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Article Contributed by Monica Soriano Amy Allen poses for a portrait. Photography by Ethan Benavidez (For The Times) Amy Allen is continuously reaching new heights in her career as a songwriter. The Maine born writer has accumulated numerous charting hits through her powerful penmanship. Her relatability is part of why artists continue to work with her repeatedly. She has said that she finds something similar that has happened in her life and relates it to what the artist is going through, in order to write the massive hits she does. Just this year, Amy Allen was presented with the Songwriter Of The Year (Non-Classical) award at the 67th Annual Grammy Awards. This is a relatively new category that was added in 2022, so it is a big deal! Her grammy speech honoring songwriters that came before her speaks volumes as to what kind of person she is and it is only right that her accomplishments are brought to light after many years of hard work and perseverance. Her Early Life In her early life, Allen grew up in a musical environment where she was introduced to a variety of artists by her musician father. She herself was also in a band by the name of Amy & the Engine, which contributed to her growth as an artist. After graduating from Berklee College of Music in Boston, Allen moved to New York where she worked on her music and eventually focused solely on songwriting. Much of her success as a songwriter can be pinpointed back to one song -  “Back To You“ by Selena Gomez was her first big hit on the radio. From there she wrote songs with Halsey, Harry Styles and Sabrina Carpenter. Her humbleness and ability to connect through music has made her extremely sought after by artists, so much that she has about 5 sessions a week.  Her Ear For Hits and Her Inspirations Amy Allen has spoken many times about her varying inspirations for her own music and the songs she writes for others. Those inspirations include Dolly Parton and Sheryl Crow. It is very apparent that the musicality she showcases has deep roots, connecting her to music from different time periods and genres. Allen has spoken about her love for 90’s music, rock and many other classics. Her songs are written in such a way that they pay tribute to her inspirations rather than copy them. It is very clear that she admires the great artists of past generations, but she does not imitate, rather she pays homage to their work. This is noticeable because her songs may feel like strong pop records, but they are also timeless pieces of music. One artist she continuously works with is Sabrina Carpenter, who is one of the biggest artists in the world right now. She has worked with her on both ‘Short n’ Sweet’ and ‘Emails I Can’t Send.’ Amy continues her journey within the music industry as one of the biggest songwriters in the world, currently booked and busy. Amy Allen poses for a portrait in Los Angeles. Photography by Jae C. Hong There are so many songwriters that are making hit after hit and Amy Allen is working among those hit makers as a peer. She doesn’t need to prove herself, she is already her own name within the industry. Aside from her songwriting, she has released solo music, her last album self-titled ‘Amy Allen’ is a piece of her story she leaves behind for future generations to discover. It is evident she cares deeply about the music she creates, the artists she works with and the stories she tells. She is a harmonious person who deserves her flowers. We look forward to keeping up with her career, seeing her grow and collaborate with any artist that she wants to!

Article contributed by LJ Portnoy, Editor-in-Chief A graveyard of genres - (image was generated using WALL-E) The Old Borders Are Cracking There was a time when genres held real power. They were the industry’s filing system, the listener’s compass, the cultural shorthand for who you were and what you stood for. If you said you were into rock, people made assumptions about your personality. If you said you loved pop, people assumed something entirely different. Genres carried weight, identity, and meaning. They also created walls. They sorted people into tribes. They made entire groups refuse to listen to certain artists because the category label felt incompatible with their own sense of self. A genre was more than a sound. It was a label you either claimed or avoided. But that world no longer matches how we create or listen to music. The borders that once defined the industry are dissolving. The categories that felt solid now feel slippery. The landscape is shifting faster than the genre list can keep up. We are entering an era where genres are becoming less like fences and more like historical suggestions. Music today refuses to live quietly inside the boxes built decades ago. It is reshaping itself in every direction at once, blending, experimenting, colliding, and reimagining itself through the lens of a generation raised on unlimited access and emotional atmosphere. The question now is simple.  Do we still need genres at all? Here's our hot take. Genres Were Created When the World Needed Order In the early days of recorded music, genres were a necessity. They helped people understand what they were buying. They helped stores decide what to stock. They helped labels market their artists. They created a shared language for sound. Pop meant one cluster of qualities. Jazz meant another. Country belonged here. Rock belonged there. It was simple and efficient, the sonic equivalent of a map. Genres helped artists define themselves as well. When you were trying to build a recognizable sound, choosing a genre was a form of artistic positioning. It offered a foundation to build upon. It gave listeners a sense of what to expect before they ever pressed play. But as the landscape changed, the needs shifted. Genres started to feel less like tools and more like limitations. Fans grew more adventurous, and the internet made discovery easier. Cultures blended. Influences spread. The sonic palette exploded into thousands of colors rather than a few primary ones. The original purpose of genre became less relevant when listeners could explore an entire world of music with a single click. Today, the world does not need clean categories. It needs language flexible enough to describe a universe of cross-pollinated sound. What Genre Means in an Era of Creative Fluidity Look at any major artist who defines this generation. Olivia Rodrigo can deliver pop-punk, grunge, and delicate piano confessionals in one project without anyone blinking. Doja Cat shapeshifts between rap, pop, alt, experimental, and whatever strange, fascinating territory she feels like exploring that week. Conan Gray glides between indie pop, synth pop, and soft rock. Dominic Fike bends acoustic storytelling into psychedelic pop and alternative rap. Fans organize their libraries based on mood rather than genre. They build playlists like emotional diaries rather than taxonomies. Music discovery has become a form of personality expression. Spotify’s algorithm does not care if a song is labeled rock or electronic. It cares about the patterns in the sound and the emotional energy. Genre, today, feels more like an outdated formality than a true descriptor. People still use genre labels, but they rarely mean what they once did. Someone might say they love indie, but they likely mean a thousand micro-subcultures. Someone might say they love alternative, but the word barely captures the massive range of what alternative now includes. The category is slipping. The identity is evolving. The music is moving faster than the labels can follow. Fans Care About Feelings Over Format The average listener today cares about the emotional impact of a song far more than the category it belongs to. They care about the mood it evokes, the memories it unlocks, the feeling it creates in the body. If a song hits emotionally or sonically, fans do not stop to ask what box it belongs in. They simply add it to the playlist that matches the moment. Listeners drift between emotional genres rather than sonic ones. They follow their own internal weather patterns. Cinematic alt-pop, atmospheric indie, ethereal vocals, glitchy electronic textures, soft acoustic ballads, angry pop anthems. The movement between styles is fluid and intuitive. Genre used to signal belonging. Today, belonging comes from the feeling a song creates rather than the label attached to it. Fans find themselves in the emotional resonance of the music, not the marketing category. Artists Outgrow Genres Faster Than Ever Early in an artist’s career, genre can function as scaffolding. It gives new listeners something familiar to hold on to. But once an artist establishes a voice, genre becomes more of a restriction than a guide. Staying inside one lane for too long risks artistic stagnation. The audience begins to crave evolution. The artist begins to feel confined. The artists who define this generation tend to push boundaries rather than protect them. They build collages rather than clear-cut styles. They blend influences with the freedom of creators raised in an environment where every sound is accessible. Much of genre labeling now comes from marketing teams rather than the musicians themselves. The media still tries to classify artists through the lens of traditional categories. But the artists are moving faster. They are writing, experimenting, and genre-hopping in a way that refuses to fit the old mold. The future of artistry lies in shapeshifting rather than categorizing. Genre Collapse Is Both Liberating and Chaotic Genre collapse frees artists to create with boundless curiosity. They can borrow textures from any tradition, blend styles without hesitation, and shape soundscapes that feel personal rather than procedural. They can build songs that feel like hybrid identities, layered and complex. For listeners, the collapse creates a new kind of discovery. It becomes harder to find music based on category, but easier to find music based on emotional resonance. Exploration becomes an adventure rather than an assignment. The path becomes winding and unpredictable, but more exciting for it. The melting pot effect does not homogenize music. It expands it. Anyone can create. Anyone can experiment. Anyone with taste, curiosity, and a laptop can shape something that feels exquisite. The collapse of genre is not a loss. It is an expansion. Streaming Accelerated the Shift Streaming platforms have quietly replaced genre with data patterns. Playlists are sorted by mood and context rather than classification. Algorithms recommend songs by analyzing texture, tempo, structure, and listener behavior rather than the genre printed on the track. Discovery happens through curated emotional experiences rather than alphabetical organization. Genre is no longer a guiding principle. It has become a background detail, something visible only when needed. In most daily listening, genre does not lead the experience at all. The invisible architecture of streaming has replaced it with something more fluid and more personal. Sub-genres Are Becoming the New Cultural Centers What used to be broad categories like pop or rock are now fracturing into hyper-specific microcommunities. Bedroom pop. Hyperpop. Alt-Z. Sad-girl indie. Soft grunge. Folktronica. Cinematic alt-pop. These small clusters hold more cultural meaning than the larger genres ever did. Listeners build identities around these micro-scenes. Artists find communities based on shared aesthetics rather than broad umbrellas. The future is not one of genre collapse, but of genre multiplication in smaller, more expressive forms. Hot Take: Do We Need Genres Anymore? a record store organized by feelings not genres (image was generated using WALL-E) Not in the traditional sense. We need specificity, not generality. We need flexibility rather than restriction. We need creative language that breathes alongside the constant evolution of sound. Listeners will continue to follow feelings more than categories. Artists will continue to create beyond the boundaries drawn decades ago. Music will continue to melt, blend, swirl, collide, and reassemble in ways that cannot possibly fit into the old folders. Genres may linger as nostalgic references or marketing tools. But the heart of music is already moving beyond them. The future belongs to cross-genres, sub-genres, micro-genres, and all the unnamed combinations of sound that artists have not invented yet. The future belongs to lush sonic experiments, mood-based listening, and the infinite palette of anything and everything happening all at once. Genres are no longer the map. They are simply one page in the history of how we used to navigate music. The new world is bigger. And honestly, it sounds incredible.

