Summer heat came early to Cleveland with a tour stop by Californian prog-rock, post-hardcore Hail the Sun, supported by Cincinnati’s own Foxy Shazam and a pair of rock bands out of the Sunshine State – Makari and Resilia.

Six-piece Resilia, led by vocalist Daisy Chamberlin (formerly of the band I Met a Yeti), is touring its debut album, “By a Thread,” though the band has been performing since 2022 and has confidently found its progressive niche with emotionally charged vocals and intricate guitar-led power anthems.

Fronted by energetic vocalist Andy Cizek, who led a revival of the Orlando-based project when he joined in 2018, Makari threw down with powerful medleys off their two albums, including the latest, 2024’s “Wave Machine,” in a set that sparked a firestorm in the crowd at Cleveland’s Globe Iron.

Foxy Shazam then turned that heat up to a vigorous boil with a performance that would not be contained. The band, who was featured in the HBO/DC series “Peacemaker,” is led by vocalist Eric Nally, who brings real Freddie Mercury (Queen) energy and style to the stage. Sky White on keys, Alex Nauth on trumpet, Misster Universe on bass, Devin Williams on guitar and drummer Teddy Aitkins round out this circus tent of spectacular, high-wire rockers. The vibe is equal parts classic glam rock and progressive, new-wave alternative. And it never slows down.

Teed up perfectly, Hail the Sun set off a solar flare of its own, with frontman and vocalist Don Melero seemingly at war with the celestial, thrusting his mic stand skyward and belting out supercharged lyrics. Melero walked a kind of catwalk at the front of the stage, backed by Shane Gann and Aric Garcia on guitars, bassist John Stirrat and Allen Casillas on the drum kit. The fans provided backing vocals, singing along on many of the tracks.

Wrapping up a U.S. tour in Alaska this spring, Hail the Sun next heads to the Land Down Under, Australia, for a handful of shows this summer.

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotify.

by Dan Locke

COVER TEASER

“We’re coming to your town… we’ll help you party it down.”
Grand Funk Railroad’s Don Brewer looks back at fifty years on the road, anthems that shaped rock radio, battles behind the scenes, and why—after all this time—the music still hits just as hard.

THE HEARTBEAT OF AMERICAN ROCK: DON BREWER ON FIVE DECADES OF FUNK, FIRE & FM RADIO

There’s a certain rhythm that underpins American rock: a pulse equal parts grit, sweat, and rebellion. Few drummers personify that heartbeat more than Don Brewer, co‑founder and longtime rhythmic anchor of Grand Funk Railroad. With his unmistakable backbeat, powerhouse vocals, and songwriting chops, Brewer helped turn a blue‑collar trio from Flint, Michigan into one of the biggest arena‑filling acts of the 1970s.

From the early days of playing gymnasiums, to breaking the Beatles’ record by selling out Shea Stadium, to shifting gears in the era of FM hit radio, Brewer’s journey mirrors the evolution of American rock itself. In this expanded interview, he opens up about the music, the mayhem, the management battles, the fans, and the future.

Q&A WITH DON BREWER (EXTENDED EDITION)

EARLY DAYS — FROM GYM FLOORS TO FESTIVAL STAGES

Q: Grand Funk Railroad started in the late ’60s, right?
A: That’s right—1969. That was our first official show.

Q: Do you remember that show?
A: Vaguely. It was somewhere near Buffalo or across the border in Canada. Just a gymnasium dance, nothing glamorous. But it was new, exciting—we’d just taken on the name Grand Funk Railroad, and we were still figuring out who we were as a band.

Q: And pretty soon you were on massive stages.
A: The real turning point was the first Atlanta Pop Festival. We went down there as a favor for a friend and played for free. First day, 30,000 people. We finished our set and suddenly it was like, “Who are these guys?” The buzz was instant.

Q: That kind of exposure in 1969 was huge.
A: Massive. Back then, festivals were how you got discovered. No internet. No viral clips. You played your heart out and hoped people talked about you.
And they talked about us.

THE ROCKET RIDE — SHEA STADIUM & BEYOND

Q: Let’s talk Shea Stadium.
A: That was 1971. One of the wildest moments of our career. We were coming off our third album Closer to Home, which had “I’m Your Captain” on it. We’d built this insane fan base, and the Shea show sold out faster than the Beatles—a record at the time.

Q: Did you feel that momentum in the moment, or only in hindsight?
A: Both. You could feel the energy changing. We’d gone from being the underdogs the critics hated to this unstoppable live act fans adored. Shea was the confirmation.

THE BUSINESS BATTLES — “WE DISCOVERED THE TRUTH THE HARD WAY”

Q: You went through a major management dispute around then.
A: Yes. We found out our manager Terry Knight—and a couple attorneys working with him—had been taking our money. A huge chunk of it. We were young, hungry, and trusting. Bad combination.
Rock and roll isn’t just guitars and drums—it’s contracts, and not always good ones.

