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Review and Photos by Rebecca McDevitt The Fillmore, Philadelphia – July 18, 2025 Sweat, Sax, and Shoeys: A Night of Pure Chaos If The Fillmore had a roof, Bilmuri would’ve blown it clean off. From the moment doors opened, the venue turned into a full-body sweat lodge. Fans were dripping before the first band even finished soundcheck—and somehow, that only added to the experience. This wasn’t just a concert. It was a full-sensory rock meltdown, Philly-style. John Harvie Starts Strong with Hometown Love Kicking things off was Philly’s own John Harvie , and he showed up like it was his living room. The crowd lit up the second he took the stage—singing every word, arms raised, the whole thing. His set felt like a victory lap, with raw energy and heartfelt lyrics bouncing off the walls. There’s a certain magic when a hometown artist gets this kind of welcome, and Harvie soaked up every second. Driveways Keep the Chaos Climbing Next came Driveways , and they wasted no time launching the night into overdrive. Their pop-punk-laced set had the pit spinning and surfers flying. By the time they closed out, it felt like Bilmuri might not even have to show up, the crowd was already running at 200%. Bilmuri Brings the Heat (and the Hog) Bilmuri stormed the stage and unleashed the kind of set that turns a show into folklore. From the first chord to the final encore, it was nonstop intensity—crowd surfers launching like missiles, a pit that never rested, and fans screaming lyrics so loud you couldn’t hear yourself think. But the real  moment? Johnny’s shoey. That’s right, he poured a beer into his own sneaker mid-set and chugged  it. No hesitation, no regrets. Just pure, unfiltered chaos. The Fillmore erupted. Philly has seen a lot, but that? That was a first. Encore Energy: Dual Saxes, One Massive Blowout Just when we thought we were done, Bilmuri hit the stage one more time for their encore and brought out Saxl Rose to join Gabi Rose for a dual-sax showdown during “Anabolic Spudsman.” It was weird, wild, and absolutely perfect—horns blaring, crowd screaming, pure madness. Final Thoughts: Loud, Hot, and Hog-Wild From start to finish, this show was a masterclass in chaos. The crowd never stopped moving. The surfers kept flying. The pit never calmed. The volume? Deafening. The heat? Unholy. The vibe? Unmatched. Bilmuri didn’t just crank their hogs, they turned Philly into a full-blown hog haven. And if you were there, you’re probably still recovering. If you weren’t… you missed one for the history books.

July 11, 2025 Salt Shed Chicago, IL Photos & Review by Ernesto Raul Aguilar On a warm, breezy, overcast evening at Chicago’s Salt Shed Fairgrounds, the Onward & Upward Tour rolled through town, bringing a memorable double bill featuring Ty Segall and Primus. Though lightning and rain threatened later in the day the weather held steady, setting an atmospheric backdrop perfect for the evening’s unfolding madness. The show kicked off with Ty Segall, whose tight, energetic set perfectly balanced fuzz-soaked garage rock with melodic psychedelic flourishes. His band delivered a full-bodied sound that was both raw and nuanced, creating an engaging dynamic that drew the crowd in early. Their carefully chosen setlist, including Finger, Candy Sam, Whisper, Possession, Wave Goodbye, and She, warmed the audience without overstaying its welcome, providing the ideal opening that raised anticipation for what was next. After a brief but efficient stage rearrangement, the unmistakable strains of Danny Elfman’s Clown Dream signaled Primus’s arrival. Les Claypool emerged bass in hand, flanked by longtime guitarist Larry LaLonde and the new addition, drummer John Hoffman. Hoffman’s presence marked a notable moment, having been handpicked earlier this year from a staggering 6,200 candidates in a highly competitive open audition process. His debut with Primus on this tour proved impressive, as the trio launched into Those Damned Blue-Collar Tweekers with a combination of wild energy and tight precision that immediately seized the audience’s attention. Primus’s setlist classic favorites with deep cuts, showing the band’s willingness to revisit lesser-played material, a fact Claypool credited to Hoffman's love of all things Primus. Tracks like Dirty Drowning Man, American Life, Duchess and the Proverbial Mind Spread, Moron TV, and Over the Falls hit with the trademark weirdness and groove that have long defined the Primus sound. A particularly notable highlight was the surprise return of Amos Moses, a Jerry Reed cover making its first live appearance since 2017. This unexpected addition elicited enthusiastic cheers from longtime fans. The chemistry among the trio was palpable throughout the night. LaLonde’s adventurous and sometimes playful guitar lines weaved effortlessly around Claypool’s nimble bass work, while Hoffman anchored the band’s complex rhythms. Songs like Jilly’s on Smack, Restin’ Bones, and Bob’s Party Time Lounge demonstrated the band’s ability to balance eccentric storytelling with exceptional musicianship, a defining quality that has kept Primus relevant and beloved over the years. As the night ended, the crowd erupted during the performances of Welcome to This World, My Name Is Mud, and Jerry Was a Race Car Driver, songs that have become enduring anthems for this idiosyncratic band. The show ended with an encore performance of Southbound Pachyderm, a slow, heavy, and haunting piece that left the Salt Shed reverberating. The Onward & Upward Tour’s stop in Chicago was a powerful reminder that Primus remains a singular force in modern rock, weird, unorthodox, and yet undeniably masterful, carrying a legacy built on defying expectations. Somewhere within the distortion and the glorious weirdness, one thing rang clear: Primus still sucks, and that’s exactly why we love them.

Release Date:  June 20, 2025 Label:  Locomotion/Capitol Reviewed by:  SoundCheck Mag The Theatrics Return—Louder, Bigger, and All Heart Yungblud has always thrived on drama, but with "Idols", he doesn’t just lean into it, he builds a cathedral out of it. Gone are the safe hooks and polished polish of his earlier mainstream plays. Instead, we’re given a sweeping, unapologetically massive rock record that flirts with operatic scale and emotional overdrive, drenched in Britpop bravado, glam rock excess, and a pounding pulse of purpose. “Hello Heaven, Hello” Sets the Stage for Chaos & Catharsis Clocking in at just over nine minutes, the opener 'Hello Heaven, Hello' feels like a curtain rising on an existential play. It’s as if Bowie met early Muse backstage and handed Yungblud the megaphone. It’s bold. It’s bloated. It’s brilliant. And it instantly lets you know: subtlety is on sabbatical. An Album Made for the Stage (and the Stars) From the soaring strings of 'Zombie' to the raw-silk grit of 'Lovesick Lullaby', "Idols" knows exactly what it is, a soundtrack for outcasts, romantics, and anyone who’s ever wanted to scream into the wind. These aren’t pop songs. They’re movements. Every crescendo, every layered vocal, every swelling orchestral stab feels like it was made to echo through a stadium rafters or a broken heart at 2AM. There are shades of Queen, The Verve, even a little early My Chemical Romance, but it's never derivative. Yungblud pulls from rock’s grand past to make a personal future. Not for the Mild-Mannered (and That’s the Point) Is it over-the-top? Absolutely. But that’s the point. This isn’t music built for background listening, "Idols " demands attention, vulnerability, and maybe a few tears. There’s no wink, no irony. Just a full send into sincerity, sorrow, and sound. He reportedly recorded much of this in solitude, post-breakup, post-tour, and post-algorithm. And it shows. For all the album’s flash and thunder, there’s an emotional throughline that hits hardest when things get quiet. Tracks like 'Ghosts' and 'Change' drip with loss and longing, even as the arrangements tower sky-high. Final Verdict: A Bold Swing That Mostly Soars "Idols" is Yungblud’s love letter to the music that saved him and a middle finger to playing it safe. It's bloated and brilliant, raw and theatrical, and packed with enough ambition to either collapse under its own weight or lift off entirely. Thankfully, it does the latter. This is Yungblud untethered, unfiltered, and finally sounding like the rockstar he’s always claimed to be. Rating: 7/10 A flawed but fearless ode to feeling too much. And honestly? That’s rock’n’roll at its finest.

