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Article by Rebecca McDevitt / Contributions by Rachel Wilson In the ever-evolving landscape of alternative music, few bands have been making waves quite like Young Culture. Hailing from Albany, New York, this dynamic trio has been carving out their place in the scene with a fresh blend of pop-punk, alternative rock, and irresistible melodies that captivate both nostalgic fans and new listeners alike. The Journey Begins Young Culture was formed in 2016 by longtime friends Alex Magnan (vocals), Gabe Pietrafesa (guitar), and Troy Burchett (guitar). Their shared love for music and a passion for storytelling through sound led them to craft their signature style. Their sound, reminiscent of early 2000s pop-punk with a modern twist, resonates with fans who crave both anthemic choruses and heartfelt narratives. Breaking Through Since their formation, Young Culture has steadily gained momentum, releasing a series of EPs and albums that have garnered critical acclaim. Their self-titled album, released in 2020, showcased their ability to seamlessly fuse pop and punk influences into a cohesive and exciting project. More recently, their 2022 album You Had to Be There  further solidified their standing in the alternative music world, highlighting their growth as musicians and songwriters. Their discography is filled with catchy hooks and unfiltered emotion, exemplifying the highs and lows of youth, relationships, and self-discovery. Tracks like “Hum,” “Better Off As Friends,” and “Whisky” highlight the band’s knack for balancing singalongs with introspective lyricism. A Live Experience Like No Other One of Young Culture’s strongest assets is their live performance. Known for their high-energy shows and genuine connection with fans, the band has built a loyal following across the country. They have toured extensively, sharing the stage with notable acts in the alternative and pop-punk scene like State Champs, Daisy Grenade, Meet Me @ The Altar, Broadside, and Grayscale. Their ability to create an intoxicating atmosphere at their shows speaks volumes about their dedication and talent. Photo by Rachel Wilson The Road Ahead With a strong social media presence and a growing fanbase, Young Culture is poised for even greater success. Their collaborations, including their recent single “Jesus” with fellow New York natives Daisy Grenade, show their willingness to experiment and evolve their sound. As they continue to push boundaries and explore new musical landscapes, there’s no doubt that Young Culture is a band to watch. Album Artwork for "Jesus" by Young Culture, Daisy Grenade For fans of alternative rock and pop-punk, Young Culture represents the best of both worlds. As they continue to rise, one thing is clear: Young Culture is here to stay.