Article Contributed by Monica Soriano There’s something in the air lately. Girl groups are popping up and it appears they are growing in popularity. This phenomenon hasn’t been seen since the Fifth Harmony and Little Mix days, at least for non-KPop girl groups. The rise of K-pop in recent years has opened doors to many girl groups internationally. Blackpink held the title of the biggest female K-pop group and NewJeans was following closely with their rise in stardom until their hiatus. But recently, it is the blend of music reality competition shows and KPop-like training programs has been brought to the forefront with girl groups such as Katseye, Girlset, 3Quency, and XG. Each of these groups has gained the recognition of fans or is on their way to cementing themselves as a girl group sensation. KATSEYE Photo by GAP Currently, Katseye is the girl group that is making waves in the music industry. Having recently secured 2 Grammy nominations for the 2026 Grammys, these girls are rapidly on the rise. Megan, Sophia, Manon, Yoonchae, Lara and Daniela were brought together by the Netflix competition series Dream Academy (Hybe/Geffen Records). This 6-member group experiments with their sound, which suits their diverse backgrounds, but also aligns with the current never-ending cycle of viral trends through music. GIRLSET Photo from @girlset on IG Another viral sensation, Girlset (formerly VCHA) was formed in the reality competition show A2K as a 6-member group backed by JYP Entertainment and Republic Records. After a few changes, the now 4-member group had a rebrand that stunned fans. With a confident launch, they began making their name known and are currently promoting their latest single “Little Miss.” Camila, Lexi, Kendall, and Savanna have the vocals and undeniable appeal to make this comeback a memorable one. 3QUENCY Photo by Getty Images 3Quency is the only girl group on the list not under the K-Pop training regiment, but rather they are being managed by Johnny Wright, who had major success with groups such as the Backstreet Boys and NSYNC. Brianna, Nori and Wennely were able to secure a record deal and management after winning the competition series Building the Band on Netflix. Beautifully blending R&B to their music, these girls bring something that is effortlessly cool. They have only just begun their journey but there’s major buzz surrounding them. XG Photo by Apple Music One of the most experimental groups currently has to be XG. They are a multilingual group from Japan that follow K-Pop style training and incorporate different genres into their music including R&B and Hip Hop, while maintaining their Japanese roots. It’s a mouthful, but it’s all true and it’s what makes this group interesting. The 7 members trained for about 5 years before making their debut which is noticeable when looking at their professionalism and performance quality. With each new release Hinata, Harvey, Juria, Cocona, Chisa, Maya, and Jurin continue to surprise fans with their eccentric visuals and catchy music. They are consistently breaking the norm and might even redefine what a “girl” group is or evolve past what we’ve known them to be. It’s refreshing to see groups such as the ones listed above. Their ability to experiment with sounds and looks while building a fanbase is commendable. We look forward to seeing what each individual group has in store.

Article Contributed by Monica Soriano If something feels like it’s missing from the music industry, it would definitely be music video shows. Those shows that you could tune into just to catch the latest music videos from a variety of artists. There were countdown shows that would air the most popular videos at the time and although it could've felt like a competition for the musicians, for the audience it was a fun time to guess what would be number 1. A lot of music fanatics have these types of shows to thank for introducing them to their favorite artist. Finding new music was easy because the genres were varied, but they would still play what was popular. It was easy to tune in and see Eminem’s latest creative video in the same segment that introduced the latest pop choreography centered video from Britney. Such shows brought visually enticing clips straight to tv. Music videos are important for an artist because they are a visual representation of their work. A song can be enhanced by the story in the video, the colors used to set the mood, the choreography or the small details placed intentionally. It is a satisfying experience when you watch a music video and it perfectly aligns with the song. Watching videos on the go in a small device is not the same as having a music video presented to you on tv. Shows That Are Missed There were many music shows that were popularized between the 1980s and the early 2000s but the most popular was the one on MTV. MTV stands for music television and before they put a large focus on reality TV, they were known for being THE music channel. The most recognizable name for music video shows to come from MTV would be TRL or Total Request Live, which ran for 10 years. Carson Daly & Britney Spears hosting TRL on MTV. TRL was fan interactive with voting, calls and was a hub for pop culture enthusiasts. The show had behind the scenes exclusives with artists, guest interviews and live performances. VH1 was also popular within this genre of shows, they brought their own shows like VH1 Top 20 and Behind The Music. There were even Spanish versions of the countdown shows and it seemed like no matter what time of the day it was you could always find a channel playing music videos. The Era of YouTube As reality TV took over and music video shows were dwindling, YouTube was rising in popularity. YouTube gave fans the ability to search for any music video at any time of the day. Popularity became measured by views and interactions from fans moved to the comment sections. The era of YouTube is bittersweet. On one hand, it’s wonderful to be able to watch any music video multiple times back to back but on the other hand, it takes away the excitement of a countdown show. Being able to make a playlist of your favorite videos and play it in the background while multi-tasking is the modern day way to be a music fan. Having a curated show with the narration of charismatic hosts and being introduced to new music visually will be forever missed. Would A Music Video Show Work Today? Can a show that revolves around introducing an audience to new music videos work today? Maybe. It seems people are yearning to tune into something other than their phones. Algorithms are integral to today's pop culture which can be advantageous to a show like this. Technology has come so far and now people would be able to vote quicker live, they would be able to chime in with video messages and so on. But even though it sounds great, there are many other things to consider, like how has the business side of the music industry changed? Will it be easy to get rights for the music videos to air on a show? Would it air on cable or go to a streaming service? Music Video shows are missed and were an important part of shaping pop culture and the music industry. Regardless of if they would work today, we can fondly look back and be glad they existed.

Contributed by Rebecca McDevitt The music industry runs on hustle. It runs on nonstop promo cycles, back to back tours, brand partnerships, soundtrack placements, movie cameos, clothing lines, skincare lines, energy drinks, and whatever the next big viral thing is. Fans watch their favorite artists jump from one opportunity to another and it starts to blur into this giant machine where the artist feels more like a product than a person. We see it happen every year. Someone blows up, someone hits a huge album cycle, and suddenly they have to be everywhere all the time because the industry expects it. But at what point are they allowed to stop and breathe? When do they stop being yes men for everyone except themselves? When does it stop being about the money and the momentum and start being about their actual well-being? We always talk about musicians losing themselves in fame. What we don’t talk about enough is how many artists never get the chance to say no in the first place. There is this unspoken rule in entertainment that the grind never stops. You take the tour. You take the commercial. You take the Netflix cameo. You take the brand deal. You take the press day even when you have nothing left to give. If you turn something down, there is someone younger and hungrier behind you who will say yes. That pressure is real. Artists know it. Management knows it. Labels definitely know it. Fans feel it too. You can tell when someone is spreading themselves too thin. You can tell when the spark shifts from genuine creativity to survival mode. And no shade to the hustle. People have to live. Music is a job. Touring is a job. Social media is part of the job. But the culture around never slowing down has turned into something unhealthy, not just for artists but for the fans who watch it happen and pretend it’s normal. Think about how many musicians hit burnout phases and suddenly disappear for a year or two. Think about how many admit later that they were exhausted or depressed or dealing with private battles while smiling through promo shoots. Think about how many times fans have said “we just want you to rest. We will still be here.” So when does the shift happen? When do artists decide that enough is enough and that their humanity matters just as much as their brand? When does the industry stop treating musicians like disposable content machines and start recognizing that actual people are behind the songs we love? Maybe the real answer is that it happens the moment an artist gets brave enough to step out of the yes man cycle. The moment they say no to the gig that drains them. The moment they choose rest over relevancy. The moment they decide being a person is more important than being a product. Fans are ready for that version of the industry. The version where artists set boundaries. The version where they take breaks without guilt. The version where they get to exist as humans and not nonstop creators for our consumption. Photo by Madison Cozzens (IG: @coz_artphoto) Because here is the truth. When artists protect their peace, their art gets better. Their performances get better. Their connection with fans gets stronger. And the music feels like music again, not like a marketing campaign. This is the future fans want. An industry that lets artists breathe. An industry that makes room for no. An industry that prioritizes longevity over constant output. And honestly, the artists who start setting boundaries now will be the ones who last the longest.

Article Contributed by Monica Soriano It is widely known that T-Pain carried the early 2000’s through his auto-tuned club music. The prominence of auto-tune in his music became his signature sound and in part what propelled him to fame. He blended different genres and influences which led him to carve his own path in the music industry. His use of auto-tune was used as an enhancer rather than a necessary tool for his vocals. He laid a strong groundwork with his storytelling, production, and melodies. Even if his songs are strip club anthems, there is a clear story being told that can be sung along to effortlessly by listeners. But what about the real voice behind those songs? Photo Provided by Getty Images Take Away The Autotune? Well, his voice sounds majestic. Believe it or not, T-Pain has a soulfulness to his voice that wasn’t showcased enough through his mega hits. Sure, we got glimpses of it through his vocal layering, some intros, and how good the melodies are, but the auto-tune and the explicit nature of his popularized singles maintained primary focus. This was until a few years ago when his true vocal abilities were brought to the forefront. He wasn’t just a rapper or the guy with the auto-tune voice on the radio, but rather a well-rounded artist that can outsing some of the best out there. More Than 2 Decades It’s easy to name T-Pain songs or songs he was featured in because he partook in some of the biggest hits of the early 2000’s. “Bartender” featuring Akon, “Buy U a Drank” featuring Yung Joc and “I’m Sprung” are only a few of his hit songs. Ever heard of “boots with the fur”, well that was T-Pain in the song “Low” by Flo Rida. T-Pain has been responsible for many iconic songs and trends that were integrated into pop culture and are part of so many people’s nightlife. His popularization of auto-tune opened doors for many artists to also experiment with it as more than just a pitch correction tool. In 2023, T-Pain released his project ‘On Top of The Covers’ which showcased his vocal abilities through covers of songs. Adapting To The Industry An artist who has continued to retain his name within the industry deserves his flowers. T-Pain deserves to be known for more than just his early 2000’s work. He has continued to adapt to the industry for over 2 decades, and that is worthy of praise. With or without auto-tune, he is a name in music that deserves to be recognized. He continues to stay relevant alternating between behind the scenes and front and center continuously featuring on other artists' work. Currently, one of his primary focuses is his beautiful family .He also catapulted himself into the streamer community with over a million followers on Twitch. While streaming, he shows his process for creating music from beginning to end. The transparency in his approach is commended by his viewers and intentionally or unintentionally sets up the new generation of musicians with valuable knowledge. This year T-Pain went on tour to celebrate his 20 years in the industry. He is also confirmed to perform at a few festival tour dates next year. We can’t see how he continues his trajectory in the upcoming years!