Photos and Article by Ernesto Raul Aguilar Chicago, IL June 25, 2025 The Summer Circus Tour headlined by Less Than Jake made its much-anticipated stop at the Metro in Chicago and for two sweaty chaotic nights, the historic venue became a punk rock carnival. With support from Bite Me Bambi, Fishbone, and The Suicide Machines, the stacked bill delivered a sonic barrage that was parts nostalgia, political resistance, and full-blown spectacle. First up was Southern California’s Bite Me Bambi, who brought pop-punk energy to the Metro stage. Their tight, confident set leaned into infectious rhythms and playful hooks, getting the crowd moving early with “Too Many People” and “Girls Like You.” A surprise Offspring cover of “Want You Bad” ignited a singalong from the early crowd, but it was their original tracks like “Strippers on a Sunday” and “Gaslighter’s Anthem” that truly shined. Their set was more than just upbeat pop-punk, it carried a message of inclusion, with shoutouts to transgender and nonbinary artists serving as a reminder that scenes are only as strong as they are welcoming. “Hot Lava” closed things out with maximum bounce, leaving behind a fired-up crowd ready for more. Fishbone followed with grit, funk, and politically charged fire. Drawing on decades of genre-defying evolution, their set veered from ska-punk to jazz-inflected chaos and back again. Standouts like “Skankin’ to the Beat” and “Ma and Pa” energized the room, but it was newer material like “Last Call in America” and the blistering “Racist Piece of Shit” that gave the set weight. The band’s new album, Stockholm Syndrome, their first in two decades, served as a direct commentary on America’s current socio-political unrest. The live debut of those new tracks felt immediate and raw, especially when paired with classics like “Party at Ground Zero” and “Lyin' Ass Bitch.” With horns blasting and tempo shifts flying, their set was wild, unfiltered, and brilliant. Part protest, part performance art, and entirely Fishbone. Detroit’s The Suicide Machines wasted no time launching into a 13-song set that felt like a whirlwind. From opener “Hey” to the closer “War Profiteering is Killing Us All,” they blasted through their discography with speed and purpose, so much so that halfway through even they were surprised at how much stage time they had left. Songs like “To Play Caesar (Is to Be Stabbed to Death)” and “Never Go Quietly” doubled down on themes of resistance, while the band’s roots in hardcore punk surfaced through their aggressive rendition of Minor Threat’s “I Don’t Wanna Hear It.” Headliners Less Than Jake turned the circus theme into a full-fledged punk pageant. Launching with “Gainesville Rock City,” the band powered through a massive 20-song setlist that pulled from nearly every era of their career. Fan favorites like “All My Best Friends Are Metalheads” and “Johnny Quest Thinks We’re Sellouts” sent the crowd into a frenzy. Visually, their set was just as outrageous as their music. Two crew members roamed the stage with leaf blower-powered toilet paper blasters, while inflatable tube men flailed behind the band like punk rock mascots. Clown makeup and hair dotted the crowd, bringing the tour’s namesake theme to life. Mosh pits opened and collapsed. Crowd surfers rode waves of hands to the front barrier and back. Confetti mixed with sweat, and chaos reigned in the most joyous way possible. More than just a concert, Less Than Jake’s Summer Circus Tour felt like a collective act of defiance and celebration. It brought together old-school punks, fresh-faced fans, and political radicals under one roof to dance, scream, and exist unapologetically. Every act brought its own flavor, but each carried a shared message. In a world increasingly hostile to both art and truth, nights like these remind us of what live music is truly for, to connect, to resist, and to be free.

June 18, 2025 – Brooklyn Bowl Philadelphia Article & Photos by Rebecca McDevitt What do you get when you mix glittering guitars, full-throttle vocals, and a lineup packed with femme power? The answer: Honey Revenge at Brooklyn Bowl Philly — and trust us, it was everything . From the moment the doors opened, the energy inside the venue was electric. Vana, Daisy Grenade, and Nightlife didn’t just set the tone, they detonated it. Nightlife’s shoutout to the Pride community hit right in the heart, and the wave of crowd support that followed? Chills. All three openers embodied the same message the entire tour screams loud and clear: feminine energy is not just present in the alternative scene, it’s running the show . Then came Honey Revenge, and the crowd lost it. Kicking things off with their brand-new single “Risk,” they didn’t ease in, they charged. Within seconds, bodies were in the air, fans were screaming every lyric, and it was clear: this was going to be a night to remember. Devin Papadol is a force . Vocals? Flawless. Charisma? Off the charts. Whether she was leading the charge from center stage or sharing little moments of connection between songs, she had the room in the palm of her hand. And Donny Lloyd on guitar brought the fire , his playing adding grit and edge to every sugary hook. The chemistry between them? Unreal. The setlist was packed with fan favorites and tour staples, “Airhead,” “Rerun,” “Sensitive,” “Worst Apology,” and the undeniable crowd singalong “Distracted.” If you weren’t screaming, you were probably crying. Or both. There’s something magical about a room where every voice is heard, every gender expression celebrated, and every scream feels like release. That was June 18th. That was Honey Revenge. That was Philly. This tour isn’t just a series of shows, it’s a movement . One that says loud and clear: the girls, the gays, and the theys are not here to take sides. They’re here to take stages . And Honey Revenge? They’re leading the charge.

Article & Photos by Rebecca McDevitt There are shows you attend, and then there are shows you feel . Zane Carney’s set at The Green Room 42  in Manhattan belonged firmly to the latter. In a softly lit space tucked just above the city’s noise, Zane created something rare. The night felt sacred in its softness. The crowd was small, intentional, and completely present. Every seat felt like the front row. Every song felt like a quiet revelation. This was not just a performance. It was a shared moment that lingered in the air. Zane has spent years contributing to larger-than-life projects. From performing with Foster the People to collaborating with Joe Jonas and John Mayer, his résumé speaks for itself. But this night was something else entirely. With the spotlight on him alone, his artistry took on new meaning. The focus was not on flash or scale. It was on feeling. He held the room with a quiet intensity, revealing the depth of his musicianship and emotional reach. Midway through the set, he delivered a full song in Spanish, and it was nothing short of captivating. The language, tone, and expression came together in a moment of deep connection. It transcended translation. It was about presence and authenticity. He closed the night with “Fade to Black,” an original that moved like a slow exhale. It did not clamor for attention. It invited stillness and reflection. The final notes rang out with a quiet power before the room erupted in warm, grateful applause. Zane Carney did more than perform. He created a space filled with intimacy, stillness, and soul. In doing so, he reminded us that the most powerful moments are often the softest ones.

On June 12, 2025, Sleigh Bells brought their signature sonic chaos to Metro Chicago. Well known for their explosive fusion of noise pop, punk, and electro, they delivered a set that had the crowd in a nonstop frenzy from start to finish. The night opened with a playful jolt as The Ronettes’ Be My Baby rang through the venue, triggering cheers before the lights even went down. Keyboardist Kate Steinberg burst onto the stage with the energy of a fighter entering a boxing ring. The rest of the band followed suit, then launched straight into Badly , the lead track from their new album Bunky Becky Birthday Boy . Bunky Becky was the nickname of Alexis Krauss's late dog, Riz. From that instant, the night had a momentum all its own. Photo by Ernesto Aguilar Frontwoman Alexis Krauss commanded the stage, her voice cutting cleanly through the maelstrom of distortion and bass. Guitarist Derek Miller matched her intensity with blistering riffs that transformed each song into a visceral experience. Krauss and Miller fed off each other in a way that made the entire performance feel spontaneous yet razor sharp. The setlist smartly balanced fan favorites with newer material, while never straying far from their core sound. Classics like Rill Rill  and Infinity Guitars  had the audience shouting along, while fresh cuts from the new album added urgency and edge. Sleigh Bells’ bass-heavy, beat driven aesthetic ensured there wasn’t a dull moment as each track flowed into the next with ferocious momentum. One of the night’s most electrifying moments came during Bitter Rivals . As the first chords rang out, the crowd erupted. Krauss’s soaring vocals rode the waves of guitar and percussion, creating a hypnotic tension between melody and aggression that’s become the band’s hallmark. Photo by Ernesto Aguilar Opening act Sophie Hunter set the tone with a compelling set of her own. Her experimental blend of rap and electropop offered a sleek, stylish contrast to Sleigh Bells’ raw power. Even enlisting the crowd to sing along on her closing song CVNT. It was a smart pairing that gave the evening texture and range. Photo by Ernesto Aguilar Visually, the show was a perfect storm. Strobe lights, and a minimalist but effective stage setup heightened the sense of organized chaos. Metro’s cozy, high-fidelity space amplified the energy tenfold; there wasn’t a corner of the room untouched by the sound, an ideal setting for a band like Sleigh Bells, whose music is meant to be felt as much as heard. As the final notes faded, the audience was left buzzing, ears ringing, adrenaline still high. Sleigh Bells reaffirmed their status as one of the most thrilling, genre defying acts in alternative music. Their fearless mix of beauty and noise, polish and fury, continues to push boundaries. And on this night in Chicago, they didn’t just play a show, they detonated it. Photo by Ernesto Aguilar For anyone drawn to music that doesn’t ask permission, that thrives on risk, this wasn’t just a concert. It was a gut punch in the best way, a high voltage release I’ll be chasing for a long time.

