Glenn will join Doug Aldrich, Tommy Clufetos and David Lowy for this rare, one-off performance delivering a thrilling 50/50 split set, kicking off with 10 of THE DEAD DAISIES’ favorite tracks followed by 10 iconic DEEP PURPLE classics.
Glenn’s solo show scheduled to take place at the same venue on April 11, 2026, had been “on the advice of the medical team” cancelled earlier this year, along with the rest of his extensive tour. Tickets for that cancelled show will be honoured for the May 30 performance.
Tickets go on sale on Friday, March 13 at 10 a.m. CST.
[Update Mar 13]: This Glenn Hughes/Dead Daisies reunion show has now been confirmed by both sides.
In even more exciting news, a Deep Purple show at the Ravinia festival in Highland Park, IL, has been announced on the festival site for August 25. Kansas is cited as support, and tickets are promised to go on sale April 23. Our fingers are crossed for more North American dates.
Thanks to Blabbermouth and Randy Engman for the heads-up.
Steve Morse spoke to the Mind Behind The Music podcast. From his first — almost broken in half — guitar, to the laws of gravity — it’s all there.
Dive into the remarkable journey of Steve Morse, the legendary guitarist whose work with Dixie Dregs, Kansas, and Deep Purple has helped shape progressive rock, fusion, and modern guitar artistry.
In this exclusive Mind Behind The Music interview, Steve Morse shares insights into his early musical development, compositional philosophy, career evolution, and the deeper mindset required to sustain a lifetime in music.
Originally recorded as a longer conversation, this interview highlights key reflections on creativity, discipline, musical identity, and the human element in music.
In other Steve Morse news, the official transcription book for his latest album Triangulation is now available from his merch store in electronic form, with a physical format “coming soon” via Amazon.
A new book is coming out in Japan on March 18, 2026, via publishing house Shinko Music. It is titles Deep Purple in Concerts and details live performances of the band throughout its history.
John Jon Lord’s 85th birthday is coming up!ćAnd the 60th anniversary of the Deep Purple is just around the corner!
An inspiring rock history book that is on par with “Rainbow on stages” (published by Shinko Music in 2021), a rock history book loved by Rainbow fans!
The authors of the popular “Rainbow on Stages” have created a Deep Purple bible of 512 pages that depicts the real scenes of Deep Purple’s live performances.
From the first live of Mark I, which began in 1968, to the 2025 performance of Mark XI, which is the latest history at this point, this book analyzes the performances by meticulously reviewing existing sound sources, photos, literature, and video materials, including the set list, the sources of classical melodies inserted before and during the song, the content of the MC, and other notable occurrences.
In addition, never-seen stage shots from the Mark II and Mark IV in Japan will be generously released!
CONTENTS
Introduction
Historic Photo Collection Mkā ~ā Ŗ
The transition and inheritance of Deep Purple from photos of each period
German music site bonedoprofiles Ian Paice. And while our regulars would find little new from the provided biography, details of his kit throughout the years may be of interest.
When Ian Paice joined Deep Purple in 1968, the then 19-year-old British drummer probably had no idea that a career with one of the greatest rock bands of all time lay ahead of him. Leaving aside the brief hiatus, the band has now existed for 58 years, and Ian Paice is the only founding member to have been part of every single lineup. More than enough reason, then, to delve into the story of this rock legend. Besides the various stages of his career, you’ll also find everything you need to know about Ian’s equipment at the end of the article. Enjoy the read!
The tour rehearsal material, for all its historical value, is ruined by too much bass and distortion. But across six live discs ā with just a little overlap with the bandās 1977 album On Stage ā there is much for Rainbow connoisseurs to savour, including stunning performances of Stargazer and Do You Close Your Eyes.
As Dio himself said, with some satisfaction: āRitchie and I wrote some really wonderful thingsā.
Get Ready to Rock has a much more in-depth review of the offering, including some quotes from Cozy Powell:
After the breakup of Strange Brew in 1975, Cozy Powell had quit the music industry and was tempted back by the Rainbow audition. And Cozy once told me: āYes, I was number 80, or 77 or something like that. Iāve heard some funny stories about Ritchie being difficult with drummers.
Apparently this one guy came along, set the drum kit up, looked the part, got his suitcase out and changed next to the kit with this all black kind of outfit and black gloves. Eventually gets up and says heās ready and Ritchie says āGet rid of himā. This poor guy doesnāt even play a note. I remember that audition. I got a phonecall on the Wednesday night from my tour manager and got the plane to L.A. in the morning.
Off the plane, check into the hotel and straight down to the audition, no time no nothing and a kit Iāve never even seen before. There were about 100 people in this sound stage looking at me like a golden boy theyāve just flown over from England at great expense. The first thing he said to me was āCan you play a shuffle?ā How about this and BANG! started playing this shuffle and 20 minutes later āYouāve got the jobā.
Get Ready to Rock reviews the upcoming Ian Gillan Band box set Down The Road: The Complete Ian Gillan Band Story, now due out apparently at the end of March.
Another wonderful package, two fold out card cases with a 7ā booklet that is well annotated. Bonus artwork includes both UK and Japanese editions of Budokan, and the USA alternate sleeve for Scarabus. Top marks there.
While there may not be a great deal new for the collector, itās a great set in that the mastering is good and everything is brought together in one place. Decent packaging too (although the outer case is flimsier than some). Still, well worth the money. ****
Guitar Player has an undated interview with Ritchie Blackmore, where he discusses searching for the perfect guitar tone back in the day.
