The Hollywood Palladium just added something unusual to the concert experience: a lounge where the music actually matters.

Vinyl Room is a new space inside the iconic LA venue that pulls from 1970s Japanese listening rooms, those rare spots where people gathered just to hear records on pristine sound systems. But this isn’t some nostalgic gimmick. It’s a carefully designed environment built around the Palladium’s eight decades of history, from Frank Sinatra and Lawrence Welk to The Ramones, Nirvana, and Adele.

Blueprint Studio designed the space with music at its core. The walls are lined with vinyl from artists who’ve played the venue. Tabletops mimic records. MasterSounds Clarity-M speakers sit center stage at the bar, not hidden in corners. There’s a built-in DJ booth that feels like a main attraction, not an afterthought.

One standout feature is the wheatpaste poster wall, a layered installation that recreates LA’s street-level concert promotion culture. It’s stacked with decades of Palladium show posters, The Who, Grateful Dead, U2, The Clash, Sonic Youth, No Doubt, and more, weathered and overlapping just like they would be plastered across the city before a gig.

The memorabilia runs deep. A 1991 co-bill poster from Red Hot Chili Peppers and Beastie Boys. A postcard signed by Lawrence Welk from the 1940s. Vintage gear like a 1970s Sony reel-to-reel and a Lafayette dynamic mic. It’s the kind of space where you notice something new every time you visit.

This isn’t just decor. It’s Live Nation betting that fans want more than a bar to kill time before doors open. They want context, atmosphere, a reason to show up early and stay later. Vinyl Room treats the venue itself as part of the show, not just a container for it.

More info at vinylroomhollywood.com.

Film Forum will host the U.S. theatrical premiere of Our Land (Nuestra Tierra), the first feature documentary from acclaimed Argentine filmmaker Lucrecia Martel, beginning Friday, May 1.

In her latest work, Martel (Zama, The Headless Woman, La Ciénaga) turns her focus to the 2009 murder of Indigenous activist Javier Chocobar, who was killed while defending his community’s land from outside interests. The documentary examines both the killing and the broader, ongoing displacement of the Chuschagasta people, weaving together footage from the long-delayed trial, firsthand testimony from community members, and sweeping aerial views of Argentina’s Tucumán province.

Blending investigative storytelling with a deeply personal lens, Our Land highlights the complexities of justice, land rights, and systemic inequality. The case itself, which relies in part on contested cell-phone footage, underscores the challenges faced by Indigenous communities seeking accountability.

The film premiered at the 2025 Venice International Film Festival and later screened at the New York Film Festival and BFI London Film Festival, where it received the award for Best Film. It also earned a special honor from the National Society of Film Critics.

The official trailer for Our Land is now available.

Andrew MacLean’s sword-swinging barbarian epic is coming back. Head Lopper returns in April with an extra-length issue that kicks off a new story arc, perfectly timed to mark 10 years since the series first launched from Image Comics.

The book follows Norgal, who goes around beheading mythic beasts while carrying around the severed head of a witch named Agatha. She talks. A lot. Think high-fantasy carnage meets buddy comedy, except one of the buddies is a decapitated head.

MacLean delivers what he does best: kinetic action sequences and dark humor that lands. The art is visceral and gorgeous, the kind of stuff that makes you want to flip back through the pages just to catch all the details you missed while your eyes were glued to Norgal’s oversized blade.

The return comes with a murderer’s row of variant covers. Alex Horley (Conan the Barbarian), Jeffrey Alan Love (News from the Fallout), Dylan Burnett (Arcade Kings), Jim Rugg (Street Angel), and James Harren (Rumble, Ultramega) all contributed covers. That’s the kind of artist lineup that makes collectors sweat.

MacLean recently sat down with the Let’s Talk Comics podcast to talk about where the series has been and where it’s headed. After a decade, he’s clearly still got stories to tell about this beheading bastard and his chatty companion.

