U.K. producer and DJ Shadow Child is ushering in a bold new chapter of his career with the release of the “Say It Now” remix package, out now on London Records, featuring heavy-hitting reworks from Cinthie, Dusky, and S.P.Y.
The original track, a high-voltage collision of rave vocals and breakbeats, already proved that Shadow Child hasn’t lost his touch for crafting club-ready anthems. But the new remixes take things even further, each reshaping the song through a different lens of dance culture. Berlin favorite Cinthie, aka Vinyl Princess and owner of the famed 803 Chrystal Grooves label, infuses her signature deep-house polish, while British duo Dusky crank up the tempo with a pulsing techno edge. Brazilian producer S.P.Y. closes the package with a blistering drum & bass rendition that’s tailor-made for packed warehouses and festival main stages alike.
The remix drop follows Shadow Child’s recent signing to London Records, aligning him with a roster that bridges legends and innovators, from Orbital and Goldie to rising names like Alewya and Joalin.
Before adopting his now-iconic alias, Shadow Child made waves in the 2000s under his Dave Spoon moniker, dominating dancefloors and BBC Radio 1 playlists with electro-house hits and remixes for everyone from Pet Shop Boys to Dizzee Rascal. His 2012 reinvention as Shadow Child marked a shift toward a deeper, bass-heavy sound rooted in the rave and jungle energy of his youth and he’s since carved out a legacy as one of the U.K.’s most versatile producers.
Reflecting on his creative rebirth, he explains:
“I came out of the pandemic questioning my place in the dance music world and where I wanted to go next. I was inspired by the lo-fi explosion of artists like Mall Grab and DJ Seinfeld, it made me go back to my roots, exploring the raw, stripped-back sound of the jungle and rave tunes I grew up with.”
That spirit of reinvention and nostalgia pulses through “Say It Now” and its remix collection, proof that Shadow Child continues to evolve while staying true to the underground that shaped him.
Stream the full “Say It Now (Remixes)” now on all major platforms, and revisit the original version here.
Vevo, the world’s leading music video network, has announced the debut of a brand new original content series titled “Artist Portrait.” The project offers fans an immersive look into their favorite artists through exclusive performances and personal commentary filmed in meaningful, real-world locations.
The series officially launches with Conan Gray, who performs “Actor” from his highly anticipated new album Wishbone. The first installment is now available to stream, with two additional performances scheduled to arrive throughout October. The rollout will conclude with a short film combining both live performances and cinematic storytelling for a deeper portrait of Gray’s artistry.
In this debut episode, Gray performs “Actor” in a wood-paneled attic overlooking the sea, surrounded by his band and the comforting hum of nostalgia. Sitting cross legged with his guitar, he delivers a raw and heartfelt rendition of the song, which reflects on heartbreak and the disorienting feeling of watching someone act as if love never existed. The stripped down performance captures the intimacy and emotion that have defined his career.
Conan Gray and Vevo share a long creative history, including early performances for Vevo’s “DSCVR Artists to Watch” series in 2020, “Live from Vevo Studios” sessions in 2021 and 2024, and a “Vevo Footnotes” episode for This Song in 2025. With Artist Portrait, Vevo continues to deepen that collaboration, showing Gray in a new light that feels vulnerable, cinematic, and authentic.
“Vevo has a rich heritage and vast expertise in capturing beautiful, top quality content for artists,” said JP Evangelista, Vevo’s SVP of Content, Programming and Marketing. “With ‘Artist Portrait’, we bring the set to the artist, wherever they are. Fans get to experience their favorite musicians in the real world spaces that inspire them. Having worked with Conan since the early days of his career, it is such a pleasure to see him flourish, raw, authentic, and deeply personal.”
Chris Pereira, Executive Producer at Vevo, added, “This series delves into the inner creative life of an artist in the present tense. For the launch, we met Conan at a seaside writing cabin for quiet conversations and intimate performances that unfold with minimal setup, removing barriers between the viewer and the artist.”
The launch of Artist Portrait marks Vevo’s next evolution in its original content portfolio, following the success of its “Extended Play” series. The new franchise highlights artistry beyond the studio, providing a deeper sense of who musicians are, both creatively and personally.
