MusicFreaks

Category: Rock

  • Kneecap open exclusive pop-up merch shop in London ahead of huge Crystal Palace Park show

    Kneecap Prepares for Historic Show with Massive Pop-Up Merch Launch

    Get ready for some serious sonic excitement, as the band Kneecap prepares to hit the stage for what promises to be their biggest headline gig yet at Crystal Palace Park tomorrow, Saturday, June 27th. The anticipation is palpable as the trio gear up for a massive gathering in the capital.

    To celebrate this landmark event and connect with their devoted fanbase, Kneecap has launched an exclusive pop-up merchandise shop. Fans have access to limited edition items right now, including signed gig prints by designer Raissa Pardini, new logo caps, hoodies, and T-shirts.

    The shop is available in the South London area, offering fans a chance to grab memorabilia before the show. In addition to clothing and prints, there are unique items like a signed setlist from their Glastonbury 2025 performance, along with signed seven-inch singles of ‘Better Way To Live‘, featuring Fontaine D.C. and Sub Focus’s ‘No Comment‘.

    The lineup for the main event is stacked with talent, featuring some of Kneecap’s favourite mates and bands, including The Mary Wallopers, Fat Dog, Biig Piig, Gurriers, and Madra Salach. Fans can expect a dynamic day of music spanning multiple hours.

    The schedule is set to kick off at 1pm BST, kicking off with Kneecap, followed by Madra Salach at 2pm, then Gurriers at 3pm, and Biig Piig an hour later. The afternoon heat continues with Fat Dog at 5:15pm, and The Mary Wallopers are set to bring the party from 6:35pm onwards.

    Speaking about the historic nature of the performance, the band expressed pure delight, stating they were “back to the belly of the beast for our biggest ever headline show.” They added that having such a stellar group around them was something they couldn’t wait for.

    Beyond the music, Kneecap has always used their platform to talk about bigger issues. Recently, the trio addressed the intense media focus on artists versus the real origins of what they speak out about. They reflected on the need for sensationalism in headlines, noting that politicians often seek to project outrage without real-world impact.

    In a recent interview with NME, Móglaí Bap pointed out the strange dynamic: “He gets to pretend to be outraged about something that doesn’t really have an impact or any repercussions for him, but it makes him look good. We have this dysfunctional symbiotic relationship with politicians.”

    This nuanced perspective pairs perfectly with their artistry. Their album Fenian was praised for its fearless blend of genres, successfully illuminating hard times by seamlessly hopping between influences like The Prodigy and Burial.

    As Kneecap prepares to rock Crystal Palace Park tomorrow, they are bringing their unique blend of raw energy, sharp wit, and meaningful commentary to an audience eager for a show that truly matters.

    Credit: NME

  • Deep Cut Friday: “Red Hill Mining Town” by U2

    In the landscape of music, few albums command the kind of seismic power that The Joshua Tree did for U2. Released in 1987, the record didn’t just chart; it became a cultural monolith, selling 25 million copies worldwide and earning the Grammy for Album of the Year. It cemented the band’s status as global titans, delivering two massive singles to the top of the charts and defining an era of stadium rock.

    Yet, even amidst such monumental success, the creative journey is rarely a straight line. Following the triumph of “With or Without You,” U2 faced an internal reckoning about how to navigate their artistic vision. This indecision spilled over into their visual storytelling, particularly concerning the track “Red Hill Mining Town.”

    The band had initially created a video for the song, directed by filmmaker Neil Jordan, which featured Bono dramatically lip-syncing in a coal mine while Larry Mullen Jr. pounded on metal. While visually arresting, the project led to some creative friction. The band found themselves questioning the execution and the sound of the performance during tour rehearsals, leading them to ultimately scrap the video plans.

    Despite this artistic detour, “Red Hill Mining Town” remained a core part of The Joshua Tree. While they abandoned that specific visual adaptation for the single, “I Still Haven’t Found What I’m Looking For,” became another smash hit and a cornerstone of their live shows, the song’s legacy endures in the band’s repertoire.

    Decades later, the dots between past and present have been occasionally revisited. In 2010, U2 belatedly shared the “Red Hill Mining Town” video on their official channels. When asked about the track during a BBC Radio interview, Bono explained that they had initially avoided the song because the vocal strains felt too challenging for his voice, though he admitted that over time, learning how to sing has changed things.