Article by Rebecca McDevitt / Contributions by Rebecca McDevitt & LJ Portnoy If you're feeling saxy, Gabi Rose is here to blow you away—literally! This powerhouse saxophonist and vocalist mixes pop, jazz, and R&B like a musical mad scientist, creating sounds that are as smooth as they are inspiring.  She’s jammed with big names like Bilmuri and the Jonas Brothers, all while leading her own band, Enrose. Whether she’s lighting up the stage or going viral with her killer sax covers, Gabi is always pushing musical boundaries and keeping things fresh, funky, and full of soul! Photo by Rebecca McDevitt - RJL Photography I had the incredible opportunity to sit down with Gabi Rose and dive into her journey as an artist. We discussed her unique sound, the experiences she's had while touring, and what’s next for her band, Enrose. Gabi shared insights into the creative process behind her music and gave us a glimpse of the exciting plans the band has in store for the future. SoundCheck: I want to talk about your saxophone first. How did you develop a musical identity with the saxophone? And what made the saxophone such a core part of your history?  Gabi Rose:   So, I always heard when I was younger, before I even knew that being a musician was in the cards for me. I remember hearing that, and I can't. Man, I wish I remembered who said this to me, but I remember hearing that the saxophone is like a human voice, and actually, arguably the most similar to a human voice than any other musical instrument. And so that has allowed me to have my own unique sound with it, because I'm also a vocalist. And really, everybody has a voice. So that is why vocals in music resonate the most with people: we all have a human voice, even if we choose not to use it for singing, it's the most connective way. And so I feel like then, especially identifying as a singer. Even, you know, when I was a kid just doing it for fun. The more I was singing and the more I was playing, and the more I was doing them together, the more I was able to develop a voice.  SoundCheck: What made the saxophone such a core part of your artistry?  Gabi Rose:  Oh, yeah, I mean, I feel like a saxophone. It's just. It's a little bit more unique, you know. I grew up going to shows. I loved rock music. I was listening to a lot of The Killers, and I loved the Foo Fighters and Paramore and all these bands, and I didn't play a rock instrument. I picked up a guitar when I was in high school because and just like acoustic guitar, because I wanted something that I could learn to accompany myself with to sing, but I still wasn't like playing a rock star instrument. But then, yeah, just like never stopping playing saxophone. The cool thing about that is, as I said before, it does resemble a human voice, but it can resemble a lot of different instruments. I feel like the saxophone can very closely resemble a guitar, too, if played in the right way. It can be a lead instrument. It is a lead instrument. So, in the same way that you might choose to have a rip and guitar solo in a song, you can substitute that for sax, which is what they did a lot in the eighties and increasingly more now. So I feel like I'm in the prime of that being something that's like making a comeback and. So I feel like I'm right on the sweet spot of that as a saxophone player in pop music and rock music. So yeah, I think that's why I've been able to use it as a tool. Because it is a little bit more unique. There are a lot of guitar players out there, but there are not quite as many saxophone players in pop music, at least not yet.  Photo by Rebecca McDevitt - RJL Photography SoundCheck: That's my next question is, do you think that you're seeing a resurgence of saxophone and pop music? Or do you feel like you're the one paving the lane with it?  Gabi Rose:   I'm seeing it for sure. And I think I'm helping pave that, too, because when people hear it, they're like, oh, cool, like, I want to have that in my song. I would say, really, ever since TikTok. I got on TikTok, January of 2021. I said, I don't know how long this whole lockdown thing is gonna happen. But at that point I had already been committing myself to producing and making videos, and what I was doing, was learning how to video edit, and so, taking some of my favorite songs and reconstructing them, reharmonizing them, singing, playing all this stuff just kind of treating that as if it was my job which wasn't paying me. But I wanted to stay on top of the grind and on top of learning and all this stuff. So then with TikTok, I was like, “Hmm, maybe this is a platform that I can get”.  I can start using it, and things don't have to be quite as polished. So that was the 1st time that I was like, maybe I could just get on and start playing over music. And the 1st video that went viral for me. It was within 2 weeks of being on TikTok and posting, and it was a video of me playing a saxophone solo over Olivia Rodrigo's Driver's License. And I was like, Wow, like it went so viral. And I was like, Wow, that's crazy. And that was the first.st That was the beginning of a long string. Thousands and thousands of comments since then like, “Bring saxophone back”. And at first, those comments would be replied to, and people would reply to those comments by saying things like, Yeah, I agree. Like, I love saxophone; we need more of it. And now it's funny, because the comments that I see are people not disagreeing with that. But people saying, yeah, let me give you like 5 to 10 bands that are already doing that now, or 5 to 10 artists that are doing that, or they're sending over albums. They're sending over songs; they’re like, if you want that, it's out there, and we know where it is now. So, I think it's been happening. It's just, I think, in the last 5 years, I've seen it so much more. And maybe that's just also my bias, because I'm the one I'm in it. I'm definitely seeing it more, which I think is cool.  SoundCheck: Okay, your biggest music influences.  Gabi Rose : I mean, definitely Paramore. Sometimes when people ask me this, they're like, Oh, my God, you didn't say Paramore like, I'm so surprised. And it's like, yeah, actually, I mean, of course, it's Paramore like that. Not that the band was hugely influential for so many people. And I think I would say Paramore and Foo Fighters came around for me at this sweet spot where I was starting to dial in my own unique taste in music. It's like we grow up listening to the music that we're just exposed to, whether it's our parents or what we're hearing from our friends or in school, what's on the radio, whatever.  And then you hit this point where you're maybe pre early teen years or something. And that's when you start to choose what you want to listen to and get in with the communities and start going to shows. So that was the beginning of that for me. Well, the Jonas Brothers, for sure there was that era. Yeah, there was like the Jonas Brothers and Miley Cyrus. Well, 1st it was Christina Aguilera, then it was the Jonas Brothers, Miley Cyrus, and then it came like Paramore, Foo Fighters, and then when I got to college, I was exposed to R&B music. I had these like CDs growing up, the Now That's What I Call Music. CDs, and there would be songs by Brandy and Aaliyah, and TLC. And Erykah Badu, and stuff like that, and I love and and Babyface, and I love those singles, but I never got my hands on full albums, and then my freshman year. I remember the day so vividly when I discovered Spotify so vividly. It was my roommate at the time who was like, Yeah, there's this new thing, and you could cause we were just downloading music or ripping it off of Youtube or Limewire. If we had money, I would try to buy as much as I could to be fair, but I had so many interests, you know. That was the Tumblr age, too. So I was discovering a lot of music on Tumblr, and I was like everyone's talking about this band Arctic Monkeys like, I need to hear this album, you know. So yeah. So then, I remember vividly going on to Spotify for the 1st time. And that's when I got exposed. That's when I heard D'angelo for the 1st time, and that's when I heard Moonchild for the 1st time. That's when I heard Lawrence for the first time, these bands that were incorporating more soul and jazz, and it was perfect timing for me because I wasn't writing music. I wasn't soloing or improvising or performing with a band or any of that stuff until my second year of college. So it was a combination of discovering that kind of music where, for the first time, I'm like, oh, I feel like my voice, I like that. I like learning how to sing that stuff, and saxophone is very prevalent in these songs, too, like soul music and R&B, and that kind of stuff, and then coupled with. Now, I also am in a school with a music program that isn't gatekeeping. I wasn't in a music conservatory or anything like that. Kind of like. The sky's the limit here, and I can choose what to do. And you know, I wanted to learn. And I wanted to discover. So those happen at the perfect time. So that's when I started directly, the songs that I was beginning to perform and try to write were directly were from the influence of that music that I was listening to. But like that was kind of my arc of music. And then after college, that's when I kind of it all sort of came together, because that's when I got back into rock music. I wasn't listening to rock music for like 4 or 5 years. I listened to what was happening now and realized I really like this. And now I can start to combine some of what I have been exposed to and studied over the last 5 years and combine it. And that's my experience being with a band like Bilmuri.  Now, it's the common, the culmination of both of those things. And that's why I feel so at home in like my role in this band, because it's the perfect combination.   SoundCheck: All right. I want to talk about Enrose. If someone is just discovering Enrose for the first time, what's the one song you'd want them to hear first?   Gabi Rose:  I think I would say the new one, “Not A Barbie”. I love the saxophone lead. It's using saxophone in a way that's not just a solo. And it's also similar to like My Happiness, which I know a lot of people like that song, too. It's using the saxophone as if it's a guitar lead or even a vocal lead. It's the chorus and I have enjoyed utilizing the instrument in that way. And it's like with my music. I can do whatever I want. It's been fun to experiment with that. It's my main tool of choice, but it doesn't take away from the fact that it's a song that’s directly related to my life. And I get to sing on it, it's not just about the saxophone. It's just an element that's part of it, and it is a major part of it done in a different kind of way. I think that song is just fun. It's girly but also aggressive. It hits you right away. Yeah, I think that's the song that I would show people. I'd be like, this is kind of like me in a nutshell right now, and it's gonna change. But this is me in a nutshell. And this is the song that I think best represents the music that I'm doing right now. SoundCheck: Going back to that. Between Not A Barbie and i like it. They're similar. But they're different. What was the inspiration behind both of those songs?  Gabi Rose:   So “i like it” was, I was sitting in my room just making a beat. And I liked those chords, and they were whimsical and dreamy to me. It kind of brought me to the feeling of being a little bit tipsy and a little bit just like you're feeling yourself. It's like one of those nights that you're just like, I could do anything. I feel good, and I maybe want to put myself out there. It kind of reminded me of getting into this space that you want to get in that you can't always access. You can't always tap into feeling good. You can't always tap into wanting to go out and put yourself out there. It's scary, but a song like that. Something about the chords. And then I just started gibberishing, and that's what came out of just feeling yourself and wanting to maybe do something crazy. And it's not even LMFAO like, get crazy. Not that kind of song. It's almost like embracing your feminine divine and embracing your body and feeling sensual and sexual and everything. So that's why I had this idea of being in a hotel room like I am now, and just kind of what do I want to do like you're on vacation or something, or in my case, I might be on tour, and I could be anybody that I want to be right now.  SoundCheck:   You’ll never see these people again. Gabi Rose:   Exactly, exactly. I think about that identity of cause. I travel all the time now, and you know. I think I like to think that as a touring musician being in all these different cities, I can tap into that. But I can't necessarily, because I am traveling in a group, and like I do have an identity. But I've always loved the idea of going on vacation or traveling solo, or traveling with just one other person, and for however many days that you're there. Nobody knows you. You're a complete stranger to everybody. You don't ever have to go back there. You can pack whatever kinds of clothes you want to wear, you can change your hair, you can change your style, you can change your accent, you can change anything about yourself, and be a different person for a week. And I love that concept. I think that's so cool.  And then “Not A Barbie”. It's sort of an angry song. It's a bitter song. It's a little bit resentful but playful, resentful. So it's kind of the acknowledging that at one point or another, you might have felt trapped, and sometimes we do. I guess I could speak for myself, feeling the need to show up a certain way for somebody. Not meeting expectations and feeling like you need to be perfect, and that you're never getting it right. And it's kind of like a fuck you song so it's very different than I like it, which is a very peaceful song. But Not A Barbie is about feeling like you were put in a box. And now it's like that's not me. I'm unapologetically, I am so not perfect; I'm so far from perfect. And so that was the whole idea behind the music video of, I just wanted to rip some hair off of Barbies, and burn their clothes and draw eyeliner on them and everything. I saw this photo on Tumblr way back on my computer. It's stayed on my hard drive for all this time. And it's just this captivating photo of a fucked up Barbie, which is funny, because then the Barbie movie came out, and Weird Barbie was a character, and I was like yes, like everybody, had a weird Barbie at one point or another. We are all Weird Barbie. We're not regular Barbies. We are weird barbies, and every weird Barbie is different, too. When you take a regular barbie that hasn't been fucked up out of the box, they all look identical, but once you start fucking up a Barbie, it's never going to be the same as any other Barbie again. So we are more like that. That's what I wanted to do for that music video.  Photo by Rebecca McDevitt - RJL Photography SoundCheck: What's the biggest misconception about being at your level in the industry?  Gabi Rose: That I know what's happening, that I know what I'm doing. I think people I remember looking up to people that were, I guess, at my point now, and thinking that they had it all figured out. I kind of go one step at a time and work my way up. You never really have it figured out because you're just faced with more and more challenges that you're not familiar with. And even more, I interact with some bigwigs and stuff. Maybe before we met, I thought, wow, this person, they know what's going on. I look up to them, and don't get me wrong, like I am so lucky to be in rooms with some of the smartest, most creative, brilliant people. But I kind of realized we're not that different. You just have the balls to still be here and grinding and figuring it out. And I think, especially in the music industry, that's all it takes. It's the balls to keep going because people don't have it figured out in the same way that I might be scrambling to put a show together, for one night or something, and I'm like, oh, my God, I forgot to get the merch together. I need to get a merch seller, and we need to print the set lists. And what am I gonna wear? I have to tell the band what they're gonna wear. And oh, my God, wait! What time do we have to be there? There are so many things. It's that times 100 in every other touring circumstance. And the only difference is that you might have more people with a little bit more experience. But every day, there's something new coming up. So yeah, I think that's the biggest misconception is that people like me have it all figured out, and we certainly don't.  SoundCheck: You guys are just winging it day by day.  SoundCheck: I wanted to dive into your energy on stage. Do you think about the crowd? Do you think about the music?  Are you just up there getting lost in everything?  Gabi Rose:   So I feel like when I get ready to go on stage. I am getting into character. It's not too dissimilar from the type of person I am in real life, I don't think, but it's sort of this extreme version and this elevated version. I take notes from my favorite artists because they do the same thing. You have a very obvious example, which would be somebody like Chappell Roan, who speaks very openly about this. She's like, I go into drag when I'm on stage, and she named herself Chappell Roan because it's an alias. It's a different name. It's the artist version of her and so I tap into that before I go on stage because then I feel like I can perform and try anything that I want. And I'm not worried about what to do? What is that person from high school who was in my drama class gonna be thinking? I'm not thinking about who I am and all my experiences, and who's going to judge me and all this stuff. I'm showing up on stage as this kind of character. So I think being able or having now sort of gotten a lot further into figuring out who that person is, what kind of charisma do I exude when I'm on stage, is what feels honest. Like what doesn't feel forced, but it is challenging to my regular ego like it's challenging but not dishonest. I think that helps me show up consistently because now I've done hundreds and hundreds of shows in different types of circumstances. You know I might be playing with Enrose, but I might be playing with the Jonas Brothers. I might be playing with Bilmuri. I might be playing at a wedding. I might be playing a club gig  I might be doing a jam session, there are so many I might be going on. Tiktok live. And they're all different. And you need to. I've always wanted to show up in a way that works for those different circumstances. You know you're I'm not gonna do a wedding wearing the same types of clothes that I would wear with Bilmuri, and then holding up my middle finger and be like “let's crank our hogs!” I'm not gonna show up that way, but I think the charisma is something that is the through-line. I'm gonna have a different language and a different- Gabi Rose:   What's the word?  SoundCheck:   You have to adapt   Gabi Rose:   You have to turn it on because also there's been times that I have to perform, and I don't feel like performing and I think that's what gets draining. And I think that's where a lot of it is. I can see how some artists who become so big, so quickly, and who tour 250 days of the year or more and who never really get a break. And then, even when they're not touring. They're getting recognized on the street all the time. It's like they never have the chance to turn it off.  SoundCheck: Can't imagine  Gabi Rose:   It's hard. I could see that. But I think tapping into this person helps, because then, when you're on stage, that's who you are. And then when you're off stage, you can get back to like who you are at your core. So, yeah, separating them a little bit is good.  SoundCheck: What's your most memorable performance between festivals and shows?  Gabi Rose:   There's been a few. Last year I played with the Jonas Brothers at this big festival in Quebec City. I honestly don't remember the name of it, because it's like this French name. Huge festival, and we played to 65,000 people and the energy, you couldn't even see people at like. It was a sea. At that point I had played over 70 shows with the Jonas Brothers, and something about that one. I also love playing outside. So playing festival stages is always fun. I used to love going. I haven't been an attendee at a major festival like that in quite some time, but I always loved that when I was in high school and college. It was also how I bonded with other people, you're there for multiple days. Sometimes you're camping. You're discovering so much new music. And all this stuff. So people almost tap into their vacation selves when they're going to festivals. They're like, oh, yeah, like this is who I am, this weekend.  That was super memorable to me. Bilmuri shows get better and better all the time. Last night was one of my favorites.  Gabi Rose:   We played in Munich, Germany. It was like a smallish room for us. I think it was 600 capacity sold out. The image in my head that I took was, everybody was jumping up and down at the same time. But there's this scene from Woodstock, 99, where I mean all hell broke loose at Woodstock. 99. But Korn was playing. And everybody's jumping up and down. But there are thousands and thousands of people, and the sound is traveling slower than like what you're seeing on stage, like sound travels differently than light, and you know sight and all that stuff. So you're seeing people jumping up and down at the same time. It's like a wave. And even in our 600 capacity room yesterday. That's what was happening. And I'm glad that you asked me this question. Because I meant to have this conversation with the guys, and I just haven't yet, but I want to make sure I bring it up, because that image has always been a dream of mine to see from being the person on stage and helping facilitate that and orchestrate that, and that was so cool yesterday. Then I also just felt like as a band we put on such a world class show yesterday, like I think all of us would be so proud to watch that show again, and to present that show on a big stage at a big festival or something like that, like if that's if that's the capacity that we have to perform at on a regular basis. I think we're gonna do well this year, now that we're doing like a lot of festivals coming up for the summer and stuff.  I haven't played with Enrose as much as I would like to because I'm always on tour. I want to say the very first Enrose show. We were playing in New York City, and it was a small room. It was at Mercury Lounge, and the room was pretty full. Everybody was feeling it, and I remember I was nervous because there were so many moving parts. And I forgot my makeup bag. So then I was like fuck. I have to go on stage without my makeup. And I felt like I was gonna feel so exposed and ugly, and all this stuff, and then that show went so well, and I had so much fun. And once I started performing with the guys. I wasn't thinking about anything else. And that's the best feeling, too. As the leader of a project, the lead singer and stuff, to feel like the guys or girls that you have on stage with, like they got your back, and you can just perform the way you want, and the show's gonna go smoothly. That's a great feeling. And I got the same feeling when Enrose opened up for Bilmuri at Bowery Ballroom back in 2023, or something like that. It was such a great show, and it just felt so locked, and I felt like I could loosen up. And I feel like I've learned something new from every show. So, those are some of my favorites.  I try to also remember them cause like, when I have a really good show, I'll do a TikTok video of me saying how I feel. It's the same thing with journaling; I journal to remember the feeling. I don't journal to remember what happened. I journal to remember the feeling. And so I try to take note of the shows that felt the most impactful and memorable, so that I can hopefully recreate it.   SoundCheck: So, every artist has tough lessons that they have to learn in the industry. What's something that you had to learn the hard way when you were starting, or even now?  Gabi Rose:   I guess the first thing that comes to mind is so Chris Williamson, who has the podcast Modern Wisdom. He talks about unteachable lessons. And in a nutshell it's lessons that we've heard throughout our entire lives, such as you know, don't eat the junk food because you're going to regret it, or, going to the gym is going to be good for you, or make sure you call your mom, or he likes to say you don't love that pretty girl. She's just hot, and you were able to get her. It's all these things, or money doesn't buy happiness, these cliche things that we hear. Yet we still feel like we need to learn them for ourselves or in the girl world. It's like that. The guy is a cheater. He's a player. He's not good for you, girl. And she's like he's different, like, I promise he's different. And then he's not different. It's like there are certain things that we just need to find out for ourselves. So, I guess something that I've learned. The hard way is you don't learn unless you do. You don't learn unless you take action and try. You have to fail in order to learn and in order to grow. And I've been lucky with some. I, at least feel lucky with some of the things that I've gotten to experience. I'm always gaslighting myself. Sometimes I'm like, Oh, my God! Like something's gonna get ruined. Something's gonna get messed up like this is too good. But you know I've been rejected. I've had tough things that I've had to get through. I feel like the reason that I keep growing is because I keep showing up, even when it feels scary. Back to what I was saying, it seems like no one knows what's going on. Everyone's just learning by doing so.  Maybe it's not a hard lesson. It's just you kinda have to show up every day and try or else.  SoundCheck: We kind of talked about this when I last saw you in New York. Social media can be such a powerful tool, but it can also be overwhelming, especially because there are so many platforms nowadays. Do you see it as more of a help or more of a burden?  Gabi Rose:  I don't want to knock social media because it's been really helpful for me. It's beautiful that we have something like that where you can show up how you want to show up, and you can self-promote. You don't need to go through a middleman, and you don't have to go through agencies or management, or labels, or anything to get your music out there like. Really, for the first time, we have artists where they have the ability to craft whatever story they want. To craft and create the type of audience that they want, and the type of narrative that they want. So it's cool in that way, so I can't knock it. But I also find myself growing resentful of it because I think it takes me away from my creative brain. Social media to me is never-ending. It's like there's always a new message to look at. There's always a new thing on your algorithm. There's always a new comment that you want to look at, and maybe you shouldn't even look at it. And there's always a new idea that you have to post and a new trend.. And the problem with social media is, it's so addictive. I would love to say creativity comes from thinking about content or photos or something that I'm gonna post and then letting it be. But that's just unfortunately not the way it works. And I do get sucked into the optics of it and the results. And I think, being a creative person, creativity is not about results. It's about the process, and social media taints that a little bit. You're constantly comparing yourself to other people, and if you're not getting the outcome that you would have hoped for, then you start to think, is my art bad? Should I stop doing it? And so in the same way that social media can be encouraging because it's a vehicle for us to do whatever we want. It can also be super discouraging because you get sucked into feeling like they also have option anxiety. It's like, should I be doing that? I see this person is doing covers of Shania Twain. like should I be doing that? But this person's doing, you know, mostly original stuff. And this person isn't doing any videos at all. They're just posting photos. And it's overwhelming. I'm still finding a healthy balance. But the way I approach content is content is,  my content comes out of what I'm doing in real life. So I'm not showing up every day thinking, what kind of content am I going to make so I can grow myself on social media. The way I do content is if I'm doing cool shit in real life. I'm trying to document even a small percentage of that, and come up with some kind of story that is enticing enough to post on social media, and that feels the most genuine and authentic to me, and it doesn't cause burnout for me, because I'm like I would be doing this stuff anyway. And now I'm kind of treating it as a little bit of a scrapbook, because now I can remember how I was feeling and what I was working on and where I was at musically. If it's playing video or something like that. So I love being able to then go back in the archive from 2021, and even before that and see where I was at.  So I think it's really good, but I don't really approach it in the sense of I'm creating content to grow as a content Creator. I dipped a toe into that world, and I realized it didn't feel authentic to me, and it started to feel like work, and I didn't like that.   SoundCheck:  The next question is about your time, strictly with Bilmuri and the Jonas Brothers. You've toured with them both. What did you take away from those experiences? And then, did they shape your approach to performing in any way because they're 2 different types of music? Gabi Rose: So I joined Billmuri at the it like kind of 2021, and then toured for the first time with the band in 2022, which was the first tour that Johnny, our lead singer, and who created the project, that he did since before Covid and so it was a new beginning in a way. I continue to take away a lot from that band because I'm very involved in it and I have a stake in how well it does. I've been with the band since we were hoping that even a hundred people would show up. And we were doing sold-out 200-person rooms. And we were like, “What, this is crazy! It's sold out!” And now we're doing 2,000, and we're doing even more later on. And now we've played arenas opening up for Sleep Token. So, I’ve been a big part of that band's growth, and I fervently want it to succeed. And so even though it's mainly Johnny Frank's baby, I feel like it's my baby, too, and I think all of us feel like that, too, like we're proud to be part of that project. The initial thing that I took away from it, which I continue to take away from it, is, there are so many that there's no one-size-fits-all for how you can be creative. Also that music is the most beautiful when it is a team effort. Everybody works together really, really well, and everybody respects each other a lot, and it's allowed me to try things and to grow into this type of artist that I am now and be bold and be brave, and it's been just like a great vessel for me to explore my own creativity, and how I fit into this project, and luckily it's always felt like super honest. But I think I didn't believe in myself before joining Bilmuri. I didn't believe that I would ever have a place in a band like this, and a rock band like this, now, being very much a part of the band, but playing, not a conventional instrument, for a post hardcore, post emo country leaning sort of jazz, but mostly rock band. It's allowed me to create a new role. And redefine what a rock band has to look like. And that set me up for playing with the Jonas Brothers, because I learned how to perform in a new way. And you know, with Jonas Brothers it was going to be different, because then I'm performing with a horn section which then the beauty from a horn section is the bond that you have, and then also locking in to the harmony and the rhythm, and being super super tight and then, once you get that right, we're like characters on stage. We're like moving all over the stage. And we danced a lot. And we're interacting. And so I think both projects have gotten me to think about a performance on a whole.  I can appreciate now the roles that everybody has. So there are so many roles like there's so many things that go into creating a big production, I mean, even in a 200 person room. It's like everybody is doing a really important role, from lighting to playback to monitors to front of house engineer, and so learning all of that and appreciating all of that, then I can lock into okay, what am I best at? And where do we need to fill in the gaps? And so both have allowed me to just step into like, you know, I do have something to offer here. And I feel really grateful that my inherent, I guess skills. What I enjoy and I'm also good at has been appreciated and utilized in both projects. And now I feel like I can get on stage in front of thousands of people and feel pretty confident and have a good time.  Photo by LJ Portnoy SoundCheck: So, between both, what is the funniest behind-the-scenes moment that anybody would be surprised by? You don't need to out anybody. Gabi Rose:   Well, God. I don't. Honestly, I don't know if I have, if I have a specific moment, but what I can say is with both groups. We really became like family. And so it just gets really stupid. It gets really silly and really stupid. And it's part of what gets us hyped up to be on stage. It kind of reminds me of when I first started doing musical theater. And there's a bond with musical theater kids where everybody gets close, and everybody's like really touchy feely. But then, when you're on stage and you're rehearsing, and especially when you're in a show setting. You're like, I feel comfortable with this person. So this is gonna make our performance that much better. And I think it's the same with both Bilmuri and with the Jonas Brothers. The closer and the more genuine your connection is, the stupider you can be, and even the more secrets you share. The more yourself you can be. Then it translates to being on stage, and people can see that. So I can't. I honestly can't think of a specific thing right now. But what I can say is, some really, really, really stupid shit goes down on a daily basis. And I have a bond with the people that I have toured with the Jonas Brothers and with Bilmuri, which I don't think I can have with anybody else in any other setting. It's a different type of thing. The people that you tour with.  SoundCheck: This makes me excited for the day that I ever get to go on tour.  Gabi Rose: You would fit in perfectly.  Gabi Rose:   Yeah, it's super fun. It's one of a kind.  SoundCheck: These next ones are like random questions that have nothing to do with anything. Build your dream tour, lineup, dream, dream tour lineup with any artist, dead or alive, no limit. Gabi Rose: Oh, my God, okay, so for me, it would be D'angelo headlining. I want to make a dream band that's headlining. So you have D'angelo, then you have Beyonce, and she's dancing, and she's singing. She's also like the dance captain. Olivia Rodrigo's dance team gets so much hate. But I think their moves are so good. So I would have Olivia Rodrigo's dance team.  I don't know if this band is gonna work. But those are the people that I want to see on stage the most. And then who am I missing? And then you have the entire current Eagles touring band, all 15 of them or however many are on stage doing the backup vocals because their vocals are so locked. And then you have John Mayer's original rhythm section. So like Pino Palladino. And yeah, that it's like all over the place. But I think it could work. And then Hayley Williams comes on and she's belting it out. Yeah, we can't do it without Hayley Williams.  SoundCheck:   Can't do anything without Hayley Williams.  Gabi Rose:   Yeah, she can fit in anywhere, honestly.   SoundCheck: You're not wrong.  Gabi Rose:  I think I would have to. If I had more time, I would think more deeply about this and craft it out. I don't know if this would work, but I think it would work because I love the artists that I love. I have great taste, and I know that they can jam. They could work together really well. I like Olivia, specifically her dancers. That's who I want.  SoundCheck:  What's a completely unexpected hobby or talent?  Gabi Rose:   I don't have any other talents. Yeah, I don't think I have any other talents, nothing that I've discovered yet. Everything that I try to do, I realize, like shit. This is hard and would take a long time to get good at. It's funny, like, I think if you talk to a lot of musicians, it's like, What is your hobby? It's like, what do you mean?  I've made it a point to try and get into some other hobbies. Honestly, my favorite thing to do is so boring. But I started going on long walks last year, and long walks are a way that I can clear my head and decompress. So long walks are my favorite thing to do, and that's another reason why. Also it goes hand in hand with touring, because then we're always in a different city, and I don't mind getting 30,000 steps in on a day before a show. And I love to dance so I love to maybe pop a 5 to 10 milligram gummy, put my headphones on, get in front of a mirror. I think, in another world, if I wasn't a musician I would be a backup dancer or something like that. That would have been like the craft that I would want to develop so dancing is cool because I don't feel this pressure. And I like to go to the gym, too. I like to lift.  SoundCheck: All right. These last ones are all fan questions. This one's from Donna on Twitter. She said, “Did Sleep Token create the music for your sex part in Emergence, or did they have you listen to the song and then give you free rein to write the music?”  Gabi Rose:   I don’t know how much I can speak on the Sleep Token thing, to be honest, because they try to keep it super private. I think out of respect, I wouldn't want to say too much. I'm actually kind of surprised that I wanted to ask permission before I said, am I, you know? Am I being credited? And can I say that?  I don't wanna speak too much on the process because I wanna respect their process. A lot of people have asked to interview me since then, and I'm like I just don't know.  SoundCheck: I knew that question was gonna pop up somewhere.  Gabi Rose:   But what I will say is, it feels really good to be like to be on that record.  SoundCheck:   Feedback on that has been insane.  Gabi Rose:   The feedback is huge, they keep it to a very tight ship, so the fact that they welcomed me onto that song as somebody that's outside the band. I don't take that lightly. That's huge. So yeah, that's what I will say.    SoundCheck: This is from Megan on Facebook. she said, which fan base is better? Bilmuri or Jonas Brothers, and then put “There's only one right answer.”  Gabi Rose:   Oh, my God! No, they're so different. It's a different fan base. I feel like if somebody approaches me on the street. Like, “Oh, Gabi Rose!”  You must have been from a Jonas Brothers concert or Bilmuri or whatever. Both fan bases have been kind and just super supportive. It's like, obviously the Jonas Brothers fan base is so large. But the Jonas Brothers fan base is so unique in the sense of those fans are fans for life, and support the brothers in whatever music they do and whatever they do, even outside of just being part of the Jonas Brothers, and I find similarities between that and Bilmuri, even though Bilmuri is a smaller fan base at this point. It's like people are just into it. They care about the music, but they also care about the band members, and like what's going on, and the lore and all this stuff. So it's just been fun being part of the story. Because fans in both camps want to follow along with the story. I'm like a character in both stories now.  SoundCheck:  It's always interesting because, as someone who's also very into the Jonas Brothers fan base, I never realized how much we're very like “Let's follow every single person in the band” Not just the brothers, but the band.  Gabi Rose:   I didn't expect that. Been very, very cool.   SoundCheck: Okay, this is from Jeremy. On Facebook. You already mentioned bands you grew up listening to. And he said what finally inspired her to move, to doom Sax. Gabi Rose:   None of the bands that I grew up listening to had saxophone, so I wasn't inspired by a band, necessarily with the saxophone, maybe a little bit like Steely Dan. But it wasn't a band that inspired me. I do feel like it would have been nice growing up to see more girls like me doing it because then I would have had somebody to aspire to. But at the same time it does feel very much like a unique experience for me being able to do it. SoundCheck: This is from Pau on Twitter, she said. “You used to be a Jonas Brothers Fan. How did that impact your tour experience now, being on the other side?”  Gabi Rose:   I was definitely starstruck. But I also knew that there's a big difference between meeting heroes, maybe 20 years ago, and then meeting them now, because in meeting the Jonas brothers, now, it was like, I'm working with you now, I'm literally supporting you on stage. So there's immediately this respect. And we're gonna be cooperating. We're gonna be seeing a lot of each other. So it was, it was a combination of being starstruck because 12-year-old Gabi would never believe that. But also just being like, I respect you a lot, and we're peers. And you know I'm happy to be here. And I've put the work into it now. So I know what I'm doing here. I feel very determined, and I know what's going on. I know what we're doing here; it's hard to describe, but it was cool. They were welcoming. And they're really kind. And so some people say, don't meet your heroes, but I feel so lucky to have not only met my heroes but gotten to perform with my heroes. So it feels very full circle.  SoundCheck: Okay, this is from Rachel on Twitter. If you weren't a musician, what do you think you'd be doing as a career? And what is your favorite place that you've traveled to? Gabi Rose:   So, like I said before, I'd be a dancer. I kind of like to say this every day, because this is how I warm up for shows like I'm the annoying one in the dressing room that's blasting music and singing and jumping up and down and dancing. They're like some guys in this band, and then some guys and girls, even with Jonas, that want to relax. And they might go to the bus and take a nap, and I'm like, that is so not me. So I would want to be a dancer, I would say. And then what's my favorite place that I've traveled to?  Gabi Rose:   I think Barcelona, of all places on earth, is my favorite still because actually, that was the first place that I performed professionally when I graduated from university and it opened up my world in a lot of ways. It was almost also kind of like performance boot camp for me because I needed to sing, and I was playing, and I was like DJ-ing in a way, too, and performing for hours on end, and also speaking Spanish and trying to interact. So it was learning a lot of skills at once, also learning a lot of songs and things like that. So now that I get to come back to Barcelona, and I'm planning on big stages, and I feel like I know so much better who I am now as a musician and as a human, as an artist. And when I first started in that city I was like a fish out of water. So, it's a great reminder of how far I've come. So that's why, on a personal level, I love that city, but also it just never so it never ceases to amaze me how energized I feel when I'm there. Sometimes you have this memory, and you're like God. I think about this so beautifully in my head. But I'm actually kind of afraid to experience it in real life because it might not be like the story that I've come up with in my head. But that city, I think, has it all. So every time I go back there, I feel amazing. Photo by Rebecca McDevitt - RJL Photography SoundCheck: Lastly, do you have anything you want to say to all of your fans? Is there anything we can expect from Enrose in the future?  Gabi Rose: So I guess to everybody I would say, this is unbelievable to me. I really never thought that I would be in this position, and I really do feel like the poster child of somebody who didn't necessarily have a lot of self belief, but just kept doing it and never stopped and truly followed a passion that has led me to a more beautiful and fulfilling and creative life than I could have imagined. So to have anybody that's supporting what I'm doing pushes me forward. It's: it drives me a lot. I have a lot of self-doubt. So to have anybody who believes in what I'm doing helps, and then, as far as Enrose, I'm never gonna stop making music. So even with such a crazy touring schedule, you know, with Bilmuri and Jonas and whatever else. I still have a lot that I want to say and that a lot that I want to write about. Enrose is the place where I do that. So I'm writing more music, and we're always gonna be squeezing it in in between the chaos. SoundCheck: Thank you for taking the time, even in your busy schedule. Women supporting women.  Gabi Rose:   Hell Yeah. Of course. Thank you for having me. I'm excited for you and this whole thing.

