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“I used to always feel nostalgic for the past and wanting the old times back but recently something changed,” Ben says. “There was a moment in Summer 2024 when I was just home in Dublin having a run and I got told that our song was going to be on a FIFA game [now known as EAFC] and everything clicked. I texted my family and I cried happy tears, since only a year before things had felt so different. Now, it was like ‘the good old days’ were happening at that very moment – this is where I’d want to come back to in the future.”

The genre-sprawling 21 tracks of Happy Tears encapsulates that bittersweet joy, embodying the feeling of nostalgia for the past, hope for the future and fleeing joy in the present by taking listeners on a journey from the bouncing basslines and singalong vocals of “Good Times” to the boom-bap swagger and horn fanfares of “Most Days”, propulsive house pulse of “Hold On”, UKG balladry of “Glenmalure Blue” and uplifting, jazz-inflected saxophone melodies of “Come Home”. It’s a blend of euphoric highs and introspective lows that tugs on the heartstrings as the pair navigate yearning for the sounds and feelings of the past, as well as pushing for a future of adventure. 

Scattered among the journey are voice notes and heartwarming home video recordings from the pair’s childhood, as well as features from some of contemporary dance music’s most exciting names: Irish DJ and producer SHEE on the thumping beat of “Hold On” – “always a great moment to jump into the crowd when it’s played live,” Ben says – as well as rapper Brandon Nembhard on the easygoing “Most Days”, producer A Little Sound on the rolling drum ‘n’ bass of “Can’t Walk Away” and MC mustbejohn on the nostalgic feel of ‘Rewind’.  

“So much of the album was instinctual, with tracks written while we were on the road or put together and then taken apart again depending on the mood that fit best,” Ben says. “The process was a lot of fun and often very personal, including reworking a three-decade old song that Paddy’s dad initially wrote and that became Mr Rain.” 

With their largest tour to date spanning the UK and EU planned for later in 2025, as well as new music constantly being written, it feels like 49th & Main are finally embodying the remarkable journey of being themselves, right here, right now. “I want people to listen to the album and cry happy tears,” Paddy says. “Let the emotion happen.” Press play and you’ll feel it too: the good times are most certainly back.

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Reknowned for whipping up frothy dancefloors the world over, Air Max ‘97 is a magnetic presence as a DJ. His sets work out body and mind, serving high energy, bass rich club gear with a generous dose of playful left turns.

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Since their 2001 debut performing the music of Steve Reich at New York’s Miller Theatre, Alarm Will Sound has treated the concert hall less as a sanctuary and more as a laboratory. Over the past 25 years, they’ve translated Aphex Twin’s glitch-heavy electronic masterworks into blistering acoustic arrangements on their landmark 2005 album Acoustica; collaborated with Dirty Projectors on The Getty Address; built multimedia explorations of cultural rupture with projects like 1969, reframing Lennon, McCartney, Stockhausen, Ono, Berio, and Bernstein through the lens of political upheaval; and joined Björk onstage at Carnegie Hall to launch her Vulnicura world tour. Along the way, they’ve championed a generation of boundary-pushing composers and artists — from John Luther Adams and Meredith Monk to Jlin, Tyondai Braxton, Eartheater, and Tyshawn Sorey — continually expanding what a chamber ensemble can be.

Alarm Will Sound has moved fluidly between iconic concert halls and experimental spaces — from Carnegie Hall and Lincoln Center to Brooklyn’s Roulette and the Bang on a Can Marathon — appearing everywhere from Disney Hall and the Walker Art Center to underground festival stages across Europe. International tours have taken them to the Barbican, Holland Festival, and Sacrum Profanum, underscoring their unusual position: equally at home inside classical institutions and at the edges of contemporary culture.

Learn more about Alarm Will Sound’s unique 25-year journey here.

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Acknowledged for her successes to date, aleksiah took out four awards at the 2024 South Australian Music Awards for Best New Artist, Best Solo Artist, Most Popular Pop Artist and the APRA AMCOS Emily Burrows Award. With Australian artist management company Chugg Music (Lime Cordiale, Teenage Dads) and Copenhagen-based Stellar Music (James Blake, Maximillian), aleksiah’s story is just beginning.

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Garip — which translates to “strange” in English — is a loving tribute to Neşet Ertaş, a beloved icon of Anatolian music who carried the spirit of the ashik folk tradition into the modern era. Ertas was a gifted singer, lyricist, and bağlama virtuoso who recorded more than 30 albums and wrote hundreds of songs — some of which were famously recorded by the likes of Bariş Manço and Selda Bağcan.

Altin Gün recast these songs of longing, heartache, and resilience with the freewheeling verve that has kept them on the cutting-edge of 21st century psychedelic music. They even collaborated with the Stockholm Studio Orchestra to lend a luxuriant, sophisticated feel to various tracks, with arrangements inspired by Egyptian popular music, Turkish Arabesque, and swooning mid-century French and Italian pop.

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