āIt’s interesting to note that Jim Marshall didn’t know much about amplifiers,ā Ritchie Blackmore says. āAnd yet he knew how to design something that caught on like crazy. This is a similar situation with Leo Fender, who never played a guitar.ā
Blackmore knows something about the gear created by Marshall and Fender. After all, he played Marshall amps throughout his tenures with Deep Purple and Rainbow, and heās used Fender Stratocaster guitars for nearly his entire career, including today with Blackmoreās Night.
But he never thought either man built the perfect gear.
Guitar Worldposts Steve Morse’s tutorial on wide intervals.
Steve has kindly agreed to this unique tutorial on big intervals, a core component of his trademark style. He defines big intervals as anything larger than using adjacent notes, such as playing a linear scale (eg root, second, third). Typically, big intervals involve skipping strings, and he does this in both his compositions and general playing to outline chords.
Another batch of historic Deep Purple bootlegs have been digitally released through official channels. This one includes two Mark 3 performances from Copenhagen (March 20) and Gothenburg (March 21), and three from Mark 4: Auckland (November 13), Melbourne (November 25), and Nagoya (December 8). That’s 77 tracks in total. They are available on streaming platforms and for purchase as digital download on Amazon Music, Apple Music, Qobuz, etc.
Here is the YouTube playlist for your perusal:
Our contributor David Black offers his review:
Recently released on official Deep Purple YouTube channel and various streaming platforms like such as Amazon Music and Spotify is the Live Archive 1975 comprising 77 songs totally nearly 9 hours of music.
The releases are two MK3 audience recordings from Copenhagen, Gothenburg, and three MK4 sets from Auckland, Melbourne, and Nagoya.
The MK3 sets are the usual for 1975; Burn, Stormbringer, The Gypsy, Lady Double Dealer, Mistreated, Smoke, You Fool No One, Space Truckin’ with Going Down & Highway Star as the encores. Both have been around as bootlegs for years.
Copenhagen is a pretty decent sound for 1975 (and considering how loud they were back then) but it’s not without its flaws. There is an edit in Stormbringer so it starts at the first chorus. Gypsy was often a mixed bag from Ritchie and that’s certainly the case here as his solo is less than inspired. Mistreated clocks in at 13+ minutes and is powerful even if Glenn goes off-piste in the stacked vocals at the end. Smoke is ok, but it’s got the usual Glenn vocal indulgence ā here it lasts for the thick end of four minutes and though the track list says there’s a nearly four minute version of With a Little Help From My Friends it’s actually only about thirty seconds in the middles of Glenn’s spot. You Fool No One with Jon’s Keys solo intro, Little Ian’s drum solo and ending with the Mule clocks in at over 20 minutes albeit spread over three tracks. No solo from Ritchie in Space Truckin’ which is listed as only ten minutes long, but Going Down (which is listed as being over fourteen minutes) is actually the last part of Space and the sixteen plus Highway Star is actually that plus Going Down.
Gothenburg is exactly the same set, but to my ears worse sounding yet still listenable. The sound deteriorates for the encores (I expect they turned the volume up) and god knows what torture Ritchie is putting his guitar through, but it sounds dreadful.
The set for the MK4 gigs is Burn, Lady Luck, Love Child, Getting Tighter, Smoke, Wild Dogs (not Nagoya), I Need Love, Lazy, This Time Around, Owed To G, Drifter, You Keep on Moving, Stormbringer and Highway Star as the encore.
Auckland (MK4’s second gig) is ok quality if a little thin and favours the guitar. Decent if not exceptional performance. Once again the splitting of the tracks isn’t that accurate, what at first glance looks like an eleven minute Wild Dogs starts with Glenn’s vocal self-indulgence at the end of Smoke and is a decent version even if the solo isn’t the most together. The guitar showcase after Owed To G is some seven minutes long but doesn’t amount to much then straight into Drifter which barrels along in fine fashion. Coverdale’s in between chat rarely rise above the banal, and he sounds a little inebriated come You Keep On Moving which is a decent version, and it’s a shame that Jon’s keys lose out to Glenn’s bass in the mix because he’s really going for it. The encores follow the usual MK4 pattern in that they are somewhat shambolic, but the sound stands up.
The Melbourne set has been around for ages as Taste It Down Under. Fuller sounding than Auckland it’s the pick of the three though the vocals are a little back in the mix. Some of the rough edges from the Auckland performance have been knocked off. Burn guitar solo has an edit in it. Wild Dogs is a highlight with a much better solo. Very nice funky intro to Lazy so it’s a shame that DC’s vocals get lost as it sounded promising.
Nagoya is of course the first of the Japan tour gigs and immediately after the Jakarta debacle. Again reasonable sound, but you wonder why they didn’t use Springfield instead. It’s a tough listen but then again so was Last Concert and Bolin is not quite as useless as I’d imagined he might be.
So, all in all something of a mixed bag. I don’t think there has been much thought put into any of these bootleg archives for any of the years, which is a shame. And it’s not very visible on the YouTube site ā Love Child from Nagoya only has 155 views since going live on December 17th.
I’ve not much MK3 & 4 boots, so I don’t know if there are better sounding or better played gigs out there (Springfield notwithstanding) but I’m sure a properly curated compilation of the best MK3 & 4 performances would have been more interesting.
Many thanks to David Black for his insight. Additional thanks to Gary Carr for the heads-up.
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Unauthorized copying, while sometimes necessary, is never as good as the real thing