Article & Photos by Rebecca McDevitt Let’s be real: if your voice wasn’t gone and your shirt wasn’t damp, you didn’t do The Driver Era right . Opening the night was VALÉ, a Spanish singer-songwriter whose charisma instantly grabbed the crowd. Her cultural flair added richness to her set, weaving bilingual lyrics and rhythms into a sound that felt both global and deeply personal. Her stage presence? Unmatched. She knew exactly how to work the room, turning The Met into a full-on dance party before the main event even began. Philly was moving, and VALÉ made sure of it. Then came that  moment. The lights dimmed. Shadows flickered behind a massive curtain. You could feel the bass from “Touch” pulsing through the floorboards. Just like that, the crowd knew it was time. Deafening screams erupted as silhouettes of Ross and Rocky Lynch teased the audience. Then BOOM, curtain drop. Ross stood center stage, hat tipped, bathed in dramatic light like a living poster. It was pure theater, pure Driver Era . From there, it was a fever dream of funk, sweat, and synth. “Better” had the crowd losing their minds, and “You Keep Me Up At Night” took that momentum and shot it through the roof. You could feel  the band feeding off the energy, letting the night unfold with a loose, unpredictable rhythm only they could pull off. When “Natural” hit, well… let’s just say the buttoned shirt didn’t stand a chance. Ross, charismatic as ever, bared his chest, and the screams genuinely drowned out the band. Not an exaggeration . Philly hasn’t been that loud since the Eagles won the Super Bowl. But The Driver Era knows how to ride the wave. Later in the set, they pulled things back with an acoustic version of “Afterglow” that felt like stepping into a dream. It was soft, intimate, and stunning proving that behind the glam and groove, there’s some real songwriting magic happening. Closing with fan-favorite “A Kiss,” the band left nothing on the stage. It was dizzying. Euphoric. A little sweaty. And entirely unforgettable. The Driver Era’s blend of 80s-inspired disco-pop, rock riffs, and undeniable sex appeal makes them one of the most electric live acts out right now. Ross might get the screams, but Rocky? He's the secret weapon. The vibe was real. The crowd was crying, dancing, singing every lyric. The Driver Era is continuously proving that this band is more than a vibe. They’re a movement . If this is The Driver Era, we’re driving straight into the next show.

Interview by Rebecca McDevitt & Ilana Bornstein Article & Photos by Rebecca McDevitt Photo by Rebecca McDevitt Genre-defying. Heart-forward. Undeniably raw. Milahroy is the kind of artist who doesn’t just sing to you—he makes you feel . Sitting down with SoundCheck Mag for an exclusive Sessions  chat, the Connecticut-born, LA-based singer-songwriter opened up about everything from family roots to social media burnout, creative evolution, and the healing power of a good pop-punk anthem. From Roy to Milahroy: A Reinvented Identity Milahroy didn’t just stumble onto his name—it was born during a walk down Hollywood Boulevard. “I flipped my last name and put it in front of my first,” he explains. The result: Milahroy—a one-name identity that feels like an alter ego and a nod to his roots. “I’m a first-generation Albanian-American,” he says proudly. “This felt like a way to honor that while making it my own.” Photo by Rebecca McDevitt Shaped by Sound: Pop-Punk, Paramore, and Vulnerability “I grew up on a lot of pop-punk—Paramore, Fall Out Boy,” Milahroy says, “but I’ve always had an ear for female R&B, too.” That sonic fusion defines his work today: gritty yet melodic, nostalgic yet forward-thinking. His latest EP, Give In To Let Go , is a sonic kaleidoscope that captures the chaos and clarity of self-expression. The record’s evolution wasn’t fast or easy—it took two years to find its shape. Songs like “5432DONE” and “2 DAMN GR8FUL” began as standalones, but slowly started forming a cohesive narrative. “I wanted variety,” he says. “A stripped acoustic track next to something heavily produced. I like bending genres—it’s what keeps me creatively free.” Music With Meaning For Milahroy, music is more than just melody—it’s therapy. “I started singing with my cousins at five or six. I was always the emotional one, getting lost in the music,” he says. That emotional vulnerability carries into his songwriting process today. “Sometimes I write things that only my therapist should probably hear. But if it resonates with someone, it’s worth it.” His favorite track from the EP? “Living By Comparison.” Though he doesn’t love performing it live, it’s the song that sticks with him. “It’s about rejecting the pressure to compete, especially in a place like LA where everything feels like a main character contest.” Social Media and the Double-Edged Sword of Content Creation Milahroy is no stranger to the pressure of online presence. “Social media is a full-time job,” he admits. “Some days I’ll open my phone, hit record, and just go with it. If it works, great. If not, at least I tried.” He’s involved in every detail, from aesthetics to captions—yes, the stylized, AIM-inspired titles like “2DAMNGR8FUL” are very intentional. Despite having a small team, he often trusts his gut. “I want to be involved in every part of my art, from the song title to the visuals. That’s how I stay connected.” LA, Lessons, and Letting Go Now six years into his LA journey, Milahroy has seen the city’s highs and lows. “I’m glad I came out here when I did,” he reflects. “If I came earlier, I think the industry might have chewed me up. LA has taught me to keep some cards close—protect what matters.” When asked how he defines success, his answer is grounded: “Being able to take a feeling, record it, and have someone listen to it—that’s success. Passion over paycheck.” Color Palettes, Palo Santo, and King Boo Every SoundCheck Session ends with some fun—and Milahroy did not disappoint. His music, he says, would be a palette of forest greens and citrine golds. “Green is the heart chakra. It’s emotional. It’s me.” Unexpected tour bag items? Palo Santo. Fictional character swap? King Boo from Mario Kart . “He’s chill, glides through walls, and doesn’t let anything get to him.” What’s Next for Milahroy? There’s more on the horizon: a brand new single is coming in the next month or two. Written during the LA wildfires and inspired by the dream of a more united world, the track is currently in final production. “It asks—what if we could really set aside our differences?” he shares. And he's already deep into writing the next EP, collaborating with ZK Productions (Mayday Parade, Cartel) in Atlanta. Milahroy isn’t just releasing music—he’s releasing himself, piece by piece, track by track. Through every lyric, post, and performance, he’s crafting a world that invites others in—to feel, to reflect, to heal. Follow Milahroy on all platforms and stream Give In To Let Go now.

