49 Winchester: Spring Tour 2026

Last October, while standing onstage in front of 20,000 people at London’s 02 Arena, it dawned on 49 Winchester lead singer/guitarist Isaac Gibson that on the same day, exactly 10 years ago, he formed the rapidly rising alt-country band. “There’s been nothing in my life that’s ever lasted a decade,” Gibson says. “We had just gotten out of high school when we played our first show — 10 years later we’re opening for Luke Combs at the O2 Arena.” On the heels of Combs’ European tour, 49 Winchester has been selling out storied venues across America, including a wildly successful Canadian run alongside Corb Lund. And, in celebration of these recent milestones, comes the release of 49 Winchester’s latest album, Leavin’ This Holler. “We were on a slow simmer for a lot of years before things really started to pick up with our last record Fortune Favors the Bold,” Gibson says. “And this new album is going to do it even bigger.” Leavin’ This Holler is 49 Winchester’s fifth studio album, and second collaborative work with Virginia-native producer Stewart Myers. In addition, the project also features the Czech National Symphony Orchestra, singer-songwriter Maggie Antone on backing vocals, fiddler Philip Bowen, and guitarist Cole Chafin. Chafin is not only the guitar tech for 49 Winchester, he’s also the younger brother of the band’s founding member and bassist, Chase Chafin. “We take influence from a lot of different avenues,” Gibson says. “We don’t shy away from any of the music we like.” Being in front of massive audiences, all eager to witness 49 Winchester’s raucous, live wire shows, Gibson felt it was a moment where he could honestly reflect on the hard-earned, unrelenting determination and grit within the band that’s brought them to this current juncture of increasing notoriety. “It’s a testament to the uncommon fact that we’re musicians from a very specific place in the world,” Gibson says. “And it’s a testament to viewing each other more as family than as friends.” Hailing from Castlewood, Virginia (population: 2.045) in the desolate backwoods of Southern Appalachia — a place where opportunity seldom knocks — 49 Winchester came to fruition when Gibson, his childhood best friend, Chafin, and his hometown crony, guitarist Bus Shelton, decided to step off the front porch (on Winchester Street) and take their music to whatever stage would have ’em. “It’s always been a family affair,” Gibson says. “When you can look at it that way, as lifelong friends and not business associates or hired guns, you can look at it through a different lens, which just lends itself to longevity.” Since its formation, 49 Winchester has fiercely retained this inner resolve to transcend one’s lot in life with a reckless abandon that’s led to widespread acclaim and fandom in the country, Americana and rock realms. “We’re happy to be doing what we’re doing and never could have imagined doing it on this scale,” Gibson says. “Everyday we’re out there is a blessing for us.” Captured in a handful studios around the country whenever there was a rare moment between relentless touring schedules — including recording stints at White Star Sound (Louisa, Virginia), Pet Moose (Richmond, Virginia) and Echo Mountain (Asheville, North Carolina), as well as Nashville’s Blackbird and Front Stage — Leavin’ This Holler is that signature 49 Winchester sound of rollicking country and searing rock music, but with a matured approach this go-round. “We’ve all grown a lot in our personal lives since Fortune Favors the Bold,” Gibson says. “Several of us have started families, and that’s kind of played into the lyrical themes — things are a little different with this record.” Beyond its upbeat country tempos (“Hillbilly Happy”) and sorrowful ballads (“Tulsa”), whirlwind guitar riffs (“Make It Count”) and rumbling vocals (“Traveling Band”), Leavin’ This Holler offers up a more focused sense of self — this new, bountiful level of intent and purpose. “Each album captures a kind of different season in my life,” Gibson says. “In terms of what I’m dealing with, what lessons I’m learning, what lessons I’m failing to learn sometimes.” Both “Fast Asleep” and “Anchor” incorporate the Czech National Symphony Orchestra, with the stirring melodies showcasing Gibson’s voice erupting into the ether of an unknown tomorrow. “We love the string arrangements from those great country acts of the 1960s, 70s and 80s,” Gibson says. “We wanted to explore every possible sound we could on this record. No stone left unturned sonically — we got it exactly where we wanted it.” Now with a decade under its belt, 49 Winchester is also going through this full circle of emotions and sentiments as of late. Still calling the rural countryside of Castlewood, Virginia, home, Gibson shakes his head in appreciation and gratitude for the simple things in life, which, as you get older, become the most important. “There’s no place like home — it’s a constant source of inspiration,” Gibson says. “I’ll be riding down some backcountry road and there’s just something about that movement, that hum of the motor, and the thoughts running through your mind that spark a song.” With Leavin’ This Holler hitting the streets, 49 Winchester is gearing up for more worldwide touring featuring several arena gigs with Tyler Childers and their debut at Bonnaroo. And, in a highly-anticipated appearance, 49 Winchester will also be headlining the famed Bristol Rhythm & Roots Reunion — a homecoming festival of sorts for the band, who played some of its earliest gigs at the renowned gathering. “We’ve all just come along so far as musicians and as friends,” Gibson says. “The way we think musically has changed, the way we perform has changed — we’ve just grown and evolved.”

