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Inside the lore, the spectacle, and the screams of My Chemical Romance’s anniversary tour stop in Chicago Article contributed by Konstantina Buhalis Revisions by LJ Portnoy, Editor-in-Chief The Return of an Era My Chemical Romance’s Long Live the Black Parade  was the anniversary tour of the summer. The band embarked on a brief run, playing The Black Parade  in its entirety, following their full album performance at last year's When We Were Young Festival . MCR’s Lasting Legacy MCR has been one of the most well-known and influential bands of the mid-2000s emo era, with their 2006 record The Black Parade  celebrating its anniversary a year early this summer. Their legacy spans decades, with lore surrounding the in-album “band” growing popular again as this new stage show gave fans plenty to dissect. This time around, the band introduced fresh theatrical elements and mythos: the Immortal Dictator, a mysterious totalitarian figure who looms over the performance, and the Nation of   Draag, the fictional people caught under his rule. These additions have sparked fan theories online, with many interpreting them as a continuation of The Black Parade’s  themes of life, death, control, and resistance reframed for a new era of MCR storytelling. Part of what makes My Chemical Romance so enduring is how they transcended the “emo” label to become something theatrical, operatic, and larger than life. The Black Parade  wasn’t just an album, it was a concept, a rock opera that stitched together loss, defiance, and spectacle. For many fans, this record was the soundtrack to survival, and hearing it in full again carries an emotional weight that goes beyond nostalgia. A Chicago Show for the Ages Between the new lore and the incredible stage show, My Chemical Romance has been the band of the summer, and their Chicago show at Soldier Field (home of “da bears”) was an almost unreal experience. The first half of the show on the A-Stage consisted of The Black Parade  cover to cover, starting with “The End,” filling the stadium with screams as Gerard Way sang, “When I grow up I want to be nothing at all!” As the show continued, the air picked up for a moment when it briefly drizzled, giving the crowd a perfectly melodramatic moment to sing in the rain with MCR. Theatrical Spectacle and Crowd Energy As the show went on, the crowd met each song with enthusiasm, and the stage design was both captivating and interactive, including a mock execution. During this sequence, the audience was meant to take part in a vote using Yea and Nay signs. However, distribution issues meant only a small fraction of the Chicago audience received the props, leaving many fans to improvise and still engage with the moment. Iconic Moments While the entire show was full of screaming fans, “Welcome to the Black Parade” was met with nearly earth-shattering noise when the G note was played. It was a reminder that Way has worked hard on re-training his voice and that he remains as passionate about the album as he was almost 20 years ago. The biggest surprise came in the encore, when Billy Corgan of Smashing Pumpkins was introduced to sing “Bullet with Butterfly Wings.” It was an unexpected collaboration that stunned the audience and felt like the perfect final note to the night. A Summer to Remember It is hard not to overstate the importance of this tour. As the Black Parade  anniversary shows wrap up and the internet fills with pictures, videos, and bracelet trading, one thing is clear: this was the summer of My Chemical Romance. Did You Know? My Chemical Romance formed in Newark, New Jersey, just days after the September 11 attacks. Gerard Way has said the band was his response to witnessing the tragedy. The Black Parade  debuted at number two on the Billboard 200 in 2006, but has since become one of the most iconic records of the decade, cementing MCR’s place in music history. Before becoming a rock frontman, Gerard Way interned at DC Comics and later created the award-winning comic series The Umbrella Academy . The band’s name was inspired by an Irvine Welsh novel titled Ecstasy: Three Tales of Chemical Romance , suggested by bassist Mikey Way. MCR officially announced their breakup in 2013, only to reunite in 2019 to overwhelming demand, proving their influence has only grown over time.

The duo delivered chaos, catharsis, and a light spectacle that left The Fillmore buzzing long after the final note. Photography by LJ Portnoy ( @ljportnoy on IG) Photos and review contributed by LJ Portnoy, Editor-in-Chief A Night of Immersion Detroit got a full dose of dream-pop intensity when Phantogram brought their tour to The Fillmore on Sunday night. The ornate theater became a swirling storm of bass, synths, and flashing lights, and by the end of the night, it felt less like a concert and more like being pulled into the band’s own universe. Photography by LJ Portnoy ( @ljportnoy on IG) Phantogram’s Sonic Identity For more than a decade, Phantogram has carved out a distinct space in alternative and electronic music. Known for their seamless fusion of trip-hop beats, sharp guitar lines, and cinematic synth layers, the duo has a knack for balancing the dark with the euphoric. Sarah Barthel’s voice has long been the band’s emotional anchor—airy and haunting in one song, fierce and commanding in the next—while Josh Carter’s instrumentals bring texture and grit. Together, they’ve created a catalog that feels equally suited for headphones in solitude or a packed theater of thousands. The Set Comes Alive That dynamic was on full display in Detroit. From the opening track, Barthel and Carter reminded the audience why their sound is so addictive: heavy beats, layered textures, and vocals that cut sharp and clean through the mix. You Don’t Get Me High Anymore  and Fall in Love  had the theater buzzing, building anticipation for the night’s high point. “Black Out Days” Steals the Show Released in 2013 on their album Voices , Black Out Days  has become Phantogram’s defining hit and a song that continues to resonate with fans more than a decade later. It’s a track built on tension—Barthel’s vocals raw with emotion, layered over pounding percussion and hypnotic synths. Live, that intensity multiplies. As soon as the first notes hit in Detroit, the crowd surged forward, voices rising in unison, the room completely alive. Sarah delivered the track with urgency and defiance, and paired with the light show, it was pure chaos in the best way. It was the song everyone seemed to be waiting for, and the payoff was unforgettable. Photography by LJ Portnoy ( @ljportnoy on IG) Lighting: A Challenge and a Spectacle And about those lights. Wild doesn’t even begin to describe them. For photographers in the pit, the rapid strobes, thick fog, and shifting color palettes made it a near-impossible challenge to capture. But stepping back, it was obvious how spectacular it looked from the floor. The lighting design turned the Fillmore into its own living, breathing canvas, amplifying every rise and drop in the music. What felt overwhelming up close was breathtaking from a distance, a visual spectacle that perfectly matched the intensity of the sound. Photography by LJ Portnoy ( @ljportnoy on IG) A Lasting Impression Phantogram doesn’t rely on much stage banter—they let the music speak, and it did. The crowd stayed locked in from start to finish, pulled between moments of dark, hypnotic tension and euphoric release. By the time the last notes faded, the Fillmore was vibrating with energy, proof that Phantogram knows exactly how to turn a performance into a full-body experience.

From bedroom-pop heartbreak to bold confessionals, Conan Gray proves he’s grown into one of pop’s most daring storytellers. Contributed by: LJ Portnoy, Editor-in-Chief Photography by: Dillon Matthew ( @dillonmatthewc on instagram) A Leap Beyond Kid Krow Conan Gray has always written like someone with nothing to hide. His debut, Kid Krow , was a scrapbook of teenage heartbreak—raw, diaristic, and messy in a way that made it instantly relatable. Superache  leveled up the emotional stakes, with tighter pop craft and sweeping ballads that hinted at the artist he was becoming. But Wishbone ? This is where Conan stops hinting and steps fully into his artistry. It’s not just lyrical honesty anymore—it’s musical ambition. It’s him pushing his own boundaries—sonically, thematically, and personally. Pulling Off the Mask The opener, Actor , feels like a thesis statement. “You’re a much better actor than me”  isn’t just a jab at an ex—it’s a dismantling of performance itself. The track’s cinematic rise and carefully layered production instantly feel different from Kid Krow’s  bedroom-pop beginnings. It’s bigger, bolder, and unapologetically theatrical. Photography by: Dillon Matthew ( @dillonmatthewc  on instagram) When the Ghost Has a Name That directness reaches its peak on Connell , where Gray does the thing pop stars almost never do: he names names. “Kissing your ghost was my own damn fault”  isn’t just about personal heartbreak. It’s about loving someone who couldn’t stand in the light with him. What could have been a diary entry becomes a refusal to let queerness be erased or disguised. A Sonic Glow-Up But Wishbone  isn’t just lyrically daring—it’s musically adventurous in ways Conan hasn’t attempted before. Class Clown  bends into Beatles-esque psychedelia, a sad confession dressed up in kaleidoscopic sound. Cornell  starts delicate before dissolving into a swirling outro that shifts keys and feels like falling into another dimension. These choices aren’t just flourishes—they’re Conan expanding his vocabulary. He’s not just telling stories anymore; he’s painting with sound. Bridges That Bleed If there’s one place Gray has grown the most, it’s in his bridges. He’s always known how to twist a knife lyrically, but here, the bridges detonate. Nauseous  rips into Olivia Rodrigo–like fury, a jagged meltdown that feels destined for arena screams. Romeo  flips from glossy pop to blunt declaration— “You’ve got to figure out your shit with someone else, man. I can’t fix you, I’m sorry.”  It’s bratty, liberating, and unforgettable. The Ache That Stays Even in its quietest moments, Gray won’t let you off easy. On Care , he admits, “Though I won’t miss being your lover, I’m still losing a friend.”  It’s the kind of line that burrows under your skin because it’s so simple and so true. That balance of bold experimentation with devastating intimacy is what makes Wishbone  feel like a turning point. Final Word: Growth Without Apology Wishbone  doesn’t feel cautious—it feels fearless. Conan stretches his sound into new shapes, experiments with psychedelia and key shifts, and writes bridges that demand to be screamed back at him on tour. The growth from Kid Krow  to Wishbone  is staggering. The diarist has become a craftsman. The bedroom-pop kid has become a performer unafraid of theatrics, soundscapes, and scale. And the queer kid whispering secrets into a mic has become a queer artist refusing to whisper at all. This is Conan Gray at his boldest—messy, specific, ambitious, and entirely unafraid. Exactly the kind of growth fans have been waiting for. SoundCheck Rating: 8/10  — A daring leap forward that cements Conan Gray as one of pop’s most fearless young voices.