Photo by Rebecca McDevitt - RJL Photography If you haven't listened to senses , now is your chance. I discovered senses listening to a Discover Weekly playlist on Spotify, and since then, they haven't disappointed. They recently released their EP i’m still breathing, and it's nothing short of incredible. Filled with grungy, punk vibes, it set the tone for their upcoming tour. I had the chance to catch senses at their show in Philadelphia at the Foundry. If you haven't see this band live yet, you're missing out. All I have to say is WOW. Make sure to grab tickets to one of their last few tour dates! Photo by Rebecca McDevitt - RJL Photography Opening the show, MVSSIE  delivered a performance steeped in darkwave and post-punk influences. The band’s vocals and powerful melodies created an experience that had the crowd hyped up. I watched one guy jumping up and down screaming every word. Following them, Negative 25  cranked up the intensity with a punk-rock edge and angsty energy. They even had us crack our knuckles in radio silence! What a wild experience. The band’s chemistry and unapologetic attitude got the audience ready for what’s to come. When senses  took the stage, you felt the energy in the room shift. The crowd burst into singing and screams.  The Los Angeles-based duo, Madison Taylor (vocals/guitar) and Nick Sampson (drums), delivered a set that balanced aggression and vulnerability. The band opened with "diamonds on your dagger," immediately commanding the crowd’s attention with Taylor’s intense vocals and Sampson’s thunderous drumming. Photo by Rebecca McDevitt - RJL Photography The setlist was a journey through the emotional highs and lows that define senses ’ sound. Songs like "gonna make sure" and "every little thing" showcased their knack for contagious hooks, while tracks like "novocaine" and "me against me" leaned into darker, introspective territory. The cover of Chappell Roan’s "good luck, babe!" was one of my favorites of the night, highlighting the band’s versatility and playful side. Who doesn’t love a little pop goes punk?  Photo by Rebecca McDevitt - RJL Photography Closing out the night, senses  delivered a trio of powerhouse tracks—"playing dead," "sleepwalking," and "better than this"—leaving the audience wanting more. Their ability to capture emotion and deliver it with intensity resonated deeply with their fans, and it SHOWED. senses  left no doubt about their rising status in the alternative scene.

The Jonas Brothers are making 2025 their biggest year yet! Celebrating 20 years of music, they just dropped some major news— a brand-new tour, multiple album releases, and a fresh single that’s already stealing hearts . “Living The Dream” Tour Kicking off August 10 at MetLife Stadium , the Jonas20: Living The Dream  tour is set to be a nostalgic, high-energy celebration  of their two-decade journey. To make things even better, they’re bringing along Marshmello, The All-American Rejects, and Boys Like Girls —a dream lineup that blends pop, EDM, and classic 2000s rock. New Music Incoming The brothers aren’t just hitting the road—they’re dropping a brand-new album, Greetings From Your Hometown , on August 8 . And if that wasn’t enough, Joe Jonas is also set to release his solo album, Music For People Who Believe In Love , on May 23 . Plus, a live album is dropping on June 13 , giving fans the chance to relive the magic of their concerts anytime, anywhere. Alongside these huge announcements, the Jonas Brothers just released their latest single, “Love Me to Heaven” , a track that fuses their signature sound with fresh, upbeat vibes. It's sure to be the song of the summer! Stream it now on all platforms and get ready for an unforgettable year with the JoBros! Stay tuned for tour coverage, exclusive interviews, and behind-the-scenes content—only on SoundCheck Mag !

Craving a playlist update? These must-stream songs from the past two weeks are for binging, shuffling and sharing with the group chat.  A little bit pop, a little bit indie, a little bit country and A LOT of ear candy, these fresh bops and bangers will live rent-free in your headphones. Official artist Spotify photos: (L-R) Selena Gomez and Benny Blanco, Jonas Brothers, Wishy, Sofia Camara, Chris de Sarandy, Franklin Jonas and Harper Grace, Good Neighbours  Body and Soul – Chris de Sarandy Genre: Indie Pop  Release Date: March 13, 2025 Why you need this on repeat: A growly, passionate take on what it means to be human, this is the ultimate self-acceptance track.  Best time to play it: When you want to feel connected to yourself with a quick therapy sesh.   Lyric Spotlight: “ Oh, I’m a mess, I guess the best of me you already know .” (Damn, that raw vulnerability.)  Vibe Check: Gritty, powerful vocals that carry you into an anthemic chorus. For fans of: Imagine Dragons, Alex Warren, OneRepublic, Hozier and X Ambassadors         Here We Go Again — Sofia Camara Genre: Pop Release Date: March 21, 2025   Why you need this on repeat: An artist who blew up on TikTok, Sofia Camara just dropped her debut EP and this song is a standout.  Best time to play it: When you want a mid-tempo bop that’s deep and poignant. Lyric spotlight: “You're a ghost in a world away from home.” (Such a vivid picture in so few words.)    Vibe check: Honest, heart-wrenching; it will break you and heal you.   For fans of: Alessia Cara, Halsey and Demi Lovato   IDK – Harper Grace & Franklin Jonas  Genre: Country Pop Release Date: March 21, 2025 Why you need this on repeat: This duet is sonic velvet — smooth and sultry with a unique narrative style and blended vocals that consistently balance and challenge each other. Best time to play it: With both breakup and ready-to-love-again themes, it’s for anyone nursing a broken heart or putting theirs back on the line.  Lyric Spotlight: “I’ve been lovin’ for the plot of it”  / “I’ve been ghostin’ for the point of it.” (Too real, all of the dating PTSD.)  Vibe check: Pretty but fierce with relatable storytelling. The bridge hits especially hard with its dueling his/hers POVs and mesmerizing harmonies.   For fans of: Lady Antebellum, Mumford & Sons and Kacey Musgraves     Love Me To Heaven – Jonas Brothers  Genre: Pop Release Date: March 21, 2025 Why you need this on repeat: The instrumentation and tempo remind me of Bruce Springsteen. It’s also a nostalgic throwback to the vintage JoBros sound of past eras. Go off, Jersey boys.  Best time to play it: When you’re dancing alone in your bedroom like the main character in a rom-com. Lyric Spotlight: “Turns out the Northern Lights don’t impress me much, guess I’m just a fool for the human touch.” (SO Bruce-coded.) Vibe check: Feel-good and energetic with a gospel-esque echo on select lyrics. The clapping break will make you envision scream-singing along at the next JB tour. For fans of: Bruce Springsteen, Shawn Mendes and Harry Styles     Starry Eyed – Good Neighbours Genre: Alternative/Indie Release Date: March 21, 2025 Why you need this on repeat: The epitome of effortless listening, the melody feels like a barefoot summer breeze. Best time to play it: When your mood needs a dose of serotonin.  Lyric spotlight: “These feelings falling in between my sofa and your skinny jeans.” (We love a clever rhyme.) Vibe check: If an optimistic extrovert were a song, it would be this one.  For fans of: MGMT, Foster The People and Capital Cities  Sunset Blvd – Selena Gomez & Benny Blanco   Genre: Pop  Release Date: March 14, 2025 Why you need this on repeat: It’s a cheeky glimpse into a super-couple’s love. With a soft pop sound that feels ripped from an ‘80s playbook, this collab is sweet, cute and unserious.  Best time to play it: When you’re deep in your romantic feels reliving the experience of falling for someone. Lyric Spotlight:  “Woman of few words, but for you I'd keep my mouth wide open.” (Blushing yet? This song is overflowing with innuendos and euphemisms.) Vibe check: Dreamy, synth-heavy, flirty beat with a daring pre-chorus that catches you off-guard. For fans of: The Weeknd, Ellie Goulding and Lauv Wishy — Over and Over Genre: Indie Rock Release Date: March 18, 2025 Why you need this on repeat: Because we all deserve an escape into childlike wonder and imagination. When to play it: When you’re lost in a daydream…or wish you were. Lyric spotlight: “ I wanted to wake and find gold in my house.” (Casually poetic.)  Vibe check: Hazy but vibrant. Whimsical without being silly.  For fans of: Modest Mouse, Sublime and Death Cab for Cutie