An Evening With TOTO

Over the past several years, TOTO have had a major renaissance in popularity like few bands at this point in their career.  Their 40th anniversary in 2018 was marked by them releasing a brand new Greatest Hits album (40 Trips Around The Sun) and embarking on their most successful worldwide tour to date.   Few ensembles in the history of recorded music have individually or collectively had a larger imprint on pop culture than the members of TOTO.  As individuals, the band members can be heard on an astonishing 5000 albums that together amass a sales history of a half a billion albums.  Amongst these recordings, NARAS applauded the performances with more than 200 Grammy nominations.   Collectively TOTO has over two billion streams worldwide on all streaming services.  Just last year one of their biggest hits “Africa” went from being a Platinum single to being recently recertified 6X Platinum.  The band has found a new generation of fans.  With now 40+ years together and literally thousands of credits, including the biggest selling album of all time: Michael Jackson’s Thriller, and accolades to their names, TOTO remains one of the top selling touring and recording acts in the world. They are the benchmark by which many artists base their sound and production, and they continue to transcend the standards set by the entire music community, being simply synonymous with musical credibility.  They are pop culture, and are one of the few 70’s bands that have endured the changing trends and styles continuing to remain relevant while enjoying their multi-generational global fan base.  

The Black Jacket Symphony Pres. Pink Floyd's The Dark Side of the Moon

Heads in Motion- Stop Making Sense...Again

Heads in Motion perform Stop Making Sense Experience the electrifying energy of Talking Heads’ legendary concert film Stop Making Sense—performed live. Heads in Motion faithfully recreate the groundbreaking music, minimalist staging, and infectious rhythms that made the original performance iconic. From the hypnotic pulse of “Psycho Killer” to the explosive joy of “Once in a Lifetime” and “This Must Be the Place,” this is a full-throttle celebration of one of the most influential live shows in music history. Expect sharp musicianship, dynamic arrangements, and a night that builds from spare beginnings to an unforgettable finale.

NEEDTOBREATHE

Despite a 20-year history filled with accolades, GRAMMY-nominated, multi-platinum band NEEDTOBREATHE approached their latest studio album with a renewed mindset - a band still feeling they have something to prove. Over the years, they’ve carved out a distinctive space across multiple genres, blending modern rock, purpose-driven soul, and pop appeal into a rare and impressive track record. With five Number One albums spanning the Billboard Rock, Alternative, and other charts, over three billion career streams, and multi-platinum hits like “Brother”, “Who Am I,” and “Let’s Stay Home Tonight,” NEEDTOBREATHE has captivated audiences worldwide. Their music reflects two decades of masterful songwriting and musicianship, exploring life’s profound emotions and experiences. Working with GRAMMY Award-winning producer Dave Cobb, the band’s latest offering “Momma Loves Me” featuring The Red Clay Strays, continues this journey, diving into themes of personal struggle, redemption and resilience.