Fans can watch Conan Gray’s “Artist Portrait” performance of “Actor” now on Vevo, with more episodes arriving later this month.
Photo by Scott Newton, Courtesy of Austin City Limits
Few artists can make a stage as storied as Austin City Limits feel like their own personal playground, but Role Model did just that. The rising indie pop star, known offstage as Tucker Pillsbury, delivered a magnetic set for a Season 51 taping of the longest running music program on television. Equal parts sharp, sentimental, and self aware, Pillsbury brought humor, vulnerability, and a natural flair for storytelling to the ACL stage, striking the delicate balance between pop polish and personality driven authenticity that has made him one of the most exciting new artists today.
Fans had been lining up outside the Moody Theater before dawn, many arriving as early as 6 a.m. to secure a prime spot inside the intimate venue. For some, it was the thrill of witnessing a bucket list moment for the “Divas,” Role Model’s affectionate name for his fanbase, while others were simply eager to be part of history. The crowd’s patience paid off. Backed by Mason Stoops and Taylor Mackall, acclaimed collaborators of Lizzy McAlpine, Role Model took the stage in a light button up shirt, brown jacket, and jeans, instantly winning over the packed house with his signature blend of awkward charm and confidence.
From the start, Pillsbury acknowledged the significance of the night with his trademark humor.
“Thank you all for coming. This will be the only show I’m serious, I think, ’cause it’s televised. Some of these people don’t know me, so I’m gonna be polite. I’m gonna be a good boy.”
Of course, “good” is a relative term, especially for a performer whose lyrics often revel in emotional chaos. Since PBS tapings don’t exactly encourage profanity, he cleverly deputized the audience to fill in any four letter gaps. During his cover of The 1975’s “Somebody Else,” fans joyfully shouted “f— that, get money!” with unbridled energy, earning laughter from Pillsbury.
The setlist spanned the highs and heartbreaks of Pillsbury’s acclaimed sophomore effort, Kansas Anymore. Role Model gave fans something rare, a showcase of deep cuts and often shelved tracks that rarely appear even in his own headlining shows. Performances of “Compromise,” “A Little More Time,” and “Something, Somehow, Someday” offered a glimpse into the quieter corners of his artistry, moments where humor gave way to heartfelt vulnerability. Before the latter, he walked onstage with a stool and a leather bound journal in hand, explaining,
“I have a song of mine that I literally cannot remember all the words to, but it’s one of my favorites. I’d rather read it from a book, this feels cooler than a teleprompter.”
The crowd hung on every word, a mixture of laughter and reverence echoing through the theater. Between songs, Pillsbury’s playful banter kept the tone light. “This next song I want to bring out my new friend Ed Sheeran…” he teased to a wave of excitement before deadpanning, “You kidding me? Ed Sheeran’s not here, you freaks.”
Role Model performs at Weekend One of ACL Fest on October 3, 2025 (Photo by Dan Garcia/The Early Registration).
Later, when “Sally, When the Wine Runs Out” began, the audience collectively buzzed with anticipation. The track, often featuring surprise celebrity “Sally” cameos from Hilary Duff, Natalie Portman, and Conan Gray, ended up having none, perhaps a concession to the PBS cameras. Fans still enjoyed it all the same as Pillsbury danced alone, crowning himself the night’s “Sally,” a moment that felt oddly poetic.
As the show built momentum, songs like “Slipfast” and “Some Protector” reminded everyone that Role Model’s music thrives on contrast, heartbreak wrapped in humor and melancholy disguised as confidence. During the bridge of “Some Protector,” he urged fans to go all in. “I know some of you are shy with cameras around, but you can’t be shy for this part!” Within a couple minutes, the floor was bouncing with headbanging that would have made a Slipknot crowd proud.
What stood out most was how naturally Pillsbury seemed to fit into the legacy of Austin City Limits. Between the jokes and moments of vulnerability, there was a genuine sense that he understood the weight of the stage beneath him. He spoke with appreciation about performing on such an iconic show, one he said he often watches on flights between tour stops, and that admiration translated into a performance that felt both grounded and grateful. Even with his growing fame and busy schedule, he carried himself with the same down-to-earth charm that first drew fans to him, confident, but still humbled by where his music has taken him.