Q: That must have changed everything.
A: It forced us to grow up quickly. Suddenly we weren’t just musicians—we were a business fighting to survive.

FM RADIO CHANGES — ADAPTING OR DYING

Q: Around that time, FM radio was shifting too.
A: Oh, absolutely. FM underground radio used to play 7‑minute songs. Long arrangements. Experimental stuff. Then suddenly FM stations wanted tight, radio‑friendly, three‑minute singles. If you didn’t adapt, you disappeared.

Q: And that’s when Todd Rundgren entered the picture.
A: Exactly. We needed a new direction. Todd helped us craft a punchier, hit‑driven sound without losing who we were.

TODD RUNDGREN — “HE CHANGED HOW WE HEARD OURSELVES”

Q: What was working with Todd Rundgren like?
A: Fantastic. Todd recorded things the way he wanted them to sound in the end—effects, EQ, everything—right into the headphones. So while you’re performing, you’re already hearing the final product. That changes how you play. Most engineers kept everything dry until the mix stage. Todd blew that up.

Q: Did that affect your performances?
A: Completely. When you hear the real tone and texture in your headphones, you play differently—more confidently, more musically.

LYNN GOLDSMITH — PHOTOGRAPHY, IMAGE & THE POP SHIFT

Q: Lynn Goldsmith worked with you creatively as well.
A: She did. She added a poppier, more visual approach. Album photography, publicity strategy—she had a strong vision. At the time, FM radio was heading more toward mainstream pop, and what she brought fit that.

ROCK LORE — SWEET CONNIE, THE ROAD & “AMERICAN BAND”

Q: In “We’re an American Band,” you mention Sweet Connie.
A: Sweet Connie—Connie Hamzy—was introduced to us in Little Rock. She was legendary among musicians. I wrote the lyrics from real moments on the road. Connie, the “four young Chiquitas,” Freddie King, all those snapshots became part of the story.

Q: Did you ever meet Pamela Des Barres?
A: Not that I know of.

ZAPPA, SEGER & NEW CREATIVE WORLDS

Q: Frank Zappa produced one of your albums.
A: Yes, Good Singin’, Good Playin’. We’d seen 200 Motels, where he jokingly took a shot at Grand Funk. We thought it was hilarious and said, “Why not get Frank to produce us?” He loved the idea.
Working with him was incredible—funny, smart, sharp as a razor.

Q: And you’ve worked with Bob Seger for decades.
A: I’ve been his touring drummer on and off for forty years. Bob runs a tight ship, and the band is always top‑notch. Playing with him keeps you sharp.

THE FANS — FOUR GENERATIONS STRONG

Q: How has the fan base changed since the ’60s?
A: The same fans—just older and grayer!
But now they bring their kids and grandkids. Seeing four generations sing “Some Kind of Wonderful” or “We’re an American Band” together… that’s something special.

Q: That must be surreal.
A: It is. That’s when it hits you—you’ve become part of people’s lives.

DRUMS, TECHNOLOGY & THE MODERN STAGE

Q: How has drum technology changed for you?
A: The drums themselves? Not by much. They’re still acoustic instruments. But drumheads, sticks, hardware—they’re better than ever.
The real leap is the technology around the music: soundboards, PA systems, lighting, amplification. I wish we had today’s gear back in the 70s.

Q: Do you think musicians rely too heavily on tech today?
A: Sometimes, yeah. Technology is great, but it can overshadow the basics. A great song and a great performance—that’s what matters.

Q: Your drum heroes?
A: Mitch Mitchell, Ginger Baker, Dino Danelli… and older legends like Louie Bellson and Buddy Rich. Those guys were powerhouses.

OFF THE STAGE — LIFE, CARS & RADIO

Q: What’s on your phone musically?
A: I don’t listen to much music on my phone. Mostly talk radio. Satellite stations tend to repeat the same playlist over and over.

Q: First big purchase after your first gold record?
A: A 1974 Midnight Blue Thunderbird. Gorgeous car.

Q: When did you start playing drums?
A: Around 13 or 14. I hated clarinet, the band needed someone in the drum section, the drumline had girls in it, and my dad—who was a drummer—taught me. Easy decision.

THE ROAD TODAY — STILL ROLLING

Q: Your 2018 tour kicked off recently.
A: Yep, two shows so far. One in Delaware, another sold‑out show near Cleveland.
We stay busy. Grand Funk never really stopped touring.

Q: Favorite city from the early days?
A: I loved New York in the ’60s and ’70s. Now? Sedona, Arizona. Great energy, breathtaking scenery.

CLOSING THOUGHTS — “WE’RE STILL HAVING THE TIME OF OUR LIVES.”

Q: Any final message for fans?
A: This lineup has been together since 2000—18 years, which is rare. The last two years have been our best in decades.
We’re excited for another great year.
We’re coming to your town—come out and see us.

