Hear My Morning Jacket, Preservation Hall Jazz Band Cover Neil Young’s ‘Like a Hurricane’

Song appears on 'Heart of Gold: The Songs of Neil Young, Vol. 2 - Out of the Blue', out this fall with 'Vol. 3'

My Morning Jacket.

My Morning Jacket and the Preservation Hall Jazz Band mined new emotion in Neil Young‘s “Like a Hurricane” for an upcoming tribute album, Heart of Gold. Their rendition of the song, which appeared on Young’s 1977 album, American Stars ‘n Bars, still features a monster guitar solo, but Jim James sings the vocals with unusual sadness and the soulful touches from the Jazz Band’s brass instruments, including their own solos, put a unique spin on the song.

Both Heart of Gold: The Songs of Neil Young, Vol. 2 – Out of the Blue and Vol. 3 – Into the Black will come out on November 6 to raise money for the Bridge School, the California-based nonprofit that Young co-founded with his ex-wife Pegi 40 years ago to help children with speech and physical disabilities. Lucinda Williams, Ann Wilson, Peter Frampton, MJ Lenderman, Ben Gibbard, and Los Lobos are among the artists who contributed cover versions. Both volumes are available for pre-order.

“We were so honored to get to be at several of the Bridge School Benefit concerts in the past, and are so honored to once again be a part of raising funds for this amazing school, with these amazing songs of Neil Young,” James said in a statement. “We felt like teaming up with Preservation Hall Jazz Band would add some magic to this track, so we all got together with producer Ross Hogarth down in New Orleans and recorded it live at Marigny Studios. We hope you enjoy listening to it as much as we enjoyed playing it!”

Modest Mouse and Califone also released a rendition of “Barstool Blues,” a song that originally appeared on Young’s 1975 album with Crazy Horse, Zuma. Shimmering synths and Modest Mouse frontman Isaac Brock’s signature staccato delivery give the song a new, New-Wavey feel. The instrumentation, which recalls “Then He Kissed Me,” is more pronounced in their version.

“Getting to do a cover of one of Neil’s songs on a project like this matters both because it gets to be helpful for an important cause like the Bridge School, and because it’s actually attached to the person whose song we are covering,” Brock said. “It’s really… well, it’s a stressful honor. The stakes seem a little higher. I like that.”

“As the Bridge School celebrates our 40th anniversary, these Heart of Gold tribute albums are a meaningful reminder of the incredible community that has supported our mission for so many years,” Gabriela Berlanga, the Bridge School’s executive director, said in a statement. “We know that music has an extraordinary ability to connect us, inspire us, and bring people together for a greater purpose. We are especially grateful to those whose love and appreciation for music have inspired them to support our mission and help ensure that individuals with communication and physical disabilities have a voice.”

The tribute albums follow the release of Heart of Gold: The Songs of Neil Young Part I last year. That release featured Eddie Vedder, Fiona Apple, Brandi Carlile, and others. “The album opens promisingly with Brandi Carlile’s lovely, meditative reading of ‘Philadelphia,’ a ballad that appeared on the soundtrack to the first big Hollywood movie to address the AIDS crisis, performed here by an artist who has long been an eloquent advocate for LGBTQ+ issues,” Rolling Stone’s review of the album said. “It’s what tribute records are for, showing us a meaningful echo of an artist’s legacy that might not be the first thing that springs to mind.”

Heart of Gold: The Songs of Neil Young, Vol. 2 – Out of the Blue Track List

1. My Morning Jacket with the Preservation Hall Jazz Band, “Like a Hurricane”2. Ann Wilson, “Walk With Me”3. Draco Rosa, “After the Gold Rush”4. Peter Frampton & John Jorgenson feat. Jay Dee Maness, Herb Pedersen, Steve Duncan and Mark Fain, “Heart of Gold”5. Lucinda Williams, “Don’t Be Denied”6. Los Lobos, “Cinnamon Girl”7. Edie Brickell, “Only Love Can Break Your Heart”8. Tyler Ballgame, “Tell Me Why”9. Sharlotte Gibson, “Ohio”10. Jesse Malin, “Pocahontas”11. Southside Johnny and Bobby Bandiera, “Rockin’ in the Free World”12. Dramarama, “Kinda Fonda Wanda”

