In the Studio with Royal BloodThe Members: Mike Kerr, vocals, bass, keyboards; Ben Thatcher, drums, percussion.Produced by: Royal Blood; Mike Kerr and Ben Thatcher.Recorded at: Royal Blood’s Brighton, UK studioThe Origin: Possessing a striking powers-of-ten perspective—hearing, then capturing, the spaces where smaller sonics are found and different frequency decades are transformed into massive, colossal sounds—the globally renowned riff-rockers, Brighton, UK-based drum-meets-bass duo Royal Blood wield a natural mastery over micro-to-macro sound-craft sorcery. This acoustic skullduggery arrives naturally for Royal Blood and thrives on a longstanding friendship and love for finding and magnifying these auditory pockets.

The result is a signature style, identifiable within the first few bars: dark and brooding, bluesy, heavy-hitting rock rhythms that rise and fall in accordance with vocal verses dripping with sultry snarls and bombastic boldness. Yet it’s the duo’s application of the inverse — breaking down the loud and creating space when a song calls for a more melodious sound — that reveals the true brilliance of their sonic subterfuge. This interplay creates a high-stakes game of margins for the duo, who consistently rewrite the rulebook on how to build a beat and know when, where, and why to place a sound, defying conventional compositional assumptions and dismantling all spatial bounds.

While the full details of Royal Blood’s inception are frequently glossed over — with many accounts pinning their trajectory around the duo’s 2014 self-titled debut, then matching it alongside their meteoric rise after the duo garnered the attention of iconic rock titans like Arctic Monkeys, Queens of the Stone Age, and Foo Fighters — the truth beneath the mythos follows a more human path: a band pursuing its passion, fueled by a love of creating music, and ignited by the magic of performing live. By simply playing for the fun of it — by some strange twist of fate, they found success.

It was a dual hustle: slogging through the local underground lines of the London-by-the-sea music scene while finding studio time to follow a “what-if” impulse. Chasing wide-open audio dreams, they recorded murky melodies that sank deeply into dark harmonies, trying anything and everything. Listening closely to the instinct within, they maintained their two-piece dynamic, which augmented their synergy, ultimately emerging from a locked-down, soundproofed room with their four-track Out of the Black EP (2014). Its all-out rock-and-roll blues, heavily infused with their now-trademark infra-inverse-ultra frequencies, showcased the massive anthems “Little Monster” and “Come On Over.” Serving as precursors for what was yet to come, the early releases introduced the world to their supercharged output of sound, paving the way for the colossal hits that followed, ensuring everyone instantly knew that Royal Blood was here to stay — no need to “Figure It Out.”

After years of working within conventional studios, while also setting up their own personal recording environments — including an early stint turning the back of their tour bus into a recording space — Royal Blood’s sonic alchemy continued to evolve through the garage-rock heights of How Did We Get So Dark? (2017) and the sleek, electro-rock-funk frequencies of Typhoons (2021). This spatial transition eventually culminated in the duo working fully from their own Brighton-based studio, a creative milestone that became central to self-producing their fourth full-length release, Back to the Water Below (2023).

Having embraced their creative arc, yet in need of a brief respite away from the road and writing, Royal Blood stepped away for a bit — however, their urge to keep seeking all of those lost or not-yet-captured sounds lingered. Locking themselves away from the world’s external gaze, they returned to their sanctuary, their private tracking space, to let the music lead the way. Below, the affable lead vocalist/bassist Mike Kerr and drummer Ben Thatcher strip away the studio mystique to detail how they found a new round of wild and supersonic sounds as they returned to the helm for their high-octane fifth chapter, Dead Company (Nov. 13th, 2026).

The Production: Ever attuned to the unpredictable energy of a room — from small clubs to massive venues — Royal Blood instantly tapped into that fritzed-out buzz during the recording process for Dead Company in their Brighton-based studio. This served as the subconscious catalyst for flipping the script on the traditional writing and recording process. Reflecting on this, Mike Kerr notes their artistic compass was beautifully simple: “to try to get as much excitement into the performances as possible.”

While Royal Blood touched the third rail in the midst of penning new material, one specific track exploded, giving the duo an immediate glimpse of the potential sonics on the horizon, sparking the energy they were seeking. Kerr recalls:

“I think 'Swallow the Bomb' was the first thing we wrote for the record. It just came out of the gates really, really hot. And I think we became excited about playing heavy and fast again… it set us on the trajectory for the record.”

That hard, driving momentum naturally began to shape a broader narrative. “After maybe another four or five songs in, I realized there was a theme that was subconsciously emerging,” Kerr says. “It was an all-in attitude. I think that helped me finish the record and work out how to fill in the gaps as the initial themes were all about perseverance, really, and the positives of having that relentless mindset. I was listening to what the music was telling me — it was all informed by the excitement.”

