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Save this storySaveSave this storySaveJames McMurtry has announced his first album in four years. The Black Dog and the Wandering Boy is the Texas singer-songwriter’s follow-up to 2021’s The Horses and the Hounds. The record was inspired by the death of McMurtry’s father, a subject that’s addressed directly on its title track, which is out today. Listen to it below (via Rolling Stone).“The album title and that song comes from my stepmother, Faye,” McMurtry said. “After my dad passed, she asked me if he ever talked to me about his hallucinations. He’d gone into dementia for a while before he died, but hadn’t mentioned to me anything about seeing things. She told me his favorite hallucinations were the black dog and the wandering boy. I took them and applied them to a fictional character.”The Black Dog and the Wandering Boy is out June 20 via New West. McMurtry co-produced his new album with Don Dixon, and it features contributions from Sarah Jarosz, Charlie Sexton, Bonnie Whitmore, Bukka Allen, accordionist and vocalist BettySoo, bassist Cornbread, guitarist Tim Holt, and drummer Darren Hess.All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.James McMurtry: The Black Dog and the Wandering Boy$33 at Rough Trade$30 at AmazonThe Black Dog and the Wandering Boy:01 Laredo (Small Dark Something)02 South Texas Lawman03 The Color of Night04 Pinocchio in Vegas05 Annie06 The Black Dog and the Wandering Boy07 Back to Coeur d’Alene08 Sons of the Second Sons09 Sailing Away10 Broken Freedom Song
For any number of fans who got upset last year at Bowen Yang‘s Saturday Night Live segment parodying both Moo Deng and pop star Chappell Roan, the “Pink Pony Club” artist would ask you to please calm down.
On the Wednesday (April 16) episode of Las Culturistas, Yang and co-host Matt Rogers chatted with Roan about her fans’ reaction to Yang’s appearance on Weekend Update, during which he dressed as the viral baby pygmy hippopotamus and echoed the singer’s sentiments about inappropriate fan behavior. “Do not yell my name or expect a photo just because I’m your parasocial bestie or you appreciate my talent,” his Moo Deng proclaimed before clarifying that the hippo’s talent was “having a slippery body that bounces.”
While some fans felt that Yang was mocking Roan’s boundary-setting statement, the pop singer says she never felt that way. “I wasn’t even mad,” she declared as soon as Rogers brought up the topic. “I did [think it was funny], I didn’t feel anything!”
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As Yang explained that he chatted with Drag Race winner and Roan’s friend Sasha Colby about the public outcry, the singer explained that she wished some of her fans would pump the breaks before jumping to her defense. “People do not have to get mad on my behalf — we are fine. What is there to be mad about?” she said. “It’s comedy! It was so lighthearted. It was, to me, harmless. Even if you were to push it further — harmless! It’s comedy, I just don’t understand … I just don’t know ‘the line’ anymore.”
Rogers explained some fans’ “parasocial” need to “protect this person,” even when the person in question has not asked for protection. Chappell agreed, adding that “even if you didn’t think the Moo Deng sketch was funny, you don’t have to say anything! Like, you can always not say something.”
Elsewhere on the podcast, Roan also chatted with the pair about some disappointed fan reactions to “The Giver” after her viral debut of the track on SNL, referring to their preference as “demo-itis.” “You have attached memories, all of these things to this one version of the song, but it’s actually not as good as the recorded version,” she explains. “But you fall in love with what you hear first, because when you hear a different version, you’re just going to hate it because it’s different.”
Check out Chappell’s full conversation with Bowen Yang and Matt Rogers on Las Culturistas below:
After years of laying the groundwork, Coco Jones is stepping fully into her moment. The singer, songwriter and actress has been riding high since the success of her breakout EP What I Didn’t Tell You, which earned her a best R&B performance Grammy for her 2022 track “ICU” and introduced the world to her powerhouse vocals and unapologetic storytelling. Now, she’s ready to reveal even more.
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On April 25, Jones will release her debut album Why Not More? via High Standardz/Def Jam Recordings — a bold, genre-blending project that she describes as magnetic, genuine, and transparent.
“I’m really trying to push the boundaries of what R&B can be,” Jones tells Billboard. “Because I have so many influences — I have what my mom taught me as a kid, Disney Channel influences, and then I have me as a young adult — I feel like I blend genres naturally as a personality. I wanted to match that energy with the album and continue to show the versatility of R&B.”