We are offering an exclusive 20th Anniversary Jonas Brothers merch collection! Available here now. Contributed by: Rebecca McDevitt Editor-in-Chief: LJ Portnoy The Jonas Brothers are commemorating their 20th anniversary with JonasCon, a special one-day event on March 23, 2025 , at the American Dream Mall  in East Rutherford, New Jersey. This milestone celebration offers a variety of activities and experiences for fans. Here’s everything you need to know to maximize your experience. JonasCon Exclusive Poster presented by SoundCheck Mag. Photos and graphic design by Rebecca McDevitt Entry & Security Guidelines Bag Policy: According to a recent post from @jonascon2025 twitter, Attendees are permitted to bring bags of any size, but all bags, regardless of size will be searched and screened by security upon entry.  Prohibited Items:  No outside food or beverages, large backpacks, or large umbrellas. Entry Time:  Doors open at 8 AM, so arrive early to secure a good spot. Registration: Entry is free, but registration is required. While initial registration has closed, fans can join the waitlist for updates. Wristbands & Tickets:  Ensure your digital or physical tickets are scanned upon entry, and wristbands must be worn at all times for re-entry. Re-entry is subject to availability and capacity.  Exclusive SoundCheck Mag Jonas Brothers 20th Anniversary Merch is available now in the shop. Click here. Main Attractions & Performances Sky Stage (Located at the Ice Rink) The Jonas Brothers will take center stage in the main performance space. Expect special guest performances and potential surprise collaborations. Large screens will ensure great visibility even if you're further back. Jonas Beach (Located at DreamWorks Waterpark) A laid-back, beach-themed activation with acoustic sets, Q&A sessions, and exclusive fan meet-ups. Lounge areas with Jonas Brothers-themed décor, perfect for relaxation between performances. Pop-up merch stands featuring exclusive, beach-inspired festival gear. Exclusive SoundCheck Mag Jonas Brothers 20th Anniversary Merch is available now in the shop. Click here. Fan Activations & Exclusive Experiences Live Performances:  The Jonas Brothers will perform live, with potential special guest appearances. Sound off in the comments below who you think will be a surprise guest! DJ Sets:  Enjoy music from guest DJs throughout the event, including from Deleasa. Q&A Panels:  Interactive sessions where fans can engage directly with the band. Trivia & Games:  Test your Jonas Brothers knowledge and participate in interactive games, taking place at The Gameroom Eats. Karaoke:  Sing along to your favorite Jonas Brothers tracks. Camp Rock karaoke at House of ‘Que restaurant and Camp Star karaoke at the Dream Bar. Camp Rock Throwback Zone:  Step into nostalgia with interactive exhibits, props, and sing-alongs from the iconic Disney movie. Jonas Vinyl Lounge:  A listening experience featuring deep cuts, unreleased tracks, and personalized vinyl engraving. Shake By The Ocean:  A Jonas-inspired dessert pop-up offering limited-edition snacks and themed beverages exclusively through Candy Land Shake Bar. Band Together Art Wall:  Leave your mark with a message or drawing dedicated to the band and fellow fans. Camp Rock Bar:  A themed area inspired by the band’s iconic movie. Jonas Pizza:  Enjoy specially crafted pizzas in honor of the band, made available by Best Pizza. G.I. Jonas: Appreciate a one-of-a-kind Jonas-themed laser quest experience, exclusively at The Game Room . Jonas Brothers Escape Game:  This only-available at Jonas Con experience will be available at The Escape Game New Jersey . Jonas Golf: Enjoy the Angry Birds Golfing experience with a Jonas-flavored twist, available at  Angry Birds Mini Golf. Dream Wheel: Hear exclusive unreleased tracks by Jonas Brothers while riding this iconic wheel. Jonas Cookies:  Treat yourself to Jonas-themed cookies only available at Mrs. Fields™ Cookies. Exclusive SoundCheck Mag Jonas Brothers 20th Anniversary Merch is available now in the shop. Click here. Newly Announced Features: Free Portraits: Jo nasCon attendees are invited to a Free Fan Portrait Studio with Pamela Littky. Pamela is known for her stunning work with Jonas Brothers, Green Day, Justin Bieber, and Rihanna. She will be capturing special fan portraits throughout the event. Find her at Concourse G, Level 3. Love Me to Heaven Music Video Shoot:  Jonas Brothers are releasing a brand-new single, “Love Me To Heaven,” and want you to be a part of the music video. Anthony Mandler is the legendary director of this shoot. You have a chance to be featured in this exclusive opportunity by locating the video shoot area.  JonasCon Welcome Committee: Team Jonas needs a dedicated group of fans to help greet fellow attendees and help guide them to their activation stations. Join the welcome commitment to receive early access to JonasCon, a Welcome t-shirt, and VIP access to One Sky Stage session. Register here . Meet and Greet Opportunities:  Throughout activation experiences, you’ll have a chance to win a pass to a special limited Meet and Greet with the Jonas Brothers at the end of the night. There is a limited number of passes available, which will be handed out randomly throughout the day. Visit all activations for your chance to score this opportunity.  VIP Packages: Obtain your ultimate upgrade by upgrading to become a Sky Stage VIP. Packages are still available through VIP Nation. Obtain guaranteed optimal views, plush lounge chairs, Jonas Brother gift items, an assortment of light snacks, a mini fridge with beverages and designated staff for the Jonas Beach Skybox Session or one ticket to the show and early access to an exclusive merch booth on the Sky Stage with an Ultra Pass. Passes can be purchased here. Sky Stage, Jonas Beach, and Keynote Fan Sessions:  All Fan Experiences are ticketed events. You must obtain access to these events through 1iota.com . All tickets are good for up to 2 guests. Waivers must be signed and acknowledged and guest information must be entered and match government issued IDs. The Jonas Beach experience is 21+ ONLY. Fans were eligible to select one experience from these three events. Sky Stage and Jonas Beach have two sessions occurring simultaneously. One starts at 10AM - 1PM, and one is at 2:30PM - 5PM. The keynote session was later added to occur at 7PM - 10PM and features a live performance. Note, these experiences are currently sold out. Check back to 1iota.com for additional updates or more information on availability. Exclusive SoundCheck Mag Jonas Brothers 20th Anniversary Merch is available now in the shop. Click here. Food, Merch & More Official Merchandise Booths:  Official JonasCon 2025  merch, including hoodies, posters, and limited-run vinyl. Fan Creations: Creators, designers, and artists are invited to sell their custom Jonas Brothers merchandise at JonasCon. Many fans are also participating in the opportunity to trade pins, stickers, bracelets, and more. We will be bringing mini posters to trade! Food Trucks & Concessions:  Various festival-style eats, including vegan and gluten-free options. Nellie’s Southern Kitchen:  Enjoy a meal prepared by the head chef, Mr. Kevin Jonas Sr, at the Marcus Live Grille. Around the Clock:  Treat yourself to Jonas-favorites curated by the brothers at Around the Clock. Charging Stations:  Don’t let your phone die before capturing the best moments—multiple charging hubs are available on-site. Click here to view all the SoundCheck JonasCon exclusive totes. Travel & Parking Parking:  Available at the American Dream Mall . Parking opens at 6:30 AM. Arrive early to secure a spot. Rideshare Drop-Off Zone:  Dedicated area for Uber, Lyft, and other services. Public Transit:  Shuttle buses are available from designated pick-up spots to make travel hassle-free. 2025 Calendar (with three bonus months of 2026) Featuring the Jonas Brothers available here. Final Tips for an Unforgettable JonasCon Experience ✔ Stay hydrated and bring a reusable water bottle (hydration stations available). ✔ Plan your schedule in advance to catch all the key performances and activations. ✔ Follow @SoundCheck.Mag and @JonasCon2025 and on Instagram for real-time updates, exclusives, and insights directly from the fans! ✔ Most importantly—soak in the Jonas-fueled experience and have the time of your life! Hit the follow so you can catch all the fun and excitement! We promise this is something you won't want to miss! SoundCheck Mag Exclusive Content! For two weeks only the SoundCheck Mag team is offering an exclusive JonasCon collection  for the fans. Featuring photos you’ve never seen, taken by our team of talented photographers. This collection offers posters, totes and even a Jonas Brothers 2025 calendar, with three additional bonus months of 2026, giving you even more content to love! Head over to our Jonas Collection now for exclusives and sign up here  for a special 10% discount at checkout.