Descendents & Frank Turner & The Sleeping Souls

Milo Aukerman: Vocals, Ph.D. Stephen Egerton: Guitar Bill Stevenson: Drum Ogre Karl Alvarez: Bassmaster General The DESCENDENTS invented pop punk. Overstatement? Perhaps, but spend ten minutes scanning FM or the idiot box and you're bound to witness a ditty or video that tips its hat to a musical genre that was refined to a high art -- if not created outright -- by the 'Dents. Formed in 1978 against the fertile musical backdrop of Los Angeles' South Bay scene (see: Black Flag, Minutemen, SST Records, etc.), the caffeine-addled crew released their first 7" single "Ride The Wild" as a trio in 1979. Not long after, the boys recruited one Milo Aukerman (microbiology Ph.D. in waiting and poster boy for adolescent ne'er-do-well alienation) for vocal duties. Milo's fervent mic delivery coupled with his knack for hitting the lyrical nail on its heartrending head plunged him headfirst into the band's fold, and together they released the "FAT" EP in 1981. 1982 saw the release of the stellar "Milo Goes To College," a penultimate fusion of hooks and heartache which inspired the LA Times to write, "perfect for the little guy who was ever called a nerd and never got the girl... (its) earthy humor conveys what is often an inarticulate rage". And Milo really did go to college, leaving the practice room for the hallowed halls of higher education. Drummer Bill Stevenson went on to beat the skins for Black Flag while the guys temporarily hung up the DESCENDENTS moniker, only to reunite with Aukerman for 1985's "I Don't Want To Grow Up" and 1986's "Enjoy!" The two releases comprise the perfect case study in the dualistic, yin/yang nature of the band's output. While the former is a veritable user's manual for post-pubescent angst, sizing up the themes of life, love, and uncertainty with infectious wit and dizzying energy, the latter is perhaps most notable for its testaments to the, umm... follies of flatulence. Their cover of the Beach Boy's "Wendy" on "Enjoy!" is at once familiar and revelatory, the perfect amalgam of pop sensibilities and punk execution that would earn them fans the world over. With the introduction of new members Karl Alvarez and Stephen Egerton on bass and guitar respectively, the release of 1987's "ALL" full-length saw a band that had truly come into its own. While the tongue in cheek delivery remained intact, the music had become at once visceral and from the gut, a complex balance of straightforward delivery ("Clean Sheets", "Coolidge") and fringe-y, free jam inflections ("Schizophrenia", "Uranus"). The band toured incessantly throughout the mid and late '80s; all that time on the road paid off in spades in the form of two live albums, "Liveage!" and "Hallraker." And then Milo went back to college. The extant members went on to form the band ALL with ex-Dag Nasty vocalist Dave Smalley, continuing their prodigious musical output while maintaining a hectic tour schedule. It was not until 1996 that we'd see another DESCENDENTS release with "Everything Sucks," a perfect return to the pop punk form that the band had become known for. Fast forward to 2003, and lo and behold, the DESCENDENTS are back in the saddle with two new efforts slated for the release in 2004: a four song EP entitled "'Merican," and a bona fide full-length LP's worth of new material that goes by the name "Cool To Be You." Seeing as how punk is now a household name, and the ubiquitous "girl song" milieu infests the airwaves, will the DESCENDENTS reclaim their title as Kings of the Lovelorn Anthem? Only time will tell, but this much is certain: If imitation is the sincerest form of flattery, the DESCENDENTS must go to sleep with flushed cheeks every night of the week.

Jake Owen

The much-anticipated new album American Love represents the best of Jake Owen both musically and personally, and that’s because the project is the result of a soul-searching journey that led him to explore the meaning of life and music. While recording the album, he ventured down some enticing new musical paths, but eventually decided to return home to his Florida-inspired roots, embracing the unique sound for which he is popular. Personally, he worked through the pain and healing of a divorce and renewed his commitment to what really matters in life--hope, optimism and the power of love.   American Love is a new beginning for Owen, who has become a beacon of positive vibes through his uplifting lyrics and melodies, optimism, love of the beach and his youthful spontaneity. This begins the exciting new chapter in his award-winning career that has earned five number one hits-- “Barefoot Blue Jean Night,” “Beachin,” “The One That Got Away,” “Alone with You” and “Anywhere with You.”   This year marks Owen’s tenth anniversary, a track record that is increasingly becoming a rarity in today’s popular music landscape. Since releasing his debut album on RCA Records in 2006, Startin’ with Me, he has become one of today’s most popular male country singers for his irresistible melodies, smooth vocals and laid-back attitude.   His second album, 2009’s Easy Does It, contained the singles “Don’t Think I Can’t Love You” and “Eight Second Ride” and led to him receiving the Academy of Country Music’s Top New Male Vocalist Award. He landed his first No. 1 hit (and double platinum-selling single) with the title track of his third studio album, Barefoot Blue Jean Night, in 2011. That album also produced three more No. 1s—the platinum-selling “Alone with You,” the gold-selling “The One That Got Away,” and “Anywhere with You.” With the success of that album, he won Breakthrough Artist of the Year at the 2012 American Country Awards.   His fourth studio album, Days of Gold, was released in 2014 and contained the No. 1 hit “Beachin.” Along the way, he toured with artists including Kenny Chesney, Keith Urban, Jason Aldean, Brad Paisley, Little Big Town and Sugarland.   When he began working on his fifth album, he initially felt compelled to attempt to make what he thought would be a cooler, hipper sound, as evidenced by the song “Real Life,” which was released to radio. However, he soon discovered that cool and trendy aren’t what matters; authenticity and truth are. That’s why he has been truthful about the fact that the last few years haven’t always been easy for the good-time guru.   He launched his first headlining tour and reach new career heights, got married and had a daughter, Pearl. But then, his father received a cancer diagnosis, he went through a divorce and the head of his record label was fired. During some of his dark times, he was inspired by a quote that said, “Be kind and gentle and loving to everyone because everyone is fighting their own kind of battle.” 

