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Self-love precedes freedom.

Confidence actualizes risk-taking and the fulfillment of dreams. Emboldened by new levels of belief and shared growth over the course of a decade-plus together, Big Gigantic follow a path towards creative and personal awakening on their seventh full-length album, Free Your Mind. The Boulder, CO duo—Dominic Lalli and Jeremy Salken—articulate meaningful and melodic songs through a signature hybrid of deft live instrumentation, immersive production, heart-pumping percussion, and, of course, scorching saxophone.

Now, these thirteen tracks echo boundless and bold confidence.

“It starts with accepting and loving who you are,” explains Dom. “After acceptance, your mind is free. You can go further and be more open. You go out on a limb and connect to new people. It means something to us individually too. When you love yourself, you’re able to be clear about what you want and hope for. Self-love is the beginning. By showing up fully for yourself, you can show up for those you love. You can use that gratitude to spread positivity.”

“You can’t love anybody until you love who you are first,” Jeremy agrees. “Start at the core and go from there. You stop beating yourself up and realize you need to be there for yourself. If you’re at one, you’re able to pursue those dreams.”

In many ways, Big Gigantic quietly closed in upon this realization since 2009. Along the way, the group dropped six full-length offerings, culminating on 2016’s Brighter Future. The latter generated staggering numbers across streaming platforms with 100 million-plus plays highlighted by the success of powerhouse collaborations such as “All of Me” [feat. Logic & ROZES], “The Little Things” [feat. Angela McCluskey], “Highly Possible” [feat. Waka Flocka Flame], “Wide Open” [feat. Cherub], and more. Not to mention, they landed high-profile syncs by Apple, Wimbledon, NASCAR, NBA, HBO, Fox, and many others as well as placing music in trailers for Valerian and Dirty Grandpa.

On the road, they held down main stage spots at marquee festivals, ranging from Coachella, Lollapalooza, ULTRA Music Festival, and Hangout Music Festival to Electric Forest and Bonnaroo in addition to headlining and selling out their own Rowdytown at Red Rocks Amphitheatre for eight years running. Powered by mind-blowing proprietary technology, the show evolved into an all-encompassing 3D experience at Rowdytown—which they will bring on the road for their biggest tour to date in 2020. Meanwhile, their 501(c)3 A Big Gigantic Difference Foundation regularly raises money for non-profits benefitting at-risk youth, music education, and other worthy causes, yielding nearly $250,000 to date and donating $1 of each ticket sold.

However, Dom and Jeremy made a conscious decision to live the philosophy of Free Your Mind to the fullest. Assembling the record throughout 2019, they engaged a new approach.

“I did almost everything myself on Brighter Future,” Dom goes on. “Free Your Mind is about doing something different and taking what we have and getting out of the box. Of course, a lot of it started at home working on demos, but the vision was more song-oriented. It’s melodic. That’s the biggest difference. We expanded the form, flipped things, and made them interesting.”

At the same time, they launched an innovative rollout, engaging their devout and diehard audience directly. On their official web site, they posed a series of questions tied to each single, imploring fans to answer. These queries incited thousands of responses.

“To free your mind, you have to look inwards,” explains Jeremy. “So, we decided to invite fans to do the same thing with us.”

Simultaneously, each single referenced a clear theme as well with “self-love” for lead-off “You’re The One” [feat. Nevve], “friendship” for the aptly titled “Friends,” and “living in the present moment” for “Where I Wanna Be.”

Elsewhere, the fourth single “Burning Love” [feat. Kidepo] illuminates another side of Big Gigantic. Tapping into an Afrobeat bounce, tropical percussion pulsates underneath a swaggering and soulful vocal from Kidepo. The subject matter represents their progression.

“We’ve never really had a classic sweet love song in the past,” Dom states. “It’s like a conversation between significant others. We really jumped on it.”

“St. Lucia” [feat. Felly] sways from a steady beat to a resounding refrain between airtight raps. For the title track, they re-recorded, reimagined, and re-upped “(It Happens) Sometimes” by Jack Back a.k.a. David Guetta with help on the mic from frequent collaborator Jennifer Hartswick. The rising synths, dramatic drops, and dancefloor energy immediately pop off alongside her manic vocals.

“It goes back to the title,” Jeremy elaborates. “Over the last year-and-a-half, I’ve grown a lot personally. Going through that process allowed me to connect with myself more and know the direction I needed to go.”

“Plus, we really freed our minds musically,” Dom exclaims. “It’s the truth.”

In the end, Big Gigantic embrace self-love only to encourage it on the largest scale yet via the record and the ensuing tour.

“This embodies everything we’re about,” Jeremy leaves off. “It’s our lives. It’s what we’ve been working towards for eleven years since our first show. It’s a learning process. We’ve reached crazy goals, but we keep setting our sights as high as possible. The fans bring us there. We wouldn’t be anywhere without them. They’re on the journey alongside us.”