With that newfound adrenaline locked in, Royal Blood drew from the kinetic energy that always defined them, hammering out the material together as much as possible before officially hitting record.

“Because we wanted to play these songs live, it was just about running through these tracks together as much as possible before we started officially tracking — getting them to the point where they are ready for us to sit down and actually record,” Kerr explains.

In embracing this instinct, their signature approach of splitting open massive frequencies reemerged — but it was achieved completely without excessive studio layering, relying instead on the grit of their two-piece synergy.

“If we feel like a song requires more layers, we can become suspicious of it,” Kerr notes. “The goal for this record was, ‘how do we make things feel full and exciting with the minimal ingredients that we have?’ We wanted every track to feel completely untamed and wild, and to really come from that place. Anything we do add is subtle and effective, rather than being integral.”

To pull off this minimal, unlayered approach, the foundation of the tracking sessions fell squarely onto Thatcher. Armed with a deep familiarity with their Brighton room, the duo understood exactly how to extract the massive tones and dynamic punch desired. He explains:

“We know how to get a really good drum sound from that studio because we've worked there on previous records. It's not a massive room, but it's not small either — it has a high ceiling. Our engineer, Pete, knows the space quite well too, so we already knew how to extract what we wanted.”

That intrinsic comfort meant the most explosive, energetic takes could arrive almost instantaneously, bypassing the need for endless reps and replication.

“The most energetic drum take could be in the first three times of recording it,” Thatcher adds. “I think we had done so much work on the previous record with sound design and everything that it was all set up. But throughout the creation of this album, it felt like we wanted to do almost the opposite — to just play together and not worry about a perfect take. That letting go is what gave it the energy.”As this heavy, untamed energy surged through the tracking sessions, the duo faced their next psychological hurdle: knowing when to stop turning knobs and leave the songs alone. In a modern digital landscape, the temptation to endlessly rerecord a take or tweak a mix can easily become a trap. For Royal Blood, the beauty this time around lay in chasing the feels and prioritizing vibe over perfection. Kerr describes this mindset:

“It could be an endless process, and it could never be done really—you could endlessly be fine-tuning it. But the ethos that we were trying to embody on the record was that looking perfect isn't really what we're going for here. It was about energy and trying to capture something that was exciting and not overthought.”

That restraint requires a sharp intuition, knowing exactly when to step back before over-production spoils the magic. As Kerr explains, crossing that invisible line is often the only way to find their limit:

“So, there's just a moment where you think, ‘If I do anything more, we're going to make it worse.’ I think that's the feeling at times. You probably have to cross that line to realize, ‘Now, we're really making it worse.’ Also, you can sometimes trick yourself into thinking that it was too easy. You wonder, ‘We shouldn't be done by mix three; we should be getting to mix whatever.’ Many times you think you have to go through more processes, but sometimes you don't. Sometimes it's just the first or second thing you need to do, and that's it.”

Once the duo settled on the individual tracks, they turned their attention to the sequencing, an integral phase of Royal Blood’s album-crafting process. For Dead Company, the pair mapped out an auditory excursion framed by two distinct, unshakeable milestones: the title track and the final cut, “Closer,” with the frenetic energy of their studio journey filling the space in between. Thatcher describes the art of the sequence:

“I think some bits of music kind of already pick their place in the order, and it's up to you to challenge those positions,” Thatcher explains. “You kind of know what songs are going to feel good at the start of a record and what you want people to hear first, and then you want to take them on a bit of a journey. It's the same kind of journey you want to take people on with a live set list. There is definitely a method to it, but I think it's really important to challenge those methods and to change things up as well along the way.”

That willingness to shake things up meant constantly shuffling the middle positions to mirror the internal journey they envisioned. Yet, despite stress-testing the tracklist, the sonic bookends remained perfectly locked from day one:

“The very first order was almost the one that we went with, but we did change things around like, 'What if we start with this one instead?'” Thatcher notes. “But actually, the beginning and the end—the first song and the closer—were always in place, and it was just working out the journey in the middle.”

With the final arrangement permanently ordered, the duo is primed to unleash that same untamed energy captured during the recording process – right back on the stage. For Royal Blood, the entire record was also tracked to mimic a live environment. Kerr highlights one song that stands out as the definitive example:

“There's a track called 'Mother Never Told You,' which is probably the most brutal track on the record,” Kerr says. “And I think that's why we're really excited, particularly to play it live, just because it's absolute carnage.”

That hunger to translate studio adrenaline into live performance extends across the entire album. Injecting these brand-new compositions into their setlist brings a fresh physical charge to a live show. Thatcher describes the intense anticipation:

“There's a massive excitement that we're going to get from playing these new ones, just because we've been playing some of the older stuff over ten years now,” Thatcher explains. “There's always this new energy when you can see it, a new song, coming up in the set list. And there's always a bit of anticipation and a little bit of nervousness because our bodies are not quite used to having that muscle memory yet.”

