SWOMP

Eve 6 performed their first show of the year on the final day of Innings Festival 2026 in Tempe, Arizona, blending self-aware humour with late ’90s alternative rock nostalgia. Frontman Max Collins quickly set the tone, playfully sizing up the crowd and the band’s place in the “late ‘90’s radio rock” era. “Do you like alternative rock? Do you like late ‘90’s radio rock?” Collins asked. “That’s good enough for me.” Reflecting on their roots, Collins joked about the band’s usual setting compared to a major festival stage. “Coming from the ‘late 1900’s’,” he said, Eve 6 is used to playing in “300 seat, windowless rooms. “So this is wonderful for us to get to experience. We don’t want you guys to get nervous and weird about it, we are going to play a couple new songs. And they go by quick because at this stage, we’ll call it a career, what we’re kind’ve doing with regard to new music is kind’ve LARPing as a punk band in a vacuum. So these songs clocked in at about two minutes, fifteen seconds.” The band launched into ‘Black Nova’ from their 2021 EP grim value, before pivoting back to their early catalogue with a tongue-in-cheek warning about aging . “I want to prep you guys psychologically for just how old this song is. Just eyeballing the room real quick, doing a quick scan, you guys think we’re in the elder Millennial demographic, here? This song is so old that it might just confirm your worst fears about yourselves as they might relate to the passage of time and mortality.” They followed with ‘Leech’ from their 1998 self-titled debut. Throughout the set, Collins continued to riff with the crowd, mixing sarcasm and sharp wit - even joking about the band’s onstage “made up language” and calling out diehard rock show skeptics before introducing ‘Think Twice’. “We’re not trying to exclude you guys with our made up language. We’re trying to spare you. When we need to have green room conversations on the stage, we do it in our made up language. That’s what was going on here. If your natural state at the rock show, no judgement being passed here at all because it’s in fact mine too, is to stand there, arms crossed, brow furrowed, effecting kind’ve a mean countenance, waiting for the band to clam so you can look at your lady and be like ‘the bass player just played that part a half step flat, haha, you suck.’ First of all, an extra special welcome to you. We’re spiritually connected I feel. Also, this is your song, this is a hard boiled alternative rock song. This is some Raymond Chandler-esque alternative rock we’re about to do for you guys. Furrow your fucking brows.” After teasing a newer track, the band skipped it and performed one of their most recognizable songs. “This song may have been your graduation song.” They then played ‘Here’s to the Night’ before closing out the set with their biggest hit. “Thanks for remembering who we were if you did or sticking around if you were like ‘I’ve never heard of them.’ This is our last song, we pull no punches. We save it for last, why sweet pea? I’ll tell you why, it’s because it’s the heart in a blender song, dude.” The band finished with ‘Inside Out’. SWOMP caught up with the band for an interview backstage following their set.

Artikal Sound System performed on the Right Field Stage at Innings Festival 2026 in Tempe, Arizona on Sunday, February 22, delivering an engaging early set that quickly drew the crowd in. SWOMP caught up with singer Logan Rex and drummer Adam Kampf backstage following the performance. The band spoke about feeding off the energy of the audience during their set — getting fans involved with singalongs and even a coordinated dance — while embracing the opportunity to win over new listeners on a major festival stage. Hailing from South Florida, the group also reflected on their origins and evolution, coming together over years of collaboration to build a tight, groove-driven sound rooted in reggae, rock and jazz influences. The conversation also touched on their latest full-length album Are You Smiling Yet?, along with the recent release of Sugarshack Sessions Vol. 3, and what’s next as they continue to build momentum with new music and touring. Follow the band at https://artikalsoundsystem.com/.

Common People kicked off the Home Plate Stage on the final day of Innings Festival in Tempe, Arizona on Sunday, February 22, 2026, becoming the first band to take the festival’s main stage. Fresh off their set, SWOMP caught up with the band backstage in their trailer. The group reflected on playing their first-ever music festival - a milestone moment - and the energy of opening the main stage on the final day of a packed weekend. They also spoke about rolling with the unexpected on stage, embracing the live moment and pushing forward when things don’t go exactly as planned. Formed in a basement in Southern California, the five-piece - made up of members from across the U.S. - built their sound through constant jamming, local shows and a shared love of guitar-driven rock rooted in garage, indie and psychedelia. Their early demos eventually caught the attention of Brad Shultz of Cage The Elephant, leading to a record deal on his Parallel Vision label in partnership with Big Loud Rock. In the interview, the band also discussed their musical influences, the momentum from a string of recent singles and what fans can expect from their upcoming debut EP. Looking ahead, Common People are set to hit the road for a series of shows, including dates supporting Rainbow Kitten Surprise and fellow rising act Congress The Band - continuing what’s shaping up to be a breakout year. Common People is comprised of Nicky Winegardner (vocals), Cormac Cadden (drums), Konrad Ulich (bass, vocals), Asher Thomson (guitar), and Sam Belzer (guitar). Follow the band at https://www.commonpeopleofficial.com/. Photo credit: Kate Lamendola