Heart of Gold: The Songs of Neil Young, Vol. 3 – Into the Black Track List

1. Briston Maroney, “My My, Hey Hey (Out of the Blue)”2. LP, “Harvest Moon”3. King Princess, “Helpless”4. Modest Mouse feat. Califone, “Barstool Blues”5. Ben Gibbard, “Don’t Cry No Tears”6. MJ Lenderman, “Separate Ways”7. Cold War Kids, “Tonight’s the Night”8. Kurt Vile and The Violators, “When Your Lonely Heart Breaks”9. Devendra Banhart, “Pardon My Heart”10. Emily Hackett, “Everybody Knows This Is Nowhere”11. RAC feat. Kelcey Ayer, “Hey Hey, My My (Into the Black)”12. New Constellations, “Unknown Legend”

Styles onstage in May in Amsterdam

After three years away from the stage, Harry Styles can’t get enough of being together, together again. The Grammy award-winning musician launched the Together, Together residency tour in May in support of his fourth studio album, Kiss All the Time. Disco, Occasionally. The run kicked off with a stretch of stadiums in limited cities and recently made it to New York, where Styles is performing 30 nights at Madison Square Garden. Now, he’s extending the fun to six stadiums for his biggest North American shows yet, before heading to Europe for performances in Berlin, Paris, Madrid, Rome, Dublin, and London, where he closes out the tour with three shows at Wembley Stadium.

The tour kicks off April 2 at Phoenix’s State Farm Stadium, and continues in North America through May 29 at Chicago. Each city on the 2027 tour will feature a different special guest, with Tinashe, CA7RIEL & Paco Amoroso, Kylie Minogue, Lainey Wilson, Q Marsden, The Womack Sisters, Getdown Services, Caroline Polachek, Feist, LCD Soundsystem, Baby Rose, and Tears For Fears joining Styles on select dates. In North America, general on sale begins Sept. 16 at 9 a.m. Full details are available at Styles’ website. Ticket prices will be listed on the site and range from $60-$300.

Styles’ Together, Together tour will continue to support the humanitarian organization Choose Love. In London, £1 from every ticket sold on the tour will go to LIVE Trust, which is devoted to protecting, expanding and supporting grassroots music in the UK. In the U.S., Styles will continue his partnership with HeadCount; eligible fans attending any show date can register to vote onsite at HeadCount’s pop-up activation. Styles has also partnered with Green Nation, Live Nation’s global sustainability initiative.

Styles’ slate for the rest of 2026 includes his remaining nights at MSG, plus a much shorter run in Australia, with four stops in Melbourne and two in Sydney. “When we decided to do the 2026 tour I knew it would be special but what you turned it into was far beyond what I could have imagined,” Styles wrote in a letter to fans Wednesday night. “I love playing music, I love being with all of you and being a part of the love and joy you all create together every night.”

“In the time that I took away from touring, I watered a side of my life I hadn’t paid much attention to previously. Because I started so young, touring became so much of who I was. I would feel quite uncomfortable with stretches at home. I didn’t know what to do with myself sometimes,” Styles told W Magazine recently. “Now I feel really fortunate to have this incredible job and creative environment, but also this life away from it that I’m excited to spend time in. I don’t know that I had that before. The idea of not touring is less frightening to me. It feels quite special to be in it, bathe in it, and be aware it’s not forever.”

Styles’ shows this year mix Kiss All the Time. Disco, Occasionally with hits from his three other studio albums. “On most of Kiss All the Time. Disco, Occasionally, Harry Styles is a seeker, looking to find or provide enlightenment, ecstasy, love, or light,” Rolling Stone wrote in a review of the record. “The album opens with Styles singing about letting in the light in ‘Aperture’ and ends with ‘Carla’s Song,’ where he finds the light not in someone else’s eyes, but in the gold those eyes see, as if his own capacity for empathy and understanding — not sex and love — is what he’s been after the whole time.”