Philadelphia, PA – June 5, 2025 It’s rare that a show makes the floor move. Like, literally. But when Phoneboy took over The Foundry at The Fillmore in Philly, it was impossible not to feel it—pulsing beneath your feet, in sync with a room full of bodies jumping, clapping, and screaming lyrics so loud the band was almost drowned out. Almost. Photo by Rebecca McDevitt The night kicked off with two openers who understood the assignment. Double Standard brought pure energy from the jump, followed by Inoha who locked in the vibe with hooks and serious stage presence. The venue was buzzing before Phoneboy even touched the mic. By the time the Hoboken-based indie rockers stepped on stage, the room had already become a living, breathing organism. From the first notes of “Wayside,” the crowd was alive—belting every word back, arms in the air, and smiles everywhere. The band, made up of college friends-turned-tour warriors Wyn Barnum, Ricky Dana, James Fusco, and Jordan Torres, has built a reputation for crafting relatable, emotional bangers. And in a live setting? They transform into full-on anthems. Photo by Rebecca McDevitt Let’s talk about that moment: mid-set, the band got the entire crowd to crouch down low, tension building—and then BOOM. Jump. Chaos. Euphoria. You had to be there. One of their openers even crowd surfed, and yup, so did their merch guy. That’s the kind of night it was—no barriers, just sweaty, joyful, beautifully chaotic connection. The setlist hit every fan-favorite, weaving through tracks like “Nevermind,” “Ferrari,” and my personal new favorite “Better Than You” off their new album ‘Heartbreak Designer’. But the closer, a pop goes punk cover of Lit’s “My Own Worst Enemy,” sent things over the edge. The pit opened up, hands flew, and The Foundry became a full-on release. There’s no better way to describe it: it was fun as hell. Photo by Rebecca McDevitt This was one of the high-impact, unhinged in the best way shows we’ve covered this year. Phoneboy didn’t just perform—they invited everyone in and let them take over. If you weren’t jumping, were you even at the show? Check out Phoneboy's new album Heartbreak Designer on all streaming platforms now!

5/20/25 DELUXX FLUXX, NYC Photo by Fernando Flores Michael Angelakos sets out to create the best experience for his fans. Prior to opening the doors to the venue you can see the amount of effort the team puts to add onto the vibrant experience DELUXX FLUXX already has to offer. Pure behind-the-scenes chaos that all ties down to an incredible concert experience. Outside of the venue forms a line of fans wrapping around the street. Once the doors open and fans start rushing in. The once empty venue was now full to the brim with excited fans, all anticipating the moment Passion Pit would come up to the stage. A few more final touches happen behind closed doors and on he stage. Eventually the house lights dim, the LED lights brighten and out comes Passion Pit.  Photo by Fernando Flore s When Michael Angelakos comes onto the stage, he starts tuning his analog equipment as he explains his truly masterful use of analog equipment mixed with incredible lyrics and vocals to create the sound that is Passion Pit. The crowd starts to get in tune with Michael when the random sounds suddenly become the music the audience all knows and loves. It becomes almost visual art as he moves through the setlist of popular songs from his prior years. From the moment they launched into their first song, the band’s infectious synth-pop sound enveloped the space, with pulsating beats and soaring melodies that had everyone dancing and singing along. The dynamic lighting and immersive atmosphere perfectly complemented the euphoric soundscape, creating a multi-sensory spectacle that captivated the audience. Classics like “Sleepyhead” and “Take a Walk” were met with excitement from the crowd and the performance constantly brought a balance of crowd interaction and continuation of the setlist. Not one soul stops enjoying themselves throughout the night.  Photo by Fernando Flore s Noticeably, Michael Angelakos drives his energy from the audience. The more in tune they were the more energy he gave back. The electrifying experience that left the crowd buzzing with exhilaration long after the final note faded. The vibrant energy that frontman Michael Angelakos brought to the intimate venue was nothing short of mesmerizing.  What truly stood out to me was witnessing Michael Angelakos interaction with his fans throughout his performance. His genuine connection with the audience created an intimate and electrifying atmosphere, making each song feel personal. Adding to the night’s significance was the fact that it was his birthday just the day before, infusing the performance with an extra layer of warmth and celebration. This special context seemed to amplify the emotion and energy on stage, making the concert an unforgettable experience for everyone present. By the end of the setlist, the energy was overpowering and left you satisfied but seriously wanting more. There’s really no wonder why Passion Pits residency extended two more days last minute.  Photo by Fernando Flore s Passion Pit and the team definitely have a lot brewing for Passion Pit and I can’t wait to see what they have planned next. So, If you’re in the market for a masterful blend of old analog style music with a modern-day sound, you have to look no further than Michael Angelakos for Michael Angelakos is Passion Pit.

Miami showed out for Joe Jonas’ Music For People Who Believe in Love  album release, rain and all. Photo by LJ Portnoy The night opened with a wild set from DJ Deleasa, who brought the heat despite the drizzle. Between bongos, horns, Deleasa’s infectious energy, and a crowd that refused to let a little weather kill the vibe, the set turned into the kind of Miami night people try to write songs about—sweaty, sparkly, and completely alive. Photo by Rebecca McDevitt Then the lights dropped. Bittersweet Symphony  began to play, and as if on cue, the rain stopped. A cinematic moment that felt like it was meant to be. The crowd erupted—and from there on, it was all for Joe. He delivered every classic with charisma and intention, but the stripped-down acoustic version of “Cake by the Ocean” hit different. It had the entire crowd in a collective chokehold, proving that Joe doesn’t just perform songs—he transforms them. Photo by LJ Portnoy Still, the emotional core of the night came from the new material. Songs like “Honey Blonde” and “Only Love” pulsed with sincerity and vulnerability. You could feel the emotion radiating through Joe’s voice and body language—raw, unfiltered, and incredibly human. He closed the night with “Constellation,” a slow-burning, soul-bearing track that left the entire venue breathless. The connection between Joe and the audience was tangible, woven through every lyric, every note. Photo by Rebecca McDevitt Music For People Who Believe in Love  isn’t just a great indie-pop album, it’s a full-body experience, and live, it becomes transcendent. 📸 Photo Gallery See the full set of images from the Miami album release party 🎧 Full Album Review: Music For People Who Believe in Love Read our in-depth breakdown of Joe Jonas’ most vulnerable and vibrant record to date.

When Joe Jonas released Fastlife  in 2011, it was flashy, fun, and very of its time. Fast forward to 2025, and he’s back with something much more grounded. Music for People Who Believe in Love  doesn’t try to impress with high-gloss pop—it invites you in quietly, earnestly, and with a lot more heart. This is Joe at his most honest. The album opens with a cinematic instrumental that leads into “Parachute,” a lyrically raw track that sets the emotional tone: “My naked finger still has a fourteen-carat kinda whisper.” It’s not just a breakup song—it’s a reflection, a reset. And while his 2023 divorce might be the elephant in the room, this record doesn’t dwell on loss. It explores everything that comes after. Genre-Blurring with Purpose Musically, Joe blends genres effortlessly—pop, country, funk, and indie rock all coexist here. Each collaboration feels thoughtful: Sierra Ferrell adds aching beauty to “Sip Your Wine,” Luísa Sonza brings energy to “What We Are,” and Franklin Jonas (yes, Frankie!) delivers a surprise highlight on “Velvet Sunshine.” There’s plenty of emotional weight here, but it’s not heavy for the sake of it. “My Own Best Friend” is a quiet gut-punch, showing the painful but necessary process of learning to rely on yourself. “Work It Out” leans on humor and twangy guitar while unpacking anxiety—“baddies get saddies” is both cheeky and surprisingly poignant. “Honey Blonde” and “Only Love” touch on the idea of rekindled love and healing, while “Hey Beautiful,” inspired by fatherhood, glows with gentle gratitude. There’s also “You Got the Right,” which plays like a voicemail left in the dark—raw, intimate, and full of grace for someone walking away. A Quiet But Lasting Impact The standout closer, “Constellation,” is that kind of cry-in-your-car song that understands you. “Everything I lost, everything I found / Lose it all again just to be here now,” he sings. It’s less about heartbreak and more about survival. About learning to live with the love you’ve had, lost, and still carry. Even the digital-only bonus track, “Heart by Heart,” feels essential. With stripped-down production and a lyric like “I know your heart by heart,” it’s a slow burn that lingers. Final Thoughts So no, this isn’t a breakup album. It’s a grown-up album. One that speaks to rediscovering love in all its forms—romantic, familial, internal. Joe’s not trying to prove anything here. He’s just telling the truth. And sometimes, that hits harder than any chart-topping hook. Rating 9/10