The Ramona Flowers played the Right Field Stage on the final day of Innings Festival 2026, delivering an energetic set that helped set the tone early. SWOMP caught up with the band in their trailer following the performance. The group spoke about the rush of opening the final day - with their pounding kick drum already grabbing attention from across the grounds - and what it meant to be part of the Innings Festival lineup. The conversation also touched on their latest album Made By Humans, released in October 2025, including standout tracks like 'Up All Night,' which features Nile Rodgers, and 'Human,' a track that carries an uplifting, communal feel. Connect with the band, here.

Former Major League Baseball pitcher, World Series champion, All-Star and Canadian Baseball Hall of Fame inductee Ryan Dempster took some time out of his busy schedule at Innings Festival 2026 in Tempe, Arizona to chat with SWOMP. Dempster, who leads “Off The Mound” - a late night-style talk show featuring MLB stars past and present alongside personalities from across sports and entertainment - once again brought his show on the road throughout the festival weekend. The Gibsons, British Columbia native conducted live interviews from the Left Field Stage with members of Sublime, OK Go, Public Enemy, Vertical Horizon and Eve 6, along with several former and current Major League Baseball players. SWOMP caught up with Dempster to touch on a range of topics, including the opening day energy at Innings Festival, the preparation behind “Off The Mound,” the crossover between music and baseball, his transition into broadcasting and hosting, and his connection with fellow performers like Eddie Vedder. A 16-year MLB veteran, Dempster played for the Florida Marlins, Cincinnati Reds, Chicago Cubs, Texas Rangers and Boston Red Sox. He was a two-time All-Star, World Series champion and recipient of the Canadian Baseball Hall of Fame’s Tip O’Neill Award before being inducted into the Hall in 2019. Today, he remains a prominent voice in the game as an analyst with MLB Network and Marquee Sports Network, while continuing to evolve “Off The Mound” into one of the most unique crossover shows in sports and entertainment. More details are available at https://offthemound.com/.

Congress The Band are quickly moving beyond their roots as a cover band in Charleston, and their early set at the Innings Festival showed a group stepping confidently into a new chapter. Sporting matching baseball jerseys, the band brought a mix of indie and Southern rock to the Right Field Stage, setting the tone for the opening day crowd with a high-energy performance. “This is our first time playing in Arizona,” vocalist William Bennett told the audience. “We’re so happy to be here.” The set highlighted the band’s evolution, as they prepare to release a slew of new original music, including their latest single “Bay Street.” SWOMP caught up with the band shortly after their performance to talk about their Innings debut, their transition from cover band to emerging artists, and what’s ahead for the rest of the year. Follow the band at https://congresstheband.com/.

Avril Jensen once dreamed of becoming an astronaut or a screenwriter. Instead, the Quebec singer-songwriter found her calling in music — a path she describes as written in the stars. Jensen, who performs in both French and English, is building her career beyond Quebec and will celebrate the one-year anniversary of her debut album Is Any of This Real? with a special show March 27, 2026 at Drake Underground. SWOMP caught up with Jensen for an interview. Following an independent approach, Jensen’s pop sound sits at the intersection of acoustic and electronic music. She views each of her songs as a short story, using her music as a playground for narrative exploration. The anniversary performance highlights a breakthrough year for the young artist. Jensen earned three nominations at the GAMIQ (Gala alternatif de la musique indépendante du Québec), including Breakthrough Artist (Révélation), Indie Pop Album for Is Any of This Real?, and Self-Produced Music Video for the visual companion to “i might jump out of the car.” She is also a recipient of the SOCAN Foundation Young Songwriter Award. Jensen has received early media support from CBC, Billboard Canada, BrooklynVegan and La Presse, among others. Follow her at avriljensen.com. Photo credit: Camille Gladu-Drouin