SoundCheck Mag kicks off their first fan-fueled event in Brooklyn with an unforgettable night of memories, music, and magic. Written by LJ Portnoy, Editor-in-Chief Reel created by Ilana Bornstein (@i lana.rachel IG ) ; Photography by Fernando Flores (@ fernandofloresphotography IG ) An Unforgettable Night in Brooklyn Fans lining up outside the venue before doors opened Photography by Fernando Flores (@ fernandofloresphotography IG ) SoundCheck Mag pulled off our first-ever full-fledged fan event — Greetings From Your Hometown: A Jonas Brothers Fan Celebration  — and it was nothing short of magical. Over 50 fans came together for an evening of connection, music, and nostalgia. The room buzzed with energy as guests joined in disco dance-offs 🪩, made friendship bracelets 📿, scribbled locker notes 🗒️, and left their “Burning Up” hot takes on a secret phone line 📱. Fan crafting a friendship bracelet - Photography by Fernando Flores (@ fernandofloresphotography IG ) Fans at the Heart of the Experience Interactive stations, live music, and fan-led moments turned the night into a celebration not just of the Jonas Brothers, but of the incredible community that surrounds them. Came to Dance, No Time to Talk Disco Station! Reel created by Ilana Bornstein (@i lana.rachel IG ) ; Photography by Fernando Flores (@ fernandofloresphotography IG ) From trivia games and raffle prizes (including signed memorabilia) to goodie bags, food, and drinks, every detail was designed with fans in mind. Trivia finalists compete to answer the final challenging question to reveal the winner. Photography by Fernando Flores (@ fernandofloresphotography IG ) This event proved why hiring fans for your marketing matters — they know exactly what the community wants. We brought that vision to life with vendors like Jonas Bestie and the Jonas Junkies fan site, making sure JB fandom voices were front and center. Kevin Jonas autographed guitar was among collectibles available for raffle - Photography by Fernando Flores (@ fernandofloresphotography IG ) Behind the Magic None of this would have been possible without our team. Left to Right: Rebecca McDevitt, Fernando Flores, Devin McDevitt, Ilana Bornstein, LJ Portnoy (SoundCheck Mag Event Team) A huge shoutout to Rebecca McDevitt, who spent countless hours printing, crafting, wrapping, and building every last detail — pulling this event together in under two months. Devin McDevitt greeted guests at the door, acting as security for the event and ensuring all those who entered were approved guests. LJ Portnoy was the emcee for the night, hosting Trivia and announcing the raffle winners. Ilana Bornstein captured the night’s energy on video, while SoundCheck photographer Fernando Flores caught every moment in photos. What’s Next Fans seen celebrating Greeting From Your Hometown album release Photography by Fernando Flores (@ fernandofloresphotography IG ) Brooklyn, you set the bar high for what’s to come. This was only the beginning — and we can’t wait to do it again. Here’s to many more nights like this. 🥂✨

Flipturn wowed crowds in Cleveland following the release of album Burnout Days. Contributed by Madison Cozzens Revisions by LJ Portnoy, Editor-in-Chief Flipturn, captured by Madison Cozzens (@ coz_artphoto IG) The Burnout Days Tour lit up The Agora with emotion, energy, and unforgettable connection. While many of the songs on Flipturn’s discography can be described as “chill-indie,” their live performance is anything but. The Agora Theater in Cleveland was a place of connection, dancing, good vibes, and burnout days on the evening of July 30th. The crowd, captured by Madison Cozzens (@ coz_artphoto  IG) Joe P Sets the Tone The night began with Joe P , a singer/songwriter from Asbury Park, NJ, who brought raw authenticity to the stage. He captured the audience's attention performing Leaves  and Off My Mind  — his most-streamed track to date. Joe’s charismatic presence and gritty energy left the crowd buzzing and ready for Flipturn. Joe P., captured by Madison Cozzens (@ coz_artphoto  IG) Flipturn Takes the Stage Around 9:00 PM, the lights dimmed and synths echoed through the theater. At 9:05, the band — Dillon Basse  (lead vocals, guitar), Tristan Duncan  (lead guitar), Madeline Jarman  (bass), Mitch Fountain  (guitar, synth), and Devon VonBalson  (drums) — took control of the stage with Churches , off their 2018 EP Citrona . The flow and energy didn’t stop the entire night as they moved through a career-spanning set, including Juno , Sad Disco , Nickel , and Chicago . Basse bounced across the stage, feeding the crowd his rhythm and energy. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG) A Moment with “August” Flipturn’s most well-known song, August , wasn’t played until over halfway through the night — but when it came, the room shifted. From the first notes, the crowd hung on every word. At the end of each chorus, Basse pointed the mic outward, and the room roared back: “August, honey, you were mine.” It was the kind of moment you remember — where sound, space, and strangers blur into something bigger. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG) Drums at the Barricade Another standout moment came when VonBalson moved to the front of the crowd. A compact drum kit was brought to the barricade for fans to hold as he played a solo, face-to-face with the front row. It was raw, unfiltered, and unforgettable. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG) Burnout Never Sounded So Good Flipturn made their mark with 2022’s Shadowglow  and returned in 2024 with Burnout Days , a project shaped by exhaustion and emotional depth. The current tour — which shares the album’s name — brings those themes to life with unrelenting energy and honest connection. With the U.S. leg of the tour wrapping in August 2025, Flipturn proved in Cleveland that they’re just getting started. If this is burnout, we’ll gladly burn a little longer. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG)

SoundCheck Session - Volume 1, Issue 5: Livingston Featured Cover Story Coverage by LJ Portnoy, Editor-in-Chief Photography by LJ Portnoy Livingston is the July/August Feature for SoundCheck Mag! Issue 5, OUT NOW! If you’ve ever heard a song that felt like it was written just for you , chances are, it was by Livingston. We sat down with Livingston, the alt-pop artist for our July/August Artist Feature, during his A Hometown Odyssey  tour to talk about his deluxe album, emotional evolution, and the stories behind songs like “Reverse,” “Gravedigger,” and “Nightlight.” Livingston opened up about everything from navigating grief and identity to the wildest moments on tour—and let’s just say, you’re going to want to watch this one all the way through. Check out our exclusive video interview below, and keep scrolling for the full conversation. A Hometown Odyssey: Livingston’s Story Is Just Beginning “I didn’t make this album in the last two years. I made it over the last eight. So in some way, I’m paying homage to the version of myself that had the idea for this album and was actively experiencing the things inside of it. But that was a sixteen-year-old version of me. I’m almost twenty-three now.” There’s something remarkable about watching an artist trace the outlines of their own life in real time. Even more so when the timeline stretches across the better part of a decade. Livingston’s latest release, A   Hometown Odyssey: The Story Continues , isn’t just a deluxe album. It’s a living archive. A map of emotional memory stitched together by grief, growth, and moments of quiet transformation. It’s the sound of someone evolving—and letting us hear the process. Livingston, Shot by LJ Portnoy (@ ljportnoy IG) What began in a childhood bedroom in Denton, Texas has grown into something far bigger than he could have predicted: 600 million streams, a global fan base, and sold-out shows across the U.S., Europe, and beyond. But Livingston isn’t preoccupied with the scale. For him, it always comes back to intention—and connection. “I think identity is a lot of this album,” he reflects. “It’s one thing to create freely. But it’s another to see your creation reflected back at you by other people—and then have them form an opinion about who you are. And then you have to ask yourself: do I like this version of myself? Do I stand by this? Or do I evolve?” If A Hometown Odyssey  was a love letter to the person he used to be, then The Story Continues  is an open question. A gentle, aching inquiry into what happens after the dust settles—after childhood fades, and after you’ve lived long enough to revisit your pain with a different kind of empathy. “Seventeen was rough,” he says simply. “It was this strange crossroads where my career was finally happening, and I was doing what I loved—but I still felt so lost. I thought that would solve everything. But I didn’t know where to take the next step.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) That season, he says, left a mark. But it also became a benchmark for growth—something he still reflects on when new struggles surface. “I felt isolated and thought that it wouldn’t end. But then it did end. So whenever I feel like I’m running in place again, I remind myself that it felt like that then, too—and something beautiful came next.” The Sound of Reflection Livingston doesn’t write songs in a vacuum. He writes them in motion—while on the road, while looking back, while navigating the strange spaces between memory and meaning. And over the last year, that’s exactly what he’s done. “I’ve basically been on the road nonstop,” he says. “This is the fifth tour I’ve done for A Hometown Odyssey in the last year.” he shows, he adds, have only deepened his relationship with the music. “They’ve gotten progressively more emotional, more powerful. And I think even more wide-reaching on a demographic level than I ever could’ve imagined.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) With The Story Continues , Livingston wanted to approach the same universe with new eyes. Not a reset—more like a second glance. A chance to revisit the emotional groundwork of the original album and ask: What more is there to say now? “The original album had just kind of crystallized for me after playing it live and seeing it reflected back at me,” he explains. “So I thought, What if I went a hundred percent into those feelings? What would that sound like?  That’s what I did.” The result is a collection of songs that feel both expansive and intimate—tracks that hold contradictions in their hands and don’t flinch. Take “Reverse,” for example: a sonic uppercut full of swirling optimism and aching nostalgia. “Take me back to where we were / I could try to break the curse / And if we’re out of time / I’ll find a way to love you in reverse,” he sings. It’s one of his favorite lines on the record. “I wanted a song that felt both futuristic and nostalgic at the same time,” he says. “It has this retro-future kind of production, but it’s also talking about going back in time, which I think is interesting.” There’s a kind of emotional duality threaded throughout the record—hope and heaviness, wonder and weariness, beauty and violence. That contrast isn’t just a stylistic choice. It’s the heartbeat of the entire project. Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) He returns to this theme in “The Game,” a track that started a year before he finished it. One line in particular hits with the force of revelation: “I was a child till I found love and pain and bygones.”  wonder and weariness, beauty and violence. That contrast isn’t just a stylistic choice. It’s the heartbeat of the entire project. “That’s one of the core things for this album—putting really heavy things against very light things. And putting very big things against very small things. That kind of contrast has always been compelling to me.” “That second verse was like writing to the version of myself who wrote the first verse a year earlier,” he says. “Almost like, What would I say to him now, knowing what I know? ” Grief, Glory, and Growing Pains Some songs on The Story Continues arrive like gut punches—soft in delivery, sharp in meaning. “Gravedigger” is one of them. “I grew up to be the gravedigger / My own gravedigger,” he sings—an arresting image of self-inflicted pain and personal reckoning. “It’s just a memory of all the times in my life where I felt like I’m my own worst enemy,” Livingston says. “Where I’m causing myself more grief than I need to. It’s not the world putting it on me—it’s me putting it on me. And I think a lot of people feel that way, too.” That emotional honesty courses through much of the deluxe project. It’s present in the frustration of “Millionaire,” a song originally written for Christina Aguilera that eventually found its way back to him—and hit closer to home than he expected. “I was kind of channeling a couple different periods of my life where I felt like my trust had been taken for granted,” he explains. “And I am more than the check in your pocket”—a lyric that lands with quiet defiance—“that was definitely me reclaiming emotional worth.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) But for every track that delves into grief or betrayal, there’s another that reminds him—and his listeners—what it means to hope. “Nightlight” is one of the most personal examples. “When ‘Nightlight’ got finished,” he says, “it felt like, this is that Fireflies (Owl City) kind of feeling. All-in wonder. I didn’t dance the line with it—I just went all in.” “What are the sounds that bring that emotion out? What are the images? The colors? That song is the statement.” “Look Mom, I Can Fly” builds on that same childlike wonder—glitter and gravity, playing with lions and chasing castles in the silence. “That one was just fun. Like… Fun the band,” he says, grinning. ‘We Are Young’ was such a big song for me growing up. So it felt kind of in that world—just big and joyful and alive.” Even in joy, though, there’s always a tether to something deeper. One lyric— “Don’t you leave before me, I just want to feel alive” —hints at the emotional pendulum Livingston is constantly navigating: between light and dark, fear and glory, movement and memory. “Flying just means moving in a positive direction with agency,” he says. “Not being promised a reward or a carrot at the end of the stick. Just knowing that what I’m doing today is what I’m supposed to be doing. And that’s enough.” Crowd, Shot by LJ Portnoy (@ ljportnoy  IG) What Comes Next? Livingston doesn’t just write songs—he builds emotional worlds. Each lyric, each chorus, a breadcrumb trail through identity, grief, and the kind of fragile hope that keeps us alive. And now, standing at the edge of everything he’s created, he’s ready to burn it all down—and build again. “I wrote most of this album when I was sixteen,” he says. “I’m almost twenty-three now. I’m about to get married. My life has changed.” That change isn’t the ending. It’s the ignition point. “I want to come back and tell a different story—with a different message, and a different point. Something really meaningful. But also probably really different sounding. That sounds like the most fun thing in the world to me.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) And to the fans who have shown up—who’ve streamed every song, stood in every crowd, and seen themselves in every lyric—he offers this: “Thank you for being a part of this. I want to make something next that’s just as powerful. Maybe even more.” He called this chapter The Story Continues , but make no mistake—the spark has caught. The next chapter is already burning. So turn it up. Lose yourself. And hold on—because Livingston’s just getting louder. And the world is about to listen. Livingston, Shot by LJ Portnoy (@ ljportnoy  IG)