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By Rob McCune

A significant force in the alt-rock/grunge wave of the early-1990s, Soul Asylum was on a “Runaway Train” (to coin the band’s biggest hit) to stardom. Now, nearly 40 years since the band formed (or changed its name from Loud Fast Rules) in 1983, that train seems nowhere near derailing.

The crew has shifted over the years, but still driving the train is frontman Dave Pirner, who has stoked the coals and refined the Soul Asylum sound over 13 albums, including five records before the band’s breakout 1992 “Grave Dancers Union,” and seven since.

Their latest is 2024’s “Slowly but Shirley;” before that was 2020’s “Hurry Up and Wait” – two titles that echo the dichotomy of fast, ripping guitar anthems and slow, soulful sonnets that represent the ranging appeal of this enduring asylum.

On an “Acoustic Tour” that kicked off this spring in middle America, Soul Asylum left only their drummer, Michael Bland, behind. Pirner is joined on stage by Ryan Smith on lead guitar and Jeremy Tappero on bass.

And despite valid assumptions about what an “acoustic” show is, nothing is unplugged here, and the guys certainly aren’t sitting down or holding back.

Opener Corey Glover, lead singer of the funk rock group Living Colour, delivered what might be expected from acoustic set with Michael Ciro on an unplugged guitar and a couple of chairs and mics center stage. But nothing was typical about their performance. Ciro’s masterful guitar riffs and Glover’s powerfully soulful voice ignited the audience on tracks including covers of Bill Withers’ “Use Me” and fully unique renditions of Beatle George Harrison’s “Here Comes the Sun” and Prince’s “The Cross.”

Soul Asylum’s set at The Kent Stage in Kent, Ohio, featured tracks from seven albums, dominated by “Grave Dancers,” and a couple of covers. The trio came out rocking on “Somebody to Shove,” and slowed things down a bit on bittersweet harmonics like “To My Own Devices.” Crowd-pleasers “Misery” (about halfway through the set) and “Runaway Train” (saved for the encore) got the crowd on its feet, too.

A couple of times, including during Glover’s set, the artists referenced and paid tribute to protesters in Minnesota, where Soul Asylum is from.

Pirner brought the tragic killing of two protesters by ICE agents home with a cover of Crosby, Stills, Nash & Young’s “Ohio,” a song about Kent State University student protesters being shot in 1970, just down the road from the venue. He also made it personal, talking about the First Avenue nightclub frequented by Soul Asylum that (though now closed) is a block away from where Minnesotan Alex Pretti was killed. “Stand Up and Be Strong,” a song off of the band’s 2006 record “The Silver Lining,” was played in tribute to Pretti and Renee Good, also shot and killed this year in Minneapolis.

Lifting the mood, Pirner practiced his on-stage banter, which he says hasn’t been a strong suit, with jokes like (paraphrasing here): “I met a drug dealer outside the theater earlier. He sold me a pair of shoes. … I’m not sure what he laced them with, but I’ve been tripping all day.”
For “Get On Out,” the last encore, Soul Asylum’s three amigos swung and slung their respective axes and finished with a synchronized strum.

It was a finish that bears a message for fans who still have a chance to experience this tour: “Get On Out.”

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotify.

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Emily Wolfe is a triple-threat rock & roll singer-songwriter-guitarist and producer from Austin, TX, Wolfe is on a mission to breathe new life into classic rock & roll with her incendiary guitar chops and original songwriting. Wolfe’s creative songwriting, powerful lead vocals, and dominating guitar style has led her to share stages with Heart, Tool, The Gaslight Anthem, The Struts, Pretenders, Joan Jett & the Blackhearts, Catfish and the Bottlemen, and more. Starting at the age of five as a self-taught guitarist, Wolfe has continually honed her craft, taking her playing to new heights. Her dedication and skill have earned her two signature Epiphone guitars: the Emily Wolfe Stealth and the Emily Wolfe White Wolfe.

aPRIL 17, 2026

Ron Robinson Theater

Little Rok, AR

by Dan Locke

There are concerts that feel like time capsules, and then there are concerts that feel like someone cracked open the time capsule, pulled out the artifacts, and invited you to sit on the floor and touch them. Tiffany’s performance at the Ron Robinson Theater in Little Rock was the latter — a night built not on spectacle, but on memory, intimacy, and the kind of storytelling that only comes from an artist who has lived long enough to understand her own mythology.

The Ron Robinson Theater is a venue that rewards closeness. It’s a space where the audience sits near enough to see the details — the way a performer grips a microphone, the way stage lights catch the edges of a denim jacket, the way a singer’s expression shifts when a lyric hits a nerve. On this night, the theater became something even more intimate: a reimagined ’80s teen bedroom, a playful and nostalgic environment that framed the entire evening as a return to origins.

A Stage Built Like a Memory

The stage design was whimsical without being childish, nostalgic without being frozen in time. Fuzzy pink cubes, a checkered rug, soft neon lighting, and props that looked like they’d been pulled from a suburban teenager’s sanctuary in 1987 created a visual language that immediately set the tone. It wasn’t a museum exhibit of the ’80s — it was a lived‑in, emotionally resonant recreation of the spaces where young people once dreamed, danced, and discovered themselves.

