Artists
Berlin Producer FANCI Steps From Behind the Boards With Debut Single “Funky Sexy Cool”
Balle Balle Radio™ Entertainment Desk
FANCI, a Berlin musician who has recently worked as a producer for other German artists, has unveiled his debut single "Funky Sexy Cool." It’s the first taste of what’s described as his debut solo album, aimed at an international audience.
The move to a solo release follows a career that started well before FANCI worked behind a mixing board. His musical foundation started at age six with piano; he later studied guitar with Rudy Stevenson, who has worked with George Benson and Nina Simone. Stevenson also mentored FANCI as a songwriter. Diana Music & Vision Publishing signed him after hearing his early demos, leading to the release of two tracks on Wemby Records under the Gemini moniker. — releases the announcement credits with regional success, though no specific chart or sales figures are cited.
From there, FANCI moved into production work for other artists while separately writing toward a full album under his own name. The music blends rock, soul, pop, new wave and funk, drawing inspiration from artists like Jamiroquai, Prince, Curtis Mayfield, Peter Gabriel and David Bowie. Other coverage of the artist has referred to him as FANCI FUNK, suggesting the funk influence extends to how he’s being branded, not just how he’s being described.
No release date has been given for the full album "Funky Sexy Cool" is drawn from, and the announcement doesn’t specify how the single has performed since release.
In association with Radio Pluggers
Studio CarryOnHarry Perspective
At Studio CarryOnHarry, we recognize that FANCI’s emergence as a solo artist represents something often overlooked in debut narratives: the quiet power of mentorship across generations. Rudy Stevenson’s fingerprints on this story matter because they connect FANCI directly to a lineage of musical sophistication—the same hands that guided George Benson and Nina Simone’s artistry are now shaping a new voice. This isn’t merely credentialing; it’s DNA. When FANCI channels soul, jazz-inflected guitar work, and lyrical depth, he’s inheriting lessons from two masters who understood how to balance technical mastery with emotional authenticity. For listeners, this context transforms "Funky Sexy Cool" from a promising debut into a continuation of a mentorship tradition that prioritizes craft and character over trend-chasing. In an era of algorithm-driven discovery, FANCI’s path—rooted in human instruction and artistic lineage—stands as a reminder that the most durable artists are often shaped by those who came before.
Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.
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Balle Balle Radio™ Entertainment Desk
Blues artist Wailin’ Walker has scheduled the September 9, 2026 debut of his album Bluesmen via Jitterbug Records, according to the announcement.
The release comes almost exactly a year after Walker’s last album, Blues Lightnin’, which the announcement states reached the No. 1 spot on Canada’s blues charts within days of its September 2025 release. That back-to-back turnaround is notable for an artist whose catalog has otherwise been built over decades: Walker began his recording career in 1978 alongside The Houserockers and subsequently produced six independent blues records, according to the announcement.
Walker’s earlier records have had international reach. The Devil Made Me Play It, put out under the Amsterdam label Double Trouble Records, topped blues charts in the Netherlands, Spain and Australia, per the announcement. No Regrets and All Fired Up later topped blues charts in the United States and Canada. The announcement also credits Walker as a songwriter for Long John Baldry and Powder Blues, and lists a run as house band at Vancouver’s Commodore Ballroom for 78 shows, along with a stretch touring with the Jerry Doucette Band from 2006 to 2018. Walker’s music has ranked No. 2 on the Roots Music Report in 2014-2015 and No. 1 in 2024-2025, the announcement states.
Walker has said he was personally mentored by Buddy Guy, Pee Wee Crayton and Otis Rush, and has shared stages with Johnny Winter, George Thorogood and Stevie Ray Vaughan, according to the announcement. Such associations situate Walker within a dwindling cohort of contemporary blues performers who have worked directly with blues music pioneers.
No further details on Bluesmen — including tracklist, personnel or recording location — were included in the announcement.
Studio CarryOnHarry Perspective
At Studio CarryOnHarry, we see Walker’s mentorship lineage as perhaps his most significant legacy. In an era when direct connections to blues music’s foundational architects are disappearing, Walker represents a living conduit between generations—trained by Buddy Guy, Pee Wee Crayton, and Otis Rush, figures who shaped the electric blues sound itself. This isn’t merely biographical trivia; it’s cultural preservation. Each album Walker releases carries forward the accumulated knowledge and artistic sensibility of musicians who might otherwise fade into history as names in liner notes. With Bluesmen arriving in 2026, Walker has an opportunity to explicitly honor and transmit what those legends taught him, ensuring their influence doesn’t dilute through abstraction but remains tangible in contemporary recordings. For blues listeners and historians alike, Walker’s work functions as a bridge—proof that the tradition remains vital and evolving, not archived.
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Two New String Quartets to Premiere at Pasadena Concert Spotlighting Latin American Composers
Balle Balle Radio™ Entertainment Desk
This fall, the Hispano String Quartet will debut two newly composed works as part of “Viva la Hispanidad,” a chamber music concert scheduled for October 24, 2026, at St. Andrew Catholic Church in Pasadena. The program pairs the debuts with an established repertoire piece and works by five other composers from Cuba, Costa Rica and Mexico.
The concert is produced by composer and conductor Yalil Guerra through RYCY Productions, a division of RYCY Music Group, and advances the quartet’s mission to increase representation of Hispanic and Latin American composers in classical music programming.
The two premieres are “Guerra String Quartet” by Costa Rican composer Francisco Castillo and “De cuerdas…” by Cuban composer Jorge Maletá, according to the announcement. Both pieces were written for the ensemble, allowing composers to connect directly with performers and audiences instead of encountering their work through intermediaries. The program also includes Guerra’s own String Quartet No. 2, which earned a Latin GRAMMY nomination in 2014, alongside works by Paquito D’Rivera, Eddie Mora and Eduardo Gamboa. Together the six composers represent three national traditions: Cuban, Costa Rican and Mexican.
The quartet itself is made up of violinists Marlene Gentile and Alejandro Junco, violist Alejandra Moreno and cellist Masiel Medina.
“In a time when classical music must find new ways to remain vital and relevant, building a genuine relationship between composers and audiences is essential,” Guerra said in the announcement, adding that the goal is to close the distance between the stage and the public and give listeners a reason to return to live concerts.
The concert begins at 8 p.m. at St. Andrew Catholic Church, 311 North Raymond Ave. in Pasadena. Tickets are on sale now through Eventbrite. No information was provided about future recordings or performances of the new works beyond their Pasadena premiere.
Studio CarryOnHarry Perspective
At Studio CarryOnHarry, we recognize that hosting classical premieres in a church sanctuary carries significance beyond programming. St. Andrew’s acoustic properties—designed centuries ago for music and gathering—create an intimacy that concert halls sometimes can’t replicate, allowing chamber works to breathe naturally while inviting broader community participation. This choice anchors the concert in Pasadena’s cultural fabric, positioning it not as an exclusive event for classical music insiders but as a neighborhood gathering that values accessibility. The sacred space itself becomes part of the artistic statement: these new Latin American voices aren’t being cordoned off in specialized venues, but integrated into communal cultural life. For audiences hesitant about classical music’s perceived formality, a church setting feels more welcoming—suggesting that discovery and connection matter more than rigid concert etiquette. This approach models how classical music remains vital by meeting listeners where they are.
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