It has been a whirlwind season for Role Model. Fresh off his Weekend One performance at ACL Fest, he is gearing up for a Saturday Night Live appearance alongside host Amy Poehler, while also sharing the weekend with Austin for Weekend Two of ACL Fest. Between the touring, acting in Lena Dunham’s upcoming Netflix film Good Sex with Natalie Portman and Mark Ruffalo, and a growing discography of earnest and confessional pop songs, it is clear that Role Model’s rise is not slowing down anytime soon.
By the time the final chords of “Deeply Still in Love” rang out against the glowing Austin skyline backdrop, it felt like everyone in the room knew they had witnessed something special, a performance equal parts milestone and mirror, reflecting the sincerity that has always been at the core of Pillsbury’s artistry.
Fans should be sure to catch the episode when it airs on November 22nd on Austin PBS or the PBS app, and follow @acltv for updates. And in true PBS spirit, consider supporting public television by donating at AustinPBS.org/donate. With Austin City Limits facing a nearly three million dollar funding shortfall next year due to federal cuts to public media, every donation helps keep this cultural institution and unforgettable performances like Role Model’s alive for future generations. After all, as he might say himself, you would not want to hear through the grapevine that you missed one of the best ACL tapings of the year.
Setlist — Role Model at Austin City Limits (October 7, 2025)
Photo by Deanna Glatczak for The Early Registration
Madison got loud on Friday night as Garbage brought their Happy Endings Tour to The Sylvee for a sold-out show that reminded fans why the band remains one of alt-rock’s most fearless forces. Returning to Wisconsin with a mix of nostalgia, raw honesty, and new material, Shirley Manson and company filled the room with sound and soul, proof that their fire still burns just as bright decades into their career.
Performing in support of their latest album, Let All That We Imagine Be the Light, the show carried an undercurrent of resilience and renewal. The project was born from Manson’s recovery following a serious hip injury that forced her off the road, and that sense of fragility turned into power pulsed through the night’s set. Garbage balanced moments of vulnerability with the snarling confidence that’s long defined them.
The 20-song performance moved between eras with ease. Early favorites like “Vow” and “I Think I’m Paranoid” were met with roaring recognition, while deeper cuts like “Bleed Like Me” and “The Trick Is to Keep Breathing” carried new emotional weight in light of the band’s recent journey. Newer material, including “There’s No Future in Optimism” and “Chinese Fire Horse,” sat comfortably alongside the classics, blending reflection with rebellion.
Between songs, Manson was her signature mix of candid and commanding, telling stories about label rejections, old auditions, and the unpredictable road that’s kept Garbage moving forward. By the time the encore closed with “Stupid Girl” and “Only Happy When It Rains,” the crowd was completely in sync, echoing every lyric back toward the stage.
Garbage’s night at The Sylvee wasn’t just a concert, it was a celebration of endurance, artistry, and the beauty of imperfection. And for the thousands who packed the venue, it was clear that Madison will always make room for a little glorious noise.
Photo by Deanna Glatczak for The Early Registration
On a crisp early fall night on Milwaukee’s lakefront, Twenty One Pilots brought their signature blend of theatricality, raw emotion, and communal energy to the American Family Insurance Amphitheater. The duo of Tyler Joseph and Josh Dun transformed the Summerfest venue into something closer to a fever dream than a concert, pulling fans into their world from the first chords of Overcompensate to the final cathartic singalong of Trees. It wasn’t just another Midwest tour stop, it was an immersive experience that made the amphitheater feel like an extension of the band’s imagination.
The setlist was a true gift to both casual listeners and longtime members of the “Skeleton Clique,” longtime diehard fans of 21P. Milwaukee was treated to highlights from across the band’s catalog: the ukulele-driven nonestalgia of House of Gold, the genre-bending chaos of Lane Boy, and the cinematic sweep of newer tracks like Next Semester. A fan was even pulled onstage to help lead Ride, one of the many moments that reminded the crowd how Joseph and Dun use their shows to dissolve the line between performer and audience. No matter how big the venue, they have a knack for making it feel like a basement show with friends.