Welcome to the Temple—Reimagined Sleep Token has never colored inside the lines. With each release, they've torn up the blueprint and started again, building their sonic cathedral from scratch. Even In Arcadia  isn’t just the next chapter—it’s a transformation. It’s a haunting, glittering, genre-bending portal that keeps one foot in the shadows of what’s come before while stepping boldly into unfamiliar terrain. From Serenity to Storm The opener, “Look To Windward,” doesn’t ask for your attention—it demands it. Eight minutes of winding orchestration, shimmering synths, and punishing riffs establish the record’s stakes. It’s cinematic, almost liturgical. And that level of ambition doesn’t let up. “Emergence” bleeds seamlessly into “Dangerous,” an aching standout that manages to feel both deeply intimate and galactically large. If you’re listening with headphones, prepare for liftoff. The Vessel Unmasked Where previous albums hinted at vulnerability, Even In Arcadia  strips the armor down. “Caramel” offers a rare, fragile moment of exposure. Vessel sings not from behind the curtain, but with it wide open: “Terrified to answer my own front door.”  It's a line that cuts deeper the longer you sit with it. And in “Gethsemane,” Sleep Token dares to dance—literally. Funky grooves slip in, a curveball that works because it’s so unexpected. They’ve always blurred genres, but here, they blur identities—who they’ve been, who they are, who they could become. Not Every Risk Lands—But That’s the Point It’s not all divine intervention. “Past Self” doesn’t quite ascend to the same emotional peaks as the rest, and a few transitions feel more cerebral than spiritual. But that’s the trade-off for fearlessness. This is a band that would rather stumble than stagnate, and Even In Arcadia  thrives on that creative friction. Final Verdict: Worship Worthy Sleep Token isn’t for passive listening. It’s for believers—for those willing to step into the unknown and feel everything. Even In Arcadia  doesn’t rewrite the Sleep Token gospel—it reshapes it. Into something bigger, weirder, and maybe even more sacred. Rating: 9/10 — For the faithful and the fearless.

A sold-out sweaty crowd packed the Crown Hill Theater in Brooklyn, New York to see Rico Nasty perform for One Night Only presented by Pigeons & Planes and le PÈRE   on Saturday May 3rd. Photo by Annie Gallo Nasty had the crowd screaming her name before she took the stage, and when she came out the crowd shouted even louder. Nasty performed “BUTTERFLY KISSES” for the first time since it was released that same week on May 1st. The song is from her upcoming album ‘LETHAL’, and she performed “TEETHSUCKER (YEA3x)” which is also from ‘LETHAL’. But that’s not all. She had the crowd singing along to the 2018 hit “Tia Tamera”, and at one point a lucky fan put their copy of her ‘Nightmare Vacation’ vinyl up in the air for her to sign and she did. The energetic performance lasted less than 45 minutes, but was nothing short of captivating the whole time.’LETHAL ’ comes out May 16th.

Press Release From InnerCat Music Group Austin, TX — April 25, 2025 — Reggae gets a fresh spark with “Hot Box”, the latest single from genre-blending band Mr. Mota, officially released on April 18th. Released by InnerCat Music Group, the track dropped alongside a nostalgic music video inspired by That ‘70s Show, and it’s already made waves with over 600,000 views on YouTube. As part of the launch, the band announced a special partnership with iconic lifestyle brand Dime Bags, bringing fans a unique fusion of sound, culture, and community. Produced by Grammy-winner Mariano Aponte (SOJA, Beauty in the Silence) and recorded at InnerCat Studios in Miami, Hot Box captures the heart of Mr. Mota’s sound: warm, vibrant, and rooted in connection. “Hot Box was initially inspired by my first car. It would sit on the street outside of  my parents’ house and when they went to sleep, Ari (Mr. Mota bassist and  brother to Max) would sneak out and blast our favorite songs. It’s really  where I fell in love with reggae music and started to discover the legends like  Peter Tosh and Junior Murvin,”   says singer Max Lerman. I t’s about  clearing your head, finding some peace, and connecting with your people.  That’s what we’re chasing every time we get on stage, and we tried to bottle  that feeling into this song.”  The collaboration with Dime Bags reinforces that message. Known for their eco-conscious  accessories and strong artist support, Dime Bags joined the release with a special run of merch,  sales, and online content curated for fans of both music and the lifestyle it represents.  “Recording this song was an incredible experience,” says lead guitarist Rosen.  “We spent months in Miami at InnerCat Studios — it was our first time in a  professional studio as a band. These songs are the culmination of three years  of playing together, and it felt amazing to finally bring what we’d written into  a space where we could shape them into something ready for the world. We  poured our hearts and souls into every moment of this recording.” “It was just as amazing to be on set for the music video. ‘Hot Box’ felt like the  perfect match for the vision we had, and it was so cool to watch everything  come together. Seeing the song come to life visually was a whole new level of  excitement for us.”  About Mr. Mota  Mr. Mota consists of Rosen (Guitar & Vocals), Jake Young (Drums), and brothers Ari  Lerman (Bass) & Max Lerman (Vocals & Guitar) . Known for blending reggae’s feel-good  energy with their own unique flair, the band crafts anthems that connect across generations. They formed in May 2021 during a graduation event at the University of Colorado Boulder. One  show led to a buzzworthy following and steady growth across Colorado and the Rocky Mountain  region, with Boulder’s Fox Theatre becoming a launching pad for their sound.  Their first independent tour in summer 2023 spanned 40+ cities , including iconic venues like  Mercury Lounge (NYC), Nectar’s (VT), Portland House of Music (ME), and Charleston  Pour House (SC) . A follow-up Northeast tour in winter 2024 solidified their national  momentum.  Now based in Austin, Texas , Mr. Mota is gearing up for more singles set to roll out through  Summer and Fall 2025 — with Hot Box kicking off the campaign in full color and style.  About InnerCat Music Group  Based in Miami, Florida, InnerCat is an independent artist development agency dedicated to  empowering the next generation of creatives in today’s fast-paced music industry. With a focus  on innovation, authenticity, and artist-first strategies, they provide a full spectrum of support— from branding and marketing to distribution and content production. Their cutting-edge InnerCat  Studios in Miami served as the creative home for Mr. Mota’s latest recordings, giving the band a  space to fully explore their sound and vision. Through this dynamic collaboration, InnerCat is  helping Mr. Mota bring their voice to the world—boldly, independently, and on their own terms .  Watch and listen to “Hot Box” : https://www.playandfollow.com/r/icmg/hot-box   Follow Mr. Mota:    Website: www.mrmotamusic.com   Instagram: https://www.instagram.com/mr.mota.band/   TikTok: https://www.tiktok.com/@mrmotaband   META: https://www.facebook.com/mrmotamusic   YouTube: https://www.youtube.com/channel/UCuR1IccgclgOZDdCqabksWw

“Brat” was named Collins Dictionary’s word of the year for 2024. The word started being widely used after English pop star Charli xcx came out with her six studio album ‘Brat’, and even though its release was almost a year ago the word and phrase “brat summer” is still used today.  Charli xcx wrapped up the American leg of the Brat Arena Tour Sunday May 4th in New York City. The star performed four sold-out nights at Barclays Center in Brooklyn. The shows in New York came after her electrifying performance  at Coachella and a series of solo shows in Austin,  Minneapolis, and Rosemont, Illinois before headlining two nights in New York.  Photo by Annie Gallo On the second night of the Brooklyn show, before she hit the stage, flashes could be seen in the crowd on every level of the Barclays Center because dozens of people in green were taking out their digital cameras, taking pictures of themselves and friends capturing the moments. From the second fans saw her appear on the stage that read “girl” in capital letters, they were singing along to songs and screaming for her at the top of their lungs. When she came out there was a green curtain behind her; the curtain said “brat” in black lowercase letters with black scribbles overtop of the word. Photos online of the curtain showed that it got more and more damaged each night, seemingly intentional. The moment  she started singing “I Might Say Something Stupid” the crowd was lit up with thousands of phone flash lights swaying  back and forth. Photo by Annie Gallo At one point she danced in a caged walkway that was under the catwalk. She aggressively shook the cage  with her hands like she was trying to escape. When she performed “Guess” she strutted down the catwalk and spat on it, then kneeled down and lapped it up. It made the thousands of fans in the crowd scream louder than they already were for her. 27-year-old Shannon Fleischman from Parkland, Florida, was one of the thousands of people screaming and singing during the show. She attended two of the four Brooklyn shows. “I went to the Sweat tour in New York last year and absolutely loved it so I had to see her again and everything is more fun in New York,” she said to SoundCheck Mag. Both nights Fleischman’s favorite song that Charli performed was “Spring Breakers”. There were plenty of other noteworthy moments including Charli bringing out Bb trickz to perform their remix of “Club Classics” on the second night. Photo by Annie Gallo “Honestly the whole time I'm just so entertained and what sticks out to me is how Charli can put on a show like that while she’s on stage alone. No dancers, no band. Just her. It’s impressive,” Feischman said about what stuck out the most to her. Another incredible moment that stunned the crowd was when the English star walked to the end of the catwalk and water droplets started coming down from above her as she sang “Track 10”. It left her soaking wet and in need of a towel and an outfit change. After about an hour and half of performing the show ended with red and blue lights flashing as she sang the 2016 hit “I Love It” by Icona pop on which she’s featured.  That was 29-year-old Joshua Yamdogo from Springfield, Missouri’s favorite part of the shows. He went to Minneapolis and New York to see the show, and he got to experience the last concert in Brooklyn. Yamdogo said it was mesmerizing, unapologetic, and euphoric seeing her. “There’s something about her raw energy and stage presence that aren’t in the other shows I’ve seen. It’s like she’s turned an arena of 20,000 into her own club for her close friends,” he said to SoundCheck Mag. The folks who were lucky enough to secure tickets to the shows had the experience of a lifetime as they jumped up and down to songs like “365” and did the viral “Apple” dance. Fans may wonder how she could possibly top her brat era, but only time will tell.