Article & Photos by Madison Cozzens Highly Suspect’s debut album, Mister Asylum, charted Number 7 on the Top Rock Albums when it came out in 2015. The album is a favorite among fans, and brought something new to the table when it broke onto the scene. With their very first release to the public, Highly Suspect got nominated for Best Rock Album and Best Rock Song at the Grammy’s that year. It’s no wonder the group wanted to celebrate the 10th anniversary of the album with a tour to share with their fans. Highly Suspect performing at The House of Blues Cleveland. Photography by Madison Cozzens ( @coz_artphoto on IG.) The band Flight Attendant started the evening off with a bang. The group is originally from Nashville, and has a stage presence that matches the headliners. Their unique blend of strings, synth, pop, and rock, makes for a listening experience you won’t find anywhere else. The frontwoman, Karalyne Winegarner commands your attention with every song. She gets personal with the audience without leaving the stage. You can sense the fun and passion the group brings to their performance, creating new fans by the minute and adding to their “Cabin Crew”. Flight Attendant performing at The House of Blues Cleveland. Photography by Madison Cozzens ( @coz_artphoto on IG.) Highly Suspect took the stage at The House of Blues at 9pm to a crowd ready to rock and roll. The group provides a true rock show that is not for the weak, with guitar solos, crowd surfing, and mosh pits. That being said the crowd was full of all ages, many older rock fans but some young kids as well, getting to experience their first rock show. One of the kids even got to crowd surf, being lifted up by the strangers around him to a memory he won’t forget. At the beginning of the show lead singer, Johnny Stevens, took the time to set up the most pit in the GA crowd, to encourage people to get messy and have fun. Fans were shoving, jumping, and dancing the rest of the night. Fan crowd surfing at The House of Blues Cleveland. Photography by Madison Cozzens ( @coz_artphoto on IG.) Highly Suspect had a brief intermission during the show, playing songs off Mister Asylum the first half and other hits the second. “Lydia”, one of their most popular songs off the debut album, got the crowd hyped up and singing along. The group also played “My Name is Human” towards the end of the show, which is currently their number one song on Spotify. The incorporation of screams, guitar solos, and percussion take you to a raw and real place where you can’t help but feel it deep within yourself. Stevens’ has a very laid-back presence on stage, but that doesn’t stop him from creating something special. Highly Suspect performing at The House of Blues Cleveland. Photography by Madison Cozzens ( @coz_artphoto on IG.) The group consists of Johnny Stevens (guitar and lead vocals) twin brothers, Rich (bass and backing vocals) and Ryan Meyer (drums and backing vocals), Matt Kofos (guitar, synthesizer, percussion, and backing vocals) and Mark Schwartz (guitar, synthesizers, keyboards, backing vocals). They started by playing covers in bars and grew into one of the more well known modern rock bands today. Highly Suspect is one of those groups that doesn’t confine themselves to one sound. Each of their releases provides something different, incorporating hard rock, electronic, hip-hop, grunge, and blues into their music. Their most recent release “As Above So Below” came out in the summer of 2024 and utilizes many of those different aspects within its songs. Highly Suspect performing at The House of Blues Cleveland. Photography by Madison Cozzens ( @coz_artphoto on IG.) While this tour is not very long, only running during December, it is still a love letter to fans who have stuck with them since the beginning. Playing the Mister Asylum album along with more of their hits and fan favorite songs to get the vibes just right. According to fan forums and discussions online, we may be expecting new music next year. We will be sat and waiting patiently for whatever Highly Suspect cooks up next.

Article By Ernesto Raul Aguilar Q101 kicked off its week-long Twisted Xmas 2025 series at Chicago’s Aragon Ballroom with a high-voltage opening night that blended indie cool, alt-rock energy, and full-on pop spectacle. Three bands, each with a distinct voice and presence, took the stage and delivered a night that felt as festive as it was electric, setting the tone for the rest of the holiday concerts ahead. The evening opened with Los Angeles band Out in Front, who wasted no time shaking the winter chill off the crowd. Their set pulled from their new EP and included standouts like “FLOAT” and “WAKE UP,” along with a punchy, crowd-pleasing cover of Fall Out Boy’s “Sugar, We’re Goin Down.” From the moment they stepped out, their energy was infectious. They performed with the kind of urgency and hunger that makes an opener unforgettable, transforming a still-settling audience into a moving, jumping mass. By the time they wrapped, the venue felt fully warmed, both literally and musically. Out in Front performing at Q101’s Twisted Xmas in Chicago, IL - Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) From there, the tone shifted dramatically with Wet Leg, who brought a completely different kind of electricity. Their set burst open with “Catch These Fists” under a rapid hail of strobe lights that felt both disorienting and strangely transporting, like stepping through some sonic wormhole. Wet Leg’s ability to toe the line between quirky humor and hypnotic indie rock has made them a favorite among festival crowds, and they delivered exactly that here. Their setlist was expansive, weaving through “Wet Dream,” “Liquidize,” “Jennifer’s Body,” “Pond Song,” “U and Me at Home,” “Davina McCall,” “Pillow Talk,” “Too Late Now,” “Angelica,” and their breakout hit “Chaise Longue,” before closing the night with “CPR” and “Mangetout.” Their performance felt like a world of its own, playful, bright, and emotionally sharp, all wrapped in a wash of pulsing lights that made The Aragon feel like another planet. Wet Leg performing at Q101’s Twisted Xmas in Chicago, IL - Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) Closing the night was the always dynamic AJR Brothers, who turned the entire room into an explosive, feel-good party. Their showmanship was on full display, jumping, spinning, and at times seemingly suspended in midair all while interacting with the crowd in a way that made the whole ballroom feel like a single, unified stage. Their setlist leaned heavily on fan favorites, including “Bummerland,” “Sober Up,” “Way Less Sad,” “Karma,” “Bang!,” “Inertia,” “World’s Smallest Violin,” “Wow, I'm Not Crazy,” “Burn the House Down,” “100 Bad Days,” and “Weak.” They even threw in a playful rendition of Smash Mouth’s “All Star,” much to the delight of the crowd. Every track felt big, warm, and communal, perfect for a December night when people come together to shake off the cold and celebrate. AJR performing at Q101’s Twisted Xmas in Chicago, IL - Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery )   As the final choruses rang out, confetti blasted from the rafters, drifting over the crowd like artificial snowfall, it was a perfect ending to a night that managed to be loud, joyful, and deeply spirited. If this first night is any indication, Twisted Xmas 2025 is gearing up to be one of Q101’s most memorable holiday traditions yet.

Article Contributed by Monica Soriano Lately, it can feel as though all artists do more than just music. The blending of professions is common since they can be fully established within different creative or business ventures. Being multi-hyphenate can be a way to stay relevant, have various sources of income, or pursue other dreams. Artists now easily launch companies in beauty or fashion as well as reach high levels of success as actors, podcast hosts, or entrepreneurs. Image provided by Ulta Beauty Many musicians make their career transitions after many years of success solely within the music industry. Rihanna currently is focusing on the Fenty brand which consists of Fenty Beauty, Savage X Fenty and Fenty Skin. She has reached high levels of success outside of music. But what about the artists who are still active musicians and venture outside of music? Below are some artists that are currently still touring or releasing music but somehow find time to expand their horizons beyond the music industry. Ariana Grande Is More Than One Of The Biggest Pop Stars Ariana Grande, one of the biggest pop stars in the world is now an Oscar nominated actress. Let that sink in. She’s not only one of the biggest artists internationally but she has also received worldwide praise and award nominations for her work in ‘Wicked’ and ‘Wicked: For Good.’ Grande also has a make up brand by the name of r.e.m. beauty which is vegan - cruelty free and has a reasonable price point. For a few years Ariana primarily put focus on her acting career and makeup brand but just when she thought she was done with music she became inspired to release her latest album ‘Eternal Sunshine.’ Now Grande has tour dates set for 2026, acting roles secured in ‘Meet the Fockers’ and ‘American Horror Story’ season 13. She is the prime example of a multi-hyphenate artist. Dua Lipa Is Real Life Barbie Dua Lipa or as people online tend to call her - Barbie. She is known for doing just about anything under the sun and spending time in the sun too. What is interesting about her as a multi-hyphenate artist is that she can be touring the world and still find time to have a book club, a podcast, learn Spanish, and be a co-founder of several companies. She enjoys sharing knowledge with the world and it’s reflected by her endeavors. Through her podcast “Dua Lipa: At Your Service”, she is able to share valuable conversations with influential guests. It takes high communication skills to do what she does in such a manner that is enjoyable to listen to. Steve Aoki On Tour and On The Runway Steve Aoki is consistent with his music releases, what he’s also consistent with is his creative plunge into the fashion industry. His brand Dim Mak Collection keeps increasing in demand not only due to the quality of design but also the continuous collaborations with popular anime such as One Piece, Jujutsu Kaisen and more. In 2024 he brought to the NYFW runway a special Dim Mak x One Piece collection which was highly praised by fans. Aoki is currently on tour and continues expanding his ventures beyond fashion and music into wellness. The DJ seems to have a packed schedule which seems about right for a busy multi-hyphenate artist. Artists have the right to explore other areas of business, careers or life. It might even be necessary to work on many things to stay relevant, since our attention span seems to only decrease with continuous doom scrolling. There is also the subject of the music industry not being as lucrative anymore. Whatever the reasoning, the artists are doing amazing things through their other pursuits. There are many more artists that are multi-hyphnate, we encourage you to see what your faves are up to - you might be surprised just how much they are doing along with their music careers!