Behind the Music: The Journey of Chucky Hugh Contributed by Rebecca McDevitt Editor-In-Chief by LJ Portnoy The Story Behind the Sound Some artists are born into music; others find their way to it through sheer passion and relentless pursuit. Chucky Hugh is a rare blend of both—a musician whose journey has been shaped by an innate love for melody and a determination to carve his path. Raised in New Jersey and now calling North Carolina home, Chucky has spent years refining his craft. From basement jam sessions to headlining tours. From stripped-down acoustic EPs to the full-bodied alternative rock sound, that defines his music today. Chucky's story begins in a house filled with music, where his mother’s eclectic taste in records introduced him to a world of sound, spanning classical compositions to punk rock anthems. The influence stuck, and by the age of seven, Chucky had already begun playing guitar—first as a reluctant student under his father’s guidance, then as a rebellious kid eager to master electric riffs inspired by Green Day and Blink-182. Music wasn’t just an interest; it was a language he instinctively understood. By his teenage years, Chucky was fronting bands, shaping a small but thriving music scene in North Jersey, and playing legendary venues like Webster Hall in New York City before he even graduated from high school. But the moment of truth came when, against the expectations of a traditional career path, he decided to leave college and pursue music full-time in 2014. That leap of faith was the start of something bigger. Discover Chucky Hugh’s top tracks on Spotify—listen now! A Career of Highs and Hard Lessons Chucky’s independent music career has been a whirlwind of defining moments, both triumphant and challenging. Hustling his way down the East Coast, he took every gig he could find, eventually landing opportunities to share the stage with musical heroes like William Ryan Key (Yellowcard), Frank Iero (My Chemical Romance), and Palaye Royale. These milestones solidified his place in the indie rock circuit and reassured him that he was on the right path. However, like many artists, his momentum was abruptly halted in 2020 when the COVID-19 pandemic struck. Days before the release of a highly anticipated album and the kickoff of his first headlining tour, the world shut down, leaving him in limbo. The setback was more than just a logistical nightmare—it was a defining moment that tested his resilience. The music scene he had cultivated felt diminished in the aftermath, and the struggle to reclaim that energy has been an ongoing challenge. Yet, Chucky’s approach to music has always been about evolution. His early work leaned acoustic, influenced by melody-driven pop-punk, but as he experimented with production and live performance enhancements, his sound grew into something grittier, bolder, and unmistakably his own. Collaborating with drummer and friend Jose Pepe Mongollon helped shape a more dynamic, high-energy stage presence, allowing Chucky to explore a full-band sound without sacrificing the authenticity of his solo artistry. Get a backstage pass to Chucky Hugh’s world—music, moments, and behind-the-scenes vibes you don’t want to miss! Follow him on Instagram now! 🎸🔥 Authenticity in a Changing Industry The music industry has changed drastically since Chucky first picked up a guitar. Streaming culture, social media algorithms, and the commercialization of artistry present new challenges for independent musicians. For Chucky, the hardest part isn’t just making music—it’s staying true to himself in an era that rewards clickbait over craft. He chooses authenticity over virality, opting for meaningful connections with fans rather than chasing fleeting trends. Despite the pressures, he remains hopeful about the future. His ultimate goal? To inspire young artists to dive into their local music scenes, to create without inhibition, and to push the industry toward a space where artistry and passion reign over profit. Dare to enter the darkness? 🖤 Watch Chucky Hugh’s haunting Sinner  music video now and let the eerie vibes pull you in. 🎸 Looking Ahead As he moves into 2025, Chucky is focusing on growth—not just as an artist, but as a person. Prioritizing his physical and mental well-being, he’s setting the foundation for a new chapter in his career, one that promises fresh music, exciting projects, and a deepened commitment to his artistry. With a sound that continues to evolve and a perspective that remains grounded, Chucky Hugh is a name to watch in the indie rock scene. Now, let’s dive into our conversation with Chucky, where he shares insights on his journey, creative process, and what’s next on his horizon. SoundCheck: What’s your origin story? How did you first get into music, and what made you realize this was what you wanted to do? Chucky:   My mother always had great music taste, and I’m grateful that she shared that with me. I remember that she had an entire catalog of records, cassette tapes, and eventually CD’s. All genres: Classical, Punk Rock, 70’s, 80’s, etc..  With all of that influence, I noticed at a pretty young age that I took an interest in melodies, patterns, songwriting, and harmony. My father was pressuring me to learn how to play classical guitar at the time, so eventually my rebellious compromise was to learn to play the electric guitar. I was seven years old when I started playing guitar, and it just felt like a language that I understood immediately. Of course my teacher was pushing me to learn music theory, but I would go home and learn punk songs by ear. From there, I started getting really  into bands like Green Day and Blink 182, and just immediately connected with their energy and performances. Between the ages of twelve and eighteen, I would start several bands in school. We genuinely had our own little North New Jersey music scene,-- (Shout out to Canvas Clash, Radiant, Bloomfield VFW, Two Step, Joy Ride)-- and a lot of the bands would go on to do some really impressive things for our ages. By age eighteen I had played at the famous Webster Hall in New York City twice, which is still one of the biggest highlights of my life. Those are some of the best memories I have.  At college age, my bandmates would go on to pursue degrees and school. I was a “straight A” student, but this music thing meant too much to me to give up, and in 2014 I dropped out of college to start a solo career. That’s where everything began for my music career. SoundCheck: What were some defining moments in your career so far—any breakthroughs, setbacks, or “aha” moments that changed everything for you? Chucky:   I am so humbled, and grateful to have been able to perform, and open shows for many of my heroes. I was hustling my way down the East Coast, and just taking any gig I could get. Some notable shows were William Ryan Key of Yellowcard, Frank Iero of My Chemical Romance, and Palaye Royale. Each of those was just a defining moment where it felt like I was brushing shoulders with the people who inspired me to make a career out of this in the first place. Things were gearing up to take off and I had my first headlining tour scheduled, starting in March 2020. Literally days before my album release show, which would have kicked off the tour, the Covid-19 Pandemic began, and all shows were indefinitely cancelled. This was, by far, the largest setback I have ever experienced in my career. In this industry, you can’t afford to lose momentum because you already barely make enough to survive.  Unfortunately, I felt that even after the pandemic, the music scene I had cultivated and come to love just did not return with the same impact. I’m still navigating that, and trying not to base my self worth on “how it used to be,” but I have very high hopes for the future. SoundCheck: How has your sound evolved from when you first started to now? What elements of your music have stayed true from the beginning? Chucky : My first few EP’s were all fully acoustic and more pop-melody based. I struggled a lot though, because more than anything I wanted to be in a BAND. I thought it was a bit pretentious to be “Chucky Hugh” with a band playing behind me, so I started dabbling in ways that I could enhance my show without necessarily starting a new project. At this time I got really into music production/audio engineering, which would be a full on business venture for me a few years later.   A good friend of mine, Jose Pepe Mongollon, used to jam with me and add drums to my acoustic tracks, so he became a huge part of the evolution of my music and show. It just felt like drums were able to elevate everything and allow me to explore a more alternative rock style that you can hear on my most recent releases. He would perform with me all the time and really set the bar for the level of energy that the act would have at live shows.  SoundCheck: What’s the hardest part about being an indie/rock artist that people don’t see? Chucky:   I’ve realized how important it is to kill the ego and just be genuine. I think that in the modern world, you have many resources to build your own image without needing too many hands in the pot telling you what would “sell” better. Post things when you want to, share your life authentically, and stop viewing yourself too much as a business. A healthy amount of marketing is great, but I feel that people are getting sick of the clickbait and just want to experience art and connection. These days I’ll opt to listen to a full record from cover to cover over a 10 second clip that went viral.  I guess, to answer the question, the hardest part for me is trying to remain authentic while social media constantly pushes and rewards inauthentic content. I tend to take many social media breaks these days and try to live completely in the moment. Life with my wife Olivia and my dog Luna is pretty amazing! SoundCheck: If you could go back and give your younger self advice about making music, what would you say? Chucky:  I would tell myself to worry less about the future, and just calm down a bit. It all works out in the end! I moved out of my mom’s apartment when I was 17, and was totally on my own. As a young musician and entrepreneur, this was completely terrifying. I had no backup plan. Looking back, I spent most of my time in a very bad mental health state, stuck between trying to make enough to survive, while also desperately trying to make the music career work. Lots of hormones, angst and stress- haha!  I look back and wish that I knew that those days were the “glory days!” If I could go back, I would tell myself “It’s all going to work out! Try to live in the moment and enjoy this.” I can’t stress how grateful I am for the memories and the people who made it possible to do this.  SoundCheck: What emotions or themes do you aim to capture in your music? Chucky:   My music is all over the place, and I like to try and tell a larger story from song-to-song as you move down a track list. I’d say that  a lot of my songs are love songs. I was always a hopeless romantic type. There’s also a solid amount of hardship, and coming-of-age in my music. Life has peaks and valleys, and I think songs are a lot like that too. You want to take the listener on a journey and communicate strong feelings that if said out loud might just sound crazy. SoundCheck: Walk us through your songwriting process—do lyrics come first, or is it more about a melody or vibe you’re chasing? Chucky:   Ah, the age-old-question! Haha. Everyone is different, but I tend to find a vibe, or progression and build on it with melodies. At some point, you’ll hear me babbling nonsensical words within a melody and finding the right inflections or sounds that elevate it.  Once I have that, I start adding words that fit the rhyme scheme of whatever my gibberish sounds like. I know this is really weird, but I feel like songwriters will understand! When I did music production full time, I often had people who were embarrassed to share demos they were working on, and I was like “Have no fear! I speak your language,” -because even a phone recording of a babbling melody with nonsensical lyrics makes sense to a songwriter. People should not be embarrassed to share that! It’s how all music is made.  SoundCheck: How would you describe your sound? Are there any elements that you feel you have been inspired by from other artists, if so, which ones? Chucky:   I definitely always tried to add a little bit of an “edge” or aggressive energy to everything, even when it was acoustic- whether that was vocal delivery, or lyrical, etc. One of my inspirations has always been The Ramones, who kept their music simple in favor of melodic vocals. SoundCheck: If someone listens to your music for the first time, what’s the one song you’d want them to hear first, and why? Chucky:   I would want them to hear “Undead,” from my EP “There’s Nothing in This World Under Control.” That is a hidden gem in my opinion and I did have plans to shoot a music video before the pandemic. I think the lyrics of that song are especially prevalent in today’s world.  SoundCheck: How do you balance staying true to your vision while also experimenting and pushing your sound forward? Chucky:   I think that every idea is worth fleshing out, and if you get to a point where it just doesn’t inspire you anymore, it's okay to take a break and come back to it. You have to make a lot of bad music before you can make good music, so just getting all of your ideas out and treating them with equal preference really gives every concept a chance to shine. I’ve had many ideas that I thought were “bad” turn out to be great after developing them.  SoundCheck: As an independent artist, what are some of the biggest challenges you face when it comes to getting your music out there? Chucky:   The hardest part now is that it seems the culture shifted to mostly mainstream artists getting hype. Stadium tickets went from $80 to $1000, and people still buy them. Meanwhile local shows are $10 and incredibly hard to pull an audience haha. There was a time when it was cool to know a band or an artist before they blew up, and it certainly feels that people aren’t as open to giving smaller acts a chance these days. It can be discouraging, but I do think we’re seeing a shift back in the right direction. I am definitely seeing people craving that more intimate independent vibe in a show recently.  SoundCheck: Do you feel like today’s music industry makes it easier or harder for indie/rock artists to break through? Chucky:   I would say harder. Even some of the acts I’ve heard of pulling millions of streams per month are barely making enough to survive, and so they are just perpetually on tour to try and sell merch. I guess that comes with the territory, but it’s definitely rough right now to be in this business.  I think that’s also why it's really important that young people get involved and influence the industry in a positive way! SoundCheck: What’s been your biggest learning curve so far in making a name for yourself? Chucky: The biggest learning curve for sure was learning about music production and audio engineering. While a lot did come naturally, learning all of the equipment, and technical parts was like a full time job. Luckily, it was all worth it because once you are able to record your ideas and flesh them out, the computer becomes an instrument itself to make your vision a reality. Mixing and finding the right tones has become one of my favorite things because it's so rewarding when you finally achieve the vision.   SoundCheck: Have you ever faced creative burnout, and if so, how do you overcome it? Chucky: Yes! It happens all the time, and for me, I don’t mind taking long breaks and finding new ways to get inspired. I love to go to museums, travel, try new hobbies, etc. Finding things that move and inspire me allows the creative juices to flow again.  Photography by Rebecca Jean Unlimited Photography SoundCheck: What’s your ultimate dream as an artist? What’s the version of success you’re chasing? Chucky:   My dream right now is to inspire younger artists to learn music, be involved in their local music scenes, and to have their voices heard! There is so much happening in the world and we need more art.  SoundCheck: If you could collaborate with any artist, living or dead, who would it be and why? Chucky:  I would absolutely love to collaborate with John Feldmann, who is a music producer that has worked on practically all of my favorite records from every band I love. He adds so much flavor and gets the sound just right, and I think it would be a huge learning experience. SoundCheck: What’s a moment in your career that made you step back and think, “This is why I do this”? Chucky:   It is really a humbling and beautiful thing when people can relate to my lyrics and music and tell me that the music has helped them through some aspect of their lives. That is what this is all about for me.  SoundCheck: Are there any upcoming projects or releases fans should be excited about? Chucky:   There are some things in the works that I don’t want to spoil too much yet, but I think it will be worth following the journey! SoundCheck: What’s next for you in 2025? Where do you see yourself a year from now? Chucky:   In 2025 I have really prioritized working on myself. I’ve been going to the gym, nurturing my brain, and just trying overall to do better. I think that in a year from now, the habits I’m forming now will allow me to create some really amazing music in the future.  SoundCheck: If your music were the soundtrack to a movie, what kind of movie would it be? Chucky : It would probably somehow be a romantic horror movie, which sounds like it doesn’t make a whole lot of sense, but I would watch it! SoundCheck: What’s a song by another artist that you wish you had written? Chucky:   Funnily enough, I was just talking to a friend of mine about how the soundtrack of “The Greatest Showman” has some of the best pop songwriting I’ve ever heard, and I wish I wrote every song on that soundtrack, haha! I love it so much, and I think secretly I want to have my own circus of weird people like myself who go around, play music, and show all of their weird talents! SoundCheck: What’s the weirdest or wildest thing that’s ever happened at one of your shows? Chucky: There’s always craziness and chaos, but I will never forget one time when I looked down at the crowd and my own grandmother had somehow made her way all the way to the front barrier. She was screaming and cheering me on, and I was laughing so hard that I could barely perform!   Go beyond the stage—exclusive backstage and main stage shots await at SoundCheckMag’s Gallery. 📸 Check them by clicking below. Craving more? The latest issue of SoundCheck Mag  is packed with exclusive artist interviews, stunning concert photography, and behind-the-scenes moments you won’t find anywhere else. Get your copy now in our shop! 🎶

Photo by Rebecca McDevitt - RJL Photography Last night, Philadelphia's own Grayscale delivered an unforgettable early album release show for their upcoming record The Hart  at the iconic Fillmore in their hometown. The night kicked off with an impressive lineup of openers that set the tone for the evening. Local School of Rock students warmed up the stage, showcasing raw talent and youthful enthusiasm. Bike Routes brought a vibrant, indie energy, while Phoneboy delivered a catchy, high-energy set that had the crowd singing along. Quarters of Change rounded out the openers with a polished performance, blending alternative and rock influences that perfectly primed the audience for the main act. Photo by Rebecca McDevitt - RJL Photography Grayscale’s set kicked off with "Kept Me Alive," that was released earlier this year. Songs like "Some Kind of Magic" and "Dance With Your Ghost" kept the energy high, sending fans into a frenzy. Crowd surfers were a constant presence, buoyed by the upbeat and melodic vibes of the new material. Photo by Rebecca McDevitt - RJL Photography As the show progressed, Grayscale slowed things down with the somber and sentimental tracks "Painting Over You" and "Mum II." The shift in tone was palpable, and the room’s energy transformed into an intimate, almost reverent atmosphere. These heartfelt ballads showcased the band's lyrical depth and emotional vulnerability, offering a glimpse into the soul of The Hart. After the album’s live debut, the band took a brief intermission before returning to the stage with renewed energy. They launched into "Dirty Bombs," reigniting the crowd with its explosive intensity. The momentum carried through a trio of fan favorites, including "Let It Rain," "Slept," and "Fever Dream," each met with roaring approval from the audience.Grayscale closed out the night with a powerful performance of "Not Afraid to Die,” a fitting closing song. Photo by Rebecca McDevitt - RJL Photography The emotional resonance of the song combined with the palpable energy in the room made for a moment of pure connection between the band and their hometown audience. The Fillmore proved to be the perfect venue for this special evening, amplifying the hometown pride and intimate connection between Grayscale and their fans. As the crowd spilled out into the Philadelphia night, it was clear this was more than just a concert—it was a celebration of the band’s journey and a thrilling preview of what’s to come. Photo by Rebecca McDevitt - RJL Photography With The Hart  set to release on January 31, 2025, this performance cemented Grayscale’s place as one of Philadelphia’s most beloved bands and a force to be reckoned with in the world of alternative music.

By Staff Photographer and Photographer, Rebecca McDevitt Shot by RJ Limited Photography On December 8th, 2024, State Champs  brought their tour to an unforgettable close at Webster Hall, delivering a high-energy, heart-pounding performance that showcased their undeniable chemistry with the crowd. The night featured an incredible lineup, with Daisy Grenade , Meet Me @ The Altar , and Knuckle Puck  all playing their part in making this a night for the books. And with their constant support of female artists, State Champs  once again demonstrated their commitment to inclusivity within the pop-punk scene. The openers set the stage for an unforgettable night, each bringing their own unique energy to Webster Hall. Daisy Grenade  kicked things off with their infectious, emotionally charged pop-punk, getting the crowd hyped right from the start. Meet Me @ The Altar  followed with their anthemic, high-energy set, effortlessly blending catchy hooks with empowering vibes. Finally, Knuckle Puck  brought their gritty, melodic hardcore to the stage, pumping up the crowd with their raw intensity. Together, these bands delivered a powerful, diverse mix that perfectly complemented State Champs’ headlining performance. By the time State Champs  took the stage, the energy was absolutely electric. Opening with “Silver Cloud” from their latest self-titled album, the band immediately grabbed the attention of the audience. Throughout the set, State Champs  expertly balanced their newer material with fan favorites. "Around the World and Back"  saw Daisy Grenade  join them on stage, creating a special moment where the energy of the crowd and the harmony between the bands was undeniable.  The band didn’t shy away from digging into their back catalog, treating long-time fans to beloved older tracks like "Hard to Please,"   "All You Are Is History,"   "Elevated,"  and "Remedy."  These songs, full of nostalgia and raw energy. The crowd's response was deafening, and the floor of Webster Hall felt like it was on the brink of caving in from the sheer force of fans jumping and singing along. For the encore, State Champs  closed the night with "Everybody But You"  and "Secrets,"  two of their biggest anthems that had the crowd singing so loudly it was as if they were trying to match the intensity of the band. By this point, the energy in Webster Hall was nothing short of chaotic in the best way possible. Fans were jumping, screaming, and getting their final crowd surfing moments in. State Champs  at Webster Hall was a perfect culmination of everything they do best—delivering an electrifying live performance, connecting with their fans, and pushing the boundaries of what it means to be a part of the pop-punk scene. From their dedication to championing female artists to their flawless setlist that mixed new hits with classic anthems, the band proved why they’re one of the best in the genre today.

David Archuleta delivered an unforgettable performance at Westfield Garden State Plaza’s Big Santa Light-Up & Drone Show , officially kicking off the holiday season with music, magic, and nostalgia. Fans gathered at the New Jersey shopping center to witness the festive spectacle, which featured dazzling lights, a breathtaking drone show, and, of course, Archuleta’s powerhouse vocals. Photo by Rebecca McDevitt - RJL Photography Spreading Holiday Cheer with "Christmas Every Day" The night took on a festive tone as Archuleta performed Christmas Every Day , his lively holiday hit that had the crowd clapping and singing along. The song, known for its cheerful lyrics and upbeat rhythm, perfectly captured the spirit of the event. Archuleta’s infectious energy made the performance feel like a true celebration, bringing warmth and excitement to the chilly evening. As he effortlessly hit each note, it was clear why Christmas Every Day  has become a modern holiday favorite. Photo by Rebecca McDevitt - RJL Photography A Nostalgic Moment with "Crush" While the holiday spirit filled the air, Archuleta also took a moment to bring fans back in time with Crush , the song that skyrocketed him to fame after his memorable run on American Idol . As soon as the first few notes played, the crowd erupted in cheers, singing along to every word. Even after more than 15 years, the song remains a beloved classic, and Archuleta’s heartfelt delivery made it feel just as fresh and emotional as when it first debuted. The performance was a reminder of his staying power as an artist and his ability to connect with audiences across generations. Photo by Rebecca McDevitt - RJL Photography A Night of Music, Lights, and Holiday Magic The Big Santa Light-Up & Drone Show  was more than just a concert—it was a full-on spectacle. As Archuleta’s voice filled the air, hundreds of drones created mesmerizing holiday-themed formations in the night sky, adding a breathtaking visual element to the evening. The grand moment came when Santa himself was illuminated, officially signaling the start of the holiday season at Westfield Garden State Plaza. Photo by Rebecca McDevitt - RJL Photography Fans took to social media to share their excitement, with many praising Archuleta’s performance as a highlight of the event. His ability to seamlessly blend holiday joy with the nostalgia of Crush  made for an experience that was both heartwarming and exhilarating. Westfield Garden State Plaza’s Big Santa Light-Up & Drone Show  set the stage for a magical holiday season, and with David Archuleta at the center of it all, the night was truly one to remember.

