 tape: roots" Tour continues through September with stops San Francisco, Tacoma, New York, Dallas and Chicago. 

The post Jay B Kicks Off US Tour "2026 tape: roots" in Los Angeles first appeared on Music Connection Magazine.

Believe and TuneCore won’t feed music to Suno without giving artists choice to opt in: ‘The artist must consent first, period.’Denis Ladegaillerie details two-stage opt-in process for artists who want (and don't want) to have their music provided to Suno
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The Story Behind Led Zeppelin's "Immigrant Song": How a Trip to Iceland Inspired a Rock ClassLed Zeppelin's "Immigrant Song" was born from a guitar riff and a surprising Iceland trip. Here's the story behind the band's Viking anthem.

Roc Nation Wants a Music Publishing InternRoc Nation is looking for an intern to join the music publishing team for the Fall 2026 semester. This position offers an opportunity to learn about the creation, management, and monetization of songs and the creatives behind them. You will work in an office setting in Los Angeles for up to 30 hours per week.

What you'll do: Handle song registration and file organization; Coordinate songwriter sessions and manage associated travel budgets; Research new talent and prepare weekly reports for the department; Assist with publishing company organization and meeting preparation; Build relationships with other internal departments and the publishing administrator.

Apply via interninsider.me.The post Roc Nation Wants a Music Publishing Intern first appeared on Music Connection Magazine.

Independence in an interdependent industry.This MBW op/ed comes from Richard Leach, CEO of Curve Royalty Systems.
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Non-English-speaking artists now account for 30% of Live Nation’s top 50 tours – but 47 of the top 75 international markets lack modern arenas to host them"It's not going to be that long where I'm sitting here saying now over half of our artists are not U.S., U.K. English-speaking artists," Berchtold told Goldman analyst Stephen Laszczyk
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IVE at the Kia Forum, Inglewood, CAContact: greg.cortez@42west.comWeb: ive-official.comPlayers: Gaeul, An Yu-jin, Rei, Jang Won-young, Liz, Leeseo

Shedding their youthful image, the South Korean girl group IVE are ready to showcase their mature and confident growth with their latest tour Show What I Am. Since their debut in 2021, the six members have built their identity around the concept of “I,” delivering a message rooted in self-confidence and individuality. “GOTCHA (Baddest Eros)” was a great song to start the show as it perfectly encapsulates the group’s fierce energy. The group barely paused between the first eight songs, focusing all their energy into their dynamic choreographed dances. The group’s catalog is filled with catchy dance-pop hooks and plenty of English lyrics that are fun to sing along to. Unfortunately, it was hard to hear all the members sing at times as the playback music was often louder than some of their voices. However, together the group sounded strong. The best moments were always when they would harmonize together as their voices really complimented each other. It also uplifted the delivery of difficult high-pitched songs like “I AM” and “Holy Moly.” 

The show also featured solo performances that showcased each member’s individual talents. The group sang their solo songs from their latest album Revive+, which each member helped compose. Won-young, arguably the best-known member of the group, got the segment started with her solo track called “8.”The performance highlighted Won-young’s flirty confidence and the clever wordplay had everyone singing along. Rei followed with a youthful and cute concept for her track “In Your Heart,” which showcased her bright and distinct melodic vocal tone. Liz was the only member to come out on stage without any backup dancers for her solo performance of “Unreal.” This made her performance feel more intimate, as all eyes were on her as she belted those stable high notes. Gaeul brought a romantic vibe with her hypnotic whispery performance of “Odd.” Leeseo’s fierce anthem “Super Icy” was a great song to hear live, as the fast-paced, in-your-face lyrics are a show-stealer. Yu-jin, the group’s leader, was the last member to perform with her 2000s-inspired hip-hop track “Force.” Yu-jin has an amazing stage presence; she has great rhythm and isn’t afraid to belt out to show off her powerful vocals. 

The two-hour-long show was filled with a good balance of fan service and performances. The group took several small breaks to chat and get the crowd hyped. For their performance of “WOW” and “Off the Record,” the group just vibed along to the songs, waving and smiling to fans. IVE have great stage presence and are very likable. The group set ended on a fun note with “After LIKE,” the disco pop had everyone singing, “What’s after like?”The post IVE at the Kia Forum, Inglewood, CA first appeared on Music Connection Magazine.

The Hidden Michael Jackson Vocal & Writing Session That Created an '80s Cult ClassicMichael Jackson wrote, produced and sang on Rebbie Jackson’s “Centipede,” a cult ’80s hit that became her signature song and a hidden Jackson family gem.

Linda Perry Brings Let It Die Here to the Grammy MuseumLinda Perry visited the Grammy Museum’s intimate 200-seat Clive Davis Theater on Thursday night to a nearly sold-out audience for a screening of her new documentary, Let It Die Here, followed by a Q&A with the film’s director, Don Hardy, moderated by music journalist Pamela Chelin.

About an hour and a half long, the film takes viewers behind the scenes of Perry’s life over the past few years, from working as a producer for artists such as Dolly Parton and Kate Hudson and scoring music for film and television, to struggling to find her own voice and ultimately writing and releasing her first solo album in over 25 years, Let It Die Here. The album was also written during and in the wake of her mother’s passing, another deeply personal theme explored throughout the film.

The room was captivated first by the film, with tears flowing throughout the audience during the end credits, and then by Perry’s quick-witted, dry humor during the Q&A. At one point, she even brought two fans onstage who had gotten up to use the restroom, playfully questioning them about where they had gone and leaving the entire audience laughing.

The final treat of the night was a three-song acoustic performance. In a stripped-back set using only her acoustic Taylor guitar, Perry performed three original songs from her newest album: “What Lies With You,” “Let It Die Here,” and “Sunday Best.” Her voice was powerful and raw, and the room fell silent as she sang each song with so much vulnerability that she appeared to become visibly emotional throughout the performance. It was as if she were playing for no one but herself, yet her voice and passion clearly touched everyone in the room.

After the event ended, fans gathered in the museum’s lobby, waiting for the chance to take a photo and say hello to Perry, who notably took the time to speak and take photos with nearly everyone.

The documentary premieres on Hulu for streaming beginning September 18, and Perry is scheduled to tour across the U.S. throughout September and October as a special guest opener for Indigo Girls. You can learn more about the documentary, album, and upcoming tour dates on Linda Perry’s website here.

The post Linda Perry Brings Let It Die Here to the Grammy Museum first appeared on Music Connection Magazine.

From ElevenLabs’ $11B UMG deal to HYBE Weverse’s data breach… it’s MBW’s Weekly Round-UpThe biggest headlines from the past few days...
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