Article Contributed by Monica Soriano The Australian band 5 Seconds of Summer recently released their album ‘EVERYONE’S A STAR’ which is filled with expressive commentary, reflective tracks and an almost theatrical-esque feel for a few songs. Album Artwork by Brian Ziff If you’ve ever needed a recommendation for an album to play while you’re out on a late night drive - this is it. ‘EVERYONE’S A STAR’ by 5 Seconds of Summer is the perfect mix of melancholy, vibey tunes and lyrics that will have you in deep thought. With this album, they managed to switch gears in a different direction and do it correctly. They crafted an album that even though it is contrasting from their previous work, it flows beautifully together. The placement of the tracks was cohesive in a way that enhanced the listening experience. There were many songs that stood out but before going into that, we have to give props to the album artwork - the almost meme-like enlarged heads were such an eye catcher! The perfect song to start off the album is “Everyone’s A Star”, it immediately sets the mood for what is to come from the album. A track that stood out was “Boyband”, the lyrics containing the blunt commentary on the music industry was reminiscent of The 1975’s “Love Me” track from their album ‘I like it when you sleep, for you are so beautiful yet so unaware of it’ which they also very cleverly expressed their thoughts on fame. “Ghost” feels like an outer body experience - just bewitching. “Sick of Myself” and “Start Over” have an old classic sound that can make you forget it’s 2025. “The Rocks” is the closest to pop punk that this album came to but it still perfectly fits within the themes of this project. Overall, every part of this album is there to tell a story and it is worth listening to in its entirety. It is a great listen for fans and non-fans as it is a treat for the ears. With this being 5 Seconds of Summers’ 6th studio album it is exciting to see them continue to grow and experiment musically. The band will be going on tour in 2026, keep up to date on 5sos.com.

Article contributed by LJ Portnoy, Editor-in-Chief Photography by LJ Portnoy HAYLA graces the stage at El, Club in Detroit, MI. Photography by LJ Portnoy (@ljportnoy on IG). A Room That Filled in the Snow Detroit did not blink at the weather. Even with a snowstorm delaying flights and pushing doors nearly two hours past schedule, the crowd kept arriving. People bundled against wind and ice still chose to stand shoulder-to-shoulder inside The El Club, a small venue with the energy of something much larger. It was our first time shooting here, and stepping into a space without a barricade meant we became part of the audience instead of perched in front of it. Tight bodies, swaying movement, raised phones — all of it became our shooting environment. It demanded quick reflexes and shared space, and it made the night feel real. Lizzy Jane Sparks the Room Awake Lizzy Jane opens the crowd of El Club in Detroit, MI. Photographed by LJ Portnoy (@ljportnoy on IG). When Lizzy Jane opened, the delay disappeared. Her rave-leaning set unfolded with heavy bass, glittering lights, and vocals that cracked open the night like static. The crowd danced immediately, no warm-up required. Lizzy Jane opens the crowd of El Club in Detroit, MI. Photographed by LJ Portnoy (@ljportnoy on IG).  Detroit was ready to move, and Lizzy gave them permission to let go of time, weather, and expectation. The energy shifted from patience to release, and once it happened, it did not let up. HAYLA Takes Control in One Note The changeover was fast — barely a breath — and then HAYLA stepped into the light. HAYLA graces the stage at El, Club in Detroit, MI. Photography by LJ Portnoy (@ljportnoy on IG). Dressed in black with pale hair that glowed under color-wash lighting, she became the focal point the moment she took the stage. No introduction required. The first note drew the room into silence, then into motion. Track after track unfolded like polished chapters in her story. Her presence was confident without force and expressive without theatrics. The voice carried everything. HAYLA graces the stage at El, Club in Detroit, MI. Photography by LJ Portnoy (@ljportnoy on IG). Shiver — a Moment That Felt Like Holding Stillness Shiver  arrived like a temperature shift. On streaming, the track is cool and smooth, but live it became something fuller and more human. The vocals sharpened with emotional clarity, and the room softened in response. People swayed instead of jumping, eyes lifted toward the stage like they did not want to miss a breath. It felt personal, close, deliberate. Two Unreleased Tracks and a City Leaning Forward HAYLA graces the stage at El, Club in Detroit, MI. Photography by LJ Portnoy (@ljportnoy on IG). HAYLA introduced two unreleased songs and Detroit leaned in. Phones leaped into to the air not for recognition, but for discovery. There is a magic in hearing something new for the first time, especially when the artist trusts the room enough to share it early. It felt like an offering. Where You Are — The Song Detroit Was Waiting For Where You Are  came near the end of the set, the final song before the encore, and the room reacted instantly. Phones lifted in a synchronized wave. Fans recorded as though capturing proof that they lived inside this moment. The performance was tender and aching in the best way — a song about longing that becomes communal when sung together. It felt bigger than the venue, bigger than the night, like a collective confession set to melody. HAYLA graces the stage at El, Club in Detroit, MI. Photography by LJ Portnoy (@ljportnoy on IG). A Show That Earned Its Own Story Outside, the bitter cold kept falling. Inside, no one cared. The delay, the flight issues, the snow — none of it mattered once the music began. HAYLA gave Detroit a night filled with power, softness, and presence, and the audience returned that energy with focus, voice, and unwavering attention. HAYLA graces the stage at El, Club in Detroit, MI. Photography by LJ Portnoy (@ljportnoy on IG). We will be sitting down with HAYLA soon for SoundCheck Sessions , and after shooting this show from inside the crowd instead of in front of it, we are more than ready for that conversation.

Article Contributed by Monica Soriano It’s impossible to not have heard the name Julia Michaels or a song written by this talented songstress. The music she’s written is internationally listened to by millions of people. She dominates the charts through catchy melodies, powerful penmanship and an overall grasp on feeling out loud. Photo from @juliamichaels on IG The Hits What do Sabrina Carpenter, Demi Lovato and Selena Gomez have in common? Many things since they all have Disney Channel beginnings, but in addition to that a name that is common in the credits of their music - Julia Michaels. She worked on “Bed Chem”, “Commander in Chief” and “Bad Liar” among many other tracks for the pop stars. Michaels is a hit writer and can work with just about anyone. Some may know her work such as “Close” by Nick Jonas featuring Tove Lo, “Miss Movin’ On” by Fifth Harmony or “Sorry” by Justin Bieber. The list goes on and the artists she writes with or for seems to be increasing yearly. Where It All Began Julia Michaels’ first tangible breakthrough moment was writing the theme song for the Disney Channel show “Austin & Ally” when she was still in high school. She continued her writing journey by writing for Selena Gomez, Kat Graham and Hailee Steinfeld. The songs she was writing started charting and her name became recognized within the industry. Her career in songwriting now surpasses the 15 year mark making her a true established name. Yes, she has many award nominations and chart topping hits but she also has not stopped working. She continues to evolve and expand her songwriting catalogue while also managing a solo career. Today, she is able to be both a songwriter for the biggest pop stars in the world and an artist herself. Vulnerability & Adaptability There are moments where her vulnerability and that of the artists she writes with is woven into the music so naturally that it creates an explosion of feelings. Julia Michaels spoke on the Kelly Clarkson Show about how as a songwriter she has to be like a chameleon and adapt to who she is writing with. Michaels’ is able to carefully hold the feelings of someone and transform them into words and melodies that reach people. Photo from @juliamichaels  on IG Through her own solo work as an artist she is able to express her own feelings with her own voice. Julia’s song “Issues” which was nominated for Song of the Year at the Grammys in 2018 is a perfect example of her telling her allowing her personal vulnerability to reach others. The Importance of Songwriters Songwriters are a critical part of the industry and deserve support. They are the ones who bring out shadowed feelings, the ones who unintentionally or intentionally act as therapists and the ones that are often overlooked. Most of the time songwriters can also be artists but not all artists can be songwriters therefore it is crucial to uplift their artistic endeavors. Julia continues her journey as one of the leading names in pop music bringing not only her talent but her bright spirit as well. We look forward to her continuous evolution as a songwriter and artist.

Cassadee Pope’s acoustic set at The Loft at City Winery in Philadelphia proved that a stripped-down show can sometimes hit the hardest. With just her guitar, her voice, and a room full of fans, she created a night that felt intimate, warm, and disarmingly honest. Cassadee Pope performing at City Winery in Philadelphia, PA - Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) She wasted no time diving into nostalgia, pulling out Hey Monday classics like “Homecoming” and “6 Months”. Hearing those songs in a small acoustic space gave them a new kind of softness, like she was revisiting her younger self with clarity instead of chaos. But Cassadee didn’t stay in the past. She blended eras effortlessly, performing the title track “Hereditary” from her album Hereditary with a confidence that proves she’s come back to her pop-punk roots stronger than ever. She even sprinkled in what she affectionately called a “y’allternative” sound, reworking older material to match the pop-punk lane she’s carving herself back into. A highlight was “Coma”, her collab with Taylor Acorn, which hit especially hard. Cassadee Pope performing at City Winery in Philadelphia, PA - Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) What made the night unforgettable, though, was Cassadee’s personality. At one point she noticed a fan eating fries and casually took one mid-conversation, sending the room into laughter. Later, after a streak of heartbreak songs, she joked that the night had turned into a “man-hating” show, a moment that perfectly captured her playful, unfiltered charm. Her storytelling between songs was just as compelling as the music. She opened up about her creative evolution, the freedom she’s finding now, and the journey between who she used to be and who she’s becoming. For us at Soundcheck, we could feel the authenticity in every word she spoke. You could feel the crowd did too. It’s one of the reasons we love Cassadee. Cassadee Pope performing at City Winery in Philadelphia, PA - Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Cassadee Pope’s run of acoustic shows is a reminder that the power of connection, nostalgia, and a good story can still have an incredible impact.