Canadian country star Jade Eagleson is bringing his first-ever headlining North American tour to London Music Hall on Feb. 9 (tickets, here), marking a key Southwestern Ontario stop on the fast-rising artist’s “Coming Soon to a Honky Tonk Near You” run. The London date lands near the end of a coast-to-coast tour that traced Eagleson’s journey from Western Canada through the U.S. Midwest and back home to Ontario. It will come just days after a Toronto performance at The Opera House and ahead of shows in Ottawa and Montreal, before the tour wraps in Peterborough, 20 minutes from his hometown of Bailieboro, in a sold-out finale on Feb. 14. SWOMP caught up with Eagleson for an interview about the tour. At 31, Eagleson has quickly established himself as one of the most consistent hitmakers in Canadian country music, while openly championing a neo-traditional sound rooted in classic country storytelling. Since the release of his self-titled debut album in 2020, Eagleson has amassed more than 335 million global streams and over 130 million YouTube views. The album produced four GOLD-certified and two PLATINUM-certified singles. His follow-up releases have continued that momentum. Eagleson has earned five No. 1 singles at Canadian country radio, with multiple GOLD and PLATINUM certifications across his sophomore album and his latest release, Do It Anyway, which includes two GOLD and one PLATINUM-certified tracks. Industry recognition has followed. Eagleson was named Entertainer of the Year and Male Artist of the Year at the 2023 Canadian Country Music Association Awards, won Album of the Year in 2024, and most recently took home Male Artist of the Year again at the 2025 CCMA Awards. Earlier this year, he also earned his fourth JUNO Award nomination. Raised on a family farm near Bailieboro, Eagleson stepped away from farm life in 2017 to pursue music full-time. Since then, his career has taken him well beyond Ontario, including performances for troops in Norway and a debut appearance at the Grand Ole Opry in October 2024. Following the conclusion of this tour, he is set to head overseas to perform at C2C Festival in Berlin, Germany, in March 2026. Eagleson also confirmed that new music is on the way this year, with material that builds on his traditional influences while reflecting his rapid growth as a headlining artist. The “Coming Soon to a Honky Tonk Near You” tour kicked off Jan. 22 in Spokane, Washington, and also included stops in Vancouver, Edmonton, Calgary, Minneapolis and Chicago. Follow him at https://www.jadeeagleson.com/. Photo credit: Bree Fish

Washington-based country singer and songwriter CJ Hooper is drawing on his Texas roots for his second album, Over Yonder, set for release Feb. 6, 2026. SWOMP caught up with CJ for interview to discuss his new album.  Music has been a constant in Hooper’s life, from childhood piano lessons to picking up the guitar in his early teens. He grew up listening to classic country artists such as Hank Williams, Merle Haggard and the Charlie Daniels Band, shaping the traditional yet personal sound that defines his music today. After graduating from Texas A&M University, Hooper immersed himself in the Texas live music scene, influenced by artists including Jason Boland, Cory Morrow, Mike McClure, Pat Green and Todd Snider. He later worked across several states in golf course maintenance before settling in western Washington, drawn by cooler summers and access to the outdoors. Songwriting soon became a serious pursuit, leading Hooper to record his own material. Over Yonder follows his 2025 debut album, Primero, and shows his continued evolution as a songwriter, balancing creative exploration with the simple joy of bringing a song to life. More information is available at cjhoopermusic.com.

Canadian country artist Kelsi Mayne is opening a raw and reflective new chapter with the release of her latest single, 'For The Record', a song she says unpacks one of the most complicated periods of her life. The track, released as Mayne closed out 2025 and stepped into 2026, draws from the aftermath of a broken engagement and the intense relationship that followed. In an interview with SWOMP, Mayne said the song traces a whirlwind romance that began only months after calling off her wedding, evolving quickly through grand promises and a sense of fate she wasn’t prepared for but wanted to trust. As the relationship deepened, Mayne learned her partner was struggling with alcohol addiction, a reality that ultimately unravelled what had felt like a perfect connection. She said she tried to support his path to sobriety before stepping back so he could focus on himself. He did get sober, she said, but also moved on with someone new. “This song came from a place I never expected to be in again,” Mayne said. “I walked into something that felt safe and fated and it ended up breaking me in ways I didn’t see coming. Writing this helped me make sense of it all — the heartbreak, the confusion and the lessons I didn’t want but probably needed. If nothing else, at least it was good for the record.” For the record was mixed and mastered by Scott Cooke of Local Hay Records and Big Loud Records. The song weaves Mayne’s trademark storytelling with subtle references to the walls of Jericho and Fleetwood Mac’s Silver Springs, grounding her personal heartbreak in familiar symbols of collapse, truth and closure. Mayne said those references emerged naturally as she worked through the experience, drawing on stories and music that resonated with what she was feeling. The single builds on the momentum of Someone who knows and caps what Mayne describes as one of her strongest years to date. With the release, she closes out 2025 and looks ahead to 2026 with a new album in the works and a live show that continues to connect with audiences across Canada. Mayne, who is from Windsor, Ont., has built a national following for her emotionally driven songwriting and blend of country with R&B, Motown, pop and rock influences. She has surpassed three million streams, earned a Top 50 single at Canadian country radio with Breaking bad, and performed at major festivals including Boots and Hearts, Cavendish Beach Music Festival and the Calgary Stampede. A two-time CMA Ontario Female Artist of the Year and Rising Star nominee, she continues to receive industry recognition and playlist support as she enters the next phase of her career. Follow Kelsi at https://kelsimayne.com/.