For Tiffany, who famously launched her career as a teenager, the staging felt autobiographical. It was as if she had invited the audience into the room where she first rehearsed, first imagined a future in music, first felt the spark of possibility. The set design wasn’t just aesthetic; it was narrative.

A Minimal Band, a Full Sound

Tiffany performed with just two musicians onstage: a guitarist and a keyboard player. But the sound was far from minimal. Throughout the show, the trio performed over backing tracks that filled out the rest of the band — a second guitar line, bass, and drums. The result was a hybrid musical texture that preserved the intimacy of a small ensemble while still honoring the full, polished energy of her original recordings.

This approach allowed Tiffany’s voice to take center stage. Her vocals — richer, deeper, and more textured than in her teen‑idol years — carried the emotional weight of someone who has lived through the highs and lows of fame. The backing tracks added fullness without overwhelming the intimacy of the performance, creating a soundscape that felt both nostalgic and contemporary.

A Screen of Stories

Behind the performers, a large screen played a rotating mix of visuals: classic music videos, archival footage, and animated slides that looked like retro PowerPoint presentations brought to life. These visuals were charmingly simple, almost handmade in spirit, reinforcing the “teen bedroom” aesthetic. They served as memory cues, guiding the audience through Tiffany’s narrative as she moved between songs and stories.

When the screen lit up with the original “I Think We’re Alone Now” video — grainy, sun‑washed, unmistakably ’80s — the audience reacted with a mix of recognition and affection. It was a reminder of how deeply Tiffany’s music is woven into the cultural fabric of the era.

The Heart of the Night: Tiffany’s Stories

What set this performance apart was Tiffany’s willingness to tell her story — not the polished, PR‑approved version, but the real one. She spoke openly, humorously, and often with surprising vulnerability about her early career.

One of the most compelling segments came when she discussed the making of her first LP. She described the photo shoot for the album cover with a mix of nostalgia and amusement — the awkwardness of posing, the excitement of being a teenager suddenly thrust into the machinery of pop stardom, and the surreal feeling of seeing her own face plastered across record stores.

But the most revealing moment came when she talked about “Danny,” the song that was actually her first single. Most people assume her debut was “I Think We’re Alone Now,” but Tiffany made a point of setting the record straight. “Danny” was released with high hopes, only to fall flat commercially. The disappointment was real, and the consequences were nearly career‑ending. The record label, unimpressed by the single’s performance, was ready to drop her.

What saved her career was a single request from her manager: one more chance. One more song. One more opportunity to prove she had something worth investing in. That song, of course, was “I Think We’re Alone Now.”

Hearing Tiffany recount this turning point — not as a legend, but as a memory — gave the familiar hit a new emotional weight. She described the uncertainty surrounding it, the pressure she felt, and the sense that everything was riding on this one track. When she finally performed the song later in the evening, the audience wasn’t just hearing a nostalgic anthem; they were hearing the song that kept her career alive.

The Video Shoot That Became a Legend

Her story about filming the original music video was one of the night’s most charming and humorous moments. Tiffany explained that she had asked if her real friends could appear in the video with her. The label agreed, and her friends’ parents dutifully drove them an hour to the beach for the shoot. But when they arrived, they discovered that the director had already hired actors to play her friends — “extras,” as he called them.

Her real friends were understandably upset, and Tiffany told the story with the kind of affectionate exasperation that only comes from decades of retelling. Years later, she made it up to them. She re‑recorded the song and shot a new video — this time with her actual friends, no casting call required. They did it for drinks and food, she joked, and the audience laughed with her.

A Voice That Has Grown With Her

Musically, the show balanced nostalgia with reinvention. Tiffany performed the hits, of course, but she also showcased newer material that reflects her evolution as an artist. Her voice has matured into something deeper and more textured, and the stripped‑down arrangements highlighted that growth. Songs that were once pure pop now carried hints of rock, blues, and singer‑songwriter introspection.

A Cookbook, a New Creative Chapter, and a Look Ahead

As the evening moved into its final stretch, Tiffany shifted from looking back to looking forward. She spoke enthusiastically about her newest project: “POP LIFE: The Ultimate 80s Kitchen Encore,” her first traditionally published cookbook, co‑created with chef and author Alicia Shevetone. Inspired by life on tour, ’80s nostalgia, and global flavors, the book blends music, storytelling, and elevated comfort food — a natural extension of Tiffany’s personality and her desire to connect with fans beyond the stage.

She also shared a glimpse of what’s next musically: a reimagined Greatest Hits album, currently in production and slated for release in 2027. The project revisits classics like “I Think We’re Alone Now” and “Could’ve Been,” but through the lens of who she is today — with a rock‑driven sound shaped by decades of growth as both an artist and a storyteller.