Contributed by Annie Gallo Revisions by LJ Portnoy, Editor-in-Chief A night of glitter, grit, and pop redemption across generations Photography by Annie Gallo (@ Anniegdatsme  IG) A New Era: Freedom, Power, and a Tour to Match On March 6, 2024, Kesha posted a message that would echo through her fandom: “First day I’ve owned my voice in 19 years. Welcome.” With that simple but powerful statement, she set the tone for a new chapter—one marked by creative control, emotional truth, and a fearless return to the spotlight. Fast forward to 2025, and fans now have a new album titled “.” and a live experience to match: the Tits Out Tour , the biggest and boldest tour of her career to date. SoundCheck Mag caught the show in Virginia Beach and Raleigh—two unforgettable nights filled with tears, triumph, and dancefloor catharsis. Photography by Annie Gallo (@ Anniegdatsme  IG) Opening Acts Set the Stage for Liberation Before Kesha took the stage, the energy was already electric. UK artist Rose Gray, best known for her collab on “Attention,” kicked things off with tracks like “Everything Changes (But I Won’t),” “Party People,” and of course, “Attention.” Her dreamy yet fierce set warmed up the crowd with ease. Photography by Annie Gallo (@ Anniegdatsme  IG) Next up: Scissor Sisters, whose flamboyant, dance-pop magic lit up the venue with hits like “Let’s Have a Kiki,” “I Don’t Feel Like Dancin’,” and “Filthy/Gorgeous.” The crowd was all in—dancing, cheering, and glittering in full glam tribute. Photography by Annie Gallo (@ Anniegdatsme  IG) A Setlist of Healing, Rage, and Reclamation From the pit to the lawn, fans of all ages screamed every word as Kesha launched her set with the song that started it all: “TiK ToK.” “We do not stand abuse in my house—so put your middle fingers up,” Kesha told the crowd, unapologetically reclaiming her voice and past. “Wake up in the morning like fck P Diddy,” the audience shouted back. Photography by Annie Gallo (@ Anniegdatsme  IG) She shared that she hadn’t performed many of her early hits in over a decade. Now, she was taking them back—reproducing every song she’d written pre-2014 with new arrangements and fresh energy. The crowd roared as she dove into Warrior -era anthems like “Crazy Kids,” “C’mon,” “Thinking of You,” and the title track. “I had these songs taken from me,” she said. “I wrote them for you. Will you help me take them back?” And take them back, she did. Photography by Annie Gallo (@ Anniegdatsme IG) Pop Star, People’s Champion In a moment that fans won’t soon forget, Kesha left the stage during “C’mon” to climb onto her dancer’s shoulders and weave through the venue, hugging fans and high-fiving outstretched hands. Then came the emotional gut-punch of the night: “Fine Line.” Wearing a straitjacket, surrounded by dancers dressed in black uniforms, Kesha embodied the trauma, pain, and power behind the lyrics. “All the doctors and lawyers cut the tongue out of my mouth.” “I’m at the top of the mountain with a gun to my head.” The choreography—a haunting visual of being dragged, silenced, and gaslit—left a heavy hush over the crowd before erupting into cheers of support. Photography by Annie Gallo (@ Anniegdatsme  IG) The Verdict: This Is a Tour You Feel Between the laser beams, confetti blasts, raw monologues, and career-spanning setlist, Kesha’s Tits Out Tour  is more than a concert—it’s a live reclamation of identity. For longtime fans and Gen Z newcomers alike, this is a show that bridges eras and burns bright with catharsis. Whether you’ve been riding with Ke$ha since glitter and Jack Daniel’s, or you’re new via a TikTok trend, this tour proves one thing: Kesha never lost her voice—it was stolen. And now she’s taking it back. Photography by Annie Gallo (@ Anniegdatsme  IG) Want In? 🎟️  Tickets 👚 VIP Packages VIP options include a live soundcheck experience, early venue entry, exclusive merch (like a disposable camera and signature nipple pasties), and more. Photography by Annie Gallo (@ Anniegdatsme  IG)

Still Got That SWAG Article contributed by: LJ Portnoy, Editor-in-Chief Justin Bieber - SWAG, album artwork Justin Bieber reclaims confidence, chaos, and control on his most self-assured album yet. The Word That Wouldn’t Die Let’s be honest—“SWAG” should’ve been retired with shutter shades and Tumblr quotes. But Justin Bieber’s latest album doesn’t just revive the word—it redefines it. SWAG isn’t about dated catchphrases or forced cool. It’s about control. It’s about stepping into a space where confidence meets chaos, and making it sound smooth. On this sprawling, genre-hopping record, Bieber isn't chasing trends or redemption—he's reminding us he can still set the tempo, even when we didn’t ask him to. Justin Bieber, shot by LJ Portnoy A Silent Drop, A Loud Statement There was no rollout. No teaser campaign. No clamor for attention. SWAG arrived almost unannounced—quietly but unmistakably. That move alone says everything. Bieber isn’t performing for the algorithm anymore. This album isn’t curated for mass approval—it’s a portrait. A personal one. These songs unfold like pages from a journal: reflections on mental health, family, faith, love, and legacy. The Sound of Self Even in its uneven moments—yes, there are a few—SWAG doesn’t lose its pulse. Every track feels like it belongs here, even when it doesn’t fully land. This isn’t Bieber trying to be everything for everyone. It’s him being exactly who he is, right now. And when it works, it really works. “All I Can Take” is a late-night stunner—vulnerable but controlled. “Daisies” blends precision with poignancy. “Things You Do” flirts with R&B intimacy, while “Go Baby” delivers pure dopamine. (Someone call a TikTok producer to mash it with 2010’s “Baby,” stat.) The above video is a fan-made music video, with no direct affiliation to Justin Bieber. Not Reinvention—Reclamation I f Justice was Bieber’s public apology and Changes his vulnerable reset, SWAG is the afterparty—and he’s already in the VIP booth. It doesn’t beg for validation. It shrugs. It winks. It leaves the door open. This isn’t reinvention—it’s reclamation. Because swag, for all its cringe-coded history, was always about confidence. And for the first time in a long time, Bieber sounds like he has it. Final Take SWAG may not be perfect, but that’s the point. It’s a snapshot of Justin Bieber in 2025: raw, reflective, and fully in control of his voice. Final Rating 8.3/10

Article Contributed by Konstantina Buhalis. Edited by LJ Portnoy, Editor-in-Chief. Album Artwork by Gerard Way My Chemical Romance has never been just a band. Since the early 2000s, they’ve served as the pulse of a generation that found catharsis in eyeliner, distortion, and unfiltered emotion. Their legacy has only expanded with time, especially after their full Welcome to the Black Parade  performance at When We Were Young Fest. It was a moment that reminded the world just how deeply this band still matters. Now, as they prepare for their Black Parade tour, MCR has reissued Three Cheers for Sweet Revenge  in a deluxe anniversary edition. The remastered version breathes new life into the band’s beloved sophomore album, offering both longtime fans and new listeners a rare gift: the chance to hear Three Cheers  again for the first time. A Rebirth in Red and Black Released in 2004 on Reprise Records, Three Cheers for Sweet Revenge  was an immediate standout, eventually going platinum with over three million copies sold in the U.S. It wasn’t just a success. It was a statement. The album is framed as a pseudo-concept record, following a doomed couple reminiscent of Orpheus and Eurydice. It cemented Gerard Way’s reputation as a master of myth-making and drama, fusing narrative and noise into something unforgettable. At the time, the “wall of sound” was still the dominant production trend. Emo bands were pushing for volume over precision, often burying vocal intricacies and lyrical detail beneath layers of static and fuzz. That was part of the appeal. The chaos matched the emotion. But the 2025 remaster pulls back the curtain. It reveals what was always there beneath the noise. The result is a more dimensional version of the record without compromising its urgency. Scene Staples, Reimagined From the first seconds of “Helena,” it’s clear how much space has been restored. Way’s voice rises above the storm this time, still desperate, still theatrical, but now isolated in a way that feels intimate rather than buried. The track hits just as hard, but lands with a sharper edge. “Ghost of You” may be the standout of the remaster. There’s a subtle shift in vocal phrasing, as if alternate takes or layered recordings were blended in to highlight Way’s range and expression. The final minute introduces what sounds like a droning scream, a chilling addition that nods to the song’s infamous music video and its wartime imagery. It’s a small detail, but one that adds cinematic weight. Throughout the album, the remaster doesn’t soften the rawness. It refines it. The guitars still slash, the drums still race, but everything is more deliberate. The cleaner soundscape invites closer listening: to the lyrics, to the transitions, to the little moments that once got swallowed whole. A Legacy Reclaimed, A Future Echoed Album Artwork by Gerard Way Three Cheers for Sweet Revenge  was already a defining record for the genre. The 2025 edition imagines a different timeline. One where this album debuted with modern production standards and wider sonic palettes. It asks what would have happened if emo never had to choose between polish and power. This release doesn’t rewrite the past. It reframes it. MCR’s influence continues to stretch into the present, and the Three Cheers  remaster only strengthens their grip on the cultural pulse. It serves as both a preservation and an evolution, proof that even in high definition, heartbreak still howls. So whether you were there in 2004 with a side part and a burnt CD or you’re discovering it now through TikTok edits and festival lineups, this version of Three Cheers  welcomes you in. Turn it up. Scream it out. Let it be loud, let it be messy, let it be yours.