On this journey, the humanity we share shines through.

Dom concludes, “The album is about exploring all of the different things that make us human—the things that connect us to ourselves and to each other—so that we can know our true ourselves and live our greatest lives without holding us back. It’s about releasing ourselves from feelings of needing to be perfect and feelings of inadequacy or comparison, so we can step into our full power and live big, beautiful, and fulfilling lives.”

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30 years ago, the four original members of Blues Traveler, who had known each other since their early teens -- John Popper, Chandler Kinchla, the late Bobby Sheehan and Brendan Hill -- gathered in the basement of their drummer's parents' Princeton, NJ, home and the seeds were planted for a band who has released a total of 13 studio albums, four of which have gone gold, three platinum and one six-times platinum. Over the course of its illustrious career, Blues Traveler has sold more than 10 million combined units worldwide, played over 2,000 live shows in front of more than 30 million people, and, in "Run-Around," had the longest-charting radio single in Billboard history, which earned them a Grammy® for Best Rock Performance by a Duo or Group with Vocals. Their movie credits include Blues Brothers 2000, Kingpin, Wildflowers and others. A television favorite, they have been featured on Saturday Night Live, Austin City Limits, VH1's Behind the Music and they hold the record for the most appearances of any artist on The Late Show with David Letterman.

"We started this whole adventure as a team," says Brendan Hill. "We've taken every step of this as a group together, from the basement to moving to New York, getting signed, hiring a manager, to achieving all our goals."

"I'm a firm believer that rock and roll keeps you young," adds co-founding member Chan Kinchla. "Because I don't feel any different than I did when we started, even though I've got a wife, two kids and all kind of life in between. We still go back to that mentality we had as kids, smoking pot and learning to jam. We had our first epiphanies about music together. This is a real family affair."

"The way the songs have held up moves me," admits legendary frontman Popper, who has gotten down to a svelte 280 from a high of 436 after a gastric bypass 10 years ago, which he admits saved his life. "We've really got nothing but love from our audience. If something has quality, it's constantly reconsidered through the ages. And that's what we're doing this for... posterity. We've never been 25 before, so having this kind of retrospective, as songwriters, it's an opportunity for long forgotten songs get their day in court."

From the suburbs of New Jersey, Blues Traveler moved to New York in the late '80s, where they became part of a jam-band scene that packed clubs like Nightingale's, McGoverns and Kenny's Castaways, where they would share the bill with Spin Doctors and Phish. Represented early on by Bill Graham and son David, Blues Traveler's live reputation led to a deal with A&M Records, for whom they released their self-titled debut, which produced songs like the hit "But Anyway," "Gina" and "100 Years," eventually going gold simultaneously with the album Four. The following year came Travelers & Thieves, also now gold, with songs like "What's For Breakfast." The subsequent gold release Save His Soul followed in 1993, with songs like "N.Y. Prophesie," whose lyrics were actually co-written by John's Hungarian father, Robert. The recording, and resulting tour, was marked by Popper having to sing from a wheelchair, the result of a motorcycle accident that almost took his life and destroyed the band, which led to a deeper investment from A&M to help support the band during a mettle-testing period in their career.

The band's Four, released in 1994, was a watershed moment for the group, eventually selling more than six million albums on the strength of the singles "Run-Around" and "Hook."

"The fact we had that success in the middle of our career, rather than early on, was beneficial because it opened doors to a whole new audience that we continue to court today," says Hill.

The band's next album, the now-platinum Straight on till Morning, released in 1997, produced the memorable "Carolina Blues," a longtime staple of Blues Traveler's live show. After that, tragedy struck when bassist Bobby Sheehan was found dead in New Orleans on August 20, 1999, at the age of 31. It was a wake-up call for Popper, who vowed to lose his extra weight after help from friends like Howard Stern and Roseanne Barr. Deciding to soldier on, the group brought in Chan's brother Tad to replace Sheehan on bass and, at the same time, enlisted keyboardist Ben Wilson.

"I kind of vicariously grew up around the band," says Tad, four years younger than his older brother. "I saw all the trials and tribulations moving forward, and then lightning striking."

"They wanted to bring in someone who could be part of the band," recalls Wilson. "They wanted keyboard to play a little bit more of a part of the sound. Apparently, Bobby had always wanted to have a keyboard player in the band. So adding me was a bit of a nod to him."

The transition took place in 2001 on the aptly named studio album Bridge, the band's last for major label group Interscope Geffen A&M, on songs like "Back in the Day" and "Girl Inside My Head."

"That was us looking back," admits Popper. "It was the end of an era. We wanted to call it 'Bridge Out of Brooklyn' as an homage to Bobby, but we decided to talk about where the bridge was going rather than where it was coming from."