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Her EP was about introductions. Why Not More? is about deepening the connection. “ I think I have built up a good rapport with my fans,” she says. “I’ve learned a lot about them, they’ve learned about me — and I can kind of let my hair down and be riskier.”
That growth is reflected not just in the themes, but in the collaborators as well. Jones tapped into new creative chemistry with producers like Stargate and Cirkut, alongside longtime collaborators London on da Track and Cardiak.
Still, it’s the personal moments that might matter the most. On “By Myself,” Jones sings about self-reliance, inner peace and delivers what she believes to be one of the album’s most important messages. “It’s really about wanting to be comfortable alone,” she says. “Comfortable without needing validation, without needing to be around people — some boy or girl, whatever. Just comfortable with you. I think that will really resonate with a lot of my listeners.”
When asked to sum up the project in three words, Jones doesn’t hesitate: “Authentic. Charismatic. Vulnerable.”It’s a fitting description for a body of work that’s already resonating. With four singles out — including “Here We Go (Uh Oh)” and “Taste,” both of which charted on Billboard’s R&B/Hip-Hop Airplay chart — and a tour around the corner, Jones is paying close attention to how fans are responding. “I think it’s really good to get feedback,” she says. “I make music for my listeners, and I want them to be happy. I want them to have music that makes them feel heard.”
For Jones, that feedback plays a crucial role in shaping her approach moving forward. “Having positive perceptions — having any, opinions — is always crucial because music is subjective,” she says. “But I make it so that it works for [the listeners].”As for the tour itself, Jones promises it’s not just a concert — it’s a ride. “We’re gonna have some fun, we’re gonna cry a little bit, we’re gonna get in our bag,” she shares. “Definitely going to have some flips, have some remixes, have some old stuff that I think is really catchy and really fun brought back in and kind of remix with my new stuff.” The tour kicks off May 6 in Philadelphia, and for her, it’s all about connection. “At the end of the day, I hope that you walk away feeling like you know me more and you’re excited for the next time.”
One track she’s especially excited to perform hasn’t dropped yet, but it’s one she describes as more “aggressive,” channeling her confident “Here We Go” energy. And yes, there will be surprises. We know for sure that Lady London will join her as an opener — the two have a new song together on the album. “I don’t know if that’s exclusive,” she teases with a smile.
Reflecting on everything she’s built, Jones says this album doesn’t feel like a new stage — it feels like a beginning. “I think this album is a chapter,” she says. “I’ll look back and say, ‘That was this era.’” But right now, “It’s chapter one of a very long story, hopefully.”
If she could offer one piece of advice to the Coco who started this journey years ago? “Post more. I did a lot of waiting on opportunities, when — girl, you could’ve had your own TV show on your phone by now!”
With Why Not More?, Coco Jones isn’t waiting on anyone. She’s owning her narrative, amplifying her voice, and delivering the kind of debut that asks — and answers — the question: Why not more?See the full track list for Why Not More? below:
“Here We Go (Uh Oh)”
“Other side of love”
“Hit You Where It Hurts”
“Keep It Quiet”
“Thang 4 U”
“AEOMG”
“Why Not More?”
“On Sight”
“Taste”
“Nobody Exists”
“Most Beautiful”
“You”
“Forever Don’t Hit Like Before”
“By Myself”
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How was your Record Store Day? This year I spent about an hour and a half and $150 picking up some great vinyl at two stores in Berlin, where I live. (Shout-outs to Soultrade and Dussman.) Every year seems to bring more music fans into stores, along with more releases in more genres. I personally picked up reissues of the Passengers album and Emmylou Harris’ Spyboy, plus archival live releases from Ry Cooder and Talking Heads, and a split 7” single from Goat and Graveyard. While I was at Soultrade, I also found a used album I’ve wanted forever – a 1973 copy of This Is Amon Düül, which is hard to find and even harder to wrap your head around.
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That record was in great shape for 1973, but it needed to be cleaned — as do many old records. These days, some new ones do, too: A combination of falling quality control and a tendency to use paper sleeves means that many new records come with some grit in the grooves. So, in the Record Store Day spirit, I wanted to share some tips on the various ways to clean records and keep them free from dirt and scratches — and sounding great for as long as possible. There’s some science to this, but it’s pretty easy. You’ll need to buy accessories, and I’ve shared my favorites here, but like everything in audio, the equipment costs as much as you want it to. My advice, as always: Start with the basics and work your way up.