Contributed by Monica Soriano Jesse McCartney performing to a full arena, on the Greetings From Your Hometown Tour, Photography by LJ Portnoy The music industry is constantly adapting to technological changes. Social media has become the biggest marketing tool for artists. Cellphones are being held up to record every second of a performance. With the rise of viral sensations becoming stars, not all artists can decide whether they can start in small venues or go straight into being an opening act for the biggest superstar in the world.  There is something to be said about the preparation time those artists have before launching their careers. Many of them have not set foot on a stage before going viral. Ideally, all artists would start at intimate venues, fairs, or festivals where they can build up their confidence, find their performing style, learn how to engage with an audience, and navigate mishaps on a smaller scale. Nowadays, every second of a performance is being filmed at different angles through cell phones. Artists don’t have the luxury of making mistakes without the fear of going viral; therefore, there is more pressure.  Which leads us to our hot take: If all artists started at smaller-scale performances, it would take a lot of weight off the performer and make a better show for the fans as well. Showing up for somebody and rooting for them from the very beginning has a rewarding feeling on a personal level. Watching an artist grow for the fans is exciting. To be able to attend a show and be there before they start doing arenas or stadiums must be one of the most memorable experiences in fan culture. Early career moments become the motivators and memories when the stages grow bigger. Although where one starts does not always depend on the artist but rather labels, management teams or third parties, it is still always noticeable to the fans when the artist has been prematurely thrown into a bigger stage than they were ready for.  Fame Arrives Fast; Readiness Doesn’t Always Keep Up Let’s take a recent performance by Ejae, the singing voice of Rumi in K-pop Demon Hunters . Ejae spent many years training to debut in the K-pop scene, but when that didn’t happen, she worked hard and built a career for herself as a songwriter.  When K-pop Demon Hunters  exploded in popularity, she became a superstar almost overnight in the eyes of the media. Before her debut with the other Huntrix singing voices (Audrey Nuna and Rei Ami) at the Jimmy Fallon Show, she had a panic attack.  Her success is very much deserved, and she pulled off the performance beautifully, but this is a clear example of how suddenly being thrown into stardom can affect an artist not just in their performance but also in other areas of their life. It is possible to adapt to big productions, after all, some people just have it ( a strong work ethic, a background in show business, a superstar relative, or a very well-rounded team).  Many artists have at least one of those, but many have none. Especially right now, when people are being discovered on TikTok and are quickly launching their careers. From Tiny Rooms to Towering Arenas For fans, getting to witness intimate concerts before stadiums and arenas is a core memory. Going to a fair or a festival and seeing a band or an artist start off their set with minimal stage production but still delivering a wonderfully crafted set. Attending a local venue to watch an up-and-coming artist and seeing them nervous or excited about their show, regardless of the amount of people attending. It’s all an experience for both parties, making it something invaluable.  Yung Gravy performing to a smaller-sized crowd (for comparison to above photo of Jesse), shot by Madison Cozzens Small venues are a great learning experience for an artist's development. They start learning works in their sets, what to talk about in between songs, and how to carry themselves. Making a mistake seems trivial in this environment; it is something to laugh at with the crowd. Juxtapose that to being in a full production with in-ears, monitors, and a very large crew around. Things that need to be learned go beyond the technical stuff. For example:  What does an artist do during an emergency?  How do they handle the pressure?  Learning how to remain calm with errors, looking at the crowd, and making sure things are going smoothly. The large number of people can be overwhelming for someone thrown into it too soon.  Additionally, performers have to make sure that they have the stamina necessary for choreography, live vocals, wardrobe changes, and be able to communicate with the public as well as listen to the staff in their ears. All eyes are on the artist, and if something happens, they are expected to remain poised and handle the situation to the best of their abilities. Grant Knoche performing (photo from the crowd), Photographed by Fernando Flores  While no one can 100% predict what is going to happen, the next best thing is being able to improvise and communicate effectively.  This could be for something as simple as mic issues, unexpected rain in an arena, or an emergency within the facilities. It is only through building the experience as an artist that things won’t feel so overwhelming. The more shows, the more confidence is built.  It is like a regular job; the more experience, the easier it gets. Many of today’s superstars have the extensive resume that is required to headline their own shows, and most of them have been called an overnight success. In reality, those big names have had to work on their craft for years.  Sabrina Carpenter was a Disney Channel star with many albums under her name before becoming the Sabrina Carpenter the world knows today, and before even being nominated in the Grammy’s Best New Artist category. She first started touring in late 2016 in venues with a capacity of 500-600 people. She eventually went on to open for Taylor Swift and then her own arena tour.  Our Hot Take: We Don’t Want to Lose the Intimacy With the current prices of concert tickets, many people have been fondly looking back at their old memories from when seeing an artist was more accessible. Fans can reminisce about those small shows they attended and be happy they saw their favorite artist before they blew up.  There’s someone out there telling a story about seeing Paramore perform their first-ever Warped tour set in 2005 before becoming big enough to headline in 2009 or even the massive success they are to this day. Someone somewhere has an album full of pictures from when Nick Jonas would wear full suits to perform in the summer heat during Jonas Brothers' fair performances. The accessibility to an artist that comes with a show at a small venue is priceless to some fans. — The music industry is changing, but something that shouldn’t change is starting off at small venues.  Not only for the person on the stage but for those off it. The artists deserve a safe place to grow, and the fans deserve the experience of an intimate show. It is a privilege to start small, be anonymous enough to make mistakes, and just enjoy the ride.  For those who don’t have the privilege, those artists who are thrown into the big stages quickly, one can only hope they have a strong foundation for everything that is coming their way.  When they start on a smaller stage, the concertgoers are also allowed to enjoy the journey just as much as the artists who get to make mistakes, grow, and evolve onstage.  Cheers to the fans who show up early, stand shoulder to shoulder, and walk away with core memories built to last a lifetime.

There’s a different kind of energy when a band is playing their last run of shows. It’s louder. Softer. Heavier. Lighter. Everything all at once. And Young Culture’s stop in Philly carried that exact emotional whiplash in the most beautiful way. Young Culture performing at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) Ukie Club was already hyped before the first note of the first band. The openers Bike Routes & Wakelee had the crowd ready and prepped for the night. You could just feel the energy in the room; fans pressed close, arms wrapped around each other, eyes shining like they knew this wasn’t just another show. This was goodbye. Or at least, the kind of goodbye that leaves a permanent mark. Bike Routes and Wakelee opening for Young Culture at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) The minute Young Culture stepped onstage, the room just… let go. Crowd surfers immediately took flight. Friends lifted friends. Strangers caught strangers. The kind of trust only Philly shows could create. Fan on stage with Young Culture performing at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) And the band gave it right back. Every frame catches sweat, movement and those raw little moments where the guys looked out at the crowd like they were trying to memorize every face for the last time. At one point, the lead singer, Alex Magnan, crowd surfed, and the crowd held him like it was an honor — and honestly, in that moment, it was. It felt like a celebration and a sendoff wrapped into one. Lead singer Alex Magnan of Young Culture crowd surfing at Ukie Club in Philadelphia, PA on their farewell tour . Photo by Kayleena Ayusa(IG: @ayusa_media ) The energy was the kind that only happens when everyone knows they’re part of something that won’t exist in the same way again. Fans were chanting. Screaming. Crying a little. Laughing a lot. Dancing like their hearts needed it. By the end of the night, the room looked like an emotional afterglow — sweaty, messy, and overflowing with love. The kind of final show memory people will talk about for years. Fans at Young Culture's show at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) Philly was so lucky that Young Culture chose this city to help them close a chapter with them on their farewell tour. And the fans showed up with everything they had. Stream Young Culture’s latest EP “All Weapons Formed Against Me Have Prospered” and catch them on their final farewell tour before its too late!

Contributed by LJ Portnoy, Editor-in-Chief Photo of Lila Holler, Photographed by Tashi Dema Lila Holler writes like she’s slowly unfastening something fragile inside herself. Her sound shifts between indie pop glow and alt-folk vulnerability, shaped by a life spanning coasts, climates, and now continents. That constant motion shows up in her music as shifting light and quiet self-redefinition, the kind that comes from picking yourself up and starting again in new places until you learn what feels like home. A core part of her artistic framework formed at Interlochen, where she studied songwriting among filmmakers, dancers, visual artists, and musicians of every style. “Being surrounded by so many creatives changed everything,” she says. “I played glockenspiel on stage once. I wrote for other people. I collaborated with film students. It showed me what art can be.” Interlochen also gave her a grounding philosophy. “It’s not a competition. Uplifting each other makes everything better. There’s space for everyone.” A Writing Style Fueled by Instinct: This is Lila Holler Most of Lila’s songs arrive fast and fully emotional. The Way I Am Now,  her upcoming single, appeared in about thirty minutes on her bed with a guitar in a strange tuning. “That’s when I know it’s going to be a good one,” she says. “When the whole thing spills out at once.” She writes alone first, when she can “unzip her skin,” as she describes it, and let the emotion take shape before overthinking it. Then she sends a demo to her collaborator Jessica Taylor in North Carolina. Virtual collaboration brings unexpected ideas she might have rejected too early in person. Studio sessions bring control and clarity. She thrives on both. “I’m still experimenting. I want to be hands-on, but I also love being surprised.” Her writing is evolving as her life stabilizes. “I’ve been in a long-term relationship, and everything feels secure. There isn’t chaos to write about, which is great for life but not always great for material.” So she is stretching outward, drawing from friends’ experiences, films, overheard moments, and imagined scenarios. Her songs now feel wider and more cinematic, with a narrative scope that goes beyond her own heartache. Letting go of pressure is part of the growth too. When her first EP gained traction, she tried to keep fueling the momentum. “I wasn’t creating for myself anymore. I was scrapping ideas immediately because I thought, ‘I wouldn’t put this on Spotify, so why finish it?’” She took a step back. She let herself breathe. And in that space, she wrote not just a new single but an entire new project. “My artistry means more than momentum,” she says. “Taking time helped me catch up to myself.” Finding Her Voice in a Changing Industry Being young and ambitious, especially as a woman in pop, comes with its own kind of turbulence. “I get underestimated a lot,” she says. “People don’t take you seriously when you’re a young woman making pop music. But I take it seriously. This matters to me.” She has learned to protect her space, trust carefully, and call things out when she can. “Cautious discretion is rule number one. You can be kind and also selective.” Collaborating with women has become a safe creative ecosystem for her, one that offers understanding, support, and a shared awareness of the dynamics she faces. “There’s a comfort in knowing you’re not the only one who feels it.” Photo of Lila Holler, Photographed by Tashi Dema Her vision extends far beyond music itself. Activism is woven directly into her identity as an artist. “I want to speak out consistently and fundraise for causes I believe in. I’d feel selfish being in a position of power and not doing something with it.” Her first show will support a trans rights organization, and she intends to keep that kind of advocacy embedded in her career from the beginning. At the center of this growth is The Way I Am Now,  a song about self-acceptance, mental health, and the emotional vulnerability of asking someone to love you through every version of yourself. “Be kind to yourself,” she says. “Your self-talk changes your life.” What Comes Next A full visual project is planned for March 2026, complete with a mapped-out rollout that marks her most intentional era yet. “I have an Excel sheet for the first time,” she laughs. “We have a whole plan.” More music is already taking shape in the background. Touring will come when the timing feels right. For now, Lila Holler is building something honest, cinematic, emotionally resonant, and unmistakably her own. And wherever she goes next, it’s clear she’s carrying fire with her.