A Room Full of People, a Shared Moment in Time

The audience — a mix of longtime fans, curious newcomers, and people who grew up with her music — responded with warmth and enthusiasm. Phones were raised, but not in a way that felt intrusive. People wanted to capture the moment, but they were also fully present in it. The energy in the room was communal, almost familial.

A Legacy Still Being Written

In a world where nostalgia acts often rely on spectacle or irony, Tiffany offered something far more genuine. She gave Little Rock an evening of storytelling, vulnerability, humor, and heart — a reminder that pop icons aren’t just images frozen in time. They grow up. They change. They survive. And sometimes, they return to the stage with nothing but two musicians, a handful of backing tracks, a screen full of memories, and a lifetime of stories worth telling.

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The Vortex

Akron OH

April 09, 2026

by Drew Latshaw

There are shows you attend… and then there are shows that grab you by the collar, shake your soul loose, and remind you exactly why live music matters.

Last Thursday night at The Vortex was the latter.

From the second you stepped into the room, there was this low electrical hum in the air, like something was about to break loose. And Emerald Rage wasted absolutely no time lighting the fuse.

Emerald Rage — Strike First, Ask Questions Never

Emerald Rage came out swinging like they had something to prove… and by the end of their set, it was clear they didn’t.

They already knew.

Tight, aggressive, and unapologetically loud, their set felt like getting caught in a storm you didn’t see coming. The kind where you’re soaked before you even think to run for cover. Their energy wasn’t just performance, it was projection… straight into the crowd, bouncing off every wall in that room.

No filler. No wasted motion. Just raw, unfiltered intent.

And just like that, the tone for the night was set.

Silvertung — The Kind of Band You Don’t Just Watch… You Experience

Then Silvertung took the stage…and the room shifted.

There’s something different about Silvertung. It’s not just the sound, though it hits hard. It’s not just the stage presence, though it’s undeniable. It’s the way they connect. Like they’re not performing at you… they’re pulling you into it with them.

Every note felt intentional. Every movement had weight. You could feel the crowd lock in, like a single organism breathing in time with the band.

And that’s when it clicked…

This wasn’t just a set.

This was a shared moment.

The kind you don’t get back.

The Almost-Interview — When Technology Fails but Humanity Shows Up

Here’s where the night took a turn that hit a little more personal.

I had the chance to sit down with Silvertung before everything kicked off. Real time. Real conversation. The kind of opportunity you don’t take lightly.

And my gear?

Decided it wanted no part of it.

Failure after failure. Restart. Try again. Adjust. Try again.

They gave me over an hour of their time.

An hour.

Let that sink in.

And through all of it… patience. No ego. No frustration. Just genuine people willing to make space for something that mattered to me.

In the end, I walked away with 11 minutes of recorded video.

Eleven.

And yeah… that stings.

But here’s the thing… that 11 minutes? It means more now.

Because it wasn’t easy. Because it almost didn’t happen. Because they didn’t have to stay… but they did.

That says more about who they are than any polished interview ever could.

Final Verdict — This Is Why We Show Up

This show wasn’t perfect. It was better than that! It was real.

Emerald Rage came in like a warning shot. Silvertung followed like a full detonation. And somewhere in between blown speakers, sweat, light, and chaos… something genuine happened.

The kind of night you don’t measure in setlists or song counts…

…but in moments.

And this one?

This one’s going to stick.

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Kent State

by Andrew Latshaw

Tonight, at Kent Stage, something rarer than nostalgia takes the stage. This is not merely a concert. It’s a living archive of progressive rock’s DNA, performed by its architects, reassembled in real time.

I have to say that I was not at all clear what to expect this evening. When I saw the legend that is Rick Wakeman walk out at the Kent Stage, you could feel the weight of time in his steps. He moved slowly, his weathered orthopedics not quite taking full strides as he crossed the stage. He said nothing, barely acknowledged the crowd, offered a small wave, and settled at the piano… and that is when the magic began.

Rick Wakeman does not so much play keyboards as he conjures them. Caped in legend and armed with an arsenal of 88 ivory keys that look like they were salvaged from a time-traveling cathedral, he has spent decades turning classical structure into rock spectacle. But tonight’s performance, shared with his son Oliver Wakeman, trades bombast for something more intimate… and, somehow, more powerful.

This is generational alchemy.

The Wakeman legacy has always been tied to grandeur. From The Six Wives of Henry VIII to the gilded excess of Yes in their prime, Rick built entire sonic kingdoms. But tonight, stripped of the usual symphonic scaffolding, those compositions breathe differently. The absence of excess becomes its own kind of luxury.

Oliver, long in the shadow of a titan, emerges not as an echo, but as a counterpoint. Where Rick is theatrical and unpredictable, Oliver is measured, deliberate… a stabilizing force that turns chaos into conversation. Together, they don’t just perform songs, they interrogate them. Themes are stretched, refracted, reshaped mid-flight. A melody that once marched now floats. A flourish that once dazzled now haunts.