Article Contributed by Ilana Bornstein Edited by LJ Portnoy, Editor-in-Chief First Impressions: Yep, We’re Judging the Cover (On Purpose) Okay, we admit it — we’re committing the ultimate creative faux pas: judging (and celebrating) a book — uh, record — by its cover. Sabrina Carpenter, who just dropped the details of her upcoming album Man’s Best Friend , basically said, “let’s ruffle some sequin feathers… and maybe a few egos, too.” And honestly? We’re eating it up. Screenshot of commentary from Sabrina Carpenter's X account. The cover — shot by Bryce Anderson, the same photographer behind her Short n’ Sweet  visuals — is everything you’d expect from pop’s most charming agent of chaos. Posing on all fours in stilettos, satin, and pure sass while a suited mystery man holds her by the hair, the image is sending the internet into a full-blown spiral. It’s provocative, it’s polarizing — and yeah, that’s the whole point. This Isn’t About Submission — It’s a Power Play Real talk? We’ve been obsessed since the second it hit Instagram. You didn’t even have to explain it to us — we felt  it. And that’s the magic of Sabrina: she invites interpretation, not instruction. Iconic art doesn’t beg for understanding; it demands conversation. Screenshot of Sabrina Carpenter's IG drop of "Man's Best Friend" Album Cover Artwork. Here’s what we saw right away. • Sabrina is front and center. The other figure, mostly out of frame, could be a mannequin for all we care — faceless, nameless, irrelevant. She’s staring straight through the lens, unbothered and fully in command. It’s not a cry for help; it’s a power play. • This image isn’t supposed to feel safe. It’s designed to make you squirm, raise questions, and spiral down a Reddit thread. And that’s the point. Art isn’t always a soft landing — sometimes it’s meant to knock you off balance and make you feel something . • Before it was confirmed that the other figure was a male model, we had a theory: what if it was also  Sabrina? A mirror moment, a metaphor for past versions of herself she’s outgrown — or maybe reprimanding. We even wondered if the golden hair being grasped was a wig… maybe she’s shedding a fake version of herself for good. • The title Man’s Best Friend  instantly brings dogs to mind — and the word “bitch” isn’t far behind, both in literal canine terms and in how it’s been weaponized against women. Meanwhile, “dog” has long been slang for a toxic guy. The album title plus this visual? Classic Sabrina — cheeky, layered, and flipping gendered tropes with a wink. Art That Sparks Discomfort Is Still Art — And Maybe the Most Honest Kind We’ll say it louder: art is subjective. Always has been, always will be. What one person sees as submission, another sees as satire. In Sabrina’s case? It reads as calculated, confident, and totally self-aware. She’s not handing over control — she’s holding the leash. Her lead single, Manchild , is already a strong contender for Song of the Summer — a not-so-subtle roast of emotionally stunted men, set to a bubblegum beat that sticks. The rest of the album? We’re guessing it’s going to be for the girls, the gays, and anyone fluent in female rage wrapped in pop perfection. A Bird, a Tortoise, and an Allegory for Liberation Even the Manchild  music video drips with symbolism. It opens with a bird perched atop a tortoise in the desert — huh? But stay with us: maybe the bird is Sabrina. Free, flighted, and untethered by the heaviness of reptilian baggage. Coincidence? Doubt it. She did spend an entire year opening for Taylor Swift, the undisputed queen of the easter egg. This girl knows exactly how to speak in symbols. Not Just Pretty Pop — This Is Performance Art Dressed in Heels The Man’s Best Friend  cover isn’t your standard badass woman on a mountaintop with a fan machine and a guitar  vibe. This is empowerment as performance art. Satire dressed in silk and stilettos. She might be playing the part of the obedient “pet” — but let’s be real: she’s the one running the show. She knows the image is jarring. She knows it might trigger some people. And she knows exactly  what she’s doing. This isn’t a mistake — it’s a masterclass in provocation. She’s not just watching the discourse unfold — she engineered  it. Screenshot of Sabrina Carpenter interaction with fan commentary on X. A Viral Provocation or a Feminist Commentary? (Yes.) Whether you see it as feminist commentary, subversive pop theater, a calculated PR move, or none of the above… you can’t deny it: Sabrina Carpenter is a metaphor-fluent marketing genius. And in 2025, when attention is the currency of pop culture? She’s filthy rich. The real beauty of this cover — and the chaos it’s caused — is that it lives in the eye of the beholder. Some see art. Some see controversy. Some see a girl in heels getting people to talk. We see all three. Say it louder, Sabrina. We’re listening. And so are your haters — even if they pretend they’re not.

Goose transforms Jacob’s Pavilion into a multicolored dreamscape of sound, connection, and improvisation. Photos and article contributed by Madison Cozzens. With edits by LJ Portnoy, Editor-in-Chief. Photography by Madison Cozzens After a gloomy day of rain and gray skies, the clouds finally broke just in time for Goose to bring the sunshine.  Jacob’s Pavilion was bursting with life—glittered cheeks, tie-dye shirts, funky outfits, and fans already dancing before the band even took the stage.  This wasn’t just a concert—it was a gathering. A celebration. A shared pulse. And Goose hadn’t even played a note yet. Goose Takes Flight Photography by Madison Cozzens At exactly 8:00 PM, the band stepped into the spotlight to a thunder of cheers from a crowd ready to move. With the Cuyahoga River glittering behind them, Goose opened the night with the kind of groove that makes your whole body respond instinctively. People of all ages packed the venue—young kids experiencing live music for the first time, and grandparents who once followed the Grateful Dead across the country. For many, this was more than a night out—it was a spiritual recharge. Built for the Stage Goose’s reputation for their live shows is well-earned. While they’ve released sixteen live albums, nothing compares to being in the moment, surrounded by hundreds of strangers all tuned to the same frequency. Their songs stretched upward of twenty minutes, but never overstayed their welcome. Each jam unfolded like a conversation—fluid, expressive, locked in. The crowd stayed with them every step of the way, dancing through the walkways, arms raised, faces glowing in technicolor light. Photography by Madison Cozzens As the sun set, the lighting rig transformed the stage into a prism of psychedelic color, amplifying the music’s mood and motion. Fans danced like no one was watching—because in that moment, no one was  watching. Everyone was feeling. Goose didn’t just deliver a performance—they created an atmosphere. One night in Cleveland became something communal, something unforgettable. And for many in the crowd, it was only just the beginning. Night two promised even more magic. The Evolution of Goose Photography by Madison Cozzens Formed in 2014 in Norwalk, Connecticut, Goose has steadily climbed to the forefront of the modern jam band revival. Built on a foundation of musical precision, fearless improvisation, and genre-bending influences—ranging from indie rock and funk to folk and electronica—they’ve carved out a space that feels both familiar and entirely their own. Their lineup—featuring Rick Mitarotonda (vocals, guitar), Peter Anspach (keys, guitar, vocals), Trevor Weekz (bass), Ben Atkind (drums), and Cotter Ellis (percussion)—is tight-knit, and their chemistry onstage is undeniable. While comparisons to Phish and the Grateful Dead are inevitable, Goose’s sound stands apart. They lean into melodic storytelling just as much as mind-bending jams, bringing a fresh edge to the improvisational world. Their ability to blend intimate songwriting with expansive sonic exploration is what draws new fans in—and what keeps die-hards following them from city to city. With each show, Goose isn’t just playing music—they’re building a living, breathing experience. And they’re just getting started.

Shot by Madison Cozzens, Midwest Coverage Live at Jacob’s Pavilion | Cleveland, OH Contributed by Madison Cozzens Revised by LJ Portnoy, Editor-in-Chief Caamp’s roots run deep in Ohio soil — and on the seventh stop of their 2025 tour, the American folk band returned to where it all began. With the sun setting behind the Cleveland skyline and the Cuyahoga River rippling beside them, the indie-folk favorites took the stage at Jacob’s Pavilion, bringing their signature mix of nostalgia, grit, and soul-stirring storytelling to a packed crowd. Formed in Arlington, Ohio, Caamp first emerged on the scene in 2016 with their self-titled debut album. Nearly a decade later, they’ve racked up over 5 million monthly listeners on Spotify and just dropped their fifth studio album, Copper Changes Color , earlier this year — a long-awaited follow-up after a three-year gap. Fans were ready. Setting the Scene Shot by Madison Cozzens, Midwest Coverage Jacob’s Pavilion was buzzing long before Caamp stepped on stage. Fans gathered not just inside the venue but along the riverbanks and even from kayaks floating nearby. As the city lights reflected off the water, the evening kicked off with two openers that set the tone for a night of authentic Americana. First up was Gardner, a fellow Ohio-based group fresh off the release of their latest album A Million Things . With a sound that blends indie twang, country grit, and jam-band freedom, Gardner brought a local flavor and looseness that resonated. Next was Whitney, a six-piece band hailing from Chicago. Their set leaned into rich instrumentation, with standout moments like the melancholic fan favorite “No Woman,” where warm trumpet melodies wrapped around bittersweet lyrics and steady guitar strums. By the time they closed, the crowd was fully in rhythm — primed for the main act. The Magic of the Familiar Shot by Madison Cozzens, Midwest Coverage Caamp took the stage quietly at 9 p.m., no flash or fanfare, just the gentle presence of five musicians stepping into a moment. A single spotlight fell on lead singer Taylor Meier, whose raw, raspy voice opened the night with “Millions,” the first track off their new record. That signature gravelly tone — equal parts comfort and ache — grounded the performance with an intimacy that felt like storytelling around a campfire. By song two, the energy shifted. “Vagabond,” a standout from their 2016 debut, turned the venue electric. What begins as a soft, reflective tune quickly morphs into a toe-tapping anthem, and in this live setting, the transition hit like a jolt of joy. Fans were on their feet, shouting lyrics, dancing with abandon as the band leaned into a lively, banjo-backed jam. It was a moment of collective catharsis — the kind that stays with you. Later in the set, Caamp delivered the live debut of “Ohio’s Ugly,” a stripped-down ballad about finding beauty in the ordinary. The lyrics, humble and homespun, mirrored the landscape around them: imperfect, real, and full of heart. A Night on the River Shot by Madison Cozzens, Midwest Coverage One of the most serendipitous moments came during the set, when a barge ship glided past on the river behind the stage. The crowd erupted, phones in the air, as the ship’s horn let out a low bellow mid-song — an unplanned harmony that somehow fit the night’s theme of natural, unpolished magic. Caamp closed the show with “By and By,” a sing-along staple that brought everyone back together one last time. Voices rose, lights shimmered on the water, and the band gave Cleveland a heartfelt farewell. Authenticity That Endures Shot by Madison Cozzens, Midwest Coverage There’s a reason Caamp has steadily grown their following without ever chasing trends. Their sound — honest lyrics, raw vocals, and earthy folk instrumentals — is grounded in storytelling that feels both personal and universal. Whether it’s a quiet ballad or a full-bodied jam, their music captures the feeling of movement: across the country, down backroads, through heartbreak, or just deeper into yourself. Their live show is no different. It’s not about spectacle — it’s about soul. And on this homecoming night in Ohio, Caamp proved that they’re still just as connected to their roots as ever.