But as much as the night celebrated the duo’s music, it also showcased their showmanship. Joseph darted across the massive stage and even found himself perched in the crowd throughout the evening. His energy felt uncontainable, keeping fans on their toes as he shifted between instruments, stories, and physical stunts. Dun, meanwhile, delivered a jaw-dropping drum feature, hammering out rhythms on a portable kit hoisted by fans in the crowd. The production matched the energy, bursts of pyro and a lighting design that swung from intimate spotlight moments to blinding, arena-worthy spectacle.
Those shifts in mood are what make a Twenty One Pilots concert so distinct. One moment, the amphitheater was holding its collective breath during stripped-down ballads like Tear in My Heart and Message Man; the next, it was a riot of color, sound, and sweat as fans jumped to Heavydirtysoul or Jumpsuit. That ability to pivot between vulnerability and chaos is at the heart of their live reputation, and Milwaukee’s crowd leaned into every note.
By the time the encore rolled around, including City Walls, and the Grammy-winning Stressed Out, the AmFam Amp felt less like a music venue and more like a gathering of friends who’d weathered storms together. And as Trees closed the night with its trademark group chant, thousands of voices echoed into the Wisconsin night, a reminder that Twenty One Pilots aren’t just performers but ringmasters of one of live music’s most unique communities. Walking out into the cool air after, fans knew they had been part of a memory only Joseph and Dun could orchestrate.
Photo by Scott Newton (Courtesy of Austin City Limits)
Austin City Limits, the longest-running music television series in history, is back with another season of must-watch performances. Season 51 premieres October 4 on PBS with none other than FINNEAS, kicking off a run of episodes featuring some of the most exciting artists in music today.
A Fresh Chapter for a Music Institution
Celebrating over 50 years on the air, ACL continues to prove why it’s a cultural cornerstone. This new season brings together Grammy winners, genre-bending favorites, and rising stars, from the smooth jazz-inflected pop of The Marías to the powerhouse storytelling of Charley Crockett and Waxahatchee. And, in true ACL tradition, the show will also shine a spotlight on the roots of American music with a special hour dedicated to the 50th anniversary of Antone’s, Austin’s legendary blues club.
Season Highlights
The season begins with FINNEAS making his solo headlining debut, performing tracks from his sophomore album For Cryin’ Out Loud! It’s a full-circle moment for the hitmaker, who first graced the ACL stage in 2019 alongside his sister Billie Eilish.
From there, the lineup only gets stronger:
The Marías (Oct. 11) – Dreamy bilingual indie-pop with festival pedigree.
My Morning Jacket (Oct. 18) – A rare TV performance timed with their ACL Hall of Fame induction, honored by filmmaker Cameron Crowe.
Charley Crockett & Waxahatchee (Oct. 25) – Two acclaimed voices in Americana share the stage.
Samara Joy (Nov. 1) – The jazz vocalist brings her golden voice to ACL for the first time.
Antone’s & the Blues (Nov. 8) – A blues all-star showcase featuring Jimmie Vaughan, Kingfish, Grace Bowers, and more.
Kelsea Ballerini & Cam (Nov. 15) – Country stars spotlight new eras of their artistry.
Jon Batiste (Nov. 22) – The seven-time Grammy and Oscar winner returns with music from Big Money.
More Than Just Music
Season 51 arrives amid looming PBS funding cuts, a reality that makes ACL’s role in documenting live music all the more essential. Willie Nelson, who taped the show’s very first pilot back in 1974, put it best in a recent interview:
“Austin City Limits and PBS were and are an essential part of education, understanding, curiosity and empathy, which are the essentials and building blocks of humanity.”
How to Watch
New episodes air weekly on PBS stations nationwide (check local listings) and are available to stream after broadcast at pbs.org/austincitylimits. Fans can also dive deeper with exclusive content on ACL’s YouTube channel and social media.
Austin City Limits has long been a monument to music, and with Season 51, it continues to celebrate legends while amplifying the next generation of stars.
Chicago’s United Center pulsed with electric nostalgia as rock titans The Who took the stage for one of the most emotionally charged shows of their The Song Is Over: North American Farewell Tour, delivering a performance that felt both like a grand goodbye and a triumphant celebration of a six-decade legacy.