    U2’s catalog is rich with layers, offering listeners more than just stadium anthems. Diving deeper reveals equally compelling moments. The album War, in particular, showcases the fiery interplay between The Edge’s guitar and Mullen’s drums on tracks like “Like a Song…” that demand attention.

    The band’s history is also marked by eclectic shifts. While the live performances have captured global audiences for decades, moments like the 2011 leg of the U2 360° Tour showcased their enduring connection to the music. Even deeper cuts, such as “Ultra Violet (Light My Way),” offer unique glimpses into the band’s evolving sound. The history of U2 is a testament to artistic ambition—a journey filled with both massive triumphs and fascinating creative compromises.

    Credit: Spin

  • Melissa Auf der Maur announces book of ‘My ’90s Rock Photographs’

    The echoes of the nineties alternative music scene are being captured in a stunning visual mosaic. Former bassist Melissa Auf der Maur is set to release her new book, My ’90s Rock Photographs, offering fans an intimate and vibrant look at the decade that redefined rock.

    This forthcoming collection boasts more than 200 photographs, described as a photographic love letter to the analogue era. It offers deep dives into the independent spirit of the ’90s alt-rock movement, blending candid moments with iconic figures who shaped the cultural landscape.

    The book is packed with unforgettable imagery, featuring candid shots of legends and contemporaries. Among the subjects are stars like Courtney Love and her daughter, Frances Bean Cobain, alongside hangouts with musical giants such as Pavement, Sonic Youth, and Beck. The collection also captures notable moments, including a limousine ride with Drew Barrymore and behind-the-scenes glimpses of Hole’s iconic video work.

    Auf der Maur, who has a deep connection to the alternative scene, undertook this project as part of a larger documentation effort. She was commissioned by Spin Magazine to capture moments from major cultural touchstones, including Lollapalooza 1995 and the Tibetan Freedom Concert in 1996.

    Her memories, woven into these photographs, create a moving self-portrait of a young artist navigating the seismic shifts of the decade. The images are enriched by Auf der Maur’s own writing, alongside insightful text contributions from figures like R.E.M.’s Michael Stipe and music critic Ann Powers.

    Beyond the visual feast, the project touches on the enduring power of rock and rebellion. When asked about the possibility of a reunion for Hole, Auf der Maur reflected on the elusive nature of artistic connections. She noted that forcing or planning such events is impossible, stating that what matters is the inherent power, rebellion, and intelligence that the music offers.

    “Some of my interest in returning to Hole in any shape or form is because the world needs that kind of power, rebellion, and intelligence,” she shared. This perspective underscores why this collection is more than just a scrapbook; it is a time capsule for Generation X, reflecting on an era defined by powerful, independent voices.

    The book will be published on September 8 via DelMonico Books and the Art Gallery Of Ontario in Toronto, Canada, where an exhibition titled My ’90s Rock Photographs is planned to launch this autumn, inviting everyone to explore the magic of that formative decade.

    Credit: NME

  • Jonathan Majors’ anti-Islam new film “like movie produced by Vought Studios in The Boys”, say critics

    Hollywood is buzzing with controversy, and the latest wave of attention has landed on Jonathan Majors, whose recent film debut has sparked intense critical debate.

    After an explosive online debut, Majors’ new project has drawn sharp comparisons to the dark, satirical world of The Boys, prompting critics to look for parallels between his work and that highly acclaimed series.

    At the heart of this discussion is a film titled Run Hide Fight: Infidels. Produced by far-right media outlet The Daily Wire, this action-thriller tackles a deeply polarizing anti-Islam plot, depicting a college campus being seized by “radical Islamic terrorists.”

    The trailer itself features stark imagery, including archive footage of the September 11 attacks and scenes that suggest brutal executions. The official synopsis sets a high-stakes tone: “When radical Islamic terrorists hijack a liberal college’s pro-Palestine encampment to enforce Sharia law on students, a ragtag band of red-blooded students, a security guard tired of ‘Uncle Tom’ smears & a Delta Force vet must arm up to save their clueless peers & keep America from surrendering to the enemy on its own soil.”

    The reaction to the trailer was immediate and divided. Critics quickly drew parallels between the film’s themes and the world of The Boys, suggesting a cinematic echo of Vought International’s propaganda machine.