A 19-year-old Canadian fiddler continues to make waves on the national folk scene, with Irish Millie earning a Canadian Folk Music Award nomination for Single of the Year and recognition as a nominee for Folk Music Ontario’s 2025 Performing Artist of the Year. SWOMP caught up with Millie to discuss the recognition. Millie received the Single of the Year nomination for “You Were There,” a standout track from her EP Between Then and Now. The honour marks her seventh Canadian Folk Music Award nomination and her fifth consecutive nod for Young Performer of the Year, a category in which she has been recognized every year since releasing her debut album Thirteen in 2021. The Peterborough native released Between Then and Now on July 6, 2025, via LaunchPad Records. The four-track EP highlights her continued artistic growth, blending East Coast fiddle drive, bluegrass energy, and contemporary traditional influences. “You Were There,” co-written with Matthew Cicciarella, features Millie on fiddle and vocals alongside Cicciarella on guitar, with additional electric guitar and string arrangements by producer Tyler Martin. Produced by Martin at Electric Alchemy and mastered by Gregory Pastic, the single showcases Millie’s ability to craft emotionally resonant songs that respect folk traditions while exploring new textures. Other tracks on the EP, including “Allison,” “Mystery to Me,” and “WASTED,” further demonstrate her range, from stripped-down fiddle-and-guitar arrangements to fuller productions incorporating piano and drums. A multi-instrumentalist who performs on fiddle, vocals, piano, guitar, and foot percussion, Millie has built a distinctive sound that has resonated with audiences across Canada, the United States, and Europe. Her previous album GRACE drew praise from Celtic music standouts Natalie MacMaster and Donnell Leahy, who described it as “fresh, lively… cool tunes and great playing.” FolkWorld Magazine’s Alex Monaghan has highlighted the passion and energy at the heart of her music, citing its sense of fun, fire, and feeling. Millie recently wrapped up her second East Coast Holiday Tour with long-time collaborator Luka Hall, performing a series of intimate Ontario shows between late December and early January. The annual holiday run has become a growing tradition, pairing Millie’s Celtic folk fiddle style with Hall’s acoustic songwriting and emphasizing storytelling, collaboration, and audience participation. A past Peterborough Folk Festival Emerging Artist of the Year and recipient of the Peterborough Civic Award for Community Betterment for her “Fiddling for Fox” campaign, Millie is currently studying Music Industry and Technology at the University of Toronto while continuing to tour and record. She is supported on stage by her father, Murray Shadgett, on guitar. Planning is underway for a broader tour in July 2026, with dates expected across Ontario, Quebec, and Atlantic Canada. Follow her at https://irishmillie.ca/. Photo credit: Mary Payne

CMAOntario-nominated duo Amanda & James are set to return on Feb. 6 with their new single “Comeback,” a playful, harmony-driven release arriving via Symphonic Music. The track follows a breakout year for the fast-rising Canadian country act and continues to build momentum as they emerge as one of the genre’s most talked-about new duos. SWOMP caught up with the duo for an interview. “Comeback” is described as a definitive breakup anthem, centred on closing the door for good rather than reopening old chapters. Written by Sam Daviau, Ali Dutton and Joey DePaiva, the song immediately resonated with the duo, who were drawn to its cheeky confidence and nostalgic edge. Amanda & James bring the track to life with their signature blend of bluesy melodies, bouncy grooves and the tight, soaring harmonies that have become a hallmark of their sound. The single was produced by Matt Koebel, a CMAOntario and CCMA nominee, with mixing and mastering handled by seven-time JUNO nominee Brandon Unis. Sonically, the song leans into hook-heavy country-pop energy while lyrically celebrating the freedom that comes with walking away for good, firmly shutting the door on any idea of a reunion. The new release follows a standout year for the pair, who were recently nominated for Group or Duo of the Year at the 2025 CMAOntario Awards. Amanda Kind, from White Rock, B.C., and James Downham, originally from Pembroke with ties to Picton and Stratford, Ont., have built a reputation for dynamic live performances and strong audience connection. Their ongoing success includes the fan-favourite show Time of My Life: The Greatest Duets in Concert, which has helped grow their national profile. “Comeback” is available Feb. 6. More information about Amanda & James can be found at amandaandjamesmusic.com.