Truth Be Told, recorded in Ojai and Santa Barbara, CA, followed in 2003 on the Sanctuary label and proved a fun experience for the band as they explored their more pop side on songs like Tad's "Let Her and Let Go" and "Unable to Get Free," both represented on this compilation.

Bastardos, produced by former Wilco member Jay Bennett for the Vanguard label, featured "Amber Awaits," Popper's ode to one of several New England Patriots cheerleaders with whom he fell in love while on a USO Tour of Iraq and Afghanistan. North Hollywood Shootout, recorded in 2008 and released on Verve Forecast, produces a pair of tracks for the collection, Chan Kinchla's Led Zeppelin-esque "Remember It" and Wilson's "You, Me and Everything."

Currently putting the finishing touches on their tenth studio album -- the first to feature outside songwriters in addition to the band members' contributions -- the group is taking the opportunity of their milestone to not just look behind, but ahead.

"We intend to keep going as long as they pay us," laughs Popper, resplendent in bathrobe, Simpsons pajamas and Samurai sword dangling from a belt loop. "We're going to be in everybody's face this year. I feel like I'm in my prime. I was convinced I'd be dead at 37."

"We're brothers," concludes Chan. "We're not done. We've got a few more swings left, some more damage to do. I'm sure we bug the shit out of one another at times, but it's an honor to play onstage with these guys. They are awesome musicians. You have to keep touch with that. And never forget it."

Still alive and kicking, Blues Traveler prepares for the next 25 years, with a comprehensive overview of the first, in one deluxe package.

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You think you know the Icelandic band Of Monsters and Men, but you have no idea. Within the first minute of their new single 'Alligator' you'll be wondering if this huge anthem is the brainchild of the Yeah Yeah Yeahs fronting Arcade Fire – all thumping drums, brimming guitars and a call-to- arms chorus about taking control. During a day of final mixing at the LA studio of their co-producer Rich Costey (MUSE, Vampire Weekend, Chvrches), the five-piece gather in stages. The first to walk in are joint vocalists/guitarists Nanna Bryndis Hilmarsdóttir, Ragnar Þorhallsson and bassist Kristjan Pall Kristjansson. They're here to put the band's forthcoming third album 'FEVER DREAM' to bed. It's been in the offing for three years but – finally – it's soon to be out of their hands. Shortly behind them like a pair of mischievous school stragglers are the remaining members: drummer Arnar Rosenkranz Hilmarsson and youngest of the pack – guitarist Brynjar Leifsson.

To dub the story of this band a “fairytale” does a disservice to the amount of determination and grit it's required to get them to where they are in 2019. When reminded that it's almost ten years since the beginnings of the band (from the ashes of Nanna's solo project), they exclaim: “Jesus Christ!” The past decade has been a whirlwind completely beyond their collective imaginations. It started when a radio staton in Philadelphia – Radio 104.5 – began playing a demo of the song 'Little Talks' in 2011. OMAM were very freshly formed, but suddenly they were on the tip of every industry person's tongue. They signed with Republic, went to SXSW in a van and left in a fully- fledged tour bus. Their debut album – which by everyone's admission was essentially scrappily made in one weekend – followed swiftly, titled 'My Head Is An Animal'. It went multi-platinum. Thereafter the band toured, developing a live reputation all over in huge venues and at massive festivals. Their plaudits were on a par with rock bands three albums deeper.

The juggernaut didn't let up from there. After those explosive first years in which they toured relentlessly, conquered many festivals, wowed TV audiences most significantly with an SNL performance in May 2013, the band retreated to Iceland, their studio and their instruments to make a follow-up 'Beneath The Skin’. That second album catapulted them around the world even more, contributed to OMAM being the first Icelandic band ever to hit 1 billion streams on Spotify and even earned them a cameo appearance on season six of Game of Thrones in 2016. None of this, of course, is regrettable. And yet it hasn't been until recent months that the fivesome have really begun to realize that their trajectory has been relentless ever since 'Little Talks' – a mega hit that was never really intended to be the song. Everything up until 2017 had somewhat existed to serve that initial momentum. The past two years have allowed them to re-posture, re- group and step away from a reaction stance. They've learned not just who they are as musicians but how to fall in love with music again.

First, let's consider the music. There's a preconceived notion about the typical Of Monsters and Men sound: stadium folk flourishes, choruses of “hey! ho!”s and metaphors about extreme landscapes. But there has never been a typical Of Monsters and Men sound. Their back catalogue outside of their signature singles has showcased a diverse palette of balladry, danceable belters, and weirder synth moments. On their third album, that will be a fact too front and centre to ignore. They began working on it in the Spring of 2017, after they stopped touring in winter of 2016. It's the longest gestation period they've ever experienced while making an album.