    Film commentator Erik Voss noted the resemblance: “This is like one of those movies produced by Vought Studios in the world of The Boys.” Similarly, Tomris Laffly drew a connection between Majors and other actors known for intense, morally ambiguous roles:

    “Armie Hammer and Jonathan Majors are in the same phase of their movie careers I guess,” commented Laffly.

    This comparison immediately shifted the focus from the plot itself to the star. Jonathan Majors has established himself as a powerful force in cinema, having delivered acclaimed performances in films like The Last Black Man In San Francisco, Da 5 Bloods, and Creed III. His trajectory includes playing significant roles in the Marvel universe, including Kang The Conqueror in Loki and in Ant-Man And The Wasp: Quantumania.

    However, Majors’ career has been marked by intense personal challenges. In March 2023, he faced legal troubles after being arrested on domestic violence charges in New York following an alleged assault on an ex-girlfriend. While he pleaded not guilty to all charges, the legal proceedings resulted in a finding of guilt on some counts, leading him to probation rather than prison time.

    These personal legal issues intersected with his professional life, leading to significant shifts in his career trajectory. Following these events, Majors was dropped from the Marvel franchise and his film Magazine Dreams was removed from the release schedule at that time.

    The intersection of Majors’ public persona, his challenging roles, and the intense scrutiny surrounding his personal life continues to fuel conversations about celebrity, media representation, and the complex relationship between art and reality.

    Credit: NME

  • 5 Albums I Can’t Live Without: Kira Roessler Formerly of Dos and Black Flag

    In the world of music, some sounds are born from explosive energy, and others whisper profound emotion. For Kira Roessler, the soundtrack of her life is a fascinating blend—a journey that swings wildly between the raw intensity of hardcore rock and the delicate intricacies of classical melodies.

    Known for her foundational role as a bassist in the seminal band Black Flag, Roessler embodies a fierce spirit forged in the ‘hardcore’ scene. Yet, beneath that powerful exterior lies a musician with an incredibly expansive palate, drawn to experiences as much as sounds. Currently based in Studio City, California, she lives up to the Southern California dream, dreaming of sun-drenched days by the pool or the exotic shores of the Galápagos Islands—a testament to a personality that thrives on contrast.

    While her roots are firmly planted in punk energy, Roessler’s musical appetite is anything but narrow. Her current excitement centers around the release of her record Enigma, which will be hitting Org Music in July. This project marks an exciting step forward, and she looks forward to performing live with friends Dave Bach and Paul.

    Her musical library reflects this eclectic nature: a mood dictates the playlist, effortlessly shifting between mellow classical journeys and nostalgic rock n’ roll treks, occasionally punctuated by a dash of punk rock. Though some might expect a purely analog obsession, Roessler champions digital music for its portability, ensuring her soundtrack is always within reach.

    When asked to pinpoint the albums that truly define her emotional landscape, she unveiled a list that reveals a deep appreciation for both catharsis and complexity. Her journey begins with the timeless depth of Music for Torching by Billie Holiday, a record that fundamentally changed her perspective on emotional expression.

    The connection between music and pure joy is also evident in her appreciation for tracks like Meat Puppets II by Meat Puppets. For Roessler, this record captures the lasting association of happiness—a perfect representation of an emotion rarely felt but profoundly experienced through sound.

    She also seeks out artists who explore the nuanced territory of feeling. Albums like Digital Ash in a Digital Urn by Bright Eyes resonate with her ability to recognize big feelings expressed through melodic, often tender melodies—a reminder that true musical expression comes in many forms.

    Roessler’s tastes extend to discovering artistic conversations. She was intrigued by the work of The Evens, recognizing the connection to figures like Ian MacKaye and Amy Farina, which speaks to a desire to be part of a broader musical dialogue.

    Finally, her current fixation includes Somewhere at the Bottom of the River Between Vega and Altair by La Dispute. This record embodies the new wave of punk rock she connects with—a sound filled with urgency and an incredible rhythmic drive that yet leaves room for vocal nuance, perfectly capturing that hard edge while maintaining melodic complexity.

    Credit: Spin

  • Curls Ultra Don’t Just Wanna Have Fun

    Curls Ultra.

    In 1983, Don DeLillo explored the fractured nature of modern culture through his novel American Blood, using the shadow of the Kennedy assassination to dissect how conspiracy theories shape our reality. Nearly forty years later, Chicago crypto-jam band Curls Ultra has channeled that prescient vision of hallucinatory meaning and spiritual paranoia directly into their debut studio album. The result is a sonic experience that is deliberately deranged, disorienting, and surprisingly gleeful—a true trip.