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The first thing any vinyl fan needs is an anti-static brush. It’s the easiest to use — you just hold it perpendicular to the record as it spins, and it lifts out dust and eliminates static electricity that causes snaps, crackles and pops. Serious vinyl nerds call this “dry cleaning.” As opposed to wet cleaning that eliminates serious dirt, this just targets basic dust. It couldn’t be easier, though. Just press down very gently as the record rotates, and you’re good. I have an Audio-Technica AT6011a Anti-Static Record Brush, which has served me well for years, but the Boundless Record Cleaner Brush is just as good. Both are about $15, and buying one of them, or something similar, is a no-brainer. There’s no way to get a bigger boost in quality for less money.
Audio-Technica AT6011a Anti-Static Record Brush
Boundless Audio Record Cleaner Brush
$14.95
$18.99
21% off
The other inexpensive way to improve sound quality is to make sure your turntable stylus is clean. This is also inexpensive, but it’s a bit trickier! The styli on good turntables are delicate and expensive, so you need to be careful. Start with the right tool for the job — a small carbon-fiber brush. Then follow the instructions carefully — brush very gently back to front, only when necessary. For about $14, the Boundless Stylus Cleaner Brush is solid. You can also buy a record brush and a stylus brush together — this $20 package from Fluance is great.
Boundless Audio Stylus Cleaner Brush
$13.95
$17.99
22% off
Fluance Vinyl Record & Stylus Cleaning Kit
The next thing you’ll want is plastic sleeves — “inners,” as collectors call them, because they protect vinyl in an album, as opposed to “outers” that protect the sleeve itself. These don’t need to be fancy — the only goal here is to avoid the paper sleeves that can cause minor scratches over time. It’s hard to go wrong here, but for years I used Collector Protector sleeves (50 for $24). Recently I switched to Big Fudge sleeves (50 for $25), which look a bit nicer, although I haven’t noticed any real difference. The kind of people who buy $200 records have a preference, but it probably just makes sense to buy whatever’s cheapest. Right now, that looks like Hudson sleeves (100 for $29) or the round-bottomed Invest in Vinyl sleeves (50 for $14). I haven’t tried either of them, but only the most serious collectors can tell the difference.
Collector Protector Sleeves for Vinyl Record Storage
Big Fudge 50x Premium Vinyl Record Inner Sleeves
Hudson Hi-Fi 3 Layers HDPE Anti-Static 100 Vinyl Record Inner Sleeves
50 LP Inner Sleeves Anti Static Round Bottom 33 RPM 12″ Vinyl Record Sleeves
If you have valuable records, you’ll also want outer sleeves. This doesn’t touch the vinyl itself — it just protects the album. In some cases, with valuable albums or gimmick covers, that’s great to have. In a decade and a half of seriously collecting vinyl, I haven’t noticed so much difference between different brands, but some are sturdier. Big Fudge is solid and reliably good (50 for $20) and Invest in Vinyl (100 for $23) is currently a better buy.
BIG FUDGE 50x Vinyl Record Sleeves 12″ LP
If you have a good system, you’ll want to get more serious about cleaning. That means “wet cleaning” records, which means buying some special supplies. Under no circumstances should you attempt to clean records with stuff you have lying around the house. It’s no fun and it can damage records. Vinyl is delicate, so it demands its own routine. To start, it’s easiest to buy a cleaning kit with a microfiber cloth, some specialized vinyl cleaner and perhaps a brush. Big Fudge sells a $23 Vinyl Record Cleaning Kit that comes with a stylus brush and a styling storage pouch. Boundless has a $60 package that has all of that, plus a record brush and a nicer case, and Amazon now offers it with a $5 coupon discount. Eveo has one for $20 that’s not so different. The real difference comes in what you do with them — and you should use only specialized cleaning fluid, distilled water and either special brushes or microfiber cloths.