“We immediately started to do it differently,” says Nanna of their process this time around. OMAM operate as a democracy. In the past that manifested as the five of them being in the rehearsal space, working on one idea until everyone had their own instrumental stamp on a song.

It was arduous, it was stressful and it was very difficult. This album has been hard work too: it's been a long winding road, and required a lot of patience. However, in so many respects it's the more satisfying version. The pressure within the democracy required a different type of

vulnerability among them. Rather than being forced to show themselves to one another on the spot in that previous rehearsal space, this time they all spent an extensive period apart, and each contributed ideas they'd produced at home on laptops. This was completely novel to them and a far vaster challenge.

At first there wasn't a clear-cut direction, just diverse ideas informed by five people with very different tastes. Ragnar, for instance, is always influenced by the staying power and sonic identity of a band like The National. Nanna, on the other hand, took her maverick inspirations from artists equally as integrity driven: Solange and Childish Gambino. “The driving force for this album was curiosity,” says Nanna. “Curiosity to do things in a new way – not using a guitar to write, finding something else that excites me.” Even Ragnar put down his guitar, no longer feeling like he needed to justify his presence in the band via one instrument. “I would play acoustic guitar on every fucking song on the album,” he says. “Now I have no idea what I'll be doing live, what instruments I'll be holding, or if I'll be holding any!” Nanna smiles. “We eliminated the roles we had in the band and not in a bad way. It's more open. It gives you more space to explore yourself as a musician.” It's grown the trust they have in one another too. “Having everyone's fingers in everything can flatten things,” says Ragnar. “If you mix every color together you just get brown.”

The songs themselves are certainly not brown. They're also not couched in one style. Arnar: “If one song wanted to be a full-blown 80s track, we'd allow it to be that. If another wanted to be a rock track we'd allow it to be that.” It is reflective of the landscape of big rock acts now too that genre has become less debilitating and doesn't stipulate that bands need to perform within a certain framework. “We've always been drawn to that,” nods Nanna. “When a lot of people hear our name they think of us as a folky acoustic band. We've never been one thing. These days, we feel free to go to extremes.” Brynjar agrees. “We wanted to explore everybody's palettes and do what we wanted to do: just try everything.”

Lyrically the album is more personal than ever, which makes sense when Nanna and Ragnar reveal that this is the first album they've written lyrics for apart from one another. In conversation it's hard for them to get too specific on details. “For me, they're about personal struggles.” The way Ragnar has written his lines has been inspired by gut emotions. He'll take a thought and run with it to its completion and no longer hides from his feelings. In the past they'd workshop lyrics as a joint exercise until they were masked enough to apply to everyone. For Nanna, her lyrics' meanings reveal themselves to her over time. “You sing something and you think it's gibberish, then weeks later listen and think it's the most spot-on thing you've ever said. This time we only came together at the end to help each other where we could.”

That co-counselling speaks volumes to their friendship, and the power of music within their most intimate dialogue. Despite the struggles, the band wanted the songs to contain more light and joy – a catharsis to push through the anxieties they're expressing. The way in which Nanna's voice relates that dialogue to the world is the most evolved of anything here. It's almost beyond recognition. Her voice growls like there's something between her teeth. It's a confidence thing, admits Nanna. “I'm at the point where I know what works for me and what I want.” 'Alligator' is the first indication of that.

“We could have just gone on for years and never made any decisions,” laughs Ragnar of doing these final stages with Costey. Of Monsters and Men are a band who are in it for the long haul and have taken the time to craft their sound, culture and universe. “We don't want to repeat what we've done,” says Nanna. “It's important for us to have a long career, make albums we're proud of and take our time.” It's a statement that's comfortably at odds with the fast-paced music scene of today. In the end it'll be all that matters. Most of all, the band are itching to get back out into the live arena – and to learn how to celebrate and let loose more. They bought an inflatable lifeboat

years ago for Nanna to use for crowdsurfing. It never got used. “I would love to crowd-surf with the boat!” she exclaims at the reminder. Anchors aweigh, Of Monsters and Men are ready to set sail.

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Tim and Eric Mandatory Attendance Tour! Tim and Eric return to the road for a WORLD TOUR (Australia, Canada and USA) filled with more spoofs, goofs and insanity, including some very special surprises we can’t talk about right now.

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One of the most influential modern stars in Texas’ long country-music tradition, Pat Green has left a mark on the lives of countless fans and generations of artists, helping to solidify a cultural movement bringing artists from the Lonestar state to the national stage along the way.

The problem is, he’s always been too modest to admit it.

Now with the release of Dancehall Dreamin’: A Tribute to Pat Green, the legendary troubadour has no choice in the matter. He’s being saluted by those who know him best – artists like Jack Ingram, Randy Rogers Band and more – with a surprise album meant to highlight some of the icon’s best-loved songs.