Written by LJ Portnoy, Editor-in-Chief Charlie Puth, Photographed by Charlotte Rutherford (@ charlie__chops ) It’s no shocker that, to us, Charlie Puth is one of the greatest artists of our generation. One scroll through TikTok and you’ll find him teaching millions of people about chord progressions, bass voicings, and why certain hooks feel addictive. But those clips barely scratch the surface of what makes him extraordinary. Charlie operates in an entirely different class of musical intelligence. While many of his peers make big waves in their own lanes, Charlie builds the oceans those waves exist in. He is the closest thing pop music has to a modern-day Mozart, and it isn’t because he’s a prodigy (though the evidence is overwhelming), but because he creates with the precision of an architect. Here’s how he does it. 1. Charlie’s hearing is beyond perfect pitch Plenty of musicians have perfect pitch. Charlie’s version is something else entirely. He doesn’t just name notes. He names frequencies. He can recognize the pitch of a microwave beep, build a melody from a doorbell, or identify the harmonic overtone in someone’s speaking voice. Ambient noise is raw material to him: car horns, room hums, footsteps in a hallway. Where others hear clutter, Charlie hears intervals, shapes, and mathematical patterns. His brain processes sound in dimensions the rest of us never access. This ability is more than talent. It is a fundamentally different way of perceiving the world. 2. He approaches pop like a classical composer Charlie approaches songwriting with the mindset of someone painting large-scale musical canvases. He uses melodic motifs that return in new shapes, harmonic callbacks that shift meaning between sections, and counter-melodies that behave like small character arcs inside the arrangement. “Attention” is a perfect example. The bassline alone is a study in tension and release, crafted with the same emotional logic used in classical composition. His vocal stacks are another world entirely. Dozens of layers, all tuned to perfection, become an entire orchestra made from a single voice. Strings, pads, rhythmic accents, and percussive hits aren’t added through instruments — he creates them through his mouth. It’s orchestration disguised as pop production. Charlie also gravitates toward unusual chord progressions. He loves chords that shouldn’t work in commercial music but do, because he resolves them with a composer’s instinct. These choices make his songs feel inevitable, even when they take unexpected turns. He doesn’t just produce tracks. He composes them. 3. Charlie is shaping the sound of a generation What makes Charlie incomparable is how far his influence reaches beyond his own catalog. Consider “Stay” by The Kid Laroi and Justin Bieber. It dominated 2021 and became one of the biggest cross-platform hits of the decade. Charlie co-wrote and co-produced it, including the hook that turned into a global earworm. Or Katy Perry’s “Harleys in Hawaii,” which became a massive TikTok resurgence years after release. Charlie co-wrote and co-produced that too, creating a dreamy, atmospheric palette that simply needed time to catch up to him. He also co-wrote Pitbull’s “Celebrate,” adding melodic warmth typically absent from club-driven pop. And during Zara Larsson’s So Good era, Charlie’s influence seeped into her vocal phrasing, chord choices, and production texture. His own hits tell the same story. “See You Again” held the No. 1 spot for twelve weeks and became a cultural monument. “We Don’t Talk Anymore” remains one of the most elegantly produced pop collaborations of the 2010s. “Left and Right” introduced spatial audio into the mainstream and soared into the Top 25 with a single panning trick. Charlie’s fingerprint lives across pop, R&B, dance, and even global TikTok trends. Most listeners never notice — but they’re hearing him everywhere. 4. He’s teaching the world as he goes Charlie is one of the only chart-topping artists actively educating the public about music. His TikTok breakdowns teach theory in seconds. His videos demystify sampling, interpolation, production choices, and why certain songs resonate more deeply than others. He pulls back the curtain on how hits are built, and millions have learned from him. He also developed a full music production course that gives aspiring artists the tools to understand sound at its structural level. This makes him not only a creator, but a translator of musical language. This is a hill we’re gladly dying on Charlie Puth isn’t just a great pop artist. He is a once-in-a-generation composer working inside the modern machine of digital music. His work spans his own catalog, the catalogs of global stars, the soundtracks of viral moments, and the education of millions. Charlie Puth is a modern-day Mozart. And we’re lucky to be here while he writes the future.

Article Contributed by Fernando Flores Photos contributed by UMG 1824 SoundCheck was lucky enough to catch up with the artist known as no other than Diana Silvers. With grace like Anne Hathaway, she clearly shows her excitement to detour away from her filmography and deep dive into her first full-length musical project, “From Another Room.”  Known for her work in Booksmart, Ma, and Space Force, Silvers has built a reputation and has shown her strengths in conveying emotions. Now she’s taking on a new challenge, channeling her creative intellect into her music. Silvers began by reflecting on how music has quietly shaped her life long before acting took center stage. She explained that songwriting became a way to express her raw emotions. Something that really shapes the way her music appeals to fans and newcomers alike. Diana told Soundcheck, “I like to go inward to figure out how I’m feeling. Through being in my alone time, just have clarity on how I’m feeling and what I’m thinking” Silvers described the album, “From Another Room, ” as a piece of work that isn’t just for herself anymore but it’s something that she is releasing to the masses. To hear that her collection of songs that grew from moments of transition, introspection, and subtle shifts in perspective have become someone else’s muse and inspiration is something that really devotes Silvers in a creative way. Musically, the album weaves together understated indie pop and soft, atmospheric folk influences. Deep-diving into Silvers music you can feel the warmth it carries, textured quality marked by delicate vocals, layered guitars, and an unhurried sense of space. She emphasized the collaborative nature of the project, noting that she worked with a trusted group of musicians and producers. Musicians such as Paul Spring who has recently released his album, “Dumb and Free.” This album uniquely uses the perspectives of different strangers and wonderfully sets their world as they explore their identity and the unknown. According to Silvers, people like Paul help create a intimate creative environment that allows the songs to develop organically, free from outside pressure or expectations. "Him [Paul Spring] and Jon Nellen they’re just great musicians and they just knew when to let me figure something out too. They knew if I hear a line I’m not going to be a spaz…I’ll just dictate what that part will be." As questions circulated, Silvers spoke candidly about the themes that anchor the record. Many songs, she explained, trace the evolving contours of adulthood. How we go through changes like friendships, personal boundaries, the tension between visibility and privacy. As one feels while hearing her music, you can tell the ways small emotional moments can leave lasting impressions. Throughout the interview, Silvers made clear that " From Another Room" is not just another project to participate in but a genuine extension of her creative identity. Her approach to the album mirrors what audiences appreciate about her on screen: quiet sincerity, attention to detail, and a willingness to embrace vulnerability. With " From Another Room" , Silvers steps confidently into a new artistic chapter. A chapter that feels both deliberate and deeply personal, signaling a multidimensional future. Listen into this new chapter and really resonate with Diana Silvers new album, “From Another Room.”