    Curls Ultra doesn’t just play music; they create a twilight realm for the dangerously unhinged. With crude artwork reminiscent of a coloring-book version of a Ghanaian movie poster, their aesthetic immediately taps into the apocalyptic mindset shared by lone-wolf killers and the delusional belief systems they spawn. Song titles like God’s Lonely Man and Nothing 2 Love perfectly capture this mood, dealing with the ineffable glory of ruining one’s life.

    But this isn’t wallowing in malevolent darkness. The band—comprising vocalist/guitarist Mick Fansler, SJOD (theremin, sampler, synth), Eric Novak on reeds (including the Chinese sheng) and synth, bassist/backup vocalist Dove Hollis, and drummer Steven Plock—takes this unsettling feeling and transforms it into a hot throw-down. They make dangerous alienation feel like a lunatic communion, turning anxiety into grooves.

    Musically, the band achieves this by blending sounds that are simultaneously chaotic and meticulously structured. Their instrumental opening, “God’s Lonely Man,” glides and glistens like the Dead at their most kaleidoscopically crystalline, propelled by prismatic keys and a loose, propulsive rhythm section. While many tracks stretch beyond ten minutes, some moments offer blissful reprieve; for example, the unusually brief “Immediate Problem” introduces blissful synth effects and a clunky-funky bassline, punctuated by vocals that sound like Captain Beefheart battling a head cold.

    On the other end of the spectrum, tracks like “Vegas (Mandalay Bay)” showcase Fansler’s froggy croon, lending dusty, piano-kissed ballads a lonesome, faintly demented, yet undeniably touching romance. Curls Ultra draw inspiration from the shaggy psychonauts of the ’60s, sharpening that hippy boogie-woogie rumble for a more dissonant and dystopian age.

    They weave in echoes of German greats like Amon Düül II and hints of fellow travelers such as Cul de Sac, finding free-form sprawl in pieces like “Luxury Fragrance” and “TOAD: The Mind Prison.” Interspersed with these deeper influences are doses of goofier jammers like Phish and Ween, adding unexpected bursts of good-time energy.

    Ultimately, Curls Ultra rejects simple homage or mere party atmosphere. They create something more majestic and deeply disturbing—loose, surging songs that find grooves in the unbalanced, successfully making dangerous alienation into a powerful form of art. If the poet William Carlos Williams was right when he noted that “The pure products of America go crazy,” then Curls Ultra, as an undiluted American band, are certainly going nuts.

    Credit: Spin

  • Wet Leg team up with HorsegiirL for high-octane remix of ‘CPR’

    The Dancefloor Meets Divinity: Wet Leg and HorsegiirL Ignite a High-Octane Remix

    In the vibrant world of music, where heavy beats meet surprising lightness, Wet Leg has teamed up with the electrifying DJ HorsegiirL to deliver a remix that is as high-octane as it is heartfelt. The collaboration on a new take of their single ‘CPR’ is proving that sometimes the most powerful sounds emerge when unexpected talents collide.

    HorsegiirL didn’t just step in with a remix; she injected her own voice and energy into the track, adding a verse that adds a fresh layer to the heavy sound. This dynamic pairing has already been spotlighted, as HorsegiirL performed the track alongside the band at the Coachella 2026 festival earlier this year, demonstrating a shared appetite for immersive, high-energy performance.

    This exciting new version is set to feature prominently on an expanded edition of the band’s acclaimed 2025 LP, ‘Moisturizer’. This deluxe release promises fans some exclusive content, including three previously unreleased live songs, a remix of ‘mangetout’ by The Dare and Fontaines D.C, and the popular DJ version of ‘Catch These Fists’. It is a true celebration of their sound, offering fans a deeper dive into the artistic vision.

    The success of Wet Leg’s journey is undeniable. Their debut album landed high on critical lists, and their work continued to resonate across genres. The record was praised by NME for seeing the band “return smarter, sexier and altogether stronger,” establishing them as serious contenders in the alternative scene.

    Beyond the music itself, the band has demonstrated a commitment to meaningful causes. Their second LP has garnered significant recognition, earning nominations at the Grammys and participation in the star-studded ‘Help(2)’ album for War Child, underscoring their role as artists who use their platform for positive change.