Head Lopper (2026) #1 hits comic shops April 22. Eight different covers will be available, including retailer incentive variants and a team-up cover with I Hate Fairyland. Digital versions drop the same day on Kindle, Apple Books, and Google Play.

It’s been a long wait, but fans of brutal fantasy and MacLean’s distinctive art style finally get their fix next month.

Willie Nelson is scaling back his road schedule, which makes the 2026 Outlaw Music Festival Tour all the more special.

The legendary festival, entering its second decade, just announced a limited run of summer dates featuring Nelson alongside The Avett Brothers, Sheryl Crow, Wilco, Lukas Nelson, and a deep roster of talent including Stephen Wilson Jr., Margo Price, Sierra Hull, Robert Randolph, Don Was and the Pan-Detroit Ensemble, and Lily Meola.

“Being on the road and playing for the fans is what I love to do,” Nelson said. “We don’t get to do as many shows as we used to, so every night out there means a little more.”

The tour kicks off July 3 in Irving, Texas, and includes Willie’s annual Fourth of July Picnic in Austin, which will feature special guests Billy Strings and Rodney Crowell. From there, the festival winds through the Midwest and Northeast, hitting venues like Alpine Valley in Wisconsin, Pine Knob in Michigan, and Jones Beach in New York.

Since its debut in Scranton in 2016, the Outlaw Music Festival has become one of the biggest annual touring franchises in North America. The festival has hosted everyone from Chris Stapleton and Neil Young to Tyler Childers and Bonnie Raitt, with each stop featuring local food, drinks, and vendor villages at amphitheaters nationwide.

Rolling Stone called last year’s 10th anniversary run “undoubtedly the most exciting and eclectic multi-artist festival of the 2025 summer amphitheater season by a wide margin.”

Tickets go on sale Friday, March 27, at 10 AM local time via OutlawMusicFestival.com and Ticketmaster. Citi cardholders get early access to presale tickets through Thursday, March 26.

With Willie slowing down his touring pace, this summer might be one of the last chances to catch the 93-year-old icon in his element, surrounded by a community of artists who carry the outlaw spirit forward.

A small coastal city grapples with its colonial past in “təm kʷaθ nan – Namesake,” a documentary tracking what happens when the Tla’amin Nation asks Powell River, BC to reconsider the name on its welcome sign.

The film just landed a spot at Hot Docs, North America’s largest documentary festival, where it will world premiere in the Canadian Spectrum competition section. Screenings are set for April 29-30, 2026 at TIFF Lightbox in Toronto.

The story centers on a request that cuts deep. The city is named after Israel Wood Powell, who served as BC’s Superintendent of Indian Affairs for 17 years and played a key role in establishing residential schools, banning the potlatch, and seizing Tla’amin territory. Now the Nation is asking, what if we called this place something else?

Co-directors Eileen Francis and Evan Adams have been filming since 2022, capturing community meetings, heated debates, archival footage, and the oral histories that tell a different version of this place’s story. The result is 76 minutes that sit in the tension between who gets to name a place and what those names mean.

“This film comes from this place,” says Francis. “It was important for it to take root here first, with the people and conversations that shaped it, and with the history that continues to be felt.”

Adams puts it plainly: “It sits in the tension between memory and responsibility. It does not turn away from difficult truths, and it asks what it means to live well with each other in a place where we have different histories.”

The Tla’amin Nation is a self-governing First Nation with over 1,200 citizens on BC’s upper Sunshine Coast. Under its Treaty and Constitution, the Nation governs its own lands, resources, and services, guided by ancestral teachings and relationship to the land.

The documentary was supported by TELUS originals, part of a funding program aimed at locally-rooted stories from BC and Alberta. It’s exactly the kind of small-town, nationally relevant conversation happening across Canada as communities reckon with reconciliation in real time.

The film is in English and ʔayʔajuθəm. More info at namesake.film.