Article Contributed by Madison Cozzens Yung Gravy performing at The House of Blues, Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) If Zebra Cakes and a Microsoft PowerPoint are not on your concert bingo card, you’ve never seen Yung Gravy live. The House of Blues in Cleveland had “sold-out” flyers taped to the doors on Saturday night, proclaiming Yung Gravy's appearance. If you didn’t get your tickets early, you were sadly out of luck. The crowd was prepped with a “How to Have the Most Fun at Yung Gravy Concert” PowerPoint, and they really took it to heart. The venue was packed with people letting loose and having fun... and of course, hot moms. TIIIIIIIIIIP and Pertinence  Gravy’s DJ, TIIIIIIIIIIP (Tip with 10 I’s), was the first to take the stage. His goofy and fun demeanor set the tone for what to expect for the night. He threw Zebra Cakes into the crowd and prepped everyone on what to expect. His first set included songs like Party in the USA  transitioning into The Kahoot Theme  and Mario Kart Songs . Before that, he showed off a PowerPoint, with Cleveland icons, Do’s and Don’ts, and general silliness. TIIIIIIIIIIP prepping the crowd at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) The up-and-coming rapper, Pertinence (Collin Stedman), was next. The Arizona artist gained a following on TikTok with his ambitious release schedule of one new song a week. While he may be a new face to many, he still took to the stage like he owned it. Pertinence was all over the place, utilizing every inch of the stage to provide a dynamic and enticing performance. His long-time best friend was behind the DJ booth, the two of them obviously having a great time on stage together. You may recognize some of his songs from social media, like UPS/DOWNS  or BOBBY BOUCHER (ADAM SANDLER) . You can easily see Pertinence’s passion and depth through his performance.  Pertinence performing at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.)  It’s Time for Yung Gravy Yung Gravy took the stage at 9 pm to a roaring eruption from the crowd. His entrance was filled with swagger, and you could tell he was soaking in the applause. His charisma complemented the fun and humor of his music, creating a persona that’s larger than life. He is often seen wearing larger fur jackets, vintage sunglasses, and a popped collar, only enhancing his image. While the comedy is fun, the songs themselves are very catchy and pull from a variety of genres and eras. Yung Gravy brings a refreshing take to the rap industry, so it’s no surprise he was headlining a sold-out show. The crowd gave Gravy a large amount of energy to feed off of. They were excited at any interaction; Gravy was shouting out to the fans in the balcony, reaching out to the barricade, and joking around with everyone. Yung Gravy performing at The House of Blues, Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Gravy (Matthew Hauri), began his music career on SoundCloud in 2017 after he graduated from college. “Mr.Clean” was one of the first big hits that pulled him into the mainstream. The song samples “Mr.Sandman” and utilizes many nods to that era of music. Gravy samples songs from all over the spectrum, including “Never Gonna Give You Up”, “Right Back Where We Started From”. The contrast in the vintage and recognizable melodies and the often times fun yet vulgar lyrics make for an attention-grabbing niche.  Pastor Gravy Yung Gravy performed a number of is hits including, “Mr.Clean”, “Gravy Train”,and  “1 Thot 2 Thot Red Thot Blue Thot”. A section of the evening was dedicated to Yung Gravy’s collaborations with bbno$ (baby no money). The duo are good friends and collaborated on two albums together, their fans often overlap and the crowd was excited to hear some BABY GRAVY  songs. The sea of people sang the bbno$ lines while Gravy rapped his verses. The show came to a halt while a catholic organ noise played from the speakers and Yung Gravy pulled his hands together in prayer. Fans copied his movements and buzzed with excitement as they knew what was coming. “You Need Jesus” was next on the setlist, a decidedly not very church appropriate song. This was a different kind of sermon at the House of Blues on, but this gathering of strangers and friends still produced something special. Yung Gravy performing at The House of Blues, Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Gravy is on the tail end of his Voluptuous Voyage Tour, and it may be the last one for a little while. According to a interview with Melodic Mag , Gravy doesn’t have any plans for 2026 other than work on some music and take time to himself (rightfully deserved). We will wait in anticipation for any new music, but until then we have plenty of bops to keep us happy.

Article Contributed by Konstantina Buhalis Set It Off has been a major player in the rock and alternative scene since 2008, when they gained notoriety through their YouTube channel, eventually signing to Equal Vision Records and then Fearless Records. In the last year, Set It Off went independent and released their latest self-titled album on November 7, featuring Rock and Nu-Metal influences. Dopamine Era In 2023, Set It Off left Fearless Records and began what they called the Dopamine era with a tour and a single to support their new move to independence, including the release of “Win Win” with Scene Queen. In 2024, Set It Off re-released “A Wolf in Sheep’s Clothing [Reborn]” to reference their relationship with Equal Vision Records, leading to their self-titled release on November 7th, which received critical acclaim and renewed excitement for the band. In addition, they are currently on tour through December, supporting their new album, and their podcast, “Talk it Off,” features the band discussing the new album, the tour, and behind-the-scenes details. Self-Titled Tunes From the jump, Set It Off’s latest is an exciting gauntlet-throwing effort that blends elements of rap, nu-metal, hardcore, and pop-punk. With the multi-genre sound, SIO is untethered and free from the constraints of label desires. The album opens with “Pathological,” a rap track featuring a hard trap beat mixed with nu-metal riffs, drawing on Korn and Insane Clown Posse. Lyrically, the song takes the anger and frustration from the last few years and brings it to the forefront through jabs and quips, with lines like “Go and take another Ritalin, can you tell me who the villain is?” Further into the album is “Creating Monsters,” a fun, heart-pounding track that feels right at home in an anime and features vocal stylings reminiscent of early Panic!, with a quick interpolation of “It Don’t Mean a Thing if You Ain’t Got That Swing.” It maintains a dark cabaret aesthetic and gives itself the room to be invitingly chaotic. Through the album, the writing maintains consistent themes and shows artistic growth through the lyrics and the incredible arrangements. Final Thoughts Overall, the album is varied and serves as an amalgamation of the last 20 years of alternative rock and emo, paying tribute to their history, contemporaries, and the modern soundscape. Set It Off’s self-titled is their little black revenge dress of an album. Soundcheck Rating: 7/10 Featured Tracks: "What’s In It For Me?" "Parasite" "Wolf In Sheep’s Clothing (Reborn)" Catch Set It Off on tour until December 10th. Tickets at setitoffband.com

A retro home studio packed with analog gear, reel-to-reel machines, vintage keyboards, and band posters covering the wood-paneled walls. Article Contributed by LJ Portnoy, Editor-in-Chief Music has never stayed still for long. Every generation has believed that their version of the art was the final, purest draft. And every generation has watched that certainty crumble the moment the next invention arrived. From the earliest recording machines to today’s AI debates, the story of music has always been shaped by the same tension: fear and fascination, resistance and reinvention. This isn’t a pitch for or against anything. It’s simply a look at how often music has evolved right on schedule, even when the world swore it shouldn’t. The First Shock: When Sound Became Permanent Edward Elgar and Beatrice Harrison during recording sessions for his Cello Concerto in 1920. In the early 1900s, recording technology felt almost supernatural. The idea that a voice could be captured, pressed into wax, and replayed on command unsettled musicians who believed art should exist only in the moment. Some performers refused to be recorded at all, worried it would cheapen their craft or replace live music entirely. Instead, recordings became a permanent archive of human expression. They preserved what would have vanished, introduced new genres, and transformed local performers into global icons. What felt threatening at first became the very foundation of modern music culture. Owning Music: Vinyl, Cassettes, and CDs A vintage portable cassette player rests beside a tall stack of tapes, paired with foam-covered retro headphones on a worn wooden surface. As technology advanced, so did our relationship with music ownership. Vinyl records made albums into collectible artifacts. Cassettes made music portable and personal. And when CDs arrived, the clarity felt revolutionary. For the first time, listeners believed they were holding the purest possible version of a song. Every technological jump was met with resistance. Vinyl purists distrusted cassettes, cassette lovers mistrusted CDs, but each shift deepened access. Music wasn’t just heard. It was held, displayed, traded, borrowed, gifted, and saved like treasure. The First Digital Shock: MP3s and the iTunes Revolution A classic iTunes window from the early digital-music era, showcasing the old music store layout against a simple yellow background. Then came the digital wave. MP3s shattered everything people understood about value. Suddenly, songs weren’t physical objects anymore. They were files. People shared them freely, legally or otherwise, and the industry panicked. The fear wasn’t subtle: Piracy, collapsing profits, disappearing stores. But out of the chaos came the next transformation: Apple’s iTunes Store. iTunes did something radical. It made digital music feel like a product again. A single track cost 99 cents. An album lived on your hard drive forever. For a moment, it seemed like the perfect bridge between the physical past and a digital future. And yet it was only the beginning of a much bigger shift no one saw coming. The Moment Everything Flipped: Streaming A smartphone lies on a smooth surface, with a folder of music apps displayed on the screen, including Spotify, Apple Music, YouTube Music, TIDAL, Shazam, Pandora, and others. A pair of white earbuds is placed beside it. Spotify, Apple Music, and the streaming boom of the 2010s rewrote the rules again. Music went from something you bought to something you accessed. Instead of owning albums, listeners moved through an endless library. Genres blended, algorithms guided discovery, and artists reached global audiences in ways that had been impossible through physical sales alone. Streaming sparked a massive culture shift. Some argued it devalued music, turning songs into disposable moments. Others saw it as democratizing, transforming bedroom musicians into viral sensations overnight. No matter the argument, streaming changed not only how we listen, but how artists break, how careers grow, and how fans discover sounds they never would have found otherwise. The Multitrack and Machine Era A vintage reel-to-reel tape machine stands beneath a towering rack of classic studio preamps and meters, capturing the look of old-school analog recording. Long before streaming, though, musicians wrestled with equally seismic changes behind the studio door. In the 1950s and 60s, multitrack tape let artists layer recordings in ways that felt borderline magical. Purists criticized the technique as artificial. Yet it soon became the beating heart of modern production. In the 70s and 80s, synthesizers and drum machines triggered another wave of panic. Machines were seen as threats to “real” musicianship. Instead, they sparked entire genres, hip-hop, techno, house, synth-pop, and completely reshaped the sonic landscape. What was once controversial became classic. Digital Studios and the Rise of Auto-Tune By the early 2000s, digital audio workstations like Pro Tools, Logic, and Ableton Live turned laptops into studios. Suddenly, anyone could produce music from a bedroom. Critics called it cheap, artificial, “too easy.” Yet it gave a generation of artists access they never would have had. T-Pain sits beneath a towering “EPIPHANY” sign, dressed in all white with bold sunglasses and his signature oversized chain. Auto-Tune pushed the conversation even further. Cher’s “Believe” shocked listeners when it debuted. T-Pain was mocked for using it creatively until people realized he was pushing the tool into an entirely new art form. Today, vocal processing is as normal as reverb or EQ. What was once seen as a distortion of authenticity eventually became its own cultural language. The AI Moment, Placed in Context A tablet screen displays the SUNO music-creation interface, showing a song prompt, generated tracks, and playback controls against a colorful gradient background. Which brings us to today. Artificial intelligence has entered the music ecosystem, and reactions range from excitement to dread. Some musicians feel threatened. Others feel curious. Many don’t know what to think yet. AI is new, but the pattern isn’t. Every major technological shift in music has triggered the same emotional cycle. Confusion, resistance, experimentation, and eventual integration in some form. Whether AI becomes a genre, a tool, a controversy, or a footnote isn’t something anyone can call yet. History suggests only one consistent truth. Music doesn’t die when technology arrives. It evolves. A Pattern That Never Breaks: The Future of Music A glowing cosmic timeline winds through space, surrounded by music players from every era, gramophones, cassette tapes, iPods, laptops, headphones, and AI symbols, showcasing the evolution of music technology. Across every era in music, the same story repeats itself. New tools emerge. People panic. The art form reshapes anyway. Musicians adapt, reinvent, and find new ways to express something deeply human through whatever technology exists at the time. If the past century has shown anything, it’s that music has no interest in standing still. Whether AI becomes part of the next chapter or fades into the background, evolution in the future of music is inevitable. Every time fear tries to stop it, creativity finds another route forward.