    The spirit of joyful, fearless expression extends to HorsegiirL’s own work. Her debut album, ‘Nature Is Healing’, was similarly lauded for its blend of humor and depth, being described as “divine equine dance bangers that balance humour with heart.”

    This blend of artistic integrity and playful experimentation defines their work. HorsegiirL has openly shared her experience rooted in queer underground rave culture, a background that fuels her confidence to move freely across diverse dance genres without hesitation. It is this fearless approach that shines through in every project.

    As the momentum continues, Wet Leg is gearing up for an exciting series of outdoor UK dates, bringing their powerful sound to audiences across the country, including shows in Manchester, Leeds, and London. The stage is set for more noise, more heart, and more brilliant collaborations.

    Credit: NME

  • Foo Fighters live in Liverpool: rock club vibes on a stadium scale from our greatest supergroup

    The atmosphere at Anfield for the Foo Fighters was less a concert and more a glorious, sweaty communion. As Dave Grohl launched into the evening, asking the sun-kissed crowd if they wanted to sing 30 songs with him, he set the expectation for a marathon experience. It turned out, as always, it was going to be a long night for rock fanatics.

    While the venue itself offered an intimate feel compared to massive arenas, the energy inside Anfield was explosive. Red flares filled the air from the top of the stage, creating a crimson mist as the band moved through it, setting a dramatic stage for their relentless performance. The sheer volume and intensity were palpable, pulling everyone into the collective experience.

    The Foo Fighters masterfully blend their massive appeal with a relaxed, club-like vibe. They don’t rely on pyrotechnics or blockbuster special effects; instead, they offer pure rock and roll delivered with genuine banter. It is this laid-back, yet fiercely energetic delivery that defines their magic.

    The setlist was a brilliant tapestry of musical history, perfectly calibrated to delight every facet of the audience. Grohl seamlessly transitioned from anthemic power to throwback bangers, weaving in classic rock and grunge staples. The evening felt like being trapped in an endlessly looping, yet perfectly orchestrated, jukebox.

    They effortlessly balanced powerful tracks like ‘All My Life’ and ‘The Pretender’ with beloved hits such as ‘Stacked Actors’ and the undeniable crowd pleaser ‘My Hero’. The band’s knack for incorporating diverse sounds was astounding. They wove in the grace of Tom Petty, delivered the sing-along energy of Queen, and introduced moments that felt like a history lesson while keeping the rhythm pounding.

    The performance transcended mere playing; it was a celebration of their collective musical lineage. The band brought their pasts to the stage through a medley of covers from each member’s previous bands, demonstrating that they are far more than just Dave Grohl’s other band—they are a mighty supergroup.

    The evening culminated in moments that cemented the connection between the band and the audience. Grohl even engaged the crowd with an unexpected challenge: asking a young fan to complete a Rubik’s Cube on stage while drumming ‘Rope’. The resulting moment, which revealed the cube was the birthday puzzle for his daughter Harper’s boyfriend, added a layer of personal warmth and shared joy to the spectacle.

    As the night drew to a close with powerful songs like ‘Everlong’ and stunning visual fireworks lighting up the Liverpool sky, it felt less like a stadium show and more like a shared celebration. The experience leaves everyone in Liverpool feeling connected, ready for whatever comes next—a perfect cocktail party before bigger plans are made.

    The Playlist Highlights

    The setlist packed a diverse range of rock history: ‘All My Life’, ‘The Pretender’, ‘Times Like These’, ‘Of All People’, ‘Stacked Actors’, ‘My Hero’, ‘Learn to Fly’, ‘These Days’, ‘Walk’, ‘This Is A Call’, ‘No Son of Mine’, ‘For All the Cows’, ‘Big Me’, ‘Under You’, ‘La Dee Da’, ‘Caught in the Echo’, ‘Invincible’ / ‘Seven’ / ‘One Headlight’ / ‘Manimal’ / ‘Tap Dancing in a Minefield’, ‘Monkey Wrench’, ‘Breakout’, ‘Aurora’, ‘Rope’, ‘Best of You’, ‘The Teacher’, ‘Exhausted’, and ‘Everlong’.