“I certainly didn’t see it coming,” Green says of the honor. “For my friends to do this for me, I just immediately felt like ‘Wow, what an incredible thing.’ I feel an overwhelming sense of gratitude, and I know I would do this for each and every one of them.”

Conceived as a heartfelt gift for Green’s 46th birthday, Dancehall Dreamin’ looks back over a career which has put the star at the vanguard of Texas country. Since 1995, Green has released 13 albums (12 recorded in studio and one live), and sold more than two million records, racking up a staggering 12 Number Ones on the Texas Radio chart (including his most-recent single, “Drinkin’ Days”). Green has also released ten Billboard radio hits and has placed songs like “Wave on Wave” in the Top Five of Billboard’s Country Airplay chart.

He’s been nominated for three Grammy awards and is still regarded as one of the most electrifying entertainers on tour, covering millions of miles and filling venues like the historic Gruene Hall and the massive Houston Astrodome with equal ease. Even mainstream stars like Willie Nelson, Kenny Chesney, Keith Urban and Dave Matthews have taken Green out on the road, recognizing the mass appeal of his everyday anthems, dedicated to the simple joys and inevitable heartbreaks of the American experience.

In short, Green has been instrumental in putting Texas country on the map, paving the way for scores of other artists who share his passion for authenticity. And now it’s time for them to say ‘thank you.'

“I’m really terrible at taking compliments,” Green admits, flattered by his first tribute project. “The funny thing is, all I did was lean as far forward over my skis and take as many chances as I could until something happened, and the end result is this almost 25-year-long career. But if my work made it easier for other people to do theirs, well then, it was my pleasure.”

Three years in the making, Dancehall Dreamin’ features 10 of Green’s trailblazing songs performed by peers and protégés alike. Ingram and Rogers are joined by Texas standard-bearers William Clark Green, John Baumann, Josh Abbott Band, Aaron Watson, Walt Wilkins, Cory Morrow, Drew Holcomb and Kevin Fowler.

Each artist chose a track to make their own, and with the help of producers Justin Pollard, Dwight Baker and Thomas Dulin, showcased the universal power of Green’s words – and the range of sounds he’s helped inspire.

“It’s overwhelming to listen to somebody else singing a song that you wrote,” Green explains. “But I think everybody was very tasty in their choices, and to hear Jack Ingram sing ‘Wave on Wave’ and to hear Randy Rogers sing ‘Three Days,’ I ain’t gonna lie – I got a little misty.”

Indeed, Ingram’s take on Green’s biggest hit transforms an anthemic, arena-sized singalong into a deeply personal reflection, with mellow guitars and poignant piano accents backing Ingram’s effortless vocal delivery. "

Jack Ingram is one of my favorite people who ever walked on two feet,” Green says. “I was on Twitter the other day and somebody said ‘Jack Ingram could sing the phone book and make it sound cool,’ and that’s the truth. He just oozes it.”

Likewise, Rogers and his band put their own, easy-rolling stamp on Green’s Grammy-nominated “Three Days,” joined by the song’s co-creator and acclaimed Texas artist, Radney Foster.

“I’m a big fan of Randy, and I love his style,” Green explains. “You’ve got to understand how intense I am. From being onstage to recording, everything is up, up, up. That’s why people who are the opposite of me – really calm and cool and collected – those are the people I admire. Randy’s throttle is different from mine. I dig it.”

More favorites like “Wrapped” (Clark Green), “Crazy” (Watson), “Adios Days” (Morrow) and “Southbound 35” (Fowler) are faithfully reimagined, while rising talent Baumann managed to surprise even Green with his connection to the vivid emotions coursing through “Nightmare.” Written on the day Green’s grandfather passed away, Baumann brings it to life in unmatched clarity.

“My grandfather was very important in my life,” says Green, who uses the album’s second half to offer behind-the-scenes insight for each song. “Baumann’s rendition of ‘Nightmare’ absolutely blew my doors off. He had a more gentle touch on it than I did, and he somehow seemed even more sensitive to the subject matter.”

Meanwhile, Green’s long and winding journey is placed in context by Holcomb, who delivers the gentle, acoustic strains of the album’s title track, “Dancehall Dreamer.”

“I'm just an old dancehall dreamer,” Holcomb sings. “Living my life in the past / Holding on to dreams and them slow moving trains / I don't know how long I can last.”

“Dancehall Dreamer” is the second song Green ever wrote, and back then he clearly couldn’t imagine where his dreams would lead. But now with a lifetime of music in the rearview and untold miles ahead, anything seems possible.

“No doubt it’s far from over, and I think that’s the thing I’m most proud of – that it’s lasted this long,” he says. “To get to almost 25 years of truly productive music making … it’s pretty cool, and I’ll take it.

“I don’t think I’m in the autumn of my life or career, but I do feel like I’m in the late summer,” he goes on. “I’m still inspired, I still love to do it and I’m not quitting any time soon, but I’m enjoying this time. Everything is right where I want it to be.”