Article Contributed by Rebecca McDevitt Franklin Jonas and the Byzantines' newest single “Break The Levee” feels like gratitude in motion. In announcing the track he shared that it is a song about loving no matter what the outcome, and that intention pours through every second of it. There is warmth in the message and light in the delivery. It feels like someone finally letting the sun hit their skin after years spent in the shade. The song opens with gentle country leaning guitar and a soft banjo line that wraps the listener in an easy kind of hope. As the instruments settle in, Franklin introduces the emotional heart of the song through its first lyrics. “Heart like stone, my homes got good strong bones. You better use them on me baby, use 'em up before they're gone. When we're back, we can laugh 'bout all the drowning.” The production and the lyrics work together to create a picture of someone who has survived the hard parts and rebuilt with stronger foundations. The drowning he once feared becomes something he can look back on, because he is no longer afraid of letting the emotional flood in. He is choosing to love fully, even if it hurts, even if it gets messy, even if it does not work out. Compared to the introspective heaviness of “Road Soda” and “Village Liquors,” this track carries a completely different energy. It leans into optimism, clarity, and the ability to open up instead of shutting down. Then the chorus arrives, bold and unfiltered. “If you love me, love me all the way If you hate me, baby that's okay Just don’t forget me, don’t forget me darling Cause I’m riding on your every wave You won’t break me with an old heartbreak Just break the levee, break the levee on me” This is the heart of the message. Loving without expectation. Loving without guarantees. Showing up fully and letting the emotional flood rush in anyway. It is vulnerable and confident at the same time. It is the sound of someone who has grown into themselves. And the chant that follows drives it home. “Break it, break it, break it, break it on me.” It feels like surrender. It feels like trust. It feels like choosing love even when the outcome is unknown. It is the moment he stops resisting and lets everything in. “Break The Levee” makes you want to dance in the sunlight with someone who really sees you. It feels like realizing your purpose or your person for the first time and being grateful you made it to this moment. It shows Franklin stepping into a more hopeful version of himself while staying true to his indie country sound. This is Franklin choosing love. This is Franklin choosing openness. This is Franklin choosing life even when he cannot predict where it goes. And it might be his most heartfelt release yet.

Article contributed by LJ Portnoy, Editor-in-Chief Photos by various contributors of SoundCheck Mag. Photo credit: Ernesto Raul Aguilar Hot Take: Encores Just Aren't What They Used To Be There was a time when encores felt like actual miracles. The lights went down, the crowd begged for just one more song, and the air buzzed with the kind of hope usually reserved for lottery tickets and marriage proposals. For a few glorious minutes, we had no idea if the band would return. It was a negotiation between us and them. A shared secret. A spark of live music magic. Now we all know the truth. The encore is already planned. The lights dim on cue. The band disappears for a carefully timed minute. And then everyone returns exactly when we expect them to, pretending the moment is spontaneous. We still love it. The thrill is still real. The cheering still strikes something primal in us. Yet the surprise is gone. Which means the moment needs reinvention. If artists want encores to feel special again, they need to treat them like part of the show’s architecture, not a setlist formality. The good news is that the blueprint for a spectacular encore already exists. We simply need artists to commit to making these moments matter again. Below is the full playbook for how they can do it. Encore Ideas That Bring Back the Sparkle 1. Make It Unique These encore choices are all about creating a moment that belongs only to the crowd in the room. City Exclusive Song Swap Choosing a different song for each city immediately transforms the encore into a collectible. A deep cut that fits the region. A B side tied to the local mood. A nostalgic track that local fans love. When we get a song no other tour stop receives, the encore becomes a signature from the artist to the city. Think Sabrina Carpenter, Nonsense . Photo credit: LJ Portnoy The Chaotic Custom Bridge Moment We love when artists improvise. A surprise verse. A playful rhyme about the venue. A line about someone in the front row. These small lyrical gifts feel alive. They remind us that the performance is happening in real time rather than following a rigid script. 2. Celebrate the Tour Family Encores do not need to center only the headliner. They can honor the entire ecosystem that makes the night possible. Spotlighting the Openers One More Time Bringing the opening act back out turns the encore into a curtain call. It celebrates the full tour family. It feels wholesome, communal, and joyful. It lets us see the dynamic among the artists, which always deepens the emotional impact of the night. Full Circle Opener Callback We love symmetry. When an encore loops back to something from the opening set, the entire night gains structure. A shared duet. A call back to an earlier lyric. A cover performed together. It ties the evening together and makes the experience feel cohesive. 3. Keep It Unpredictable Encores become exciting again when we cannot guess what is coming next. Special Guest Roulette A surprise guest instantly electrifies a room. The cheering becomes louder and the energy spikes. Even a single unexpected appearance on a tour can keep fans guessing about future shows and make the encore a space of possibility. The Fan Choice Moment Let the crowd decide the last song. A cheer off. A quick poll. A playful gesture from the stage inviting us to choose. When we help shape the final moment, the encore becomes a collaboration rather than a presentation. The Tour Specific Mashup Mashups built just for the tour turn familiar songs into new creations. A blend of old melodies. A nod to fan favorites. A reimagined chorus. These moments feel like secret tracks that only exist live. They give the finale a creative spark. 4. Go Softer, Go Deeper Some encores do not need to be loud. Some are strongest when they are stripped back and emotional. Acoustic Reset A single guitar or piano can change the atmosphere instantly. The noise fades. The lights soften. We are left with a raw, unfiltered voice that fills the room. It is intimate, vulnerable, and deeply human. Photo credit: Rachel Catherine The Everything Falls Apart Moment Production fades. Screens go dark. Spotlights dim to a warm glow. The encore becomes a quiet, honest moment between artist and audience. This stripped ending has a way of sticking with us long after the last note fades. The Epilogue Track Some artists understand how to close a night like a book. The final encore becomes an emotional epilogue. A cinematic message. A musical thesis. We have seen how powerful this can be. When the encore ties the night together, we leave the venue feeling like we witnessed a complete story. 5. Give Us Something to Look Forward To The best encores point toward the future. The Mini Unreleased Teaser A short preview of a new song can make an entire arena lose its mind. A single chorus. A soft melody. A thirty-second tease of what is coming next. Fans replay these moments endlessly and walk out buzzing with anticipation. The Fan Spotlight Moment Acknowledging the people who filled the room is more powerful than most artists realize, such as a sign being held up. A fan who traveled far. A moment of connection with someone in the crowd. It reminds everyone that live music is a shared experience between the artist and the audience. These moments turn the encore into something deeply personal. Photo credit: LJ Portnoy Why We Care This Much About Encores We love live music. We love community. We love that last rush of energy when the artist returns to the stage. We love the feeling that this moment, this night, this crowd, meant something to everyone in the room. We simply want the encore to feel intentional again. Hot Take: Encores do not need to shock us to matter. They just need to feel crafted. They need thought. They need personality. They need artists who treat the final minutes of the show as the emotional highlight rather than the expected formality. When artists do that, we walk out of the venue with a sense of connection that lasts. We leave feeling like we were part of a moment that was truly ours. We replay the night on the drive home, talk about it with friends, and scroll through photos and videos because the ending meant something deeper than just “one more song.” Photo Credit: Rebecca McDevitt A great encore stays with us long after the lights come on. It anchors the experience. It becomes the memory we carry forward. That is why it deserves the glow-up we are asking for.

Article contributed by Rebecca McDevitt The cover art for Broadside’s EP Blissed Out  shows a retro TV glowing with static while a silhouetted figure leans back, their face exploding with bright light in a dark, surreal room. Broadside has been teasing us with pieces of Blissed Out  for months and now that the full EP is here, it feels like the complete picture finally arrived. It is emotional. It is catchy.  It is honest in that way Broadside fans love. They kicked things off back in April with “I Think They Know,”  a song that puts every overthinker right in their feelings. Lyrics like “I don’t belong here, everyone’s starin I swear” hits like that moment when your brain is doing way too much and you swear everyone can see it. If you have ever spiraled in public, welcome to the club. Then there was “Warning Signs,”  which is honestly one of the most fun tracks they have put out in a minute. It is dance rock with an edge and the lyrics hit way harder than you expect. “The same high that gets me off will probably put me in my grave” is one of those lines fans will be yelling live with too much passion. We have all been there. No judgment. Last month they gave us “Someone You Need,”  which slows things down and gets a little more vulnerable. If you have ever wished you could be the right person for someone and knew you were not, this one is going to take you out in the best way. The title track “Blissed Out”  ties it all together. With lines like “A stranger in the mirror didn’t come with some integrity” and “Shit gets overwhelming baby,” Broadside leans into real life exhaustion and still makes it feel comforting. It is relatable without trying too hard and feels like the emotional core of the EP. Blissed Out  is a short project, but it says a lot without overthinking it. It feels made for fans who want honesty, big feelings, and songs that will hit different live. Broadside keeps leveling up and this EP is another reminder of why so many of us connect with them.