A Night of Magic, Melody, and Meaning By LJ Portnoy, Editor-in-Chief  May 27, 2025 Detroit, MI — The Majestic Theater Livingston performing in Detroit at the Majestic. Shot by LJ Portnoy, Editor-in-Chief There are concerts—and then there are nights that feel like bookmarks in your life. That’s exactly what Livingston  delivered on May 27 at The Majestic Theater in Detroit. For me, this wasn’t just another show; it was the culmination of following two artists whose music found me at the right time. I’ve been listening to both Livingston and Braden Bales since 2023, originally discovering them through TikTok. But Livingston’s latest release, A Hometown Odyssey: The Story Continues , transformed me from a casual listener into a full-blown fan. As of this moment, he’s my most-played artist of 2025. After this show, that’s not changing anytime soon. Braden Bales Warms the Crowd with Heart and Humor Braden Bales joins Livingston on the Journey Continues Tour. Shot by LJ Portnoy, Editor-in-Chief. Opening the night was Braden Bales , whose soft yet striking vocals immediately pulled the crowd in. His set explored familiar themes of heartbreak, betrayal, and emotional caution, all wrapped in a self-aware charm that made him instantly likable. Before one of his songs, he shared a story about being wronged by someone “in his bubble”—but cleverly toned down the details to keep things PG for the crowd. It was a funny, humble moment that reflected the kind of connection he has with his audience. Braden closed with “Chronically Cautious,” the viral hit that introduced so many of us to his music. Hearing it live was electric—it was note-perfect, emotional, and a clear favorite among the fans singing along. A Star is Born—But Still Human Livingston at the Majestic Theater in Detroit. Shot by LJ Portnoy, Editor-in-Chief. Then, the lights dimmed—and Livingston stepped onto the stage. The response was immediate and explosive. The screams, the energy, the collective pulse of the crowd—it all surged forward at once. I was struck by how young the audience was. Families, kids, teens—it caught me off guard at first. But within minutes, that surprise melted into something beautiful. Watching kids on their parents’ shoulders trying to get a glimpse of the artist they love reminded me of the kind of impact music can have at any age. I had the privilege of meeting Livingston briefly before the show, and what stood out most was how genuine he was. Kind, grounded, even a little shy—he didn’t carry himself like a “superstar”. But once the stage lights hit him, there was no denying: he was made for this. His stage presence was natural, electric, and effortlessly magnetic. The Odyssey Unfolds Livingston at the Majestic Theater in Detroit. Shot by LJ Portnoy, Editor-in-Chief. Livingston's set was more than a collection of songs —it was a story. Performing tracks from A Hometown Odyssey: The Story Continues , he brought each chapter to life through soaring vocals, cinematic lighting, and raw emotional delivery. Favorites like “Gravedigger,” “Look Mom I Can Fly,” and “Shadow” were unforgettable, but the magic came in how the entire set flowed together, almost like a musical film. Each transition was seamless. The show never lost momentum. Instead, it built something—an emotional arc that left everyone in the room completely still one moment and screaming the next. Vinyl, Vibes, and Final Thoughts Livingston at the Majestic Theater in Detroit. Shot by LJ Portnoy, Editor-in-Chief. After the final note, I made my way to the merch table and picked up one of his records. This is my first record purchased as a concert, since getting a record player last month. Something about Livingston’s music feels like it belongs on vinyl: warm, textured, timeless. This show? A+. Hands down the best performance I’ve seen all year—and I’ve seen a lot of shows already. The vibe, the emotion, the atmosphere. It all clicked into place. Livingston isn’t just a great singer. He’s a storyteller, a performer, and most importantly, a connector. His music bridges gaps between generations, between genres, and between people. The Story Isn’t Over Yet… This wasn’t just another night at The Majestic. It was a night we will all remember. Where every lyric, every light cue, and every shared scream reminded us why we fell in love with music in the first place.

New Music Friday: ‘Lasting Effects’ by Avery Lynch Article Contributed by Ilana Bornstein Edited by LJ Portnoy, Editor-In-Chief Photo credit: Gus Black At its core, ‘Lasting Effects’ —a new release from indie-pop artist Avery Lynch  (with production assists from Jordanlilvee  and Michael Blum )—is a powerful breakup anthem that flips a familiar narrative on its head, transforming bitter into sweet and repurposing the pain of being “dissed” and discarded by someone you once loved. Inspired by a salty parting shot from an ex who claimed she’d never find someone like him, Lynch uses her ethereal and comforting vocals to rediscover another voice after heartbreak. Incorporating a blend of soft piano, ambient textures, and hushed percussions, ‘Lasting Effects’ is quietly powerful and gracefully commanding. A Message of Resilience The track delivers a message of resilience and renewal, showing that walking away can be the first step in the direction of something you didn’t realize you needed (or deserved). Avery’s storytelling is raw but hopeful, grounded in the realization that a relationship should never require you to mute, edit, or apologize for who you are—and that self-love is the ultimate significant other. With relatable, expressive lyrics and an inspirational tone, ‘Lasting Effects’ doesn’t dwell on loss—it explores growth, celebrates clarity, and finds beauty in the breakup. Avery dives deep regarding her approach to writing this song, “I knew he was wrong at the time, but as I’ve gotten further from the situation, I realized that in a way he was right. I don’t ever want someone like him and I don’t actually want to be loved like that.” — Avery Lynch Photo Credit: Gus Black Where to Listen ‘Lasting Effects’  is available now on all major streaming platforms, including Spotify, Apple Music, Amazon Music , and YouTube . Whether you're listening on a late-night drive or soundtracking a fresh chapter of your life, the song is meant to be both healing and empowering. It’s a must-add to your breakup recovery playlist—or honestly, any moment that calls for strength disguised in softness. Follow Avery You can follow Avery Lynch on Instagram (@averylynchmusic)  and TikTok (@averylynchmusic)  for more glimpses into her songwriting process, piano-based demos, and behind-the-scenes looks at upcoming projects. Additionally, her website is https://averylynch.com/ . Keep an eye out for her forthcoming EP later this year, which promises more emotionally rich and honest storytelling. If 'Lasting Effects' is any indication, Avery is just getting started—and the best is still to come.

Post-“Flowers” Miley Isn’t Who You Think She Is (And That’s the Point) Photography and artwork by Glen Luchford Let’s be real—when Flowers  dropped in 2023, it felt like a cultural reset. Miley had the breakup anthem of the year, the power strut of the decade, and a global audience chanting “I can love me better.” It was a moment.  So what happens when you follow up a worldwide smash that redefined your narrative? If you’re Miley Cyrus, you pivot hard. And drop Something Beautiful , a genre-defying, emotionally rich, and completely unexpected album that feels more like a diary than a pop record. The Sound of Freedom (And a Little Psychedelia) Something Beautiful  is her ninth studio album—and it doesn’t care what’s trending. This record weaves through neo-soul, prog-rock, electro-pop, and even country. Think Prince, Pink Floyd, and Joni Mitchell having a midnight jam session in Laurel Canyon, with Miley at the helm, unfiltered and glowing. The title track sets the tone: slow-building, lush, and emotionally expansive. “Something Beautiful” sounds like a sunrise you didn’t know you needed. Then there’s “End of the World,” which throws us back into an ‘80s synth daydream while asking some very 2025-level existential questions. Miley’s voice is as raspy, raw, and real as ever—like she's not just singing at us, but to  us. Standouts, Surprises & Soul-Searchers One of the most surprising moments? “Easy Lover.” It starts soft and earthy, then spirals into a chaotic electronic groove that totally works.  It’s a genre blender in the best way. Then you’ve got “More to Lose,” a stripped-back piano ballad where Miley gets quiet —and it hits you harder than any power chorus ever could. She’s not alone on the journey, either. Brittany Howard lends her unmistakable soul to “Thorns,” and, yes, Naomi Campbell  shows up with a spoken word interlude that somehow doesn’t feel out of place. It’s artsy, theatrical, and totally unapologetic. A Visual Album Worthy of the Big Screen Let’s talk about the visual side of things. Miley co-directed a short film to go with the album (also titled Something Beautiful ), and it’s debuting June 6 at New York’s Beacon Theatre as part of the Tribeca Festival. It includes videos for all 13 tracks and is being billed as an immersive experience—plus there’s a post-screening discussion with Miley herself. Since she’s still dealing with Reinke’s edema and isn’t planning a tour anytime soon, this premiere is one of the few ways fans can get a taste of the new Miley in a live setting. If you’re in NYC, get your ticket. Seriously. She’s Not Trying to Be Viral—She’s Trying to Be Honest Here’s the thing, Something Beautiful  isn’t chasing radio play or TikTok trends. It’s not packaged for mass appeal, and that’s what makes it so magnetic. This album asks you to slow down, sit with it, and maybe even feel a little uncomfortable in the process. It’s complex, unpredictable, and quietly powerful. And honestly? That’s the most Miley thing she could’ve done. Final Thoughts If Flowers  was about reclaiming independence, Something Beautiful  is about exploring what happens after the dust settles. Miley is no longer singing to prove a point—she’s singing to process, to connect, and to create. And in doing that, she’s made one of her most honest, expansive, and dare we say— beautiful  records yet. Rating: 8.5/10