Harry Styles Together, Together 2027 Stadium Tour Dates

April 2 — Phoenix, AZ @ State Farm StadiumApril 3 — Phoenix, AZ @ State Farm StadiumApril 9 — Dallas, TX @ AT&T StadiumApril 10 — Dallas, TX @ AT&T StadiumApril 23 — Los Angeles, CA @ Rose Bowl StadiumApril 24 — Los Angeles, CA @ Rose Bowl StadiumMay 7 — Toronto, ON @ Rogers StadiumMay 8 — Toronto, ON @ Rogers StadiumMay 21 — Atlanta, GA @ Mercedes-Benz StadiumMay 22 — Atlanta, GA @ Mercedes-Benz StadiumMay 28 — Chicago, IL @ Soldier FieldMay 29 — Chicago, IL @ Soldier FieldJuly 2 — Berlin, DE @ Flughafen TempelhofJuly 3 — Berlin, DE @ Flughafen TempelhofJuly 16 — Paris, FR @ Plenitude ArenaJuly 17 — Paris, FR @ Plenitude ArenaJuly 30 — Madrid, ES @ Riyadh Air MetropolitanoJuly 31 — Madrid, ES @ Riyadh Air MetropolitanoAug. 7 — Rome, IT @ Circo MassimoAug. 8 — Rome, IT @ Circo MassimoAug. 18 — Dublin, IE @ Croke ParkAug. 20 — Dublin, IE @ Croke ParkAug. 25 — London, UK @ Wembley Stadium Connected by EEAug. 27 — London, UK @ Wembley Stadium Connected by EEAug. 28 — London, UK @ Wembley Stadium Connected by EE

For a second year in a row, Polaris Festival is bringing Canadian artists, audiences and music obsessives together across Ontario for a full month of concerts, listening sessions, artist talks, exhibitions, workshops and unconventional collaborations.

Seminal albums from the performing artists will be put in the spotlight. Among others, producer Caribou will be the subject of an immersive listening experience devoted to Andorra on September 29, followed a day later by Broken Social Scene’s You Forgot It in People. Both events take place at Standard Time in Toronto, one of the city’s best listening bars.

Beverly Glenn-Copeland and Elizabeth Copeland will take part in an intimate discussion at It’s OK* Studios, while Haviah Mighty will headline a Producers’ Circle at Hart House. A special Collective Study session will also dig into k-os’ Joyful Rebellion.

While many events take place in Toronto, other cities will play host to the celebration. William Prince and Population II will perform a free Supercrawl presentation in Hamilton, while Thanya Iyer and Cadence Weapon head to Belleville for another free event.

The Polaris Prize award show will take place September 22 at Toronto’s Massey Hall, where one of 10 shortlisted albums will take home the 2026 Polaris Music Prize. This year’s nominees include Angine de Poitrine’s Vol. II, Bibi Club’s Amaro, Peaches’ No Lube So Rude, Tanya Tagaq’s Saputjiji, Rochelle Jordan’s Through the Wall and Beverly Glenn-Copeland’s Laughter in Summer, alongside records from Aquakultre, Begonia, Charlotte Cornfield and Les Louanges.

Zedd and Shania Twain.

The opening lyrics to Shania Twain‘s “You’re Still the One” take on surrealistic new levels of meaning in the video for her dance-floor ready redo of the song with Zedd: “Looks like we made it/Look how far we’ve come, my baby,” she sings … riding a star-adorned unicorn. The video, which is essentially an ad for Candy Crush since the game sponsored the collab, bursts with glimmery psychedelia, literally Shania in the Sky With Diamonds. Filmmaker Jonas Åkerlund directed the clip.

There’s a pink vulture, flying Swedish fish, singing cacti, a blot-out-the-sun-like-E.T.-silhouette moment, a “glamwash” — and that all takes place two-and-a-half full minutes before Twain even sees Zedd. By then, her unicorn’s legs are motorcycle wheels, and all that’s left is a electro-house line dance. “We mighta took the long way,” Twain sings early in the song, but she likely never thought she’d get here someday.