Big Fudge Vinyl Record Cleaning Kit
Boundless Audio Vinyl Record Cleaning Kit
$59.95
$74.99
20% off
EVEO Vinyl Record Cleaning Kit
$19.97
$26.97
26% off
That will get you started. Remember, though, the idea isn’t to clean the surface of the vinyl — it’s to get the dirt out of the grooves. At some point, though, you might want a machine that will really get into the grooves. For between $50 and $100, you can get a spin-cleaner, a kind of hand-powered car wash for vinyl that rotates records against brushes and in and out of a bath of water and cleaning solution. One of the best is the $80 Spin-Clean Record Washer Kit. You fill a small tub with water and a cleaning solution, then turn the records against brushes, in and out of it — then dry them. This is easier than it sounds, and it’s far more effective than doing it by hand. The Spin-Clean Deluxe Kit, for $125, includes more fluid and drying cloths, although you can buy those separately, too. There are a bunch of machines built on this basic model: The $63 Big Fudge model gets positive reviews, and at $50 the Studebaker is the bargain of the bunch.
Spin-Clean Record Washer Kit
Big Fudge Vinyl Record Cleaner Kit
Studebaker Vinyl Record Cleaning System
If you are really, truly serious about great sound, you might also want to consider an ultrasonic record cleaning machine. Right now, the machine of choice is the German-made HumminGuru Ultrasonic Vinyl Record Cleaner, a fully automatic machine that attacks dirt with sound, then dries records after cleaning them. It’s $600 but, if you’re tempted, Amazon is now selling it with a coupon that’s good for $100 off. Think of all the money you’ll save.
Ultrasonic Vinyl Record Cleaner
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Sedona Prince, a standout player for Texas Christian University’s women’s basketball team, was thought to be a valuable WNBA prospect due to her size and experience. However, Sedona Prince went undrafted in this year’s WNBA draft amid abuse allegations and other concerns.
As reported by Page Six, Sedona Prince, who played her seventh and final year at TCU, did not have her name called in the WNBA draft despite helping the Horned Frogs reach the Elite Eight in this past NCAA women’s basketball tournament. At 6-foot-7, Prince averaged 17.2 points and 9.4 rebounds per game.
However, the reports of a January altercation between Prince and a woman she was dating at the top of this year hung over the player’s head. Taking to TikTok, Olivia Stabile accused Prince of several instances of physical and emotional abuse, prompting Prince to fire back with her account countering the claims. They both filed charges of domestic violence against one another as well.
Beyond the altercation with her former partner, Prince has been dogged by injuries, and at 24, she would be coming in as one of the older players in the WNBA as a rookie. Still, Sedona Prince’s size and abilities are sure to be in demand for teams, and she may be able to earn a tryout.
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Photo: Sarah Stier / Getty
With his sex trafficking and racketeering trial looming next month, Sean “Diddy” Combs has beefed up his trial team by hiring Brian Steel – the veteran Atlanta defense attorney who won Young Thug’s release from prison last year.
In a motion filed Tuesday in Manhattan federal court, Steel requested to be admitted as one of Combs’ lawyers ahead of the upcoming trial, which is currently set to go to jury selection on May 5. Such approval is necessary for out-of-state lawyers to practice in new courts.
The move marks a significant addition to the team representing Combs, the once-powerful rap mogul now charged with abusing women for decades. Steel will join Marc Agnifilo, a former federal prosecutor and longtime criminal defense attorney who has previously repped Martin Shkreli and Keith Raniere, and his law partner Teny Geragos.
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Steel made headlines with his recent work defending Young Thug (Jeffery Williams), who faced a slew of felony charges in Georgia over allegations that his “YSL” rap collective was actually a violent street gang that had wrought havoc on Atlanta. The attorney often took center stage during that case, which captivated the music industry for more than two years.
A well-regarded defense attorney for years in Atlanta, Steel is known for his unique demeanor in the courtroom – polite, calm and scrupulous, but also relentless. Case in point: In June, he accused the judge overseeing Thug’s trial of holding an illegal secret meeting with prosecutors and a key witness. When the judge demanded to know how he’d learned of the meeting, Steel refused to answer so steadfastly that he was eventually held in contempt and ordered into custody. Weeks later, that judge was removed from the case over the incident and Steel was later cleared of any wrongdoing.
In some ways, the case facing Combs is similar to the one leveled against Thug. Both were charged with violating RICO laws (Racketeer Influenced and Corrupt Organizations), accused of serving as the bosses of large criminal organizations. But Thug’s case was centered on accusations that his group committed drug dealing, carjackings and an alleged drive-by shooting; Combs is accused of using his fame and his sprawling business empire to sexually abuse numerous women and then keep them silent.
Differences aside, Combs is no doubt hoping for a similar result to the one Steel secured for Thug.