There’s a moment, somewhere in the set, where time seems to fold in on itself. Rick leans into a passage that feels pulled straight from the golden age of prog… and Oliver answers, not by mimicking, but by evolving it. It’s not a duet. It’s a dialogue between eras.

And the audience? Not passive observers, but witnesses. You can feel it ripple through the room… that quiet, collective realization that this is fleeting. That you are hearing something that cannot be replicated, only remembered.

At times, I found myself more captivated by the faces in the crowd than the metamorphosis unfolding just beyond my peripheral vision. There were men and women so emotionally invested in this performance that it became its own kind of spectacle.

One woman, in particular, sat frozen… mouth slightly open, hands trembling as they hovered near her face. Tears welled in her eyes, as if she had just arrived at a destination decades in the making.

In a world of backing tracks and algorithmic perfection, the Wakemans offer something gloriously human: risk. Notes hang in the air just a fraction longer than expected. Transitions teeter, then resolve. It’s imperfect in the way that makes it transcendent.

By the time the final chord dissolves into the rafters of Kent Stage, you’re left with the sense that you didn’t just attend a performance… you experienced a lineage.

A father. A son. A legacy, not preserved, but alive.

And for one night in Kent, Ohio, progressive rock didn’t look back.

It looked forward.

I had planned to end my review there… but there’s one moment I can’t leave behind.

It wasn’t just the music that stayed with me… it was the connection. The quiet, unmistakable love between Rick and Oliver, and the way that love was reflected back by the audience.

Watching Rick introduce his son, recalling being on tour with Yes when Oliver was born… then hearing Oliver respond with stories of carving his own path under the weight of that legacy… it felt complete.

As someone who reflects often on my own relationship with my father, I can say without hesitation… it was beautiful.

The show lasted just over an hour and a half… yet somehow contained a lifetime.

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Nashville, TN — Multi-platinum recording artist Tiffany kicks off her All This Time Tour, beginning March 31 in Dallas, TX and continuing through April with dates across the Midwest and South.

“All This Time is about honoring where it started while embracing where I am now,” says Tiffany. “These shows are a celebration of the music, the journey, and the fans who’ve grown with me through every era.”

Known for chart-topping hits like “I Think We’re Alone Now” and “Could’ve Been,” Tiffany continues to evolve as a live performer, delivering a high-energy show that blends iconic pop with a rock-driven edge. The All This Time Tour brings a refreshed sound and production to a catalog that continues to resonate across generations.

VIP experiences, including meet-and-greet opportunities, will be available at all tour dates, offering fans exclusive access and enhanced engagement.

ALL THIS TIME TOUR DATES
March 31 — Dallas, TX
April 1 — Austin, TX
April 4 — Tulsa, OK
April 5 — Tulsa, OK
April 7 — Omaha, NE
April 8 — Kansas City, MO
April 10 — Edinburg, TX
April 11 — San Antonio, TX
April 13 — Houston, TX
April 15 — Birmingham, AL
April 17 — Little Rock, AR
April 18 — St. Louis, MO
April 19 — Mahomet, IL
April 21 — Skokie, IL
April 23 — Indianapolis, IN

Tickets are on sale now at tiffanytunes.com/tour.

In addition to the tour, Tiffany is expanding her creative footprint with Pop Life: A Cookbook by Tiffany & Alicia, now available for preorder, with an official launch event set for May 12 in Las Vegas.

“Nashville offers an incredible quality of life that makes it a natural home for our growing team. As DWP has experienced significant growth over the past five years, expanding into a new office in Music City is a strategic step that supports our long-term vision and continued momentum,” says Danny Wimmer, Founder of DWP. “From affordability and accessibility to the depth of entertainment and culture, it’s a place where people can build meaningful careers and fulfilling lives. We’re already seeing strong interest from top talent, strengthening our ability to recruit, retain, and scale for the future.”

The move further strengthens DWP’s presence in the region, building on the continued success of its flagship Louisville, Kentucky festivals — Bourbon & Beyond and Louder Than Life — located just three hours north of Nashville.

The Nashville office will serve as a central hub for marketing, creative, and administration, led by Boone Vires (SVP, Marketing), Jake Miller (Head of Content & Creative), and Haley Baca (Director of Administration), supported by a rapidly expanding team.

“Nashville is one of the most exciting cities in the world for live music — every genre, every generation, and every creative voice is represented here. It’s a place that lives and breathes music, and that energy perfectly matches who we are at our core,” says Chamie McCurry, GM and CMO of DWP. “With marketing and creativity at the heart of our company, building a strong presence in Music City allows us to stay close to emerging talent, collaborate with the best in the industry, and continue creating experiences that truly connect with fans.”