“Bringing ‘You’re Still the One’ back with Zedd, and building this special world with Candy Crush for fans to play in, felt like the perfect way to give the song new life,” Twain said in a statement. “It feels exactly right.”

“I was super happy Candy Crush brought me and Shania Twain together,” sed Zedd. “She’s a legendary artist, and I grew up listening to her music, so being able to collaborate with her on a new version of such an iconic song has been really special.”

Twain originally recorded “You’re Still the One” for her 1997 album Come On Over. Cowritten with producer and Twain’s then-husband, Robert John “Mutt” Lange, the song was intended as a middle finger to naysayers who thought their marriage wouldn’t last.

“Mutt and I are an unlikely pair,” Twain told The Spokesman-Review in 1997. “There’s been talk in the tabloids that we’re divorcing, but we are very happy. We love each other in every way. We have a great creative relationship and a great personal relationship. We feel as strong as ever, and ‘Still the One’ is sort of my own personal victory song about the marriage.” After the couple divorced in 2010, Twain called “You’re Still the One” “the people’s song” and said, “it no longer applies to Mutt and I.”

AC/DC will not be bringing its Power Up tour to Toronto after all.

Live Nation has cancelled the band’s Sept. 16 concert at Rogers Stadium after engineers determined that portions of the 50,000-capacity venue were too badly damaged by last week’s violent storm to safely host a crowd.

The decision comes one week after extreme weather ripped through Toronto, leaving sections of the stadium’s grandstand collapsed, sending debris scattered across the Downsview Park site. The city subsequently ordered Live Nation to address the venue’s unsafe condition and submit an engineering assessment.

According to Rogers Stadium’s on-site meteorologist, Kevin Mahoney, the Sept. 2 storm may have involved a suspected microburst, with extreme winds and heavy rainfall making it what he described as a “100-year storm” for Toronto. A forensic meteorological analysis remains underway. The engineering assessment determined that damaged sections of the stadium will need to be removed and rebuilt, with Live Nation saying that work will take place ahead of next summer’s concert season.

“This isn’t how we wanted the season to end,” Live Nation Canada president of business operations Wayne Zronik said, adding that the safety of fans, artists, employees and vendors takes priority over any individual show.

The situation is very disappointing for AC/DC fans across Canada, as the Toronto date was set to be one of the final stops on the veteran Australian rock band’s Power Up tour. The band will go ahead with scheduled stops in Montréal on Sept. 12 and Winnipeg on Sept. 20.

There will be no makeup show announced in Toronto at this point. Live Nation says original ticket purchases will be automatically refunded through Ticketmaster. Anyone who bought tickets through a resale platform will need to contact the point of sale directly.

The cancellation also brings Rogers Stadium’s second season to an abrupt end. The venue had hosted a packed run of major acts throughout 2026, including Bruno Mars, BTS, Chris Stapleton, Foo Fighters, Guns N’ Roses, Karol G and Post Malone. AC/DC's concert was supposed to be the summer finale.

Dolly Parton's rollicking version of "Bound to Ride" is her first new track to be released posthumously

Almost all of the tracks on the years-in-the-making, all-star tribute album Where the Soul Never Dies: Celebrating 80 Years of The Stanley Brothers, due Oct. 16, were recorded live in the studio, but the album’s producers made an exception for Dolly Parton. During a Covid surge circa 2022, Parton was taking no chances, so she recorded her vocal for the traditional song “Bound to Ride” (which the Stanley Brothers helped popularize with a 1964 recording) alone at her own studio. The virtuoso musicians known as the First Ladies of Bluegrass earlier laid down a backing track for her on their own, though you’d never know it by the playful vibrancy of her performance.

Now, two weeks after Parton’s death at age 80, the song is her first posthumous release, taking her back to her deepest mountain roots. (Click here to preorder and presave the album, and check out the single below.)