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Big Head Todd and the Monsters are not that big on anniversaries, so there won’t be any big hoopla over the fact that the band is officially crossing the three-decade mark this year. Thirty years would seem like something to commemorate, especially with the same core lineup, an achievement few other name-brand bands can boast of. Yet right now they’re less about celebrating stability than volatility, in the form of their eleventh studio album, New World Arisin’, which makes good on its forward-facing title with what might be the brashest rock and roll of their career. The old world can’t rest on any laurels, and neither will they.

“We’re in a real exciting part of our career right now,” says co-founder Todd Park Mohr.  “We’re a viable band with a great audience and we’re able to work at a very high level. It’s a career that’s getting more and more interesting, rather than less, which is remarkable,” he says, chuckling at the unlikelihood of anyone being this cheerfully all-in, this far in. “I mean, 30 years into it, I really feel like: Wow, this is getting fun. I’m learning more about music and about my instrument, and it’s just really engaging in every way. We also dovetail well with the times, I think; I feel like we have something to say.”

That desire to communicate and connect is very much reflected in a new album that explores a variety of subgenres, from the funky (“Trip”) to the unexpectedly punky (“Detonator”), with stops along the way for raging country-rock (“Damaged One”), expansive storytelling in the Van Morrison/early Springsteen mode (“Wipeout Turn”), a Jimi Hendrix cover (“Room Full of Mirrors”), and, in the title track, “New World Arisin’,” a Charley Patton-inspired tune that ended up having what Mohr describes as “a heavy metal/gospel feel.” He doesn’t feel these musical zigzags will give fans musical whiplash. “The fact is, most people, like myself, listen to multiple genres of music, so I don’t think people have a problem with variety. I love it.”

But if there’s a dominant musical motif to New World Arisin’, it’s “straight-up rock-pop,” says Mohr. That contemporary approach might come as a slight surprise to hardcore fans that saw the Monsters take a seriously rootsy turn or two in the last 10 years. The band embarked on a side project, dubbed Big Head Blues Club, that saw them paying homage to Robert Johnson and bringing in venerable guest collaborators like Charlie Musselwhite and the late B.B. King. The heavy blues influence that dominated their alter-ego band carried over some into the last actual Big Head Todd and the Monsters album, 2014’s Black Beehive. That element isn’t altogether missing in New World Arisin’; you’ll certainly hear it recur in “Long Coal Train.” But this time the blues take a definite back seat to the unapologetically mainstream instincts that had Big Head Todd going platinum in the mid-’90s with the album Sister Sweetly, which spawned the rock radio hits “Broken Hearted Savior,” “Bittersweet,” and “Circle.”

“Commercial success is still a goal for me and for our band,” Mohr says, “as far as the sense of communicating to, or striking a chord with a large number of people. We feel like we have something to say and something to offer the culture.” Plus, a true confession: “I’m interested in the pop song! And I think ‘Damaged One,’ for one, is a classic pop song. Our label would have killed for that song, back then,” in the wake of those mainstream radio hits that established the band. “They begged me to write it! So there’s a lot of irony in our coming back to that.”

The history of the group actually stretches farther back from the 1987 point at which they took their name. The core members came together at such an early age that it’s hard to know exactly how many candles to put on their collective cake. “It’s murky,” Mohr says, “because I’ve been playing with Brian (Nevin, their drummer) since junior high school, so the two of us go back to 1982. Brian and I played a talent show with Rob (Squires, the bass player) in 1983, and then we continued to plug at it, at a kids’ pace,” he laughs. They began playing original music in earnest in a nascent Colorado music scene that then consisted almost entirely of cover bands. A debut album, Another Mayberry, arrived in 1989, though it would be another four years before Sister Sweetly made them a national phenomenon. The only personnel change in these three decades has been the addition of a fourth member, putative “new guy” Jeremy Lawton, in 2004.

While they enjoy a robust fan base around the country, their success is outsized in Colorado, where they’re practically the unofficial state band. That’s evident in their ability to sell out Red Rocks, the most revered amphitheater in the nation, where they’ve headlined 19 times. It also comes into play when the band gets asked to be a part of commemorative moments: Mohr recently sang the national anthem at a Rockies game, and the entire band took part in the parade through Denver after the Broncos took the Super Bowl.

Their honors extend beyond their home state and even home country… into space. In 2005, they released the single “Blue Sky,” a tribute to the space program, written at the behest of crew members taking to the heavens aboard the space shuttle Discovery; it was performed years later as a live wake-up call to the astronauts on the shuttle. The song had enough appeal back on earth, too, that it was picked up by the Hillary Clinton campaign in 2008 and used to introduce her keynote speech to the Democratic convention.