Grit, Growth, and "Can You Feel It?" By LJ Portnoy, Editor-in-Chief, with contributions by Konstantina Buhalis SoundCheck Mag, Issue 3: Former Critics, Shot by LJ Portnoy For over a decade, Former Critics have been quietly building a reputation as one of Detroit’s most consistent—and criminally underrated—rock acts. What began as a humble acoustic project between high school friends has evolved into a full-fledged band with a sharpened edge, a loyal local following, and a sound that refuses to play it safe. They’re not chasing trends. They’re chasing something heavier, something louder, something real. With a new album on the horizon, the band is stepping into a new era—one defined by tighter riffs, more focused songwriting, and a live presence that pulses with emotional grit. As they gear up to release what they’re calling their most cohesive and powerful project yet, Former Critics remains grounded in what brought them here in the first place: community, catharsis, and the unshakable Detroit spirit that runs through every track they’ve written. We sat down with the band to talk music, memories, and the road ahead. Jess Murray, shot by LJ Portnoy A Name, A Vibe, A Decade in the Making If you’re wondering how Former Critics got their name, don’t overthink it. “It just popped into my head,” lead singer, Jess Murray laughed. “We considered coming up with a deeper meaning, but honestly? It just flowed.” The band traces its roots back to the acoustic days of Lunetta, playing tiny shows and experimenting with sound. That soft start didn’t last long. Over time, Former Critics leaned into something louder, heavier, and undeniably theirs. From 2016’s ‘Sleeper’ to 2018’s ‘Heavy Hearted’ and their first LP ‘Ring of Salt,’ the sonic growth is unmistakable. “We're a different band now,” they said. “More aggressive, more cohesive—this new album especially.” Former Critics, shot by LJ Portnoy Detroit Grit, Always Being a Detroit band isn’t just geography. It’s DNA. FC: "Our sound has some grit that I feel like just is that Detroit kind of vibe and sound—like you think of bands like MC5 [who really embodied that raw, rebellious Detroit energy], and also, I’d say, one of my favorites. Just growing up and going to shows in Detroit for our whole lives... I don’t know, I feel like there’s some grittiness that we just picked up, and it’s very Detroit about us. Like going to the Magic Stick as a kid—those bands you look up to helped [shape our sound]." That raw, relentless energy Former Critics talks about doesn’t just live in their recordings—it explodes on stage. Over the years, they’ve shared the spotlight with favorites like Single Mothers (“one of my all-time favorite bands,” Jess shared) and Seaholm. They played the inaugural Sad Summer Fest  inside the Crofoot Ballroom, a milestone moment for the band. And like all great tour stories, there’s one that lives rent-free in their memories: getting hopelessly lost in New York City, only to stumble upon friends from another band as a subway door slid open—"like a movie moment," they laughed. “Meant to happen.” New Era. No Skips. One of their latest releases, ‘Can You Feel It?’ is, by all accounts, their boldest yet. “[The new album is] heavier than ‘Ring of Salt’. No skips. Not that we’re biased or anything,” they joked. “We’ve started working a few new tracks into our live set already, and it’s a different energy. Playing fresh stuff just hits harder.” Favorites so far? ‘Clover’, ‘Black Hole’, ‘Fist Fight’, and ‘Revenge’ top the list. But ask them tomorrow and it might change. That’s the beauty of a project they’re this proud of. Former Critics, shot by LJ Portnoy Community > Everything At the heart of Former Critics is a deep-rooted respect for the Detroit music scene—one that’s carried them since the beginning. They’re not just performers; they’re participants, fans, volunteers, and collaborators. For them, community isn’t a marketing buzzword—it’s a way of life. “If you want to be part of the scene, you show up,” they said. “Go to other people’s shows. Be present. Say hi. Help carry a cabinet. Run sound. That’s how this works. You can’t expect anyone to support you if you’re not out here supporting them too.” That mindset is what led them to Pleasant Underground, a local booking collective focused on spotlighting Detroit’s independent talent. The band doesn’t just perform at Pleasant shows—they help organize, set up, tear down, and make the space feel inclusive for everyone who walks in. “ We get there early and stay late. Even if we’re not on the bill, we’re probably working the show anyway,” they laughed. “We’re just trying to make it as easy as possible for other artists to do their thing.” That love for community travels with them, too—sometimes to the surprise of others. “Midwest friendliness catches people off-guard when we tour out East,” they joked. “We’ll be unloading gear and asking how everyone’s day is going, and people are like, ‘What’s your angle?’ But there isn’t one. We’re just like… nice.” It’s a balance of scrappiness and sincerity that defines both their band and their scene. “Detroit has always had a strong community,” they said. “We’re proud to be part of it, and we want to see everyone succeed—not just us.” A Decade of Chemistry The band’s chemistry isn’t just musical—it’s something deeper, rooted in years of friendship, shared milestones, and the kind of trust that only time can build. Former Critics isn’t just a band; it’s a chosen family that formed in the basements and backyards of adolescence. Long before the first tour van, before the album releases and sold-out sets, there were late-night jam sessions, camping trips, and the kind of spontaneous shows that only happen when you’re sixteen and overflowing with ideas. “I got dropped off at (lead guitarist) Doug Luenner’s house back in high school,” Mike Pakulski (drums) recalled. “We just started playing. That was it.” From those early acoustic sessions to building out a full band with new members and evolving roles, they’ve weathered every shift together—with humility, humor, and purpose. “We’ve never played in another band without each other,” Mike said. “It’s never been about clout or blowing up. It’s about doing this, together, for as long as we can.” Next On the Horizon Former Critics aren’t chasing overnight fame. They’ve built their identity brick by brick—through local shows, relentless touring, lineup changes, and a deep belief in music as connection. For them, success isn’t about a viral hit or a record deal. It’s about staying authentic, creating art that feels honest, and giving listeners something to scream along to when the world feels too heavy to carry alone. With ‘Can You Feel It?’, they’re not just starting a new chapter—they’re doubling down on everything they’ve spent the last decade building. The riffs hit harder. The lyrics cut deeper. And the chemistry is more magnetic than ever. Every track is infused with Detroit grit, personal growth, and the raw emotion that’s always defined their sound. It’s loud, it’s cathartic, and it’s unmistakably them. Whether you’re discovering Former Critics for the first time or have been with them since ‘Sleeper’, this next era is one to watch—and one to feel. “Can you feel it?” We can. And we’ll be cranking the volume until the full album drops.

Credit: Shantell Cruz Singer-songwriter Alex Ray just dropped a new single, “UR KINDA LOVE,” today, on May 9th. Produced by SAYWHEN, the track incorporates synth-pop, indie/folk, and alternative to create an honest and endearing introspective soundscape. While the track is vulnerable and romantic, "UR KINDA LOVE" retains Ray’s signature edge, leaving fans with something familiar and exciting as Ray continues her musical journey.  “UR KINDA LUV” by Alex Ray (feat. SAYWHEN) is a dreamy, late-night anthem that captures the raw intensity and quiet comfort of finding love that feels like home. From the first beat, the track blends moody synth textures with a steady, hypnotic rhythm that draws the listener in without ever trying too hard. Alex’s vocal delivery is emotionally restrained but undeniably vulnerable—she doesn’t belt or dramatize, but instead lets the lyrics breathe, almost like a confession whispered through a midnight drive. The chorus lingers in your head with its clean phrasing and intimate tone, painting the feeling of “your kind of love” as both grounding and exhilarating. Ray said about the track, “When SAYWHEN and I wrote UKL, we were scheduled to cut vocals to another song, but I had just met my partner and was too in love to get in that grimy, angry headspace."   SAYWHEN’s guest feature is subtle but powerful, offering a melodic counterpoint that amplifies the track’s emotional depth without overpowering it. Their harmonies in the second half feel like a quiet answer to Alex’s initial longing—two voices folding into one story. There’s a beautiful restraint to the production; it never overwhelms the message, which seems to sit in that delicate space between desire and security.  UKL is a distinctive ballad that deviates from the norms. Driving alternative instrumentals keep the track upbeat and lively. Lyrically, the track is honest, and Ray’s desire for her partner is apparent throughout the piece, with lyrics like, "They say fools rush in, I guess I'm dumb."   Ray’s dedication to honesty has earned her an enthusiastic fan base. She discusses her mental health on her YouTube channel and deep-dives into her favorite artists. Through this YouTube channel, it is evident that Ray takes inspiration from multiple artists and allows their influence to guide her work, creating multi-faceted songs, storytelling, and a catalogue of singles.    Overall, “UR KINDA LUV” is less about fireworks and more about warmth, resonance, and the kind of love that softens you. It’s an understated standout that deserves a spot on every moody pop playlist this spring.

Date:  April 15, 2025 Venue:  St. Andrew’s Hall, Detroit, MI T our:  Personas World Tour Contributed By: LJ Portnoy, Editor-in-Chief Photographer: LJ Portnoy Photography - Half-Alive in Detroit, MI On a wet and slightly dreary Tuesday night in Detroit, Half•Alive offered an antidote to the gloom, delivering an immersive audiovisual experience that blurred the lines between concert and performance art. Touring in support of their Personas  World Tour, the band brought their innovative, movement-infused stage production to St. Andrew’s Hall, transforming the venue into a multisensory environment steeped in color, rhythm, and collective energy. From the initial notes of the first opener to the final crescendo of the night, the atmosphere was electric—undeterred by the rain falling just outside. Photographer: LJ Portnoy Photography - Crowd during Half-Alive in Detroit, MI Setting the Stage: Mehro & The Walters Photographer: LJ Portnoy Photography - Mehro performing in Detroit, MI The evening commenced with Mehro  (pronounced “Marrow”), whose emotionally resonant vocals and understated presence immediately drew in the audience. His connection with the crowd extended beyond the stage; following his set, Mehro greeted fans at the merch table, engaging in thoughtful, unrushed conversations. These 5–10 minute interactions demonstrated an uncommon level of care and sincerity—reflecting an artist invested not only in performance, but in human connection. Photographer: LJ Portnoy Photography - The Walters in Detroit, MI The second act, The Walters , shifted the tone with a warm, melodic set that balanced nostalgia with modern sensibility. Their sound, accessible yet rich, proved to be an ideal bridge to the headliner, and by the end of their performance, many attendees expressed newfound appreciation for the band—an indication of their growing resonance. Enter the Personas: Half•Alive’s Signature Experience When Half•Alive took the stage, the venue erupted. Attendees leapt to their feet, the majority singing and dancing in sync with the music. The band’s entrance featured surrealist "Personas"—costumed, puppet-like creatures—evoking a dreamlike theatricality and immediately establishing the show’s conceptual framework. The set design featured a staircase that doubled as both a visual centerpiece and a choreographic tool, enhanced by a lighting palette dominated by purples, deep blues, and warm reds that shifted fluidly to underscore the emotional tone of each track. Photographer: LJ Portnoy Photography - Half-Alive in Detroit, MI The choreography—executed by lead vocalist Josh Taylor alongside two dancers—was precise, interpretive, and seamlessly integrated into the musical performance. Rather than distracting from the music, the movement elevated it, offering a physical interpretation of lyrical themes and creating a layered performance that was both visceral and cerebral. Spanning 22 songs, the setlist reflected a carefully curated balance of older fan favorites and new material. The sonic progression felt intentional, with moments of high energy to start the show, slower songs filling out the middle, and bringing it back home for the end. A standout moment occurred during “R.I.P.,” when the lead singer of The Walters returned to the stage for a surprise collaboration. The crowd’s response was immediate and enthusiastic, underscoring the communal tone of the evening and the synergy among the touring acts. Photographer: LJ Portnoy Photography - Half-Alive in Detroit, MI The Audience Dynamic The crowd at St. Andrew’s was notably generous in spirit—fans were actively creating space for others, sharing in the moment rather than competing for it. During peak moments, hands were raised in celebration, some attendees capturing the experience on their phones, others dancing without a care in the world. The overall mood was one of shared joy, connection, and release. Photographer: LJ Portnoy - Audience during Mehro's set Photographer’s Perspective As credentialed press, I had the opportunity to photograph the first three songs from the front-of-house. These opening moments revealed a show built on contrasts—precision and chaos, intimacy and spectacle. From the vantage point of the balcony later in the evening, the full scope of the lighting design became apparent. The visual storytelling elements, particularly the lighting choreography during songs such as “still feel.” and “All My Love (Imperative),” intensified the emotional resonance and elevated the live experience well beyond standard concert parameters. Final Thoughts What defined the evening was not simply technical execution or performance flair, but the emotional atmosphere created by both the artists and the audience. Half•Alive successfully merged high-concept visuals with deeply personal themes, delivering a show that felt as intellectually engaging as it was viscerally entertaining. For fans both seasoned and new, this was not merely a concert—it was a communal act of expression. And for many, it’s a night that will echo long after the final note faded from St. Andrew’s walls.