PRESS RELEASE FROM SHUTTER UP & LISTEN - APRIL 25, 2025 Just ahead of Mental Health Awareness Month, Leo Dante unveils his powerful new single, “Medicine” — a raw and resonant pop-rock track that dives headfirst into the complexities of mental health. Co-written by Alessandro Rütten (Leo Dante), Liam Heinze, Maria Christensen, and Wesley Steed, “Medicine” captures the haunting cycle of intrusive thoughts, the weight of anxiety, and the yearning for something — anything — to numb the pain. Produced by Leo Dante, Liam Heinze, and Myles Priest, the track fuses gritty guitars and hard-hitting drums with Dante’s soaring, emotionally charged vocals. It’s a sonic storm that mirrors the inner chaos many face in silence. “Medicine” doesn’t just showcase Dante’s artistry — it opens the door for honest conversation, giving a voice to the struggles that often go unseen. Bold, cathartic, and unapologetically vulnerable, “Medicine” More than just a song, it is a timely reminder that acknowledging pain is a powerful first step— and that no one struggles alone. About Leo Dante Ever wondered what you’d get if you were to throw the pop anthems of Twenty One Pilots, the alt-rock energy of Bring Me The Horizon, the vocal prowess of Steven Tyler, the nu-metal angst and gravel of the late Chester Bennington and the RnB licks of Usher into a blender? Well…..The answer to that would probably be Leo Dante. Based in Nashville, Tennessee; the German born pop-rocker is a multinational, multi-lingual and multi-talented artist, singer, songwriter, multiinstrumentalist, producer, performer and even viral social media star…Leo Dante really can do it all. A previous contestant for The Voice Germany and Eurovision, Leo has performed on stages across the world including for legendary hitmaker Desmond Child where he was asked to sing lead vocals for Aerosmith’s ‘Crazy’ at his sold out 2022 ‘Desmond Child Rocks the Parthenon’ concert among the ancient ruins in Athens, Greece. Leo has also been a featured artist for multiplatinum selling Swedish EDM legends Mike Perry, TEN TIMES and Erlandsson and Sony Germany's Leon Brooks. Having racked up millions of streams and editorial playlist placements across all major DSP’s in the past year alone, Leo has gained thousands of followers and millions of views across his social media accounts and his Leo Dante's covers have caught the eyes and ears of record labels and the original artists around the world, even getting reaction posts, likes and comments from Sam Tompkins, Teddy Swims and MGK along the way!