Announced in May as their last-ever run across the U.S. and Canada, this farewell tour sees founding members Pete Townshend and Roger Daltrey closing the book on a storied career with passion and tribute to fans past and present. The Windy City stop, supported by the blues virtuoso Joe Bonamassa, was one of the defining moments of the tour, a soaring blend of rock anthems, cinematic flair, and heartfelt reflection.
Performing to a sold-out crowd, The Who offered fans a taste of every era in their expansive catalog, from early revolutionary hits to timeless rock operas, delivered by two legends who still exude fiery stage presence and musical integrity. As the house lights dimmed one last time, the Chicago audience was left awestruck, united in appreciation, memory, and the bittersweet realization of an era’s end. Punk-powered riffs met tender moments, and emotional crescendos reminded everyone why The Who’s music still resonates across generations.
Relive the evening through our exclusive photo gallery, capturing the raw energy, iconic stagecraft, and timeless magic of The Who’s farewell night in Chicago.
Ty Myers performs during his headlining stop at The Sylvee in Madison, Wis., on Friday, Sept. 5, 2025. (Photo by Deanna Glatczak/The Early Registration)
Friday night, rising country artist Ty Myers brought his Select Tour to The Sylvee, filling the downtown Madison venue with a mix of youthful energy and old-soul authenticity. Doors opened early for a crowd that spanned from longtime country fans to college-aged newcomers eager to see a 18-year-old who’s already making waves nationwide.
Myers, who grew up on a six-generation cattle ranch outside Austin, has quickly earned a reputation as a voice to watch. Influenced as much by Stevie Ray Vaughan and Bill Withers as by Chris Stapleton and George Strait, his style blends classic grit with modern storytelling.
The Sylvee show leaned on that growing catalog. The crowd came alive when Myers launched into “Drinkin’ Alone” and “Tie That Binds,” two clear highlights of the night. Backed by his talented band, he delivered the kind of performance that balanced polish with raw honesty, showing why his star continues to rise.
Madison got a glimpse of a young artist still building his career but already commanding the stage with confidence. Myers left The Sylvee with more than applause, he left with the impression that his name will be on much bigger marquees before long.
Linkin Park made their long-awaited return to Milwaukee on Monday night, and the Fiserv Forum crowd was more than ready to welcome them back with open arms and louder-than-life voices. The From Zero World Tour has been a victory lap of sorts for the band, not just celebrating their legacy but proving that they are very much rocking and thriving in 2025.
With their new album From Zero fueling the setlist and Emily Armstrong stepping confidently into her role as the band’s vocalist, this wasn’t just a nostalgia trip. It was a reminder that Linkin Park can still shake the walls and hearts of an arena as if no time had passed. In fact, after nearly a decade since their last Milwaukee appearance, at Summerfest 2015, you could say fans were crawling in their skin waiting for this night.
From the moment the band launched into “Somewhere I Belong,” the energy inside Fiserv Forum was electric. Fans erupted as if the song had been bottled up inside them for years, finally able to be unleashed in one euphoric scream. The production pulled no punches either. An immersive stage at the center of the arena with 360 degrees of fans on the GA floor and throughout all levels of the arena made for a great night. Milwaukee got the full Linkin Park experience, complete with moments that felt like thunderclaps one second and hushed confessions the next. The group leaned into their act-based structure that has been a consistent thread throughout the tour, giving the night a cinematic flow, almost like flipping through the chapters of a diary.
Emily Armstrong continues to be the standout story of this era. In city after city, she has shown that she doesn’t need to mimic or replace what can never be replaced. Chester Bennington’s absence will always be felt, but instead of trying to fill his shoes, Armstrong honors the spirit he left behind while bringing her own grit, range, and stage presence to these songs.
During “Numb” and “In the End,” Armstrong often let the audience carry the weight, creating one of those goosebump-inducing moments when thousands of voices blended into one. Then she’d turn right around and ignite new songs like “The Emptiness Machine” and “Heavy Is the Crown,” pouring so much fire into them that you could feel the arena collectively buying in to Linkin Park’s next chapter.
Of course, Mike Shinoda remains the heartbeat of the show. His raps on “Papercut” and “Remember the Name” (from his hip-hop side project, Fort Minor) hit with machine-like precision, and his voice on tracks like “Waiting for the End” gave the night a spiritual quality.