Hoboken’s Pier 13  was the place to be this Labor Day Weekend , as DJ Deleasa  took over the waterfront venue for an electrifying night of music, energy, and celebration. With the iconic Manhattan skyline as a backdrop, partygoers soaked up the last moments of summer with an unforgettable performance that kept the crowd moving from sunset to late into the night. Photo by Rebecca McDevitt - RJL Photography Known for his seamless blend of house, hip-hop, and dance anthems, DJ Deleasa  delivered a high-energy set that had the crowd dancing non-stop. From remixed summer hits to deep bass drops that shook the pier, his setlist was crafted perfectly for an end-of-summer bash. As the sun dipped below the Hudson, the music only got louder, and the atmosphere transformed into a full-fledged party under the stars. Photo by Rebecca McDevitt - RJL Photography Pier 13, famous for its scenic waterfront views, food trucks, and vibrant nightlife, provided the perfect setting for a Labor Day Weekend  celebration. The open-air venue was packed with locals and visitors looking to make the most of the holiday weekend. Drinks flowed, the cool river breeze balanced the heat from the dance floor, and the crowd fed off DJ Deleasa’s infectious energy. Photo by Rebecca McDevitt - RJL Photography With an undeniable stage presence and a talent for reading the crowd, DJ Deleasa  created an atmosphere that perfectly captured the spirit of summer’s final party. Whether it was hands in the air for an EDM drop or a nostalgic throwback remix that had everyone singing along, his performance was a masterclass in keeping the energy high and the good vibes rolling. Photo by Rebecca McDevitt - RJL Photography As Labor Day Weekend  came to a close, one thing was certain—those who spent it at Pier 13 with DJ Deleasa  got the ultimate summer send-off. With music, city views, and an unbeatable party atmosphere, the night was a perfect farewell to the season.

The Illinois State Fair was packed with anticipation on August 15 as fans lined up outside the grandstand gates for hours—some arriving early in the morning—just to secure the perfect spot for the Jonas Brothers' highly awaited performance. The dedication was real: as soon as the gates opened, a sea of fans sprinted to claim their spots close to the stage, setting the tone for an electric evening. Photo by Rebecca McDevitt - RJL Photography The show kicked off in true celebratory fashion with "Celebrate!," an opener that had the entire crowd on their feet. Nick, Joe, and Kevin wasted no time diving into a mix of career-spanning hits, including "What a Man Gotta Do" and the ever-nostalgic "S.O.S." The energy was palpable, and with it being Joe Jonas’s 35th birthday, the night carried an extra layer of excitement. At one point, the crowd erupted into an impromptu "Happy Birthday" singalong, making the moment even more special. Photo by Rebecca McDevitt - RJL Photography The setlist was a well-balanced blend of nostalgia and recent hits, with standouts like Nick’s "Jealous," DNCE’s "Cake by the Ocean," and a powerful cover of Coldplay’s "Fix You," which hadn’t been played live since 2008. The moment the opening chords rang out, fans swayed, sang along, and lit up the night with phone flashlights, creating an intimate atmosphere amidst the grandstand setting. Photo by Rebecca McDevitt - RJL Photography Closing out the show with high-energy bangers like "Burnin’ Up," "Sucker," and "Leave Before You Love Me," the brothers left the Illinois State Fair crowd buzzing. Their ability to seamlessly mix old favorites with new chart-toppers, all while keeping the energy high and the connection with fans strong, made this a night to remember. Photo by Rebecca McDevitt - RJL Photography For those who camped outside all day, sprinted through the gates, and sang their hearts out, the wait was more than worth it. The Jonas Brothers proved once again why they remain one of the most beloved acts in pop music today. Photo by Rebecca McDevitt - RJL Photography

Cassadee Pope delivered an unforgettable performance at the Twilight Concert Series held at Jack Curtis Stadium in Cooper River Park on June 27, 2024. As the evening sun set, fans gathered to witness the multi-talented artist, known for her dynamic blend of pop-punk and country influences. Photo by Rebecca McDevitt - RJL Photography Pope's setlist was a testament to her versatile career, featuring a mix of her solo hits and fan-favorite tracks from her early days with Hey Monday. Opening with the energetic "Same Old Brand New Me," she immediately captivated the audience, setting the tone for an unforgettable night. Her powerful vocals and engaging stage presence were evident throughout the performance, especially during heartfelt renditions of songs from her latest album, "Hereditary." Photo by Rebecca McDevitt - RJL Photography A standout moment was Pope's acoustic medley of tracks from her self-titled EP, offering a nostalgic experience for longtime fans. The intimate atmosphere during this segment highlighted her songwriting prowess and emotional depth. Photo by Rebecca McDevitt - RJL Photography The concert was part of Camden County's expanded 2024 Summer Parks Concert Series, which aimed to provide free, high-quality entertainment to the community. The well-organized event, set against the scenic backdrop of Cooper River Park, offered a family-friendly environment that attendees of all ages could enjoy. Photo by Rebecca McDevitt - RJL Photography In summary, Cassadee Pope's performance at the Twilight Concert Series was a memorable evening that showcased her exceptional talent and connection with the audience. Her ability to seamlessly blend genres and deliver a captivating live show reaffirms her status as a compelling entertainer.

Photo by Rebecca McDevitt - RJL Photography At Witch Bitch Thrift, the venue transformed into the ultimate indie music hotspot as Milahroy took the stage. Known for its quirky charm and dedication to supporting local talent, the space provided the perfect setting for a performance that felt as personal as it was powerful. Milahroy, a rising voice in the indie-alternative world, delivered a set that hit all the right notes—blending soulful melodies, heartfelt lyrics, and a sound that just pulls you in. Standout moments included performances of fan-favorite tracks like "2 DAMN GR8FUL," which radiated pure gratitude and high-energy vibes, and "Living by Comparison," a song that deeply resonated with the audience through its introspective lyrics. Photo by Rebecca McDevitt - RJL Photography Four nights later, on May 28, Milahroy brought the same energy to C’Mon Everybody in Brooklyn, elevating the My Oh Mini Tour to new heights. The intimate yet dynamic venue allowed for an even deeper connection between artist and audience. With a setlist full of emotion and groove, the Brooklyn crowd was completely immersed in the experience, proving that Milahroy’s reach extends far beyond a single city. Photo by Rebecca McDevitt - RJL Photography Whether you were a longtime fan or just discovering his music for the first time, you couldn’t help but be drawn into the moment. Both Witch Bitch Thrift and C’Mon Everybody continue to prove themselves as cultural hubs where music, art, and community collide. Hosting Milahroy only reinforced their roles as go-to spaces for creative expression and emerging talent. As the final chords rang out, Milahroy isn’t just making music; he’s creating moments. If these shows were any indication, he’s an artist to keep on your radar in the indie scene.

A 20-year Chroma celebration, sung loud and heart-first in Detroit. Article Contributed by LJ Portnoy, Editor-in-Chief Photography by LJ Portnoy (@ ljportnoy on IG) Cartel in Detroit, Photographed by LJ Portnoy (@ ljportnoy on IG) At St. Andrew’s Hall in Detroit, the night buzzed with anticipation as fans packed shoulder to shoulder for a lineup that blended fresh talent with seasoned pop-rock veterans. Landon Conrath Opens with Spark Landon Conrath in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) The evening kicked off with Landon Conrath, who immediately won the crowd with his infectious energy and jangly guitar-pop sound. His set mixed playful melodies with heartfelt lyrics, setting a vibrant tone for the night. Conrath’s knack for making even the most intimate moments feel electric proved he’s an opener worth watching closely. Landon Conrath in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Hunny Brings the Groove Hunny in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Hunny followed, leaning into their signature blend of indie-pop sheen and retro grooves. Despite a few minor technical hiccups, the band’s chemistry never faltered. Fans danced along as synth-driven beats and slick guitar lines turned St. Andrew’s into a retro dance hall. Cartel Brings Chroma Back to Life Cartel in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Marking the 20th anniversary of their seminal debut Chroma , Cartel took Detroit back to 2005 with a front-to-back play through that had fans hanging on every note. From the opening chords of “Say Anything (Else)” to fan-favorite deep cuts like “A” and “If I Fail,” the night felt like stepping inside a time capsule, only louder, brighter, and more alive. Cartel's Will Pugh, in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) The energy inside St. Andrew’s Hall was electric. Longtime fans sang with the same conviction they had as teenagers, while newer listeners discovered why Chroma  became a touchstone of the 2000s pop-punk/alt-rock era. Will Pugh’s vocals carried the same urgency as they did two decades ago, while the band leaned into each riff and chorus like they’d been saving it for this moment. For many in the room, it was a reminder of why these songs still matter. Cartel's Joseph Pepper, in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) A Band That Defined a Scene For fans of 2000s pop-punk and alternative rock, Cartel has always been a staple. Their mix of high-energy hooks, soaring melodies, and emotionally charged lyrics helped carve out a lane that set them apart from their peers. With Chroma , they created a record that became both a soundtrack to youth and a timeless reminder of the era’s best qualities. Cartel's Nic Hudson, in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Two decades later, Cartel’s influence is undeniable. Bands across the genre cite them as inspiration, and their songs continue to find new life with younger fans through streaming platforms and anniversary tours like this one. Watching them deliver Chroma  in full proved they aren’t just a nostalgic act—they’re a band whose music still connects, still energizes, and still matters.

Surf-rock soul meets goofy charm: Peach Pit lights up Cleveland with friendship, fun, and fan-favorite singalongs. Article Contributed by Madison Cozzens. Revisions by LJ Portnoy, Editor-in-Chief Photography by Madison Cozzens. Peach Pit Photographed by Madison Cozzens (@ coz_artphoto on IG) Categories: Concert Review, Indie Rock, Alternative/Surf Rock, Live Music Coverage Tags:   A Night of Heavy Riffs, Warm Harmonies, and Sing-Alongs A cover of Black Sabbath’s “War Pigs,” headbanging, and soaring guitar solos might sound like a heavy metal show—but that’s where you’d be mistaken. This was Peach Pit’s Fall Quest Tour  stop at Cleveland’s House of Blues, where strangers became friends in a packed room celebrating life, love, heartbreak, and everything in between. Miya Folick’s Dreamlike Opening Photography by Madison Cozzens (@ coz_artphoto on IG) Los Angeles singer-songwriter Miya Folick  opened the night with a seated, stripped-down set. Her voice—equal parts raw and ethereal—floated across the sold-out venue like a late-night conversation. Between songs, Folick connected with the crowd in a way that felt personal, almost like a living-room show, drawing everyone into her world of self-reflection and lyrical honesty. War Pigs to Magpie Peach Pit Photographed by Madison Cozzens (@ coz_artphoto  on IG) Peach Pit wasted no time in making their entrance unforgettable. They launched with a tongue-in-cheek cover of “War Pigs” before blending seamlessly into “Magpie,”  the title track from their latest album. Frontman Neil Smith  stood center stage, flashing peace signs as the crowd roared, setting the tone for a night where the sing-alongs never stopped. From early favorites like “Alrighty Aphrodite”  to fan-beloved cuts like “Shampoo Bottles,”  the setlist felt like a greatest-hits reel. They closed with “Tommy’s Party,”  leaving the audience swaying, shouting, and already wishing for more.   Friendship on Stage Peach Pit Photographed by Madison Cozzens (@ coz_artphoto  on IG) Peach Pit— Neil Smith  (vocals, guitar), Christopher Vanderkooy  (lead guitar), Peter Wilton  (bass), Mikey Pascuzzi  (drums), and longtime touring member Dougal McLean  (guitar, synth, violin)—bring a chemistry to the stage that’s hard to fake. McLean may not be an official member, but his presence and instrumental versatility make him feel inseparable from the band’s live identity. Their camaraderie fuels the show, reminding fans that at its core, Peach Pit is about friendship. Goofy Meets Melancholy Scroll through Peach Pit’s socials and you’ll find them dressed in medieval costumes in Times Square or hamming it up in eccentric promo shoots. That same silliness carries into their live shows, balancing perfectly against their lyrics, which often lean toward bittersweet and reflective. Peach Pit Photographed by Madison Cozzens (@ coz_artphoto  on IG) The magic happens in the contrast: heartfelt words paired with grooves that demand dancing. Vanderkooy’s guitar solos often steal the spotlight, his body moving with reckless abandon—spinning, stomping, and letting every riff pulse through him. Watching him step to the front of the stage feels like witnessing someone lost in the joy of music, and the crowd can’t help but mirror that energy. Still Rising Since their 2018 debut Being So Normal,  Peach Pit have been steadily carving their lane in indie surf-rock pop. This year alone, they’ve tackled three tours— The Magpie Tour, The Long Hair Long Life Tour  with Briston Maroney, and now the Fall Quest Tour. Through it all, their mission hasn’t changed: keep the friendship strong, keep the music honest, and keep it fun. Judging by the Cleveland crowd that sang every word, Peach Pit’s story is still only beginning.