Album Artwork & Photo by Chris Eadie. For anyone who's felt too much and said too little—this album speaks the language. JP Saxe doesn’t write love songs. He writes what happens after. The shame. The silence. The parts we think we’re the only ones feeling. Articulate Excuses  is a tight, emotionally fraught collection of eight songs that dig deep, hit hard, and leave a mark. It's vulnerable without asking for your pity. Romantic without being sweet. Reflective without ever offering a clean conclusion. If you're going through something—or recently went  through something—this album doesn't just speak to you. It sits down next to you, places a hand on your shoulder, and quietly whispers, “Yeah, same.” Don’t Leave Me Alone With My Thoughts “Don’t leave me alone with my thoughts” - Smartphone Make Me Dumb This is where it begins—and where it already aches. The opening track of Articulate Excuses  isn’t loud. It doesn’t try to impress. It just cuts right through the noise and lands where your most tender fears live. That single repeated line is almost too real for those of us who’ve used our phones to drown out what’s happening inside. It’s haunting. And it’s beautiful. I’m Sorry That I Want You But Don’t Choose You “I'm sorry that I use you, sorry I confuse you, I'm sorry that I only show up when I'm scared to lose you, I'm sorry that I want you, but don't choose you, ‘I'm sorry’ don't mean what it used to ." - I Wanna Move to Brooklyn There’s a rise and fall in this track that mirrors the way anxiety pulses through a relationship on the edge. It’s deeply reflective and emotionally brutal. It doesn’t ask for forgiveness. It just lays the pain bare. This one lit my chest on fire—because I’ve been on both ends of those lines. This is the song that feels too  close, and that’s exactly what makes it unforgettable. I Wanna Make You Feel Safe—Whatever That Means “I wanna make you feel safe, Whatever that means, Am I strong enough to let you feel free?  If you wanna stay, If you need to leave, I'm still learning what it means.” - Safe This song is quiet, but it carries the weight of a hundred unspoken fears. The melody moves gently, but the words press hard. There’s something so real in trying to love someone right when you don’t even know what that means anymore. It’s not about grand gestures—it’s about sitting with uncertainty, and still showing up. A Baddie With A Vibe I Can’t Feel About "A Baddie With a Vape Addiction" This is the album’s curveball. It's sensual. Quirky. But it doesn’t carry the emotional weight that defines the rest of the project. The tapping tempo feels out of sync with the rest of the record, and it didn’t land for me. It’s fine—but in an album that otherwise guts you, this one just grazes the surface. I Make A Fist, Trying To Reach For A Hand “It's killing us, it's killing me, In some cases, literally, literally. I wanna crumble into someone I wish I knew how I could loosen my grip, But I make a fist, trying to reach for a hand." - Soft Ass Bitch This is the kind of song that makes you stop what you're doing and just feel . There's an honesty here that’s not trying to be poetic—it just is . Raw. Real. Visceral. It’s the sound of someone admitting they’re losing their grip while desperately trying to hold on. This one grabbed me. Hard. You’re Gonna Be Okay Anyway “Whether or not you want it, Your whole life's gonna change, I'd be lying saying, Everything will be okay, You're gonna be okay anyway.” - Okay Anyway This one feels like it was written for right now. For the middle of the change. For the grief of letting go. It doesn’t offer false comfort—it offers real  hope. And sometimes, that’s the only thing that feels honest. This song swirls through pain, heartbreak, and healing, and it doesn’t rush the process. It sits with it. And it sits with you . Here’s My Full Attention—Have It Inconsistently “Is it too soon to say I wish you were beside me?  I want that space in the back of your mind, I wanna temporarily do everything right. Here's my full attention, have it inconsistently, Hear you out with that manipulative sympathy." - Let a Ginger Make You Cry This track lives in the push-pull. It’s messy, romantic, self-aware, and a little manipulative—all at once. It’s not the strongest on the album, but there’s something painfully honest in the way it admits: I want to be better, but I don’t know how to be consistent.  It's the emotional equivalent of a half-truth said with good intentions. It Could’ve Ended Stronger The final track—an interlude from Saxe’s grandfather—feels oddly placed. It doesn’t offer closure, or elevate the themes we’ve been reckoning with. After everything that came before it, this one feels more like a whisper that trails off mid-sentence. It doesn’t ruin the album—but it does leave it feeling a little unfinished. So What’s the Verdict? Articulate Excuses  is a beautifully devastating album. It doesn't try to be perfect—it just tries to be real . And it succeeds. For those who feel too deeply, love too messily, and are still figuring themselves out—this is for you. It’s an emotional time capsule of shame, longing, grief, healing, and everything in between. It won’t fix your heartbreak. But it might help you sit with it. Rating: 8/10   ⭐️⭐️⭐️⭐️ Tracks You’ll Keep Repeating: “Smartphone Make Me Dumb”  “I Wanna Move to Brooklyn”  “Safe”  “Soft Ass Bitch”  “Okay Anyways” Tracks You Might Skip:   “Grandpa’s Interlude”  “Baddie With a Vape Addiction” This album doesn’t just tell a story—it feels  like one. And that story might be yours, too.

Article by Konstantina Buhalis / Contributions by Rebecca McDevitt Everything you need to know to survive (and thrive) during festival season Festival season is officially back, baby—and with Coachella Weekend One behind us, it’s time to dust off your fanny pack, break in those boots, and dive into one of our favorite times of the year. Whether you're vibing with the crowd in the California desert, road-tripping to your favorite regional fest, or planning an outfit like it’s a Met Gala appearance—we’ve got you covered. 🎸 Festival Sets 101 Let’s talk about what you’re really there for: the music. Every festival has its own personality, from the eyeliner-heavy nostalgia of When We Were Young , to the genre-blending chaos of Coachella  and Bonnaroo , to the cowboy boot stomp of Stagecoach  or Outlaw Music Festival . No matter your vibe, there’s a fest with your name on it. Now, don’t expect artists to play their full-length, deep-cut, emotionally devastating encores. Festival sets are tight—usually under an hour—which means most bands opt for crowd-pleasers and hit-heavy lineups. Some go rogue and play an entire album ( cough  My Chem doing Black Parade  at WWWY), but most keep it fun and familiar. If you're hoping for that one rare B-side from 2011... maybe save that for the headlining tour. TL;DR: Festivals are for the greatest hits, the biggest sing-alongs, and dancing like nobody’s watching—because truly, no one is. They’re too busy trying to make it to the next stage in time. 🏕️ Festival Styles & Setups Not all festivals are created equal. Some are city-based with hotels nearby ( hi, Lolla! ), and others are full-on camp-outs ( Bonnaroo, we see you ). Know before you go—because nothing kills the vibe like realizing your “rustic glamping tent” is actually a soggy field with 3,000 other people who also didn’t pack enough baby wipes. Hotels are great if you can snag one. Book early or be ready to splurge. Airbnb? A solid move if you're rolling deep with the crew. Camping? It can  be magical... or miserable. If you love sleeping under the stars and don’t mind waiting in line for a communal shower, go for it. If not, embrace your inner indoor cat and find a bed with AC. Also: Always check if your ticket includes any kind of partner packages—some festivals offer bundles with local hotels. Hidden gem alert! 💃 Festival Fashion: Fit Check Let’s be honest: for some people, the outfits are half the experience.  And we’re not judging—we’re cheering you on. From vintage tees to rhinestone cowgirl moments, from DIY accessories to full-on runway slays, fashion is one of the ways fans turn festivals into living, breathing art. Coachella used to be boho central, but lately? It’s evolved into full glam, high-fashion meets desert-core realness. Meanwhile, When We Were Young leans alt-nostalgia, and you better believe emo is back in black . No matter the aesthetic, a few essentials remain: Comfy shoes (your future self will thank you) A small bag (security will thank you) Sunglasses and sunscreen (your skin will thank you) A charged phone (for all the pics, duh) Pro tip:  If you’re rocking a look you’ll only wear once, thrift it. Or better yet—make it. Custom fits are always a flex. That said—let’s be real for a sec. Festival fashion has a messy history with cultural appropriation. Leave the war bonnets, bindis, and traditional cultural attire you don’t understand at home. Respect is always in style. / 🧭 What to Expect (and How to Not Lose Your Mind) Festivals are magical chaos. Long days, loud music, endless walking, and somehow you still forget your sunscreen every time. (Don’t do that.) Whether it’s a smaller scene like Fixation Fest  in Detroit or a multi-stage monster like Cold Waves  in Chicago— planning ahead is your best friend . Hydrate. Screenshot the schedule. Wear layers. Map out your “must-sees” but leave room for discovery (some of the best sets are the ones you stumble into). We’ve done both ends of the spectrum—press pit at Warped Tour 2016 (sweaty chaos) to chill hangs at indoor venues (bless the air conditioning and non-porta-potty bathrooms). No matter the setting, a good crew and good vibes make everything better. Want insider tips?  Join festival-specific Facebook groups or Reddit threads. People post everything from set time leaks to outfit inspo to survival hacks. It’s like having 10,000 festival big siblings giving you advice. ☀️ Final Thoughts Festival season is about more than just music—it’s about community . It’s the strangers you scream lyrics with, the outfit you’ve had planned since January, the goosebumps during that one surprise guest appearance. It's chaotic, it's sweaty, it's unforgettable. So prep smart, pack light, dress loud, and have the best damn time . We’ll see you in the pit (or the back, by the food trucks—no judgment). And don’t forget your sunscreen. Seriously. — #SoundCheckMag  | #FestivalSeason #SeeYouInThePit #StayHydrated