PRESS RELEASE Pre-save Everest HERE Halestorm, the GRAMMY-winning band initially formed by siblings Lzzy and Arejay Hale with guitarist Joe Hottinger and bassist Josh Smith, have announced Everest , their sixth studio album out August 8 on Atlantic Records. Today the band also announced the “nEVEREST Duality tour,” a US/Canada tour this fall with Lindsey Stirling and supported by Apocalyptica. Tickets go on sale this Friday, May 2 at 10 AM local time.  Last week, the band offered a glimpse of Everest with “Darkness Always Wins,” the first song to be revealed from the upcoming collection. The song teases an album, produced by GRAMMY winner Dave Cobb (Brandi Carlile, Chris Stapleton, Jason Isbell), that dives deeply, both lyrically and sonically, into the band’s mountainous climb over the last couple decades. “Our album Everest is a story of our journey as a band, full of beautiful endings and new beginnings,” says Halestorm frontwoman Lzzy Hale. “We weave a tangled web of melancholy, frustration, anger and the vast purgatory of love and love lost. It is a rollercoaster of epic musical detours, great songwriting and completely unhinged twists and turns. Everest is an auditory representation of the 4 pillars of Halestorm. Let us reintroduce ourselves and invite you into our world…if you dare.” Rolling Stone said of “Darkness Always Wins,” "What the song has going for is its catchy, brooding, and dramatic in all the ways we love Halestorm songs to be,” and Revolver noted "The arrangement remains lean even as the amps begin to crank into the red, though ‘Darkness Always Wins’ still sports some exquisite minor-key melodicism, a metal-chunked bridge, loud-as-hell requiem bells and a classically rippin’ rock guitar solo." “Darkness Always Wins” impacts at Active Rock radio this week, but already debuted as the “Greatest Gainer” at the format with early airplay last week. The newly announced nEVEREST tour follows an epic run first supporting Iron Maiden in Europe and dates with Volbeat in the US with a one night-only-performance at Black Sabbath’s final show in Birmingham, England. See below for a full list of upcoming dates. *** ABOUT HALESTORM: What started as a childhood dream of Lzzy and Arejay Hale, Halestorm has scored seven #1 hits at rock radio, and their music has surpassed one billion streams across platforms worldwide. They’ve received two GRAMMY nominations and won in 2012 for “Love Bites (So Do I)” as Best Hard Rock/Metal Performance. The band has built a reputation for their dominating live performances and has shared the stage with rock icons like Heaven & Hell, Alice Cooper, and Joan Jett. ABOUT LINDSEY STIRLING: Few artists embody the boundless creativity and gifts of multi-award-winning musician Lindsey Stirling. Known as much for her genre-bending virtuosity on electronic violin as she is for endlessly dazzling audiences with her extraordinary talents as a dancer and performer—elements she brings to the stage as part of her spectacular live show—Lindsey tours with stunning frequency and continually sells out iconic venues around the globe. Her groundbreaking vision has gained her millions of adoring fans worldwide, four Billboard chart-topping albums and two Billboard Music Awards, including Top Dance/Electronic Album for her third studio release, Brave Enough. Her holiday album, Warmer in Winter, catapulted to the #1 spot on Billboard, Amazon and iTunes Holiday Album charts upon release and lead single “Carol of the Bells” made history as the only instrumental song ever to reach the Top 10 at AC Radio. Lindsey's song Shatter Me featuring Lzzy Hale (of Halestorm) recently garnered platinum status. A New York Times bestselling author (and creator of her own comic book), Lindsey felt compelled to push her boundaries even further for her seventh full-length effort, Duality, ultimately embracing a whole new level of freedom in her songwriting. Lindsey has amassed over 28M million subscribers across social platforms, over 3.5 billion views and 14.3M subscribers on YouTube, 5.2M million followers and 115M likes on Tik Tok, 4.1M followers on IG, and over 500k user generated creations across Tik Tok and Instagram reels. HALESTORM: ON TOUR 2025 May 27 - June 28: Supporting Iron Maiden (where noted) July 5: supporting Black Sabbath July 17 - August 22: Supporting Volbeat (where noted) September 11 - October 11: (co-bill w/ Lindsey Stirling, with Apocalyptica) October 22 - November 26: Support from Bloodywood November 20 - November 26: Support from Kelsy Karter & The Heroines  MAY 15 - Daytona Beach, FL - Welcome To Rockville (festival date) 17 - Ocean City, MD - Boardwalk Rock (festival date) 27 and 28 - Budapest - Sportarena (supporting Iron Maiden) 31 - Prague, Czechia - Letany Airport (supporting Iron Maiden) JUNE 1 - Bratislava, Slovakia - O’Nepelu Arena (supporting Iron Maiden) 3 - Leipzig, Saxony - Felsenkeller Leipzig (headline date) 5 - Trondheim, Norway - Trondheim Rocks (festival date) 7 - Stavanger, Norway - Viking Stadium (supporting Iron Maiden) 9 - Copenhagen, Denmark - Royal Arena (supporting Iron Maiden) 12 and 13 - Stockholm, Sweden - 3Arena (supporting Iron Maiden) 16 - Helsinki, Finland - Olympic Stadium (supporting Iron Maiden) 18 - Tallinn, Estonia - Helitehas (headline date) 19 - Riga, Latvia - Palladium Riga (headline date) 23 - Lille, France - Aeronef (headline date) 25 - Dublin, Ireland - Malahide Castle (supporting Iron Maiden) 28 - London, UK - London Stadium (supporting Iron Maiden) JULY  1 - Lausanne, Switzerland - Les Docks (headline date) 2 - Eindhoven - Effenaar (headline date) 5 - Birmingham, UK - Villa Park (supporting Black Sabbath) 17 - Denver, CO - Ball Arena (supporting Volbeat)   19 - Salt Lake City, UT - Utah First Credit Union Amphitheatre (supporting Volbeat)   21 - Auburn, WA - White River Amphitheatre (supporting Volbeat)   22 - Ridgefield, WA - Cascades Amphitheatre (supporting Volbeat)   24 - Wheatland, CA - Kia Forum (supporting Volbeat)   26 - Phoenix, AZ - Talking Stick Resort Amphitheatre (supporting Volbeat)   28 - Irving, TX - The Pavilion at Toyota Music Factory (supporting Volbeat)   29 - Houston, TX - 713 Music Hall (supporting Volbeat)   31 - Rogers, AR - Walmart AMP (supporting Volbeat)   AUGUST 2 - Franklin, TN - FirstBank Amphitheater (supporting Volbeat)   3 - Alpharetta, GA - Ameris Bank Amphitheatre (supporting Volbeat)   4 - Tampa, FL - MIDFLORIDA Credit Union Amphitheatre (supporting Volbeat)   6 - Charlotte, NC - PNC Music Pavilion (supporting Volbeat)   7 - Bristow, VA - Jiffy Lube Live (supporting Volbeat)   9 - Camden, NJ - Freedom Mortgage Pavilion (supporting Volbeat)   10 - Holmdel, NJ - PNC Bank Arts Center (supporting Volbeat)   12 - Bangor, ME - Maine Savings Amphitheater (supporting Volbeat)   13 - Gilford, NH - Bank NH Pavilion (supporting Volbeat)   14 - Mansfield, MA - Xfinity Center (supporting Volbeat)   16 - Hershey, PA - GIANT Center (supporting Volbeat)   17 - Cincinnati, OH - Riverbend Music Center (supporting Volbeat)   19 - Clarkston, MI - Pine Knob Music Center (supporting Volbeat)   21 - Noblesville, IN - Ruoff Music Center (supporting Volbeat)   22 - Tinley Park, IL - Credit Union 1 Amphitheatre (supporting Volbeat)   23 - Marshfield, WI - Central Wisconsin State Fair (headline date) SEPTEMBER 11 - Salem, VA - Salem Civic Center (co-bill w/ Lindsey Stirling, with Apocalyptica) 12 - Cherokee, NC - Harrah’s Cherokee (co-bill w/ Lindsey Stirling, with Apocalyptica) 14 - Bridgeport, CT - Hartford HealthCare Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) 16 - Syracuse, NY - Upstate Medical University Arena at the Oncenter (co-bill w/ Lindsey Stirling, with Apocalyptica) 18 - Laval, QC - Place Bell (co-bill w/ Lindsey Stirling, with Apocalyptica) 19 - Toronto, ON - Budweiser Stage (co-bill w/ Lindsey Stirling, with Apocalyptica) 21 - Madison, WI - Breese Stevens Field (co-bill w/ Lindsey Stirling, with Apocalyptica) 23 - St. Louis, MO - Hollywood Casino Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) 24 - Cedar Rapids, IA - Alliant Energy PowerHouse (co-bill w/ Lindsey Stirling, with Apocalyptica) 26 - Welch, MN - Treasure Island Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) 27 - Duluth, MN - AMSOIL Arena (co-bill w/ Lindsey Stirling, with Apocalyptica) 29 - Bonner Springs, KS - Azura Amphitheater (co-bill w/ Lindsey Stirling, with Apocalyptica) OCTOBER 1 - Sioux City, IA - Tyson Events Center (co-bill w/ Lindsey Stirling, with Apocalyptica) 2 - Grand Forks, ND - Alerus Center (co-bill w/ Lindsey Stirling, with Apocalyptica) 4 - Winnipeg, MB - Canada Life Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) 5 - Saskatoon, SK - SaskTel Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) 7 - Calgary, AB - Scotiabank Saddledome (co-bill w/ Lindsey Stirling, with Apocalyptica) 8 - Penticton, BC - South Okanagan Events Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) 10 - Vancouver, BC - Doug Mitchell Thunderbird Sports Centre (co-bill w/ Lindsey Stirling, with Apocalyptica) 11 - Spokane, WA - Spokane Arena (co-bill w/ Lindsey Stirling, with Apocalyptica) 22 - Wiesbaden, DE - Schlachthof (with Bloodywood) 23 - Oberhausen, DE - Turbinehalle 2 (with Bloodywood) 25 - Hamburg, DE - Inselpark Arena (with Bloodywood) 27 - Stockholm SE - Fållan (with Bloodywood) 28 - Copenhagen, DK - The Grey Hall (with Bloodywood) 30 - Warsaw, PL - COS Torwar (with Bloodywood) NOVEMBER 1 - Berlin, DE - Columbiahalle (with Bloodywood) 3 - Prague, CZ - Lucerna Velkỳ Sàl (with Bloodywood) 5 - Vienna, AT - Gasometer (with Bloodywood) 6 - Budapest, HU - Barba Negra (with Bloodywood) 8 - Munich, DE - Zenith (with Bloodywood) 9 - Zurich, CH - Komplex457 (with Bloodywood) 11 - Milan, IT - Alcatraz (with Bloodywood) 12 - Barcelona, ES - Razzmatazz 1 (with Bloodywood) 14 - Pamplona, ES - Totem (with Bloodywood) 15 - Madrid, ES - La Riviera (with Bloodywood) 17 - Paris, FR - Olympia (with Bloodywood) 18 - Amsterdam, NL - AFAS Live (with Bloodywood) 20 - Cardiff, UK - Utilita Arena (with Bloodywood, Kelsy Karter & The Heroines) 21 - Glasgow, UK - OVO Hydro (with Bloodywood, Kelsy Karter & The Heroines) 23 - Birmingham, UK - bp pulse LIVE (with Bloodywood, Kelsy Karter & The Heroines) 24 - Manchester, UK - AO Arena (with Bloodywood, Kelsy Karter & The Heroines) 26 - London, UK - O2 Arena (with Bloodywood, Kelsy Karter & The Heroines)

Joe Jonas is three-for-three with the singles off his upcoming solo album Music for People Who Believe in Love , and the latest track, “Heart by Heart,” is giving major slow-dance-in-the-rain  energy. The song just dropped today (April 25), and it’s a softer, stripped-back side of Joe — think delicate acoustic guitar, dreamy keys, and lyrics that hit you right in the chest. It’s tender, it’s raw, and it’s got that Lewis Capaldi sadness woven in (yep, he co-wrote it, along with Oscar Holter, Savan Kotecha, and Max Grahn). The production team? Stacked. Holter, Kotecha, and Fat Max Gsus are all over it, and it shows . Leading up to release day, Joe’s been on his softboy promo game — hosting a cozy hang at Caracas Bakery in Miami and giving New York fans a surprise performance at Bleecker Street Bar. A super-intimate Vevo live session is also floating around, filmed in one take out in LA, just him and the mic. No frills, just feelings. “Heart by Heart” is out now on all platforms via Republic Records — and if you’ve ever loved hard and lost harder, this one’s going to sting (in the best way). Stream it, cry to it, repeat.