The Final Chapter of the Blurryface Saga Review contributed by Rebecca McDevitt Image credit: Fabien Kruszelnicki (@ FabienKrszelnicki  on IG) Twenty One Pilots have never just released albums, but they’ve ALWAYS built worlds. With Breach , the duo officially closes the book on the Blurryface saga, giving fans a powerful final chapter that feels both nostalgic and brand new. Back in May, the band teased the record with a cryptic post: “hello Clancy. hello Blurryface. let’s finish this.” Tyler Joseph later confirmed this tour cycle will be their last for an unknown stretch of time. For a band that’s always lived on the road, that hit hard. A Journey Through Time Listening to Breach  is like stepping into a time machine. The opening track, City Walls , throws it back to Vessel -era intensity, echoing the punch of Migraine  and the lyrical heartbeat of Holding Onto You . On the other side, the closing song Intention  gives the same kind of catharsis Truce  once did, a reminder that even endings can feel like safe places. This album carries the weight of a decade of growth. You can hear it in Joseph’s writing, and you can feel it in Josh Dun’s drumming. Drum Show  doesn’t just spotlight Dun’s insane talent behind the kit, it lets his voice shine too, something fans loved on their recent tour. Soundtrack of Contrasts What makes Breach  hit so hard is its range. From piano-driven warmth in Robot Voices  and Cottonwood  to the explosive guitar riffs of The Contract , the album never loses balance. The transitions are seamless, each track flowing like a new page in the same story. For longtime fans, it’s the lyrical details that sting the sweetest. Joseph’s words have always been mirrors, sometimes cracked, sometimes crystal clear, and Breach  is no exception. Lines  like “my tattoos only hurt when meaning fades, I think my skin got worse with good intentions”  remind us why the clique has held on through every era. Closing the Chapter The easter eggs are there for those who’ve been along for the ride,  RAWFEAR  feels like a callback to Stressed Out ’s anxieties, while Tally  nods to the idea that this is album number five, and the final piece of the Blurryface puzzle. Image credit: Fabien Kruszelnicki (@ FabienKrszelnicki on IG) In the end, Breach  doesn’t just close a chapter, it ties threads together in a way only Twenty One Pilots could. It’s a love letter to the fans who have grown up with them, a reminder that even when the music pauses, the connection doesn’t. Whatever comes next, the clique has this moment to hold onto. And what a send-off it is. Final Verdict: 9.8/10

Intimacy over anthems defines her most personal solo record yet. By Konstantina Buhalis Revisions by LJ Portnoy, Editor-in-Chief Photography by Zachary Gray ( @Zachary Gray  on IG) Categories:  Album Review, Alternative / Emo, Pop Rock / Indie Pop, Nashville Scene, 2025 Releases Tags:  Hayley Williams, Paramore, Ego Death at a Bachelorette Party, Parachute, Discovery Channel, Daniel James, All We Know Is Falling, Bloodhound Gang, The Bad Touch, Emo Nostalgia, DIY Ethos, Nashville, TikTok Buzz, Love Me Different A Season Made for Hayley As fall creeps in and emos lace up their Vans and pull on their flannels, Hayley Williams has delivered the soundtrack of the season. Ego Death at a Bachelorette Party  (Post Atlantic) isn’t Paramore redux—it’s something more introspective. The album unpacks the last year of Williams’ personal life, from leaving LA to returning home to Nashville. What emerges is a glimpse into a more grown-up, vulnerable version of one of alternative’s most enduring voices. A Slight Departure Hayley Williams has been adored in the scene for nearly two decades—fronting Paramore, touring relentlessly, and shaping the sound of a generation. Ego Death  marks another solo step, not a band breakup. Paramore is still intact, but Williams has stripped things down to the raw bones of her writing. Nashville clearly seeped into this record—its minimalism feels lived-in. Even the revamped Hayley Williams website leans into nostalgia with a throwback design. For this promo cycle, she invited fans into the process. Streaming the album on her site, she asked listeners to weigh in on the track listing—a collaborative move that resurrects the DIY ethos that once fueled Paramore’s rise. The Sounds of Ego Death Photography by Zachary Gray ( @Zachary Gray  on IG) Co-written by Williams and produced by Daniel James, the record weaves indie folk, dance pop, and shoegaze into an emotional arc. While marketed as alternative pop, it leans intimate, never losing its edge. There’s playfulness too—on Discovery Channel, Williams interpolates the Bloodhound Gang’s The Bad Touch with tongue-in-cheek lyrics and a bouncing beat. On the flip side, Parachute has already carved out a life on TikTok, fans latching onto its gut-punch second verse. Sonically, it spirals with fuzzy shoegaze textures and layered vocals, mirroring its title. The music video throws back to All We Know Is Falling —2006 Paramore for the diehards—yet through a lens of maturity. Underneath it all, Williams can’t escape her roots. Emo and pop-punk fingerprints surface in the grit of her delivery, grounding the growth in something familiar. Williams in the Present Williams has always been more than a voice—she’s a force. This rollout leaned anti-capitalist, offering free streaming and collaborative creation. She’s also been vocal locally, calling out Nashville’s lack of gay bars and taking swipes at Morgan Wallen’s bar for what it represents. Longtime fans know her activism isn’t new; she’s consistently lent her platform to charities and campaigns for communities in need. Through it all, she maintains that rare bond with fans—authentic, approachable, and deeply embedded in the alternative scene’s DNA. Ego Death at a Bachelorette Party  isn’t just another record; it’s a mirror, reflecting where we are and where we’re going. And as always, Hayley Williams makes sure we don’t look away. A Record of Reflection What makes Ego Death  stand out is its refusal to be a straightforward “pop star solo project.” It doesn’t chase radio; it builds atmosphere. It feels like a late-night drive album, one you sit with more than sing along to. Williams balances raw confession with flashes of humor and nostalgia, making it one of her most human projects to date. For longtime Paramore fans, this isn’t about filling arenas—it’s about intimacy. The record feels like an invitation into Williams’ inner circle, complete with the awkwardness, beauty, and contradictions of real life. And that honesty, more than any sonic experiment, is what keeps her at the heart of the alternative conversation. SoundCheck Rating: 8.5/10 A bold, introspective, and layered record that shows Williams still has new ways to surprise us. It’s not without its uneven moments, but its heart and honesty outweigh everything else. Standout Tracks: Discovery Channel Ego Death at a Bachelorette Party Love Me Different

Written by LJ Portnoy, Editor-in-Chief Cover album artwork: Petros Studio. Packaging credits not publicly listed as of publication; physical booklet includes full credits. Pressing Play Ed Sheeran’s Play  is the first in his new “media control” series ( Play, Pause, Rewind, Fast Forward, Stop ), and it’s the most sonically adventurous he’s been in years. Recorded partly in Goa, the album fuses Ed’s classic singer-songwriter core with Indian percussion, Punjabi and Persian influences, and a heavy dose of dance-floor energy. The result is an album that swings between the confessional troubadour and the global pop experimentalist. Sometimes the jump thrills, sometimes it jars. Opening The album begins with Ed at his most recognizable: warm guitar strums, conversational lyrics, and that half-sung, half-rapped delivery that hasn’t appeared much since Don’t . It feels like a deliberate handshake with fans—this is still Ed, before he pulls us into new territory. Draw a Line Here he experiments with structure. The first chorus lands as expected, but when it returns, it swells into something bigger, almost cinematic. Just as the momentum builds, the track ends abruptly, unresolved, like the tape cut mid-thought. It’s both frustrating and intriguing. Sapphire This is where Play  bursts wide open. Featuring Arijit Singh and incorporating Punjabi lyrics , Sapphire  folds tabla-like percussion and Hindi-Punjabi vocal textures into Sheeran’s glossy pop production. The fusion feels joyous, celebratory, and the final refrain—“The lights, your face, your eyes, exploding like fireworks in the sky”—lands like a firework finale. It’s the album’s crown jewel, proof that cross-cultural collaboration can elevate his sound. Azizam If Sapphire  is dazzling, Azizam (a Persian term of endearment)  is pure dance-floor bliss. The chant-like hook and elongated “I wannnaaaas” turn the track into a club-ready anthem. The word “Azizam” is never defined in the song, which leaves its meaning hanging in the air, but that mystery adds to the charm. It’s a track that’s meant to be felt, not over-explained. Old Phone Just as the dance party peaks, Sheeran pulls us back into pure nostalgia. Old Phone  recalls the raw storytelling of Castle on the Hill  and his debut album—full of memory, regret, and warmth. It’s gorgeous on its own, but sequencing it directly after two high-energy tracks makes the shift feel jarring. Still, the dip in the final chorus, followed by a swelling rebuild, gives it a satisfying emotional arc. Symmetry Looped vocals and traditional Indian percussion  return here, weaving Sheeran’s voice into a hypnotic beat. It’s one of the most dance-driven songs on the record, though the hook—“Push up the ceiling”—is almost comically literal, a cousin to “raise the roof.” Still, the groove is irresistible, and you can imagine it shaking a festival crowd. Placed earlier next to Sapphire , it could have formed a seamless mini-suite of global pop. Camera A breath of fresh air after the heavy beats. Camera  is light, sweet, and lyrically charming, showing Sheeran in classic form. The whiplash between genres is still there, but the song itself is a reminder of his knack for crafting intimate love songs that feel made for weddings and first dates. In Other Words Sheeran doubles down on romance here. “In other words, give me all of you,” he sings simply, and it works. There’s nothing ornate about the lyric, but his delivery gives it weight. This stretch of the album finally settles into one mode, letting listeners breathe into the sound. A Little More A delightful curveball: piano and horns drive a retro, slightly jazzy track. Sheeran drops the biting lyric “Everyday, I hate you just a little more” with a wink, before slipping back into rap verses that fans of his early work will love. It’s playful and sharp, showing how he can still surprise us inside his comfort zone. Slowly One of the record’s most stripped-down and affecting songs. Just Ed and his guitar at first, before layers gently rise in the background. His vocals soar without strain, reminding us why, beneath all the genre experiments, he’s still at heart a balladeer. Don’t Look Down The Indian percussion returns again, but this time the fusion feels stuck between gears—too slow to dance to, too beat-heavy to resonate as a ballad. After the elegance of Slowly , it lands as one of the album’s weaker experiments. The Vow Photo credit: Petros Studio (obtained via @teddysphotos on IG) Romantic, stately, and clearly wedding-song material. It’s lovely, though a little safe, the kind of song that plays best in the background of a big life moment rather than through headphones. For Always Stylistically a sibling to The Vow , but softer, sadder, and tinged with grief. Sweet in sentiment, but paired back-to-back with another slow ballad, it risks fading into the wallpaper. Heaven Then, at the very end, Sheeran drops one of the record’s standouts. Heaven  dives headfirst into electronica, layering auto-tuned vocals over pulsing beats and cinematic builds. It’s bold, adventurous, and proof that Sheeran can stretch into contemporary pop textures without losing intimacy. The only misstep? Placement. As a closer, it feels tacked on; sequenced earlier as a bridge between the dance tracks and the ballads, it could have been transformative. Verdict Photo credit: Petros Studio (obtained via @teddysphotos on IG) Play  is an ambitious record. When it works— Sapphire , Azizam , Old Phone , Slowly , and Heaven —it soars. But the sequencing undercuts its power, bouncing listeners between genres without a clear arc. Instead of a story, the album feels like a playlist: brilliant moments shuffled out of order. Ed Sheeran has always excelled at cohesion, at threading personal stories into full-album narratives. Here, he delivers flashes of brilliance, but they shine brighter than the whole. Rating: 6.5/10.   Play  is full of songs you’ll want to return to, but the album as a journey never quite finds its rhythm. From a cohesion standpoint, it falters. From a song standpoint, there's definitely ones that shine. Recommended Listening Order Because sequencing is what holds Play  back, here’s a reordered tracklist that unlocks the album’s full potential: Act I – The Dancefloor & The World Opening Sapphire Symmetry Azizam Heaven Act II – The Heart & The Confessional In Other Words A Little More Slowly Don’t Look Down The Vow For Always Old Phone Camera This version gives Play  a real arc: it rises from classic Ed into global celebration, pivots through Heaven  as an electronic bridge, and then descends into intimacy and reflection—ending with the nostalgic glow of Old Phone  and the sweetness of Camera . The result feels cohesive, not scattered.

Contributed by Fernando Flores Photography by Shayla Loewen SoundCheck Mag sat down with Leith Ross, and we couldn’t be more excited. With new projects on the horizon and their upcoming album, “I Can See The Future,” they gave us a glimpse into a future fans will want to be part of. Who is Leith Ross?  Leith Ross is a Canadian singer-songwriter, born in Manitoba, best known for their breakout single, "We'll Never Have Sex.” The song truly connected with people due to its vulnerability, jumpstarting a following that continues to grow to this day. Ross’s well-orchestrated use of acoustic arrangements and well-thought-out lyrics creates a sense of storytelling that captivates the listener, allowing them to live through the eyes of the characters. Allowing the listener to analyze their own experiences as they connect with the music. As Ross continues to grow, they continue to push boundaries with their music and advocate for inclusivity that not only is authentic to them but also connects deeply with their fans. The same remains true with their new album, “I Can See The Future,” as their music evolves and lyrics mature. I Can See The Future This brand new album is set to come out September 19, 2025, with an array of new songs that will compel old and new fans of Leith Ross. This project is going to be one for the books since Leith is not one to write a song just to create a new hit. They looks to take their experiences, good or bad, and put them into lyrics for a raw connection to their music and ultimately to their fans. If there was one thing they'd want their music to do, is to leave a lasting impact on their listeners. As they told SoundCheck Mag: “It’s bigger than me and it is beyond me.” Even after Ross has passed, they hope that the album continues to connect with fans throughout the ages. A Sneak Peek: “Point of View” Photography by Shayla Loewen SoundCheck Mag was able to get a preview of one of Leith’s new songs from the album, “I Can See The Future,” called “Point of View.” Right away, the first aspect we were able to connect with was the lyrics, as they paint a vivid picture of the hardship expressed in the song. As a listener, understanding that we’re not alone in a world where we're always scared is reassuring. In the context of “Point of View”, most can say they’ve experienced a moment where they feel like they're taking up too much of the spotlight. Maybe the other person isn't telling you everything you want to know. In the end, you want to really have another perspective and view the relationship through their point of view. Final Thoughts With “I Can See The Future,” Ross invites listeners into an immersive, start-to-finish journey of storytelling. The album continues to meet the listener with vulnerability and emotion that brings an intimate one-on-one reaction to whoever plays the album. As release day approaches, fans can expect an album that challenges, comforts, and connects. An album that's meant to be listened to in order. Be ready to press play on September 19, 2025, and let Leith Ross take you on a journey into the future.