After botched testimony from a state’s witness in October sparked talk of a mistrial, prosecutors began reaching plea deals with multiple defendants. But Steel and Thug refused to take one, instead opting to simply plead guilty and hope the judge would set him free on probation rather than the 25 years the district attorney was seeking.
That gamble paid off: After sentencing Thug to only 15 years probation with no time to be served in prison, the judge urged the Grammy-winning rapper to use his platform to set a good example for young people in the future: “Good luck to you. And there better be no violations.”
Since he was indicted in September, Combs’ legal team has seen several shakeups. He hired Alexandra Shapiro, an well-known appellate specialist, in October. Anthony L. Ricco, another prominent New York defense attorney, withdrew from the case in February for undisclosed reasons.
The Elton John AIDS Foundation and Brandi Carlile‘s Looking Out Foundation announced a new initiative on Wednesday (April 16) to address what they call an urgent global humanitarian crisis caused by recent drastic cuts to HIV/AIDS funding in the U.S. The emergency initiative “Who Believes in Angels?” campaign — named in honor of the duo’s recent joint album of the same name — will bring communities together to raise funds for John’s long-running AIDS Foundation and its Rocket Response Fund to continue their lifesaving work around the globe.
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“Without prompt action, decades of progress in the global fight against HIV could be reversed, creating a global health crisis that we have both the power and the tools to prevent,” John said in a statement about the urgent need to raise funds in the wake of the Trump administration’s termination of USAID support for such efforts. “Our mission is more important than ever – we refuse to leave anyone behind – and I’m so fortunate that Brandi is not only a wonderful collaborator and artist, but a dear friend who shares my vision of a world where HIV care is prioritized and protected.”
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According to the statement, the Rocket Response Fund will direct resources to open shuttered clinics, restore access to essential medications and maintain prevention services to ensure that people around the world can get the HIV care they need.
The Hill reported this week that the deep cuts enacted by Health and Human Services (HHS) Sec. Robert F. Kennedy to the nation’s public health workforce as part of Trump’s drastic cuts to the government workforce threaten to undo decades of working combating HIV, as well as potentially delaying upcoming scientific advances. Kennedy’s plans to reduce HHS staffing by 20% will effectively zero-out a number of divisions within the Centers for Disease Control and Prevention.
Hit especially hard are offices focused on HIV/AIDS, including the firing of the entire staff of the Office of Infectious Disease and HIV/AIDS Policy, as well as the lay-off of one-quarter of the Global Health Center Division of Global HIV and TB, as well as the National Center for HIV, Viral Hepatitis, STD and Tuberculosis Prevention. In addition, five branches of the CDC’s HIV prevention division were entirely eliminated, including the research, surveillance and prevention communication branches.
Hit particularly hard were grants for HIV research focused on transgender, Black and Latino individuals — who’ve been disproportionately impacted by the epidemic — in what the Hill said was likely tied to the Trump team’s efforts to eliminate what they deem diversity, equity and inclusion (DEI) in federal agencies. The Hill noted that before being named as HHS secretary, Kennedy publicly questioned whether the HIV virus causes AIDS and promoted the unsubstantiated belief that AIDS could be cause by the recreational drug known as “poppers,” which is popular in the gay community; the CDC and World Health Organization have long acknowledged that if left untreated HIV can lead to AIDS.
“It was a lifelong dream come true for me to come together with my hero and friend Elton John to make our album Who Believes In Angels? and now, we’re excited to announce that our foundations are also partnering to make our music mean even more,” said Carlile in a statement. “Elton’s activism and work with the Elton John AIDS Foundation was what led me to Elton before I even heard a note of his music. It’s an incredible honor to launch this partnership and raise funds for the life-saving work of the Elton John AIDS Foundation and the Rocket Response Fund at a time when support is needed the most.”
The announcement noted that international funding has been crucial to reducing new HIV transmission and deaths worldwide. But with a number of countries joining the U.S. in considering aid cuts the Lancet HIV projected that — based on data from 26 countries — up to 10.8 million additional HIV cases and 2.9 million HIV-related deaths could occur by 2030 if international support dries up.
Donations to the campaign — which the Looking Out Foundation will match dollar-for-dollar through Friday morning (April 18) — can be made here.
