Jerry Ewing
Jerry Ewing focuses on progressive rock and its surrounding universe, treating it as a living culture rather than a legacy niche. His coverage traces the connections between classic-era bands, modern prog acts, and the industry structures that support them, using long familiarity with the scene to give context to day-to-day news. He works as a writer and broadcaster and is Editor of Prog Magazine at Louder, a title he founded for Future Publishing in 2009.
Prog Magazine editor and progressive rock specialist
Ewing runs Prog Magazine within Louder’s family of rock titles, shaping its editorial direction around the full span of the progressive rock genre. He created Classic Rock Magazine for Dennis Publishing in 1998 and served as its first editor, giving him experience in building specialist rock publications from the ground up. His author bio notes a writing career that began in London for Metal Forces in 1989 and continued through outlets such as Metal Hammer, Maxim, Vox, Stuff and Bizarre, anchoring his current work in decades of rock journalism.
His pieces for Louder regularly promote new issues of Prog, including end-of-year review editions that collect the magazine’s essential coverage and critics’ lists. In those announcements he highlights interviews with figures such as former Jethro Tull guitarist Martin Barre and round-ups of the latest album and live reviews, signalling a beat that combines news, features and criticism across the prog spectrum. He has also authored Wonderous Stories: A Journey Through The Landscape Of Progressive Rock, as well as sleevenotes for major record labels, translating his magazine-level perspective into long-form histories and archival commentary.
News, reissues and archive releases across the prog world
A significant part of Ewing’s Louder output is fast, precise news about releases and reissues in the progressive rock and related heavy music scenes. His bylines include pieces on Solstice’s remastered reissue of their 1984 debut album Silent Dance, treating catalogue titles as newsworthy events for fans. He covers Watchtower’s Control And Resistance being reissued, again framing technical and progressive metal history through current release activity. He reports on Amplifier’s 15th anniversary double vinyl edition of Insider, signalling his attention to milestones and format-led stories that matter to collectors.
Alongside reissues, he writes about new albums that sit within the broader prog orbit. His news on Motorpsycho’s surprise new album Yay! treats an unexpected release from a long-running band as both a cultural and industry moment. He covers Sonja Kristina narrating a rare 1970s Alice In Wonderland reissue, tying together classic countercultural material, progressive rock personalities and limited-run archival projects. These stories depend on familiarity with deep catalogues and minor-era titles, and his headlines place artists, release formats and dates clearly up front, making niche information accessible without diluting detail.
Ewing also handles archive performance material, such as previously unreleased footage of Van der Graaf Generator performing Wondering in 1976. The coverage treats restored concert film with the same seriousness as new records, acknowledging how historical documents feed into present-day understanding of the genre.
Across these pieces, his reporting format is consistent: short, direct news items that quickly establish who, what, when and why, backed by the kind of band and label knowledge that a general music reporter is less likely to carry.
Pink Floyd universe and classic-era storytelling
Ewing’s work often returns to Pink Floyd and the extended orbit of musicians and projects connected to the band. He has covered the launch of Publius Enigma, a website that explores the Pink Floyd universe after 1983 along with the post-band efforts of Roger Waters, Richard Wright, David Gilmour and Nick Mason.
That article situates a digital archive and social media presence within the longer narrative of how Pink Floyd’s legacy is documented and debated, reflecting his interest in fan culture and historiography as much as in new releases.
His coverage of Syd Barrett’s 80th birthday celebrations, including a tribute concert in Cambridge and a tribute album featuring contributions from Pink Floyd, David Gilmour and others, fits the same pattern: classic psychedelic and progressive figures are presented as active, ongoing stories rather than closed chapters. In parallel, his book Wonderous Stories maps cornerstone albums and more recent releases that have extended and renovated the genre, reinforcing a through-line of close reading of canonical records and careful attention to how they are re-presented over time.
This focus distinguishes him from a general rock news reporter. Pink Floyd, Barrett and their circle are not treated as occasional nostalgia angles but as central reference points through which he explains the evolution of progressive rock. His writing treats reissues, tributes and new archival projects around these artists as part of a single, continuous narrative.
Interviews, broadcasts and community-facing work
Ewing’s role extends beyond print and web articles into broadcast and live conversation formats that make use of his editorial position and genre expertise. He has hosted the Prog Magazine radio show for TeamRock Radio between 2015 and 2017, giving him regular on-air contact with listeners and artists in the prog community. On Louder he fronts the Prog Magazine Progcast, where he and other members of the Prog team discuss the magazine’s Critics’ Choice albums-of-the-year lists and explain why specific releases make or miss the cut. These formats show him curating consensus within the genre while being transparent about editorial decisions.
His interviews and “Zoomcast” style conversations reinforce that community role. Lonely Robot’s John Mitchell sits down with Ewing for an online chat hosted under the Prog brand, giving fans direct access to both musician and editor. He also appears as a guest on Space Rocks’ Uplink series, joining astronomy writer Dr Stuart Clark to discuss music and astronomy in a session titled Music And Astronomy – Ancient Traditions, which blends prog’s space-rock traditions with broader cultural themes.
Across these activities, his tone remains straightforward and informed, and his presence signals that a story or event is being filtered through someone who both runs a dedicated prog title and has long, practical experience in rock media.
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