Canadian-born, Nashville-based country artist Drew Taylor is continuing his steady rise with the release of the music video for his latest single “MAKERS,” unveiled via All Country News. The song leans into the slow burn of unexpected chemistry, drawing a vivid parallel between falling in love and savoring a good whiskey, where each moment lingers and deepens with time. SWOMP caught up with Taylor for an interview to discuss the track. “MAKERS” arrives at a pivotal moment for Taylor, who recently signed with independent label T&L Records Nashville and is building momentum off a growing catalog of streaming and chart success. The single is positioned as the start of a new chapter, with more music on the way and an audience that continues to expand on both sides of the border. Born in Waterloo, Ont., Taylor’s path to country music was anything but typical. Raised around music through his father, who played alongside country icons such as George Strait and Kenny Rogers, Taylor still found himself fronting a screamo band in Canada, sharing stages with acts like Underoath and Atreyu. For years, music competed with other responsibilities, including work as a firefighter and entrepreneur, before he committed fully to songwriting and performing. That commitment has translated into tangible results. In 2022, Taylor earned wildcard winner honours at the Boots & Hearts Emerging Artist Showcase, performing on the festival’s Front Porch stage. The following year, his single “Wish I Didn’t” reached No. 1 on SiriusXM’s Top of the Country. In early 2025, “Nobody I Know” continued the upward trajectory, surpassing a quarter-million streams on Spotify and cementing his place among Canada’s most promising country exports. Songs such as “Music To My Beers” and “Get The Truck Outta Here” have further showcased Taylor’s blend of modern country production and sharp, relatable lyrics, with several tracks finding a home on the Music Row Country Breakout Chart. Along the way, he has shared the stage with artists including Tanya Tucker, Kane Brown, Paul Brandt and Cory Marks, gaining experience that has shaped his confident, road-tested sound. Despite the accolades and growing profile, Taylor remains grounded in his approach to songwriting. Connecting with listeners has always been the priority. “If a song touches somebody, then I’ve done my job,” he said, a philosophy that continues to guide his work. With “MAKERS,” Drew Taylor reinforces that his rise has been built patiently and deliberately, honoring the traditions of country music while pushing its edges forward. As new music looms, the proof, as the song suggests, is in the pour. Follow https://www.drewtaylorofficial.com/ for all the latest updates. Photo credit: Allen Clark

Canadian Roots and Soul vocal collective AV & the Inner City are turning inward on their new single, “Dinner With the Lord,” an acapella track that reflects on where people seek comfort during times of uncertainty. Released Nov. 21, the song is a stripped-down acapella interpretation of a composition by fellow Edmonton porch-concert musician Alin Rogoz. It marks the first recording by the group that was not written by founder Ann Vriend, known professionally as AV. SWOMP caught up with AV for an interview. Recorded live around a single microphone, “Dinner With the Lord” features no edits, isolation or studio enhancements. The approach places the focus squarely on vocal blend, trust and shared intuition, drawing on gospel, soul and roots influences without leaning into traditional religious framing. The song explores themes of faith, memory, community and connection, inviting listeners to consider what they reach for when familiar sources of support feel out of reach. Rather than offering resolution, the track creates space for reflection and shared experience. AV & the Inner City formed during the COVID-19 pandemic on a front porch in Edmonton’s McCauley neighbourhood, where weekly outdoor singalongs were held to maintain connection during lockdowns. Those gatherings evolved into an all-female vocal ensemble representing Indigenous, Black, Filipino, LGBTQ, immigrant and working-class voices. The group’s self-titled debut EP, released in October, has gained national attention and is currently ranked No. 7 on the CKUA Radio Top 30. The release has also received support from CBC, SiriusXM, Edify and Porter Airlines Magazine. “Dinner With the Lord” serves as the closing track on the EP, bringing the project full circle by echoing the communal porch-singing roots that first brought the ensemble together. In just three years, AV & the Inner City have completed a summer tour and appeared at major festivals including the Calgary Folk Festival, Vancouver Island Music Festival and Edmonton Folk Festival, where they received an Emerging Artist Award. Follow the group at https://www.avandtheinnercity.ca/. Photo credit: Lulubee Photography