The Black Dahlia Murder

Verminous is The Black Dahlia Murder’s most dynamic, rousing and emotional release to date, and it achieves this without compromising one iota of heaviness. “I think this is the biggest evolutionary leap we’ve ever taken from one album to the next. We stoked the creative fires with 2017’s Nightbringers and it’s gone much further now in Verminous,” states vocalist Trevor Strnad. “It’s a very colorful, moody, and charismatic album that experiments with new sounds and ideas without losing the cutthroat Black Dahlia edge. There is a lot of minutiae to digest. Plenty of delicious little easter eggs woven into the fabric of each song. Each one is a living, breathing entity that will stand on its own as some of the best music this band has ever created.”   That this is a new phase for The Black Dahlia Murder is apparent as the compellingly filthy opening title track rumbles to life, and the album remains gripping for each of the nine tracks that follow. One of the most immediately evident evolutions is in how anthemic their ninth record is, the band inspiring fist-in-the-air responses, particularly in closing track “Dawn Of Rats”. “Verminous has got some really huge parts that I’m sure will resonate greatly with our fans. It was definitely intentional on our part - a band can only hope to write a song so good that it would be seen as an anthem.” Likewise, there is more melancholy on the record, particularly on “Removal Of The Oaken Stake” and “Sunless Empire”, adding another dimension to the band’s sound and expanding the dark sonic palette with which they paint, all of this coming naturally. “As usual, there was no discussion nor preemptive planning going into the album. We prefer to keep things completely organic and just let the music flow when the time is right. We just write what we write. I do however think it’s been an underlying goal for the last several years to make more diverse music. We want an album to feel like a wild ride. A journey from beginning to end that has peaks and valleys.”   When it came to titling the record, Strnad looked around at the scene he has helped nourish for two decades and found his inspiration. “We, members of our beloved and hidden world of the heavy metal underground teeming just below the surface, are the verminous. The rats and roaches looming in the cracks and crevices of this fallen world. We are the pariahs that the world of normality finds loathsome and obscene. We are the carriers of a plague of knowledge so vile that it could bring the unsuspecting mankind to its knees. Always the underdogs. Our love for this music and what it means to our lives is foolishly underestimated.” This ties into the lyrical themes that permeate the record, though not exclusively, Strnad not struggling to find subject matter that engaged him. “The outside world of religion-warped ‘normalcy’ is the opposing viewpoint. We are the ultimate antagonist to their archaic ways of thought, the dreamers of the nightmares that shake them to their very core. Although we are but lowly vermin to them, the unseen and underestimated, our numbers are millions strong. We cast aside their ways and prefer to take solace in the hidden realm of the underground where the dark fruits of free thought can be enjoyed. We are our own Gods. The responsibility of our actions is ours alone.” In his position, he is also able to both provide listeners with opportunities to exorcise compulsions toward exploring dark themes and find some personal release. “Not unlike the appeal of a horror movie, there is a curiously dark side in all of us that can enjoy the occasional gaze through the eyes of the all-powerful masked killer. I enjoy taking the listener on such a ride. There is a certain catharsis in putting myself into the heart of each character I create. Where I lack power in my life, I channel it in my creations.”   While the drums were recorded at The Pipeyard in Plymouth, Michigan by ex-bassist and longtime studio guru Ryan “Bart” Williams, the bulk of the album was recorded in New Jersey at guitarist Brandon Ellis’ home studio, the Shred Light District, then mixed by Tue Madsen and mastered by Alan Douches. Keeping the bulk of the process in house offered them a greater level of control over every facet of recording than on any previous release, enabling them to tweak and fine-tune all the small details right up until the point they sent it to Madsen in Denmark. “To say we were anal-retentive would be an understatement. Tue did an outstanding job. His mix is organic. Classic sounding. Not too slick. It’s got an old school ‘real life’ feel to it rather than being the overly polished quantized-to-hell drek that is coming out these days. We wanted the album’s sound to have its own personality, and he helped us achieve just that. Finally, Alan did a great job of smoothing out the final details with his mastering. He beefed it up into what you hear now.” The only other outside collaborators with which the band worked were soundscape artist Michael Ghelfi, who provided the sample that opens the record and “sets the pest-ridden vibe”, and Juanjo Castellano, who painted the cover. “It’s amazing and classically death metal cover artwork. I call it an evil underground sewer world, home to the verminous ones. If you look closely you can find all kinds of rats and bugs and critters scattered throughout. The amount of detail Juanjo put in there is second to none.”   As has been their MO since inception the band intend to tour the record hard, planning on being on the road with Verminous for the next two to three years, as long as the demand is there. Having had very successful tours with Whitechapel and Meshuggah on the Nightbringers cycle, as well as converting some newbies to the Black Dahlia cause while out with Black Label Society and Insomnium, they look forward to the challenge of playing the increasingly complex music in which they deal. “It’s like a drug, the challenge of it all. There is a masochistic thrill in performing this technically demanding music that you just can’t get anywhere else. We are a live band through and through. We live to destroy ourselves onstage every night. We give one hundred and ten percent every time and drain ourselves until there is nothing left to give. It’s a good pain and I wouldn’t do things any other way.”