Welcome back, boys. We missed you. Mayday Parade is 20 years in and somehow still managing to kick us in the feels like it’s 2007 and we’re all discovering heartbreak for the first time. Their new EP Sweet  (the first of a three-part rollout—yes, a trilogy!) is a warm, guitar-soaked hug to the old days and  a confident step forward. Right out of the gate, “By The Way” reminds us who they are: a band that’s survived scene phases, MySpace heartbreaks, and skinny jeans that probably should’ve been retired years ago. It’s catchy, it’s emo, it’s them . The kind of track that feels like screaming into your pillow, but in the best way. Pop-Punk Nostalgia With a Pulse “Who's Laughing Now” might be the standout here—it’s a full send into pop-punk throwback territory, and it absolutely rips. With driving drums, palm-muted verses, and Derek Sanders delivering vocals that sound like they could still break up a high school relationship, this one deserves to be screamed in a crowd with your best friends (and maybe your ex nearby, just for dramatic effect). The songwriting? Still sharp. The production? Crisp, clean, but not overdone. It’s clear these tracks were made with care—Zack Odom and Kenneth Mount, longtime collaborators, helped bring this one to life, and the chemistry’s still strong. “Pretty Good To Feel Something” – We Felt That The closer of this EP isn’t trying to be the flashiest—it’s trying to be the truest . “Pretty Good To Feel Something” wraps the whole thing in gratitude and growth. It’s reflective without being overly sentimental. It's not a goodbye letter; it’s more like a soft reset. A deep breath before what's next. So What’s the Verdict? If Sweet  is the beginning of a new Mayday Parade era, we’re fully here for it. It captures what made us fall in love with them in the first place—those big choruses, the earnest emotion, the undeniable sense that this band gets it . But it also shows a maturity that only comes from sticking around, figuring things out, and still finding something worth singing (and screaming) about. We’ll be keeping our eyes peeled for the next two installments. If they’re anything like Sweet , we’re in for something really  special. Rating: 9/10

The Governors Ball Music Festival is set to return with a stellar lineup, promising an electrifying weekend for music enthusiasts. Set to return to Flushing Meadows Corona Park in Queens, New York, the festival will run from June 6-6, 2025, featuring a diverse roster of artists providing performances that will light up NYC. Headliners for this year's event include Tyler, The Creator , Benson Boone , Olivia Rodrigo , Feid , Hozier  and Glass Animals , alongside performances from rising stars and established acts such as Tyla , Wallows , MARINA , Clairo , Conan Gray  and Young   Miko . Fans can expect an amazing mix of hip-hop, pop, rock, and electronic music, that’s sure to keep the party going all weekend long. Reflecting on last year's unforgettable event, standout performances like Chappell Roan and Sabrina Carpenter’s sets left the crowd buzzing. Sabrina Carpenter delivered an energetic set that finished off with the announcement of beloved album, Short n’ Sweet’s release date, while Chappell Roan captivated the audience with her dynamic stage presence and powerful vocals that drove her stardom soaring right after her performance at last years Gov Ball. What artist’s do you guys think will rise to stardom this year at Governors Ball 2025? Beyond the music, Governors Ball will offer a vibrant festival experience with gourmet food vendors, pop-ups, and interactive activities, reflecting New York City's dynamic culture. If you are debating on GA, GA +, or VIP, your best bet would be VIP due to the shorter wait times for food, the closer view of your favorite artists from any one of the three stages and an overall great VIP experience with shade and a lounging area with direct viewing of the stages. Attendees are encouraged to plan ahead, as the festival's convenient location offers easy access via public transportation. Start the Summer off right by attending this years Gov Ball featuring the hottest lineups, some of NYC finest food vendors, and a weekend of lasting memories. Bring family and friends and just have fun during New York’s biggest party with 60+ of the world’s BEST artists. Don’t miss the opportunity to be a part of something great right in the heart of New York City!  Limited tickets remain, and prices are set to increase after April 18, 2025, at 11:59 PM. Secure your spot now to enjoy the festival at the best available price. Current best option is their 1-Day ticket for VIP but hopes not gone yet. If you want to save money on 2-day or 3-day tickets, Gov Ball currently has a waitlist for those tickets so sign up as soon as you can and keep an eye on when those become available. Stay tuned for more updates, including set times and special guest announcements, as the countdown to Governors Ball 2025 continues. More news available here on SoundCheck Mag!

When Said The Sky teams up with Taylor Acorn, you already know your heart's about to be put through it—in the best possible way. “Reminisce” isn’t just a song. It’s a moment —one that perfectly fuses Said The Sky’s signature cinematic production with Taylor Acorn’s emotionally wrecking ball of a voice. And honestly? We didn’t know how much we needed this collab until it hit. Said The Sky has long been the master of making you cry in the club (or in your car at midnight), and here, he brings that same storytelling energy with shimmering synth layers, sweeping builds, and those classic goosebump-inducing drops. It’s emotional EDM at its finest, but with a fresh twist—Taylor Acorn. Acorn, known for walking the line between alt-pop and emo with total ease, delivers one of her most intimate performances yet. Her voice has this ache to it—like she’s reliving every word in real-time. When she sings “I know it's been so long, but you’re never really gone”,  it doesn’t just hit... it stays. What’s so special here is how natural their sounds mesh. It’s like this collaboration was always meant to happen. Said The Sky builds the emotional landscape, and Acorn becomes the narrator. The result? A heartbreak anthem that’s as vulnerable as it is anthemic. We love a power duo that knows how to punch us in the feels—and “Reminisce” does exactly that. It’s a song for when you’re missing someone, even if you’ve already deleted the texts... twice. For fans of:  crying in your car, Illenium, Chelsea Cutler, that one hoodie you won’t throw out. Play it when:  you're thinking about what could’ve been—and you want the soundtrack to match.

Review By Rebecca McDevitt Let’s talk about reinvention—because The Driver Era just did it again, and Obsession  might be their boldest move yet. Ross and Rocky Lynch have always had a knack for bending genres and chasing the vibes that feel right in the moment. But with Obsession , they’re not just chasing a feeling—they’ve caught  it. This record is a full-on immersion into alt-pop glamour, vintage grooves, and late-night introspection. And honestly? It works. Right out the gate, the album pulls you into its world. “Don’t Take the Night” sounds like a disco ball exploded in the best way—funky, flashy, and addictive. Then you hit “Can’t Believe She Got Away,” and suddenly you’re in a smoky lounge, nursing a heartbreak with a soul-stirring groove. It’s textured, warm, and totally self-produced by the brothers, which just makes it that much more impressive. What stands out most, though, is how personal  this album feels. There’s a maturity here—a willingness to sit in discomfort, to own heartbreak, to get a little messy. “Same Old Story” hits especially hard, wrapping honest lyrics in a beat that dares you to dance through the sadness. And that’s kind of the theme of Obsession : feeling it all and letting the music move you through it. This isn’t just a playlist of catchy songs. It’s a curated experience. Every track feels intentional, every lyric feels lived-in. It’s the kind of album you throw on during a late-night drive and suddenly realize you’ve been singing along to every word. Obsession  is sexy, smart, a little sad, and completely addicting. It’s The Driver Era doing what they do best—pushing themselves, surprising us, and sounding damn good while doing it. 🎧 SoundCheck Selects: Obsession  Highlights 1. “Don’t Take the Night”  If Studio 54 had a baby with modern indie-pop, it would sound like this. Glittery, groovy, and totally infectious.  2. “Can’t Believe She Got Away”  Soulful with a subtle crunch—this one sneaks up on you emotionally while you’re vibing to the beat. 3. “Same Old Story”  That bittersweet anthem we all need. Nostalgic and new at the same time. 🎨 Album Artwork & Credits Album:   Obsession Artist:  The Driver Era Release Date:  April 11, 2025 Label:  TOO Records Cover Art & Visuals:  Courtesy of The Driver Era Creative Direction:  Ross & Rocky Lynch So yeah, if you’ve been craving a record that hits the sweet spot between dancefloor daydreams and emotional gut punches— Obsession  is your next obsession.