Canadian folk-country band School House will release their new single, Live While I’m Alive, on Jan. 16 across all major streaming platforms, marking the next chapter for the fast-rising group as they prepare for a national tour and their second full-length album. Band member Joel Ryan says the song reflects the tension of modern adulthood, touching on financial stress, self-doubt and the uncertainty that often defines a quarter-life period. Rather than offering easy solutions, Live While I’m Alive leans into imperfection, encouraging listeners to let go of constant comparison and focus on living in the present. The single arrives ahead of School House’s highly anticipated sophomore album, Homeland, scheduled for release on Feb. 27, 2026. Formed in 2021 after three best friends moved into a century-old schoolhouse together, the band quickly gained attention for its harmony-driven sound and songwriting rooted in late-night, campfire-style sessions. Since then, School House has built steady national momentum, winning the 2025 Boots and Hearts Emerging Artist Showcase and earning Group of the Year at the 2024 Ottawa Music Awards. Their debut release was also named Album of the Year by Faces Magazine. The band is signed to the Paquin Agency for live representation and has toured with the Strumbellas, opened for Alan Doyle, and continued to expand its presence on stages across the country. To support the new single and upcoming album, School House will join Braden Lam on the “Freewheelin’ Field Trip” tour in March 2026, with stops throughout Atlantic Canada, Quebec and Ontario. Tour dates include: March 5 – Halifax, N.S. – Seahorse Tavern March 6 – Truro, N.S. – Marigold Cultural Centre March 7 – Miramichi, N.B. – New Maritime Beer March 8 – Charlottetown, P.E.I. – The Guild March 10 – Moncton, N.B. – Xeroz Arcade Bar March 11 – Fredericton, N.B. – The Cap March 13 – Quebec City, Que. – L’Anti March 14 – Ottawa, Ont. – Overflow Brewing March 15 – Kingston, Ont. – Broom Factory March 18 – St. Catharines, Ont. – Warehouse March 19 – Toronto, Ont. – Rivoli March 20 – Windsor, Ont. – Meteor March 21 – London, Ont. – London Brewing Company March 22 – Kitchener, Ont. – Boathouse Follow the band at https://schoolhouseband.com/. Photo credit: Cam Forrester

Multi award-winning Canadian singer-songwriter, pianist and broadcaster Laila Biali has earned her first Grammy nomination, landing in one of the ceremony’s most closely watched categories. Biali is nominated for Best Traditional Pop Vocal Album alongside Brandi Carlile, Elton John, Lady Gaga, Barbra Streisand, Jennifer Hudson and rising star Laufey, placing the Canadian artist in rarefied company and bringing new international attention to her latest work. SWOMP caught up with Biali for an interview.  The nomination recognizes Wintersongs, an album inspired by and written at the Banff Centre for Arts and Creativity. Biali has a long-standing relationship with the Banff Centre, and that connection is woven deeply into the record. Much of the album was written during a winter residency in the Rocky Mountains, where she worked from a quiet cabin surrounded by snow-covered peaks. The setting shaped both the mood and scope of the music, which moves with a cinematic sense of space, reflecting winter light, drifting snow and the stillness of Banff’s landscape. What makes the nomination particularly notable is how it came about. The album was initially submitted in the jazz category, but the Recording Academy moved it into Traditional Pop, a decision that immediately placed Biali alongside global icons and significantly effected the album’s visibility. The category itself has recently been highlighted by Billboard for its growing influence, adding further weight to the nomination. While Biali is a well-established and respected artist in Canada, her profile in the United States has been comparatively modest. For an independent Canadian artist to receive Grammy recognition for a project so closely tied to a Canadian winter landscape stands out, especially in a category often dominated by major international stars. The response suggests that the themes and atmosphere of Wintersongs have resonated beyond borders, connecting with American Grammy voters through its craft and emotional clarity. The recognition also arrives at a busy moment for Biali. She is set to return to Banff in mid-December to begin work on a new project, Dreamland: The Canadian Songbook Reimagined, which explores iconic Canadian material through a contemporary lens. She has also released a new holiday single, an extended version of “Joy to the World,” adding a timely seasonal chapter to an already landmark year. With her first Grammy nomination now secured, Biali’s Wintersongs stands as both a personal milestone and a broader moment for Canadian music, demonstrating how a project grounded in place and season can find an audience on the world’s biggest stage. Follow her at https://lailabiali.com/. Photo credit: Chris Nicholls