Navigating those unmapped moments in the setlist forces the duo to stay razor-sharp, relying on pure focus to guide them through the demands of the new arrangements. As Thatcher notes, it is a high-stakes balancing act of adrenaline and discipline:

“So those moments for us are definitely in the set list where we can work ourselves up a little bit more,” Thatcher adds. “It's all about keeping it together and remembering to keep breathing before they come on. But they'll become like the others at some point, and they will just merge in.”

The band mirrors that live excitement through their thrill over the big reveal of the album's new imagery. Like so many elements of Dead Company that subtly surfaced along the way — unearthing fresh bursts of supersonic energy — the title and the artwork naturally did the same. In a striking twist of fate, it was the depiction of a beautifully designed, two-headed tiger that brought everything full circle. The image perfectly captured the dual-fronted energy that reflects the sonic synergy of the band, paying homage to their signature six-eyed tiger emblem — a piece of symbolism that once adorned Thatcher’s drum kit since their earliest days.

Kerr explains how this visual identity surfaced in an equally subtle way:

“‘Dead Company’ is the first track of the record. When we were working on the album artwork, we were just using the title and its corresponding dual-tiger imagery as a placeholder because we hadn't confirmed a final title yet. After about three weeks, we had almost forgotten that we hadn't even decided what the album was going to be called. I think we both just got so used to seeing the tigers and ‘Dead Company’ together that it felt like it had named itself. There's something about that title and the tigers together — it just seemed like the perfect marriage. It feels like a really good, full-circle moment, if that makes sense.

Thatcher adds a straightforward, definitive agreement: “Yeah, absolutely.”

Photo Credit: Edward CookeThe post In the Studio with Royal Blood first appeared on Music Connection Magazine.

Charles Goldstuck’s GoldState makes minority investment in Podium Entertainment, as Flexpoint Ford and Shamrock Capital buy audiobook publisher in reported $400M+ deal'Podium is poised to take full advantage of the changing landscape for audio around the globe,' said Goldstuck
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The Story Behind Led Zeppelin's "Whole Lotta Love" - The Riff That Changed RockDiscover how Jimmy Page created Led Zeppelin’s iconic “Whole Lotta Love” riff, the gear behind its massive sound, and the blues influence that shaped the song.

Judy Collins at the Ford, Los AngelesWeb: judycollins.com

Players: Judy Collins, vocals, piano; Will Kjeer, piano

In 2016, this writer interviewed folk songbird Judy Collins and wrote that, “Collins performs about 129 shows each year and shows no signs of slowing down. She has a new book coming out next year, and she’s performing at SXSW this year, alongside new musical partner Ari Hest. The fact that she’ll be performing for a younger audience that may not be familiar with her work is exciting to one of folk’s all-time greats.”

Fast-forward a full decade and much of that is still true, though one key detail has changed: Collins is finally showing signs of slowing down. Of course she is—she’s 87 years old. She looks and sounds great, but age catches up with us all eventually. 

You don’t have to take our word for it; Collins’ tour this year was tagged Sweet Judy Blue Eyes Farewell Tour. Whether that means that she’s done with performing live altogether or just the arduous touring cycle remains to be seen. But on a gorgeous Friday in early August, The John Anson Ford Amphitheatre, or The Ford for ease, provided the perfect setting to see Collins for potentially the last time.

The venue is stunning. Outdoors but just intimate enough, it’s like catching a show on the grounds of an old European castle. Meanwhile, the sound echoes beautifully off of the hillside. The Hollywood Bowl is across the street and that offers a bigger experience, but there’s something very special about a show at The Ford.

Maybe it was just the setting, or the celebratory mood around the place, but Collins seemed to float onto the stage before taking her place at the front and kicking off her set with her beloved version of Joni Mitchell’s “Both Sides, Now.” Her voice took a couple of minutes to warm up, but that opening number didn’t suffer. With Collins, it’s all about the feel, the emotion, and the love.

That said, by God can she sing. By the time she pours herself into Joan Baez’s “Diamonds & Rust,” she’s hitting the notes, giving us angelic vibes. Nobody can raise the hairs on the back of your neck quite like Collins when she’s in full flow, and she got there at the Ford. 

Her set weighed in at just 12 songs, though she was on stage for longer than you might think. Even after all these years, Collins appeared to enjoy herself immensely while performing, and she took her time. The grand dame of folk told jokes and got comfortable with an adoring audience, a crowd that was all-in from the start. Hanging on her every word, Collins’ congregation is quite happy to let her do this her way.

An acapella take on Bing Crosby’s “I’ll Be Home for Christmas” is followed by two traditional numbers: “Barbara Allen” and “John Riley.” Woody Guthrie’s “This Land Is Your Land,” meanwhile, is particularly timely right now.