The setlist was built to please everybody, from the diehard Hybrid Theory fans who have had these songs tattooed on their souls since 2000, to the fans embracing the shiny new material. Old favorites like “Crawling,” “Faint,” and “One Step Closer” hit as hard as they ever did, proving the band hasn’t lost a single ounce of its ferocity. Then came the new songs from From Zero, which flowed seamlessly into the night instead of feeling like an intermission. “Cut the Bridge” and “Overflow” showed off the band’s modern muscle, while “Lost” acted as the emotional centerpiece, silencing the room before turning it into a chorus of catharsis.
By the encore, everyone knew what was coming, but that didn’t make it any less explosive. The band returned with “Heavy Is the Crown,” giving one last punch of new material, before unleashing “Bleed It Out.” As Shinoda commanded the crowd to chant along, the noise grew so deafening that it felt like the entire Deer District could hear it. Fans jumped, shouted, and emptied their lungs on that finale, leaving the arena buzzing long after the last note. If the Bucks ever need a new pump-up anthem, they might want to consider putting this closer in their pregame playlist.
By the end of the night, Milwaukee had witnessed something bigger than just a rock concert. Linkin Park turned Fiserv Forum into a time machine, a therapy session, and a celebration all at once. They honored the past while embracing the future, and they did it with enough energy to power the city’s skyline. For longtime fans, it was validation that the wait was worth it, and for new ones, it was proof that this band is still one of the most important in rock. Linkin Park didn’t just bring the house down in Milwaukee. They built it back up again, stronger than ever, from zero.
Fresh off a sold-out kickoff at New Jersey’s MetLife Stadium and various huge performances across the country, including a show at Fenway Park, the Jonas Brothers are headed to the Chicago area this week with their JONAS20: Greetings From Your Hometown Tour, a career-spanning celebration of two decades of music, growth, and fan connection. The trio will take the stage at the Credit Union 1 Amphitheatre in Tinley Park on Tuesday, August 26, with tickets available now.
A Full-Circle Celebration
The tour opener in East Rutherford set the tone for what Tinley Park fans can expect: a setlist packed with hits from every chapter of the brothers’ 20-year career. From early favorites like “Lovebug” and “S.O.S.” to arena staples like “Burnin’ Up” and “Sucker,” the show also spotlights material from their brand-new album Greetings From Your Hometown, including singles “No Time to Talk” and “Love Me to Heaven.” Nick and Joe even go head-to-head with mini-sets from their solo eras, and yes—“Cake By The Ocean” is still in the mix.
Kevin’s Solo Spotlight
Adding to the nostalgia and surprises, Kevin Jonas recently stole the spotlight with a rare solo guitar-and-vocal performance during the tour’s stop at the historic Fenway Park, a heartfelt moment that left his wife, Danielle Jonas, in tears in the crowd. Whether Kevin reprises his solo turn in Tinley Park remains to be seen, but fans will be watching closely for that emotional highlight.
Surprise Guests Galore
If the MetLife opener is any indication, Tinley Park audiences should brace for surprises. The Jonas Brothers have been inviting special guests nightly, with the New Jersey crowd treated to Demi Lovato (“This Is Me”), Jesse McCartney (“Beautiful Soul”), Switchfoot (“Meant to Live”), and Dean Lewis (“Loved You Better”). Future stops are set to feature Marshmello, The All-American Rejects, and Boys Like Girls on select dates but the real fun is in the unknown. With their track record, Chicago-area fans can expect at least one guest star moment worth buzzing about.
More Than Just a Concert
Beyond the music, the brothers have built out JONASCON ON TOUR, an immersive fan experience that opens ahead of showtime with exclusive merch, photo ops, contests, and even celebrity meet-and-greets. It’s a festival-like prelude to the main event, giving fans of all generations a chance to step deeper into the Jonas world.
Remaining Tour Dates
Aug 26 – Tinley Park, IL – Credit Union 1 Amphitheatre
Aug 28 – Detroit, MI – Little Caesars Arena
Aug 30 – Rogers, AR – Walmart AMP
Aug 31 – Dallas, TX – Dos Equis Pavilion
Sep 4 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sep 6 – Los Angeles, CA – Intuit Dome
Sep 13 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
The Early Registration 