That campaign usage didn’t come about as a result of any desire on Mohr’s part to take the band in a political direction. He’s not so interested in getting Big Head Todd and the Monsters caught up in that particular fray as looking at the smaller and bigger pictures, wanting to keep the material topical in some far deeper fashion.

“Our audience is America, and I’m guessing it breaks down to the same percentages the country itself has,” he says. “We’ve never gotten in the business of polarizing people politically. But at the same time, as artists, it’s our job to observe and to hopefully find some insight. I’ve always been interested in the human condition more than politics. Politics are a part of it, but I always look at conflict as personal before it’s political. And I would consider conflict my dominant lyrical theme now— how people are trapped in it, and how conflict relates to intimacy and pleasure.” A Big Head Todd show, in any case, is a place where those conflicts might resolve, or dissolve. “In talking about our apolitical-ness, I think unity is an important thing,” Mohr says. “Being a human being, you have a lot in common with other human beings, and why not maximize those things? Music has an incredible capacity to convey other cultures and times, and to create a lot of empathy and togetherness. There’s harmony in it, and it implies oneness — the root.”

There’s an economy to the songs on the new album, most of which clock in around four minutes, and sometimes even closer to three. You’d think this would make Big Head Todd and the Monsters the farthest thing from a jam band. Yet they have a fervent following among that subset of rock fans, lack of noodling notwithstanding. Maybe it’s because of the changing nature of their set lists, since the Monsters are known to take requests, both in person and online.

“Our focus has always been on serving the song,” Mohr says. “We haven’t historically been that jammy. Which isn’t to say that we don’t have an occasional six-minute number -- we do. But having said that, I have a great respect for that audience, which I think is just a music-loving audience. You know, one year I got invited to the Jammies at Carnegie Hall, and I got in a discussion with somebody: ‘Well, how do you define a jam band?’ And he told me, ‘A jam band doesn’t repeat a song for three shows in a row.’ That was the only way that he would define it. I could almost follow that rule, except there are probably four songs I have to play every night. So I guess those four songs are what’s keeping us from ever being a jam band,” he laughs.

What’s clear is that Big Head Todd is one multi-headed rock monster, easily traversing the most accessible hooks and the heaviest grooves. It’s not surprising that they would appeal to any audience or sub-audience that values durability over flavors of the moment. But Mohr has to laugh when he thinks about how little the possibility of long-term perseverance was on the members’ minds 30 years ago.

“When you form, I think your goal is to make it through the party on Saturday night,” he points out. “In art, longevity isn’t the goal. It’s a happy accident if it happens, and I think ours was one of those convenient accidents that led to a happy marriage. But we happen to get along really well and love being with each other and playing music for a living.” Simple as it may sound, that’s a profound recipe for endurance in both the old world and the new.

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Founded by the award-winning composer, singer and producer Mario Domm (Coahuila, Mexico), Camila made its official debut in 2005 when Domm signed his first record contract with Sony Music, together with his friends and colleagues guitarist Pablo Hurtado (San Luis Potosí) and Veracruz native Samo.  Camila made Todo Cambió (2006) and Dejarte de amar (2010), two meteoric hits that turned the group into one of the most successful in Latin America.

Ever since, Camila has soared to the top of the charts in Mexico and beyond.  Songs like “Abrázame,” “Coleccionista de canciones,” “Todo cambió,” “Mientes,” “Aléjate de mí” and “Bésame,” among others, have made them big winners in the record industry: more than two million copies sold, three Grammy awards, three Billboard Awards, Diamond and Platinum certifications, hundreds of shows in 18 countries in front of more than two million fans, more than seven and a half million followers on Facebook and nearly three million on  Twitter and hundreds of thousand visits on YouTube (numbers we know will grow in the months to come).

Additionally, they have performed in countless venues, such as New York’s and Los Angeles’ NOKIA, El Coliseo in Puerto Rico, in Barquisimeto, Venezuela (a concert with a hundred thousand people in attendance), el Gran Rex de Buenos Aires, Argentina and Viña del Mar, Chile, to mention just a few outside Mexico, where they have performed in the most renowned venues including six national auditoriums, four sports stadiums and El Foro Sol, all in less than six months during the same tour… a tough record to break. At the same time, Camila has worked with international stars like Colbie Caillat, Kenny G, Alejandro Sanz, Alejandra Guzmán, Reyli, Chambao, Aleks Syntek and Wanessa Camargo.

In 2014, Camila launches a third studio album, Elypse, transforming itself from trio to duo. Today it is Mario Domm and Pablo Hurtado who make up this group that is so loved by its loyal public. “Decidiste dejarme,” their new single, is catching on at radio and video channels, indicating a new chapter of success for Camila.