HEALTH have never been a band to sugarcoat the state of things, but their new album CONFLICT DLC—out today on Loma Vista Recordings—might be their most direct confrontation yet with the emotional fallout of living online, living overwhelmed, and living through a world that feels permanently tilted toward chaos. The Los Angeles industrial trio have spent nearly two decades expanding, exploding, and mutating the boundaries of heavy music. With CONFLICT DLC, they deliver 12 tracks that feel like the next evolutionary jump in their ongoing descent: hyper-charged industrial metal, dense digital noise, bleakly funny lyricism, and a maximalist aesthetic that hits like a steel-toothed synthwave cyclone. SWOMP caught up with bassist John Famiglietti for an interview to discuss the album. Where 2023’s RAT WARS leaned into corrosive hooks and “cum metal” absurdism, CONFLICT DLC sharpens everything, emotionally, sonically, and thematically. Produced again by STINT, with mixing from Drew Fulk (WZRD BLD) and Lars Stalfors, the album pushes the band’s cinematic heaviness into an even more concentrated blast radius. It’s an album built for a fanbase the band affectionately describes as “a coalition of subcultures”, memelords, heavy-music obsessives, digital weirdos, and everyone drawn to the catharsis of beautiful noise. Jake Duzsik’s lyrics roam familiar territory, depression, compulsion, anxiety, but now framed in the hyper-digital exhaustion of 2025’s doomscroll culture. “No, it’s not just your imagination. The future is shit and the phone you are reading this on is making it worse,” he deadpans in the album’s announcement, capturing the tone of CONFLICT DLC perfectly: devastating truths delivered with a smirk, wrapped inside earth-splitting industrial arrangements. Despite the emotional weight, this is one of the band’s most purely enjoyable albums—a slate of “sad bangers for the end times,” designed as much for release as it is for reflection. Before the album’s arrival, HEALTH dropped “ORDINARY LOSS,” their heaviest opener yet. With serrated riffs, suffocating textures, and Duzsik’s grim mantra - “The dead are blessed with no dreams”- the track announced CONFLICT DLC as a ferocious new chapter. It’s an intimidating start, but undeniably gripping. HEALTH are currently in South America on Pierce the Veil’s massive I Can’t Hear You World Tour, with dates across Bogota, Mexico City, Buenos Aires, and São Paulo. In the spring, they’ll return to North America with a run of mixed U.S. and Canadian stops. Canadian dates include: April 4 - Vancouver, BC - Vogue Theatre April 14 - Toronto, ON - History April 15 - Montreal, QC - MTelus Full details and additional tour dates are available at youwillloveeachother.com. Photo credit: Mynxii White

Canadian rock legends Lighthouse are revisiting one of their most celebrated works with the release of One Fine Morning (Anniversary Edition), arriving Nov. 7 through Anthem Records. The release marks the first time the platinum-selling album has been fully remixed, remastered and expanded. It will be available on limited-edition three-colour-splatter vinyl, sun/moon vinyl, double CD and digital formats. SWOMP caught up with founding member Paul Hoffert for an interview to discuss the release. Originally released in 1971, One Fine Morning helped establish Lighthouse as one of Canada’s most innovative and influential bands, known for fusing rock, jazz and classical elements into a distinctive sound. The title track became a radio staple and remains one of the country’s most recognizable rock anthems. “When we chat with our new and younger audiences at concerts and on social media, they ask for records and streaming of Lighthouse’s classic hits along with ‘extras’ that provide personal and historical perspective,” said Hoffert. “This anniversary edition provides both. In 1970, producer Jimmy Ienner and lead singer Bob McBride helped focus our music, lyrics and orchestral rock into a more broadcast-friendly format that attracted a much wider fan base. We hope listeners enjoy hearing these songs and demos as much as we loved making them.” The anniversary edition includes a remixed and remastered version of the original album, as well as unreleased material such as “All God’s Children,” a previously unheard song from the 1970 sessions co-written by Larry Smith and Academy Award-winning composer Howard Shore. Other highlights include demo versions of “One Fine Morning” and “Sing, Sing, Sing” with drummer Skip Prokop on lead vocals, a CBC live performance of “World’s Biggest Rock & Roll Band,” and several early takes of songs that would later define the Lighthouse sound. Each track captures the band’s creative momentum at a time when Lighthouse was redefining the scope of progressive rock. In recognition of their lasting impact on Canadian music, Skip Prokop, Paul Hoffert, Ralph Cole and Bob McBride were inducted into the Canadian Songwriters Hall of Fame in 2022. The following year, Lighthouse was added to Canada’s Walk of Fame. More than 50 years after their breakthrough, the band continues to tour across the country, with upcoming shows scheduled in Guelph on Feb. 5, Pickering on Feb. 21 alongside the Five Man Electrical Band, and St. Catharines on April 1. Formed in 1969 by Prokop and Hoffert, Lighthouse became known as a “rock orchestra” for its fusion of genres and large ensemble performances. The multi-JUNO Award-winning group earned international acclaim with hits including “One Fine Morning,” “Sunny Days,” “Pretty Lady,” and “Hats Off (To the Stranger).” With One Fine Morning (Anniversary Edition), Lighthouse continues to celebrate its enduring legacy and the timeless energy that first brought its music to audiences more than five decades ago. Follow the band at https://www.lighthouserockson.com/.