We got Collins’ own “Spellbound,” before she sat at the piano for her beautiful “The Blizzard.” Still a lovely pianist, Will Kjeer stuck around and watched the show from the side, admiration etched on his face. It was great to see Collins enjoying the ivories.

Collins told us about a crush she used to have on the late, great Leonard Cohen before singing his “Suzanne.” Next came a change of direction, with Collins reciting some poetry from her recent Sometimes It’s Heaven book. 

The show ended with Collins’ impeccable version of Stephen Sondheim’s “Send in the Clowns,” and then a rousing “Amazing Grace” that saw show opener Bruce Cockburn join her on stage. 

The whole night was spine-tingling. Collins radiated warmth throughout, the songs were performed lovingly, and everyone left happy. 

Photo taken at Tanglewood by Hilary Scott, 

The post Judy Collins at the Ford, Los Angeles first appeared on Music Connection Magazine.

Tuboleta owner BeatHub buys out Chile’s BeLive to take 100% of Bogotá’s Movistar ArenaBeLive Entertainment retains 100% control of Colombiana de Escenarios, which runs the venue under a concession.
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UMG sues DistroKid for #AI tracks distributed (counted around 70%), new Suno v6 sounds worse than v5.5...this is the current #MusicBusiness

MAAT Digital 2BC Multicorr and RSPhaseShifter Plugins: Phase Analysis and Correction ToolsMAAT Digital is a professional audio software and hardware company founded in 2016 by pro audio veterans Friedemann Tischmeyer in Hamburg, Germany. MAAT stands for “Mastering Academy Audio Tools.” Audio engineers and educators established the company to prioritize uncompromising sound quality over flashy graphics. The team focuses on high-fidelity tools for measurement, equalization, and effects. Over 20,000 audio engineers use MAAT products worldwide. MAAT contributes to global broadcast standards through active work with the European Broadcasting Union’s (EBU) Ploud working group.

One of the very first things that student audio engineers learn about is the fundamental importance of both phase alignment and phase difference. MC examined two MAAT plugins concerning audio phase. The 2BC multiCORR plugin is a 31 multi–band correlation meter designed to detect issues in stereo phase. The 2BC multiCORR is a diagnostic tool and does not affect audio. The RSPhaseShifter plugin is a phase alignment tool, or phase rotator, that does affect audio. Note that this plugin is not what it sounds like—this is not a 1970’s style swirly modulation phase shifter effect a la Pink Floyd. 

The two plugins can be used individually or as part of the same workflow. Use 2BC multiCORR to investigate where problematic phase correlation issues are present across the frequency spectrum. If the problem traces back to similar signal paths, for example, the minute delay between a bass amp and bass direct track, the RSPhaseShifter plugin can be used to alter the phase relationship between the two tracks without changing the tracks’ time alignment or EQ.

MAAT developed the 2BC multiCORR plugin because a conventional broadband correlation meter can conceal frequency-specific problems. A mix may show acceptable overall correlation while individual instruments or frequency ranges are producing significant cancellation. The plugin uses MAAT’s trueLinear scale and provides stereo balance and broadband correlation measurements. Five monitoring functions, Left Only, Right Only, Mono, Difference and Flip, allow an engineer to investigate what is happening without leaving the plugin. The 31-band display is particularly useful at the bottom end, where phase problems can have practical consequences. The RSPhaseShifter plugin is a 64-bit digital implementation of the 2016 analog hardware, Phase Shifter W2324, and was developed in partnership with Roger Schult’s German Audio Lab. The design concentrates on the task at hand—manipulating and correcting phase issues without adding the noise and coloration associated with analog circuitry. The plugin changes phase relationships while leaving the signal’s amplitude response intact. That makes it useful when two microphones, layered instruments or parallel signal paths are interacting in ways that produce phase cancellations and tonal changes. RSPhaseShifter provides 13 frequency selections from 16 Hz through 4 kHz. 

A typical application might involve a kick drum recorded with multiple microphones. Instead of moving tracks in time, an engineer can use RSPhaseShifter to alter the phase relationship at selected frequencies while listening for changes in punch and low-frequency consistency. The same approach can apply to bass, acoustic guitars, piano, drum overheads, stereo microphones and subwoofer alignment. This is truly a plugin where listening is key. There are no buttons or lights to tell you when. Ultimately, it’s your ears that will tell the tale.

2BC multiCORR  $49 AAX Native, AU, VST 2, VST 3 or as a standalone application. RSPhaseShifter  $99 AAX Native, AU, VST 2, VST 3

maat.digital

The post MAAT Digital 2BC Multicorr and RSPhaseShifter Plugins: Phase Analysis and Correction Tools first appeared on Music Connection Magazine.

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.