Genre: Emo, Slowcore, Electronic, Pop Sign Crushes Motorist has been one of the premier Slowcore artists over the last few years, building a cult following online as an Emo darling, incorporating multiple elements that have created a distinctive style of music that hits all the high points of the internet’s favorite genres. Artist, 19-year-old Liam McCay, who has been releasing music under the name Sign Crushes Motorist (named after the Duster song), has released a new album, The Saddest Truth (BuVision Records) ,  with producer KayCee, meshing two genres that have borrowed from each other for years to create a solid piece that effortlessly uses emo and slowcore as a foundation for hiphop and pop lyrcism and themes.  Painting by: Ilya Repin Slowcore as the New Soundtrack  Over the last few years, the genre of Slowcore, an extension of Shoegaze, has become increasingly popular as music sharing has evolved again through TikTok. With Duster finally receiving their due recognition, Sign Crushes Motorist has filled the gap left by the missing genre through their interpretation of it. As genres evolve, SCM is at the center of the changing parameters and branches out on this new release to demonstrate the transcendent nature of slowcore, while also highlighting the importance of collaboration and common ground in creation.  On "The Saddest Truth ," the sound associated with Slowcore Music (SCM) is reappropriated through Hip-Hop production, bringing an entirely new idea of what Slowcore can sound like. SCM has been known for its minimalism, but partnering with KayCee brings a full-bodied, modern edge that elevates the lush production into a transformative album, allowing SCM to reach a new fan base.  Ethereal Ethos Through the record, the ethereal undercurrent pushes the tracks forward, with KayCee’s romantic leanings, it’s reminiscent of Ye  and Donda  by Kanye West. The third track, “Make Sure You’re Loved” ft. JinJin is one of the crown jewels of the record, with a stunning hymnal-esque arrangement that swells repeatedly following the organ tones and group vocals echoing through the last half of the track. It’s an ambitious testament to partnership.  The Saddest Truth uses features sparingly, but in a conscious choice, the featured artists shine on their respective tracks, allowing the production to act as their primary artist, and their vocals and features are the additional piece that completes the track.  Further into the track listing is “BRUISED,” a more traditional dark trap song that evokes a sense of urgency and tension-building 808s, which build the narrative of a struggling couple. Bruised is reminiscent of the trap music that dominated playlists and was the new sound of emo music in the late 2010s. On the final track “LEAD ME FATHER,” the hymnal church choir returns on the track, creating an otherworldly association. The textured production gives the finale a powerful send-off that bridges the gap between the atmospheric traditions of SCM and KayCee's genre-bending, sampling approach to finalize their sonic experiment.  Final Verdict While the production and arrangements are stunning, longtime fans of Kanye West may find this record to have a derivative nature. Still, overall, the partnership between Sign Crushes Motorist and KayCee has proven to be worth the listen. The Shoegaze adjacent melodies and the edgier Hip-Hop are a perfect match, and overall, Saddest Truth  is an album that pushes the boundaries of CSM and Kaycee, showcasing a new era of artistry and ideology.  Rating: 7/10

Photographed by LJ Portnoy, Midwest coverage On September 24, 2024, at St. Andrew’s Hall in Detroit, MI, Griff and opener Stephen Dawes took the stage for a mesmerizing night of music as part of the Vertigo World Tour. This highly anticipated stop in the 18-date US and Canada run drew a passionate crowd, eager to witness Griff’s signature blend of heartfelt lyrics, swirling visuals, and handcrafted artistry before she embarks on her next adventure—opening for Sabrina Carpenter on the second leg of the Short ‘N Sweet tour. A Night of Excitement & Swirls The energy inside the historic 1,000-capacity venue was electric, with roughly 700 fans filling the space—a testament to Griff’s growing fanbase. But this wasn’t just any ordinary concert crowd. Her devoted fans arrived adorned with her signature hand-drawn swirls—painted across wrists, clothing, and even faces—a touching tribute to the singer’s signature aesthetic. It was a visual symbol of unity and admiration, creating an intimate connection between Griff and her audience before she even stepped on stage. A Sweet Start with Stephen Dawes Opening the night was Stephen Dawes, a rising singer-songwriter with a delicate yet compelling presence. Initially, his nerves were visible—standing relatively still as he eased into his set. But as the night progressed, something shifted. He found his rhythm, gradually expanding his presence across the stage, embracing the moment with a newfound confidence. Watching him transform from cautious to commanding was a heartwarming experience, and by the end of his set, he had undoubtedly won over the room. Griff’s Spellbinding Entrance The moment Griff emerged to the hypnotic opening notes of “Vertigo”, the crowd erupted. Photographed by LJ Portnoy, Midwest coverage A wave of cheers, screams, and pure excitement filled the venue as she stepped into the spotlight, immediately captivating everyone in attendance. True to her artistic spirit, Griff’s visuals were stunning—from the carefully curated lighting to the handmade outfits she designed and sewed herself. Her attention to detail isn’t just in her music but in every aspect of her performance, making the entire night feel uniquely personal. A Setlist to Remember Griff delivered a 17-song set, seamlessly weaving between soul-stirring ballads and high-energy anthems. In a special moment of spontaneity, she plucked two songs directly from the audience’s requests, adding an extra layer of intimacy to the show. And just when the night seemed to be winding down, she returned for a two-song encore, bringing the grand total to 19 tracks—a true gift to her fans. Photographed by LJ Portnoy, Midwest coverage The Future is Bright for Griff Griff’s Detroit stop on the Vertigo Tour was more than just a concert—it was an immersive experience. From the carefully crafted visuals to her effortless stage presence, she proved why she’s among the most exciting rising stars in pop music today. As she sets her sights on 2025 and beyond, one thing is certain: Griff isn’t just an artist to watch—she’s an artist to remember.

Former Critics embrace chaos and evolution with their new single, music video, and upcoming tour. Article by: Konstantina Buhalis, Contributor Edited by: LJ Portnoy, Editor-in-Chief Photos accessed from Band's FaceBook and Instagram pages. Photo obtained from Former Critic's Band Facebook page . A Sonic Gut Punch: “Can You Feel It?” Detroit darlings Former Critics are back with a brand new single, “Can You Feel It?”, dropping April 11 ahead of their next full-length release. The track is a high-impact punk anthem that fuses thrash, spoken word, and horror-punk energy into a textured, hyperactive homage to Detroit’s gritty punk legacy. Leaning into a self-described genre of “graveyard punk,” Former Critics offer something darker, more visceral — a sound and aesthetic that draw heavily from horror elements while maintaining the DIY ethos that defines their scene. Curated Chaos with a Catchy Core From the jump, “Can You Feel It?” grabs your attention with a wall of sound and screeching feedback that hits like a shot of adrenaline. The opening guitar solo doesn’t hold back, launching listeners into a dense, fast-paced rhythm section that pulses with raw energy. Between the throbbing guitars and heavy riffs, the drumming takes cues from 2000s garage rock, adding structure and momentum to the layered chaos. Yet, within the noise lies clarity — clever lyrics, cheeky wordplay, and a tightly constructed composition that feels chaotic on purpose . It’s a track that punches hard and sticks with you. Punk with Purpose: Evolution and Energy With over a decade in the Detroit punk scene, Former Critics remain a local staple — not just for their music, but for their community-focused mindset and unwavering social commentary. This latest single is a testament to their artistic growth: darker, sharper, and more intentional than ever. They’ve also been teasing the accompanying music video on TikTok, where fan anticipation is building fast. Comments flood in on every post as followers dissect clips and countdown to the release. Former Critics are tapping into that digital momentum while staying true to their analog punk roots. Keep up with Former Critics on Instagram! Hitting the Road: Tour with Antighost Former Critics are set to hit the road this spring, joining Antighost on a Midwest and East Coast tour. With the new single, a buzzing online presence, and a performance reputation built on sweat and catharsis, they’re poised to take their signature chaos beyond Detroit — and into new ears. Photo obtained from Former Critics band's Instagram Page.

25 Years Later, “In Love and Death” Still Shreds—and Soothes The Fillmore, Detroit – April 7–9, 2025 Article by Konstantina Buhalis, Contributor  Article Edited by LJ Portnoy, Editor-in-Chief Photos by LJ Portnoy Photo by LJ Portnoy Photography. The Used - Detroit, MI at the Fillmore Detroit. From Basement Demos to Emo Royalty At the height of emo’s golden age, a few bands rose to iconic status—and The Used was undeniably one of them. Emerging from the early 2000s post-hardcore wave, they blended raw poetry with arena-worthy hooks, capturing the hearts of eyeliner-clad teens and scene kids across the globe. With 2.8 million monthly Spotify listeners still tuning in, The Used’s influence hasn’t faded—it’s evolved. The Utah-based band, formed in 2000, hustled through early setbacks before linking with producer John Feldmann (Goldfinger). Their self-titled debut (2002) set off an explosion, powered by anthems like “The Taste of Ink,” “Buried Myself Alive,” and “Blue and Yellow.” All three made the charts, and the record went platinum, kicking off what would become a defining era. Three Albums, Three Nights, Three Different Vibes This tour wasn’t just a concert—it was a retrospective. Three nights, three albums, three emotional journeys. While each show stood on its own, they also told a collective story of transformation. Night two—In Love and Death—felt like a raw open wound. Konstantina captured the electricity of that sold-out crowd, the line snaking around the Fillmore, fans screaming every lyric like a lifeline. “The energy was electric and exciting, with fans from Gen X all the way to Zoomers,” Konstantina wrote. “One yelled ‘The Used saved my life.’ Another shouted ‘I love you, Bert!’ It was undeniable—their music still matters.” By contrast, night three (featuring Lies for the Liars ) had a different flavor. “It was actually the smallest crowd of the three,” shared LJ Portnoy, Editor-in-Chief of SoundCheck Mag, who asked a fan who had attended all three nights. “But the vibe tonight are super relaxed. The crowd is just soaking it all in.” While the second night was pure nostalgia, the third night felt like the band—and the fans—settling into their skin. Photo by LJ Portnoy Photography. The Used - The Fillmore Detroit, Detroit, MI. The Crowd: Generations of Black Eyeliner and Healing Both nights made one thing clear: this fanbase has grown—but never outgrown emo. “It reminded me of Jonas Con,” LJ added. “There were multi-generational fans—dads with daughters, some lifting toddlers on their shoulders flashing tiny ‘rock on’ hands.” It wasn’t just a concert. It was a passing of the torch. Bert McCracken: The Heart of the Stage Mid-set during night two, Bert McCracken took a moment to reflect, revealing he had just passed 13 years sober—a moment that brought cheers, tears, and toasts from the crowd. “He was glowing,” LJ noted from of night three. “I loved seeing the smiles on his face. You could tell he was in his atmosphere—completely at peace and proud to be up there.” Each night, Bert’s connection with the crowd felt intimate, like a conversation with old friends—loud, chaotic, and deeply comforting.  Photo by LJ Portnoy Photography. The Used - The Fillmore Detroit, Detroit, MI. Final Thoughts: Emo Isn’t Dead—It Grew Up With Us The Used isn’t a band frozen in time. They’re still here —louder, wiser, and just as vital. Whether you came for the screams, the sobs, or to introduce your kid to the music that saved you, this tour was a love letter to every fan who's ever felt too much.