Kula Shaker, the psychedelic rock band that once stood apart from Britpop’s swagger with its mystical flair and sitar-laced guitar work, is preparing to release its eighth studio album, Wormslayer, on Jan. 30, 2026. SWOMP caught up with vocalist and guitarist Crispian Mills to discuss the record. The band, still made up of its original lineup of Mills, Alonza Bevan, Paul Winterhart and Jay Darlington, recently marked the announcement with a new single, 'Good Money'. The track blends ’60s psychedelia, soul and funk, while its video takes a decidedly modern turn. “Our last video was all in camera, real stunts, real props and epic battle scenes which people assumed was all AI,” Mills said in a statement. “So we’ve taken a different approach with Good Money. The whole video is entirely AI generated by two monkeys, we gave them the song and the lyrics and this is what they came up with. It’s kind of mind blowing.” Mills said the song is built on a “classic Faustian pact” and forms part of a larger psychedelic opera unfolding across the record. He described the narrative as one about “a boy in a small community, who grows wings and how the local people come to treat him. Some think he's a freak, some think he's a cherub, others cynically see him as an opportunity to make money… Is it a metaphor for the music business? I’d say it’s a metaphor for life.” The upcoming album has already been previewed with 'Charge of the Light Brigade' and 'Broke as Folk', which showcase the band’s trademark harmonies and sweeping technicolour sound. Other tracks explore new territory, including pastoral folk on Dust, gothic crooning on Little Darling, and the cinematic, mantra-driven metal of the title track. “I hope people enjoy the twists and turns that this new record takes you on,” Mills said. “We always loved those psychedelic records that had great songs, great production, great storytelling, and took you on a journey… Kula Shaker has a life of its own. We’re just passengers, watching it happen in real time.” The band says Wormslayer captures its live energy more fully than past releases. Visit https://kulashaker.co.uk/ for more details.

Thunder Queens, one of Canada’s most exciting young rock bands, headline a hometown all-ages show as part of VENUExVENUE 2025, joined by a powerhouse lineup of rising acts. SWOMP caught up with Lola Hayman (drums, vocals), Violet Bruneel (guitar, vocals), and Clara Magnan (bass, vocals) for an interview to discuss the show and their career. Set for Saturday, Nov. 8 at Lazer Quest (149 Carling St.), the bill includes Altered by Mom, Feura and Avro Project, a mix of alt-rock, punk and grunge energy that showcases London’s next wave. "Thunder Queens represent where London’s scene is right now... loud, smart, and undeniable," said Darryl Hurs, founder of Indie Week and VENUExVENUE. "This bill is stacked with artists who are about to level up." The London trio have honed a songwriting style that blends cinematic storytelling with raw melodic power. Their latest single, Birds On A Wire, channels pop-punk urgency into an anthem about breaking free from expectations. "We wrote this song about feeling underestimated and boxed in and the rush that comes with breaking free,” the band said. Formed after meeting under the pinball machines at Call The Office, Thunder Queens have since shared stages with The Beaches, Billy Talent, Metz, Sloan, and OMBIIGIZI, with festival stops at Pop Montreal, Up Here Festival, and Bitchfest. Follow the band at https://www.thunderqueens.com/. Photo credit: Bravo Foto