DWP sold more than one million tickets across its festivals last season and anticipates 2026 will be its biggest year yet. DWP’s portfolio of multi-day experiences celebrates the intersection of music, food, art and community, and includes Aftershock, Bourbon & Beyond, Inkcarceration Music & Tattoo Festival, Louder Than Life, Sonic Temple Art & Music Festival and Welcome To Rockville. Each DWP destination event provides an unforgettable and all-encompassing festival experience featuring reunions, rare shows and special anniversary performances in a unique setting enhanced by additional onsite experiences.

Each festival has its own unique identity, incorporating elements of each distinctive venue setting, as well regional cuisine and culture. In addition, DWP works closely with local tourism and government representatives, as well as community partners, withevents generating substantial economic impact annually in each festival market.

Danny Wimmer Presents is also dedicated to giving back to the people in the communities that host their festivals and has donated over $2.5 million to charitable initiatives supporting local communities via the DWP Foundation.

In addition to festivals, DWP works with a growing network of venues and casino partners to deliver booking, promotion, and event production services that extend its fan-first philosophy beyond the festival grounds.

The 2026 DWP festival lineup includes:

Welcome To Rockville

May 7-10, 2026 

Daytona International Speedway – Daytona Beach, FL

Welcome To Rockville returns for its 15th year May 7-10 for its biggest event yet at the iconic Daytona International Speedway. Florida’s Largest Rock, Metal and Punk Festival broke its own records in 2025 with 230,000 music fans in attendance for the four-day destination event. Welcome To Rockville 2026 will feature 160+ bands spanning various rock genres on 5 stages at the World Center of Rock, with Foo Fighters, My Chemical Romance, Guns N’ Roses, Bring Me The Horizon, TURNSTILE, Five Finger Death Punch, The Offspring, Breaking Benjamin, A Day To Remember, Godsmack, Staind, Parkway Drive, Lamb of God, Yellowcard and many more.

Sonic Temple Art & Music Festival

May 14-17, 2026

Historic Crew Stadium – Columbus, OH

Sonic Temple Art & Music Festival returns to Historic Crew Stadium in Columbus, OH May 14-17, following a 2025 edition that was the biggest rock fest In Columbus history, with 175,000 in attendance at the sold-out event. The Pinnacle of Rock Festivals in America will feature an extensive rock, metal, and punk lineup of 140+ bands, and has expanded to 5 stages in 2026. Artists for Sonic Temple 2026 include: My Chemical Romance, Tool, Bring Me The Horizon, Shinedown, Pierce The Veil, Good Charlotte, The Offspring, Breaking Benjamin, Godsmack, Sublime, Marilyn Manson, Staind and more. Beyond the music, one of the most distinctive elements of Sonic Temple is its celebration of visual art—transforming the festival into a living, breathing gallery experience. 2026 artists include contemporary American painter Terry Urban, known for his vibrant pop-meets-street style, and illustrator and cartoonist Jay Howell, the creative mind behind Bob’s Burgers and Sanjay and Craig.

Inkcarceration Music & Tattoo Festival

July 17-19, 2026

Ohio State Reformatory – Mansfield, OH

Inkcarceration Music & Tattoo Festival is poised to top last year’s record-breaking event that drew in 90,000 music fans. More than 65 bands will take over the historic Ohio State Reformatory grounds in Mansfield, Ohio on July 17-19, including: Limp Bizkit, Disturbed, Bad Omens, Gojira, Papa Roach, A Day To Remember, Motionless in White, Ice Nine Kills, Cypress Hill and more. Also featuring 100+ tattoo artists, haunted attractions and tours of the prison made famous in The Shawshank Redemption, America’s Rock & Metal Tattoo Festival is one of the most unique events in America.

Louder Than Life

September 17-20, 2026

Kentucky Exposition Center – Louisville, KY

DWP recently announced details for the 12^th Louder Than Life, which returns to Kentucky Exposition Center in Louisville September 17-20, delivering the biggest bill ever assembled by Danny Wimmer Presents. America’s Largest Rock & Metal Festival will feature nearly 200 bands spanning all rock genres across 7 stages, topped by My Chemical Romance, Iron Maiden, TOOL, Limp Bizkit, Pantera, Pierce The Veil, Gojira, Sublime, Danny Elfman, Papa Roach, A Day To Remember, BABYMETAL, Megadeth, Halestorm (headlining a stage with all female-fronted bands for the first time in DWP history), Rise Against and many more. In addition to the music, all Louder Than Life passholders receive free access to amusement rides inside Kentucky Kingdom, which became part of the festival footprint in 2025 and will be open exclusively to festival attendees. In 2025, Louder Than Life brought together over 240,000 fans for its 11^th year, marking a dedicated and ongoing partnership between the city and festival producer Danny Wimmer Presents.