Something went wrong with Spotify this morning, leading to a widespread outage of the streaming service that impacted its desktop and mobile apps, as well as its web player, on a global scale for several hours. According to the company, the issues were not due to a security breach. The platform appears to be returning […]
It may only be April, but a handful of music’s biggest stars — Ed Sheeran, ROSÉ of BLACKPINK and Snoop Dogg, to name a few — have already dominated the year so much that TIME100 has named them on its list of Most Influential People of 2025.
As announced Wednesday (April 16), the “Shape of You” singer, K-pop superstar and hip-hop legend are just a few of the many celebrities honored on this year’s list, which each year celebrates individual artists, icons, world leaders, industry titans, pioneers and innovators who are “transforming the world.” Hozier and Nicole Scherzinger also earned spots on the ranking, as did actors such as Adam Scott, Rashida Jones, Kristen Bell, Demi Moore, Adrien Brody and Blake Lively.
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The 2025 list also features Serena Williams, Simone Biles, Jalen Hurts and other athletes, as well as political figures such as President Donald Trump, Vice President J.D. Vance, Robert F. Kennedy Jr. and Elon Musk. Each honoree received a personal tribute written by a colleague, with Shaboozey, Alicia Keys and Becky G respectively penning words for singer-songwriter Myles Smith, artist Mickalene Thomas and designer Willy Chavarria.
Chris Hemsworth wrote Sheeran’s blurb, gushing that the four-time Grammy winner “has an almost supernatural ability to connect” with his audience through music while also being “one of the most kindhearted, down-to-earth people.” Lily Collins recalled befriending ROSÉ at a fashion show in Paris last year, praising the “APT.” singer for being a a “total bada–” and “such a dynamic performer and songwriter,” while Noah Kahan wrote of the “Take Me to Church” musician, “I’m not sure where my life would’ve gone if I hadn’t been exposed to his music … Thank you, Hozier, for sharing your gift with us mere mortals.”
“Snoop Dogg once told me he’s a ‘moment’ type of guy, and if the moment’s right, he’ll grab it,” wrote Hoda Kotb of the “Drop It Like It’s Hot” rapper. “I’ll say. The world’s warmest cool kid has been carpe diem-ing for more than three decades … There’s just something about this guy that makes me — and millions of his fans — feel so happy and loved.”
True to its title, the TIME100 list honors a total of 100 people. Last year, Dua Lipa, 21 Savage, Burna Boy, Kylie Minogue and Jack Antonoff were among the 2024 Most Influential honorees.
See Sheeran and Snoop on the cover of TIME100 below.
The Pilgrimage Music & Cultural Festival is set to bring surges of guitar-slinging rock, Red Dirt country, blues and Americana when the annual fest returns to The Park at Harlinsdale Farm in Franklin, Tenn., Sept. 27-28.
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John Mayer, Kings of Leon, Turnpike Troubadours and Young the Giant lead this year’s lineup, which also features Father John Misty, Sam Barber, Better Than Ezra, Colony House, American Aquarium, Grace Potter, Maggie Rose and Angel White.
Others on the bill also include Sam Grisman Project, The Heavy Heavy, Taylor Hunnicutt, Eddie 9V and verygently. The Americana Music Triangle will highlight Ben Chapman’s Peach Jam featuring JD Clayton, Meg McRee, Will McFarlane and Sam Grisman Project featuring Vince Herman, Lindsay Lou and Cristina Vane. The fest will offer a range of stages and amenities, including the VIP Village, the Midnight Sun Stage, the Gold Record Road Stage, the Craft Beer Hall and the Americana Music Triangle.
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Since its inception in 2015, the Pilgrimage Music & Cultural Festival has become a must-see experience, boasting headliners including Zach Bryan, Justin Timberlake, Chris Stapleton, Keith Urban, Eddie Vedder and Willie Nelson over the years. In 2024, the headliners included Dave Matthews Band, Noah Kahan, Hozier and NEEDTOBREATHE. The fest is produced by Better Than Ezra frontman Kevin Griffin, along with Michael Whelan and W. Brandt Wood.
Mayer’s most recent album, 2021’s Sob Rock, reached No. 2 on the all-genre Billboard 200, while Kings of Leon released its more recent album, Can We Please Have Fun, nearly a year ago. Turnpike Troubadours just released its new album, The Price of Admission, and launched a series of The Boys of Oklahoma concerts in Stillwater, Oklahoma, alongside Cross Canadian Ragweed.
Tickets for Pilgrimage Music & Cultural Festival go on sale starting at 10 a.m. CT on Thursday, April 17.