Where the Soul Never Dies was produced by banjoist Alison Brown and bassist Garry West, the husband-and-wife team behind Compass Records, and timed to the Stanley Brothers’ long-delayed induction into the Country Music Hall of Fame. Beginning in the mid-1940s, Carter and Ralph Stanley, along with their band, the Clinch Mountain Boys, combined the string-band music of Bill Monroe with the mountain ballads and church singing they learned in southwestern Virginia, plus Carter Family-inspired harmonies.

The album also includes Willie Nelson and Sierra Ferrell on “I’ll Fly Away,” Jamey Johnson and singer-songwriter Shawn Camp on a stark “Rank Strangers to Me,” Dierks Bentley with Della Mae on “How Mountain Girls Can Love,” Jim Lauderdale with the Travelin’ McCourys on “Riding That Midnight Train,” the Nitty Gritty Dirt Band on “Think of What You’ve Done,” Rhiannon Giddens and Dirk Powell on “Little Birdie,” Ralph Stanley II with Tim O’Brien on “Mother No Longer Awaits Me at Home,” and the group I’m With Her performing the hymn-like “Going Up Home to Live in Green Pastures.” Rounding out the album is Steve Martin and Ed Helms’ take on a Stanley Brothers comedy routine.

The producers hope to remind listeners’ of how much country, bluegrass, and Americana owe the Stanley Brothers, who also influenced artists from Bob Dylan to Bruce Springsteen. “I feel like a lot of their stuff is just in the ether,” West says. “It’s just there, and it’s taken for granted. Some of these things are such classics that a lot of people that play these tunes now — because they’re so commonly played in pickup bands — I would bet a lot of the musicians don’t even know the origins of them as Stanley Brothers songs, or at least from their recordings.”

For the Parton track, the First Ladies of Bluegrass — co-producer Brown (banjo), Becky Buller (fiddle), Sierra Hull (mandolin), Missy Raines (bass), and Molly Tuttle (guitar) — rearranged “Bound to Ride,” complete with a newly written eight-bar bridge drawn from an obscure verse. The band worked up the new version while masked around a studio coffee table, and Buller sang a scratch vocal in the band’s best guess at Parton’s key.

“I call it the full Dolly,” West says. “We didn’t know what we would get back, and she really did over-deliver. We were shocked. We couldn’t have gotten anything better.” Parton ended up calling out each of the First Ladies by name during the song, which left the musicians deeply moved.

The idea for the album originated with another label before corporate reshuffling stalled it, and industry veteran J. Tayloe Emery brought the project to Brown and West, whose Compass Records straddles bluegrass and the broader Americana world. The couple produced every track themselves, cutting tracks live at their Nashville headquarters, the former Glaser Brothers studio, where outlaw country got its name. Brown’s own banjo turns up on most of the album. “I’m the best in my price range,” she jokes.

Willie Nelson’s contribution also came together remotely. The country legend initially sent back a track where he simply harmonized with the guide vocal, but when they asked his longtime producer, Buddy Cannon, to take another shot at it, Nelson recorded a strong lead vocal and even a guitar solo. West then decided “there was room for another voice, a different generational take on it,” and recruited Sierra Ferrell to turn the song into a duet.

Then there’s “Pardon Me, Stranger,” in which Steve Martin, Ed Helms, and Brown reinvent “How Far to Little Rock,” the comedy routine the Stanleys performed for years onstage. Brown and Martin each wrote part of the new song, while Martin and Helms came up with new jokes to replace the old-timey ones from the Stanleys’ bit. The finished track features three banjos, with Helms picking alongside Brown and Martin.

The celebration continues Oct. 28, when Brown and West will convene many of the record’s artists — they’re not ready to announce which ones — for a live tribute at Nashville’s CMA Theater. The producers hope the album, the concert, and the induction are just the beginning. “Our hope is that younger players just pick up on the music again and keep it moving forward and keep it alive and keep reinventing it,” West says. “Not being afraid of reinventing it, not being afraid of freshening it up.”