    Credit: NME

  • Sombr tackles self-worth struggles and insecurities on soaring new anthem ‘My Body Isn’t Ready’

    In a world obsessed with curated perfection, sometimes the most powerful soundtrack is the one that dares to be honest. US pop artist Sombr has delivered exactly that with his latest single, My Body Isn’t Ready, a raw, anthemic ballad that cuts straight to the heart of insecurity and self-worth.

    This isn’t just another catchy tune; it’s a deeply vulnerable reflection on the complexities of self-perception. Sombr invites listeners to explore the painful yet beautiful space between desire and readiness, posing profound questions about what it means to embrace one’s body.

    The lyrics articulate this struggle beautifully. In the soaring chorus, the song captures the internal conflict: I like you, but my body isn’t ready/ I want you, but the mirror won’t let me/ I try to be the person you’re expecting/ But I’m not ready, I’m not ready. It’s an anthem for anyone who has ever felt caught between their emotional desires and their physical reality.

    Sombr shared his intention behind the track: he wanted the song to serve as a mirror for others struggling with similar feelings, offering a message of solidarity: You are beautiful, and I love you. He framed the song not just as a personal struggle, but as a universal truth about feeling seen and understood.

    The artistic vision behind ‘My Body Isn’t Ready’ is equally compelling. The track was solely written and co-produced by Sombr, ensuring that every note carries his authentic, unfiltered perspective. The accompanying music video further enhances this emotional depth, featuring the dynamic talents of Inde Navarrette and Josh Heuston, with Gus Black directing the visuals.

    Sombr’s musical journey is already marked by a certain confidence. Following up previous singles like ‘Homewrecker’ and ‘Potential’, his debut studio album, ‘I Barely Know Her’, was praised by NME for being “smart, emotional and surprisingly upbeat.” It established him as an artist capable of blending sensitive introspection with infectious energy.

    Beyond the vulnerability of his new work, Sombr’s taste in music reveals a fascinating appreciation for classic rock titans. He openly stated that while he loves American music, he finds the iconic acts from the UK—such as The Beatles, Oasis, The Rolling Stones, David Bowie, and Elton John—to possess an undeniable gravitational pull.

    This cross-cultural musical palate is further evidenced by his high-profile appearances and collaborations. From a surprise duet with Billy Corgan at Coachella to performances alongside Billy Idol, Sombr proves he doesn’t just create music; he engages with the global rock legacy. He continues this momentum as he heads toward North American headlines and major festivals like Reading & Leeds, Sziget, and Rock En Seine.

    Credit: NME

  • ‘Guitar Hero’ spiritual sequel adds Paramore and more to soundtrack

    Stage Tour: The Rhythm Game That’s Giving Us a Rock History Lesson

    Get ready to crank up the volume, because a brand new rhythm gaming experience is bubbling up, promising to be more than just a game—it’s a love letter to the guitar-hero era. Stage Tour, the spiritual successor to the massively popular Guitar Hero, is set to bring some of the most iconic rock anthems and global hits to the digital stage.

    Created by the talented team behind Guitar Hero, this new title is positioning itself as something fresh and exciting, consciously steering clear of the crowded landscape of other rhythm games. It’s not just another clone; it’s a celebration designed to connect generations of music fans through the pure joy of rhythm.

    The soundtrack for Stage Tour is already throwing down some serious names. RedOctane has confirmed that players will get to master tracks from legendary artists, including Paramore, Avril Lavigne, and the Red Hot Chili Peppers.

    Fans are already buzzing about the confirmed line-up of tracks that will define the gameplay experience. Among the hits slated for the soundtrack are classic rock bangers like “Dani California” from the Red Hot Chili Peppers, and massive pop-punk anthems such as “For A Pessimist, I’m Pretty Optimistic” by Paramore.

    The roster of confirmed songs is packed with raw energy, featuring tracks like “Bite Me” by Avril Lavigne and “Airhead” from Honey Revenge. This curated collection successfully blends iconic rock anthems with modern global hits, creating a playlist built to turn the volume all the way up.

    What truly makes Stage Tour special is its mission: to bring music fans together through a killer soundtrack. The game is designed to celebrate generations of music lovers by offering an immersive experience that spans rock, metal, alt-rock, pop-punk, and beyond.

    Stage Tour is set to launch later this year, promising a full sensory experience. It will support various controllers, including a PC keyboard, and allow players to engage with guitar, bass, drum, and vocal inputs. This comprehensive approach means players can truly feel the pulse of the music in a way no other rhythm game has offered.

    Credit: NME