About Mario Domm

Composer, singer and producer born in Coahuila, Mexico, Mario Domm commands multiple musical instruments, which means that, literally, he can play any music that is put in front of him: drums, guitar, bass or a cooking pot with two spoons. His imagination, sensibility and technical knowledge have created some of the best songs in the contemporary Latin American repertoire.

From Alejandro Sanz to Taboo (Black Eyed Peas) and including Alejandra Guzmán, Kalimba, Reyli, Sin Bandera, Rosana, Jesse and Joy, Romeo, Alejandro Fernández and Thalía, his vision and commitment have been the best ally of many record productions, something that is even more obvious in Camila, his most personal project. He is launching his third album in 2014, Elypse, after the super successful “Todo cambió” (2006) and “Dejarte de amar” (2010).

An artist with great charisma and humility, Mario Domm knows how to listen to his colleagues to help them bring out the best they have to give. This is the reason for their many awards, recognitions and nominations as engineer, producer, composer or performer of his own works or that of others.  Domm lives in Los Angeles, California, where he works in his own recording studio named Pop The Cherry Studios.

About Pablo Hurtado

Guitarist and co-producer of Camila, Pablo Hurtado joined the project shortly before graduating in music production and audio engineer at the Fermatta Music School. It meant quite an effort since just as he was about to graduate, he began his first tour. He was born in Mexico City and grew up in San Luis Potosí in a family with artistic sensibilities. At family gatherings, there was always music.

He began playing the piano at the age of five and when he turned seven; his father introduced him to classical guitar.  However, it wasn’t until he became a teenager that he first tried the electric guitar. He began to play with several cover rock bands, and later became interested in musical theatre and progressive music. At the age of 20, he returned to Mexico City and began his audio engineering studies, which opened his mind to other musical genres such as jazz, blues, funk and pop.

At present, sponsored by the guitar brand PRS, Pablo has acquired knowledge and refinement and shows a fresh perspective whether playing acoustic music or intricate solos, sweet ballads or daring ones. His talent has been essential as co-author of several songs in all three of Camila’s albums (“Todo cambió”, “Dejarte de amar”, “Elypse”), which has allowed him to come in contact with giants of world music. He lives in Los Angeles, California, where he has his own recording studio, Cypress Overdrive Studios.

  

 

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Spend a romantic evening with BOB SCHNEIDER & THE MOONLIGHT ORCHESTRA featuring THE TOSCA STRINGS with special guests LEX LAND and IAN FLANIGAN.

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Grace Potter has announced a major 2020 North American headlining tour in support of her forthcoming album Daylight, due out October 25th, 2019 via Fantasy Records.  The tour kicks off January 8th, 2020 in Charleston, South Carolina and will hit theatres in major cities nationwide.  Full routing below. Tickets go on sale Friday, September 27.  For ticket information, head to www.gracepotter.com.

Every pair of tickets purchased for the tour will include a digital download or CD copy of the new album (album bundle not available for DC or Vancouver shows). Fans will also have the opportunity to purchase a “Daylight Experience” VIP package which includes one premium reserved ticket or general admission ticket with early entry, access to a private 3-song pre-show performance by Grace, one limited edition screen printed tour poster autographed by Grace, one bottle of Grace’s Midnight Gold Maple Syrup (certified Vermont organic), and a merchandise shopping opportunity before doors open to the public. The Daylight Experience will be available here: https://www.cidentertainment.com/events/grace-potter-tour.

An acclaimed songwriter and electrifying performer, Potter has been described by Spin as "one of the greatest living voices in rock today." Over the course of her career, the Burlington, VT native has commanded stages around the world including Coachella, Lollapalooza, Bonnaroo, Rock in Rio and her own thriving music festival, Burlington's Grand Point North, which just celebrated its ninth year. 

The major touring throughout 2020 will support the release of Daylight, her first new album in four years. Produced by her husband Eric Valentine, (Keith Urban, Gwen Stefani, Maroon 5) Daylight is a soul-inflected, deeply personal collection of songs that capture a particularly tumultuous period in her life - from the breakup of her band and a divorce - to more joyful events like a new marriage and the birth of her first child.

Grace wrote the album’s 11 tracks with the help of renowned songwriter Mike Busbee (Pink, Maren Morris) who co-wrote “Everyday Love,” “Release,” and the powerful first single "Love Is Love", which PASTE asserted is "the kind of song that’ll stop you dead in your tracks.” Longtime collaborators Benny Yurco and Matt Musty contribute guitar and drums respectively with Benmont Tench and Larry Goldings on keys as well as Jess Wolfe and Holly Laessig from Lucius providing background vocals.

In addition to “Love Is Love”, Potter recently released another brand-new track from the album called “Back To Me,” which ESQUIRE in a feature length profile called “a triumphant soul-burner.” Watch her mesmerizing 3-song acoustic performance for PASTE HERE.

Follow Grace Potter:

Website

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Fantasy Records

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