Bourbon & Beyond

September 24-27, 2026

Kentucky Exposition Center – Louisville, KY

Bourbon & Beyond will return September 24–27 to the Kentucky Exposition Center in Louisville, with the largest lineup in the festival’s history, featuring Foo Fighters, Mumford & Sons, Chris Stapleton, Dave Matthews Band, Queens of the Stone Age, Kacey Musgraves, The Red Clay Strays, Hootie & the Blowfish, The War on Drugs, Foster The People, Jason Isbell and the 400 Unit, and many more. Known as the World’s Largest Bourbon, Food & Music Festival, the four-day event will showcase more than 100 music artists across five stages, alongside curated bourbon tastings, premium spirits, and elevated culinary experiences. In addition, the Kroger Big Bourbon Bar at the festival is home to The Bluegrass Situation Stage and features the best bluegrass bands as well as line dancing. In 2025, Bourbon & Beyond had more than 210,000 people from around the world in attendance and the event was namedMusic Festival of the Year (Global, Over 30,000 Attendance) by Pollstar.

Aftershock

October 1-4, 2026

Discovery Park – Sacramento, CA

The 14^th year of Aftershock, October 1-4at the scenic Discovery Park in Sacramento, CA, will feature 140+ artists–the largest Aftershock lineup yet–along with the addition of a 5^th stage to the expanded festival site. The West Coast’s Largest Rock, Punk & Metal Festival will feature performances from My Chemical Romance, TOOL, Limp Bizkit, Pierce The Veil, $UICIDEBOY$, Queens of the Stone Age, The Offspring, A Day To Remember, Wu-Tang Clan, Sublime, Danny Elfman, BABYMETAL, Circa Survive, Public Enemy and many more. In 2025, Aftershock welcomed 164,000+ fans from all 50 states and more than 30 countries.

Danny Wimmer Presents has received multiple 2026 Pollstar award nominations for Global Music Festival of the Year (three nominations), Casino of the Year, Talent Buyer of the Year, Small Venue Talent Buyer of the Year, and the Bill Graham Award – Promoter of the Year. 

About Danny Wimmer Presents: Since 1995, music industry veteran Danny Wimmer has been producing concerts and festivals, both large and small. In 2011, he founded Danny Wimmer Presents, a live entertainment company that produces the largest rock, metal, and alternative music festivals in the U.S. DWP creates unforgettable and all-encompassing festival experiences, leaving both attendees and partners with lasting and meaningful impressions. Since 2020, DWP has been an innovator in the digital content space with over two dozen international livestreams, acclaimed social series Offstage with DWP, DWPresents Channel on Twitch, which has garnered over 25 million worldwide views since its launch in mid-2021, and The Power Hour, a weekly show dedicated to the world of rock that aired on AXS TV. DWP’s paranormal investigative video series Paranormal Prison (2023-2025) documented some of the supernatural experiences at Ohio State Reformatory during Inkcarceration with the help of bands performing at the festival. Episodes are available at www.youtube.com/@DannyWimmerPresents. The 2026 DWP festival lineup includes Aftershock, Bourbon & Beyond, Inkcarceration Music & Tattoo Festival, Louder Than Life, Sonic Temple Art & Music Festival and Welcome To Rockville.

www.DannyWimmerPresents.com

Facebook.com/Dannywimmerpresents

Instagram.com/Dannywimmerpresents

Twitter.com/DannyWimmerPres

Danny Wimmer Presents Publicity Contacts

Kristine Ashton-Magnuson / Ashton-Magnuson Media, kristine@am-media.net

Selena Fragassi / Ashton-Magnuson Media, selena@fr-pr.net

Lynsey Trager / Lemonade PR, lynsey@lemonade-pr.com

Token Lounge

By John Planck

Attending a multiple band bill at the Token Lounge included the band Yayo. A
high-energy metalcore band out of Detroit as described in their own words. That high
energy wasn’t just for their band. Before their scheduled performance vocalist Jon White
was participating, moshing, and singing with the crowd before their own set started later
in the night. This band supports the scene. In fact, for the second half of Yayo’s set Jon
removed his own band;s merch and wore the opening band Eternity Awaits merch
t-shirt. Encouraging their fellow musicians without ego.

Don’t be fooled by this band’s encouragement and kindness as a weakness in the metal
music scene. They are savage on the stage! When you see the veins popping out of the
singer’s throat, as he belts out the lyrics, you know he’s delivering the pain behind those
words. Scowls and growls with energy. There is that word again, energy. Absolute and
total energy from the first lick to the last.

The band had a rotation of guests joining them on stage. Members changed
instruments from guitar to drums, and guest vocalists including Jon White’s girlfriend
Amanda Teofila joined in. Together they would make the perfect bride and groom
figurine heavy metal wedding cake topper. The chemistry between them was obvious,
sneaking fond looks at each other as they sang.

Their set was inspiring to watch. It genuinely brought the band and crowd together.
Together to celebrate not just music, art, and performance, but a humanitarian effort to
bring ALL people together. Together on a Wednesday winter Wednesday night to create
a haven from politics, opinions, and division. When Yayo finally ended their set Jon
White gladly met and posed with a young fan on the edge of the stage for some photos.
It was a show of positive energy, and a lot of it.

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