An intimate night of synths, singalongs, and Cincinnati pride Article contributed by Madison Cozzens Revisions by LJ Portnoy, Editor-in-Chief Photography by Madison Cozzens Photography by Madison Cozzens (@Coz_artphoto on IG) A Venue Frozen in Time Going to a show at Mahall’s in Lakewood, OH, feels like stepping back into a basement gig in the best possible way. The neon lights, exposed ceilings, patterned paint, and low-lit stage created a nostalgic backdrop for a night where fans stood shoulder-to-shoulder with the artists. Motherfolk turned the cozy room into something bigger—raw emotion, pure joy, and plenty of dancing. Moonbeau Sets the Tone Opening the evening was Moonbeau, a Cincinnati husband-wife duo blending synth-pop and new wave with effortless nostalgia. Their dreamy instrumentals, rhythmic guitars, and bright beats had the Cleveland crowd moving instantly. Photography by Madison Cozzens (@Coz_artphoto  on IG) Even with a few technical hiccups, Christian Gough and Callie Budrick-Gough kept spirits high with jokes, silly dance moves, and chemistry that radiated beyond the stage. With multiple Cincinnati Entertainment Awards under their belt, Moonbeau’s harmonies felt both playful and magnetic—a perfect start to the night. Motherfolk’s Midwest Connection Photography by Madison Cozzens (@Coz_artphoto  on IG) The headliner, Motherfolk, carried that Cincinnati energy forward. Made up of Nathan Dickerson (lead vocals, guitar), Joel Borton (lead guitar, vocals), Queenie—aka Karlie Dickerson (keys), Clayton Alexander (bass, vocals), and Ethan Wescott (drums, vocals), the band grew out of a college friendship and has evolved into a tight-knit crew that thrives on honesty and connection. That closeness showed on stage. In the intimate space, the band’s interactions—between themselves and with the audience—felt like friends hanging out in the living room. After the show, they proved it wasn’t just performance: signing vinyl, chatting with fans, and making Mahall’s feel like home. More Than a Band, a Community Photography by Madison Cozzens (@Coz_artphoto  on IG) While Motherfolk’s catalog spans seven records, their heartbeat has always been honesty. They’ve never been a band chasing trends; instead, their songs carry the kind of Midwestern sincerity that feels both unpolished and timeless. Whether it’s the anthemic drive of Family Ghodst or the introspective corners of Eternal Joy , they write like they’re letting listeners thumb through their journals. That vulnerability is what’s earned them not just fans, but a community. The Joy of Playing Together What sets Motherfolk apart live is how much joy they visibly take in the act of playing together. There’s no rockstar distance—just friends sharing their craft and cracking smiles at each other mid-song. It’s that combination of grit, playfulness, and reflection that makes their shows feel less like performances and more like gatherings. In an industry often built on polish, Motherfolk thrives by being undeniably human. Eternal Joy, Eternal Growth Musically, Motherfolk blends new-wave textures with heartfelt Midwestern grit. Across seven studio albums, their sound shapeshifts but always stays rooted in authenticity. Their latest release, Eternal Joy  (June 2025), explores “the rabbit holes of self-help and spiritualism, and sifting through each one to filter the bullshit from the truth,” as Dickerson shared on Instagram. The live set mirrored that duality—catchy rhythms paired with lyrics that dig deeper. “Kill the Sun” brought the room into a full singalong, while “Money Up” closed the night in pure celebration. What’s Next for Motherfolk Photography by Madison Cozzens (@Coz_artphoto  on IG) Motherfolk’s name is spreading fast, with festival slots at Bonnaroo, Lollapalooza, Wicker Park Fest, and more. Their dedicated fanbase is growing right alongside their sound, and the Eternal Joy Tour  continues through December 2025, wrapping with “A Very Motherfolk Xmas” in their Cincinnati hometown. For fans seeking music that makes you dance, think, and feel at once, Motherfolk is exactly where to start.

A night of harmonies, heartbreaks, wrapped in a love letter sealed to Michigan with love, from Quinn. Contributed by Mark Portnoy & LJ Portnoy, Editor-in-Chief Photography by LJ Portnoy ( @LJPortnoy on IG) Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy on IG) Hometown Anticipation There’s nothing quite like watching an artist step onto a stage in their own backyard. On September 12, 2025, Quinn XCII turned the Michigan Lottery Amphitheater into a hometown celebration, with a crowd that felt less like strangers and more like family invited to the biggest backyard party in Sterling Heights. From the second he appeared, you could sense it: this wasn’t just another stop on tour—it was a night written with Michigan pride. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) Setting the Stage with Wild Rivers Wild Rivers, Khalid Yassein, during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) Wild Rivers, the Toronto folk-rock outfit, stepped in first with a kind of quiet confidence. Dual leads Devan Glover and Khalid Yassein wove their voices together, trading harmonies that felt instantly intimate. The first song was acoustic and tender, but by the second, electric guitars lit up the night and the crowd began to sway. Wild Rivers, Devan Glover, during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) Breakup songs filled their setlist, and with a wink, they joked about needing to “stop getting broken up with.” Their humor landed, and their music hit even harder. Their third track started with an acoustic hush and built into a belting crescendo, while their fourth had the entire amphitheater jamming along. With bluesy edges, country undertones, and harmonies layered like honey, Wild Rivers didn’t just warm up the stage—they made it their own. A Personal Soundtrack Turned Full Circle For this editor, Quinn XCII isn’t just another artist. His music has been stitched into milestones—late-night car rides, belted duets with the person who would become my husband, and even the first dance at our wedding. A year later, to have Quinn as both our first amphitheater photo pass and the first show my husband and I attended together in far too long felt like a full-circle moment. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) That’s the kind of resonance Quinn’s music holds. It doesn’t just play in the background—it becomes the soundtrack to life itself. Phones Down, Voices Up When Quinn finally stepped onto the hometown stage, magic rippled across the amphitheater. He blended new tracks with classics, heartbreaks with hits, and the entire crowd leaned in. But one moment stood out: during one of his biggest songs, we looked around and saw something almost unheard of in 2025. Out of nearly 2,000 fans, only a handful had their phones out. No endless filming. No glowing screens. Just living, breathing presence. It was a collective decision to exist inside the music together, and it felt sacred. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) The Artist and the Audience Quinn’s seven-album catalog gave plenty of fuel for a career-spanning set, but what stood out most wasn’t just the songs—it was his connection. Between tracks, he slowed down to talk with the audience like we were his closest friends. He told stories about growing up here, about the friends and siblings cheering from the stands. At one point, he even brought his sister on stage to play the harmonica, turning the amphitheater into a family gathering more than a concert. Quinn XCII fans during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy IG) It didn’t matter whether you’d been following him for years or just discovered him last week—by the end of the night, everyone felt like family. Crowning Our Hometown Hero For SoundCheck Mag, this night was as personal as it was professional. We danced, we sang, we shouted every word until our voices cracked. It was a reminder of why Quinn’s music matters—not just as catchy hooks, but as lived-in memories shared between artist and fans. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) By the final encore, one truth was undeniable: this wasn’t just another hometown show. It was like crowning our hometown hero. From Harmonics to Heartbeats Quinn XCII fans during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  IG) Wild Rivers gave us space to sway; Quinn XCII gave us reason to celebrate. Together, they built a night that wasn’t just about listening, but about belonging. When the last notes dissolved into the Sterling Heights night, it felt less like a concert and more like a story—one we were all written into, note by note.

Photography by Madison Cozzens (@ Coz_artphoto IG) Contributed by Madison Cozzens Revisions by LJ Portnoy, Editor-in-Chief If you closed your eyes at the House of Blues on August 5th, you could almost believe you’d time-traveled to the golden era of rock — the flashlights were up, the riffs were loud, and the crowd sang every word like their lives depended on it. Dirty Honey and The Struts weren’t just playing a show; they were leading a revival. Rock is Alive and Well at the House of Blues The Fans of Dirty Honey and The Struts, photography by Madison Cozzens (@ Coz_artphoto  IG) On August 5th, the House of Blues was packed wall-to-wall with fans ready for a night of pure rock and roll. Dirty Honey hit the stage as special guests on The Struts’ 10-year anniversary tour, delivering a set that blurred genre lines and reignited the spirit of classic rock for a modern crowd. From LA Bars to Rock Chart History Photography by Madison Cozzens (@ Coz_artphoto  IG) Formed in Los Angeles in 2017, Dirty Honey — Marc LaBelle (vocals), John Notto (guitar), Justin Smolian (bass), and Jaydon Bean (drums) — skyrocketed onto the scene with their debut single “When I’m Gone” , becoming the first unsigned band to ever top Billboard’s Mainstream Rock Songs chart. Since then, they’ve shared stages with legends like Guns N’ Roses, Slash & The Conspirators, and The Who. Old-School Swagger with a Modern Edge Photography by Madison Cozzens (@ Coz_artphoto  IG) Dirty Honey delivers the grit, riffs, and raw energy of a classic rock band, but with a fresh, no-frills punch. LaBelle’s raspy, expressive vocals and impressive range electrify the room, while Notto’s guitar work — equal parts precision and attitude — keeps the crowd locked in. Their set had the hundreds of phone flashlights shining. Crowd Connection and Setlist Highlights Photography by Madison Cozzens (@ Coz_artphoto  IG) LaBelle thrives on fan interaction, tossing his mic stand toward the audience to catch their voices mid-song and striding across the stage with rock star flair. The setlist packed in fan favorites like “Heartbreaker” , “Rollin’ 7s” , and “When I’m Gone” , priming the room for The Struts’ glam-rock spectacle. The Struts Bring the Glam Celebrating a decade since their debut Everybody Wants , The Struts, fronted by the charismatic Luke Spiller, brought their Freddie Mercury-esque showmanship to the stage. Together, the two bands make for a high-energy, style-clashing double bill that’s as dynamic as it is fun. The tour runs through the end of September, delivering pure rock adrenaline to cities across the U.S. Riding the Momentum Photography by Madison Cozzens (@ Coz_artphoto  IG) The tour comes on the heels of Dirty Honey’s first live album, Mayhem and Revelry Live , with signed copies flying off merch tables night after night. For longtime fans and newcomers alike, the band is proving that rock isn’t just alive — it’s thriving. SoundCheck Spotlight Quote: “It’s a really good musical mash-up with The Struts. They’re both rock and roll bands, but it’s two different styles of rock. And so far, it’s only been two shows but it’s been fun, and they’re great guys obviously. Honestly we’ve been to Detroit and Cleveland — they’re like the two quintessential rock towns in the country, so kind of expecting both to be good. But they didn’t let us down.”  — Marc LaBelle, Dirty Honey

Inside Hilary Duff’s first record deal in 10 years and the docuseries that could define her comeback By LJ Portnoy, Editor-In-Chief Photos obtained via Instagram - various sources include: (@HilaryDuff) , (@hilaryduffdiary) , ( @MaddieDeutch ), and ( @LJPortnoy ) Hilary Duff captured by Madelyn Deutch ( @MaddieDeutch on IG) The Return Hilary Duff has officially signed with Atlantic Records, marking her first major label deal in a decade. The announcement comes with the promise of a docuseries directed by The Eras Tour ’s Sam Wrench, which will document her creative rebirth. After nearly ten years of musical silence, she’s stepping back into the spotlight with a rollout designed to surprise rather than over-explain. Hilary Duff, poses with her album, Metamorphosis (Photo obtained through her Instagram, ( @HilaryDuff) Echoes of Nostalgia Duff isn’t just a pop star returning; she’s a cultural memory being reactivated. For the generation that grew up with Lizzie McGuire  and Metamorphosis , her voice carries a rare kind of resonance. This isn’t the sheen of teen-pop revival: it’s the invitation to revisit a voice that once scored our sleepovers, car rides, and heartbreaks, now reframed through adulthood. Parallels and Patterns Pop history loves a comeback. Justin Bieber had his SWAG  and SWAG II  era, a myth-building interlude designed to signal a new chapter. His message was clear: Here I am, take me as I am.  Duff’s Instagram tease ( “new music… or something ✨” ) and her docuseries announcement echo that same energy. Yet the tone is different. Bieber’s was bold and declarative, while Duff’s feels more cinematic, reflective, and almost secretive, less about demanding attention and more about quietly opening the door. Duff’s comeback plays less like a firestorm and more like a time capsule opening, dusting off something preserved and letting it breathe in the present. Young Justin Bieber captured by LJ Portnoy (@ ljportnoy on IG) Aging in Real Time The comparison extends to Adele, who famously stamps her albums with her age: 19 , 21 , 25 , 30 . Each is a snapshot of her life at that moment, a diary entry etched in song. Adele has said she never meant to make it a pattern, yet it became her signature. Albums arrive when she has something to say, not because the industry expects it. Duff’s return operates on a similar wavelength. Instead of chasing trends, she seems to be revisiting a chapter of herself that only now is ready to emerge. If Adele names her time capsules with numbers, Duff may define hers through genre, featuring ballads, indie folk, and Americana textures that reflect her lived experiences over the last decade, from motherhood to heartbreak and reinvention. Photo of Hilary Duff in the recording studio. (shared by Hilary Duff on IG) Roots and Routes Though she now resides in Los Angeles, the sound of Texas still lingers. Born in Houston and raised partly in San Antonio, she first stepped on stage through dance and theater in the Lone Star State. Those early performances sparked the path that led her family west to California, where she would break into television and music. On visits, such as her recent trip to Austin’s Barton Springs and La Barbecue, Duff continues to embrace the landscapes and flavors of her first home. That connection makes it easy to imagine her leaning into folk or Americana influences, weaving her roots into her next musical chapter. Hilary Duff: a Career Timeline 1998–2002 – Early Roles Breakthrough on Lizzie McGuire  (Disney Channel). 2002–2004 – Pop Stardom Santa Claus Lane  (2002), debut holiday album. Metamorphosis  (2003), 3× Platinum with “So Yesterday” and “Come Clean.” Hilary Duff  (2004), Platinum with a pop-rock edge. Photo sourced from @HilaryDuffDiary on IG 2005–2007 – Experimentation Most Wanted  (2005), compilation with new singles like “Wake Up.” Dignity  (2007), a dance-pop pivot praised for maturity. 2008–2014 – Hollywood Focus Steps back from music, focuses on acting, fashion, and family. Becomes a mom (2012). 2015 – Musical Return Breathe In. Breathe Out.  (2015), RCA Records. Folk-pop touches blended with dance-pop gloss. 2016–2024 – Time Away Stars in Younger  (2015–2021) and How I Met Your Father  (2022–2023). Nearly a decade of musical silence. 2025 – The Time Capsule Opens Signs with Atlantic Records. Announcement of new album and docuseries. Teases fans with “new music… or something ✨.” on Instagram. Atlantic’s Stylistic DNA Atlantic Records thrives on range. A few touchstones from their roster: Pop Megastars : Bruno Mars, Ed Sheeran, Charlie Puth, Lizzo Alt/Indie Energy : Paramore, Portugal. The Man, Death Cab for Cutie Story-Driven Voices : Janelle Monáe, Birdy, Paolo Nutini Country/Roots Crossovers : Brett Eldredge, Hunter Hayes The common thread isn’t genre; it’s scale. Atlantic takes artists with strong identities and amplifies them without sanding off the edges. What That Could Mean for Duff For Hilary Duff, that opens up multiple creative lanes: Indie-Folk Ballads : Acoustic storytelling, warm textures, intimate vocals Americana Touches : A shimmer of pedal steel or country-adjacent lyricism Nostalgia Pop : A few polished radio-ready singles to re-establish her mainstream presence Hybrid Sound : A record that feels like grown-up pop with Texas dust in its bones A Shared Revival Duff’s comeback resonates beyond her. For many fans who grew up with her, it mirrors their own rediscovery of creativity, dusting off journals, instruments, and unfinished songs from a decade ago. Her return doesn’t just mark a new album; it signals an invitation for her generation to reawaken long-paused passions and to create with the wisdom of years in between. Keep up to date with Hilary on her instagram, below! The Waiting Game At the moment, we only have fragments: a signing, a tease, a promise of cameras rolling. Yet those fragments already carry the thrill of mythology. What will Hilary Duff sound like in 2025? Where will her voice land in a landscape now ruled by Billie Eilish, Olivia Rodrigo, and Sabrina Carpenter? More importantly, what happens when a whole generation opens its own creative time capsules alongside hers? One thing's for sure: Only time will tell.