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The singer-songwriter known as DeathbyRomy drops a striking music video to accompany her latest thought provoking song. DeathbyRomy poses for a set of shots to promote her new single, Manic Dream | Photography by Hanna Nasseri. Article Contributed by Monica Soriano. Known for her embrace of themes that are darker and more mature while at the same time grounded into her reality, DeathbyRomy releases yet another track perfectly in alignment with her artistic style. “Manic Dream” is a modernistic song that unveils Romy’s inner monologue in an unapologetic way. From The Lyrics To The Expression “Manic Dream” from a lyric perspective seems to tell a story of carving a path for success as an artist and perhaps looking back to her old self as she journeys on. Quotes like “I sold my soul for some cigarettes and a fake ID, I wanna drown in the glamour that is my tragedy” and “I’d rather die at the top than never make it there” make this theme easy to grasp. There is much of the song that can relate to the listener's personal experiences. After all, a good alternative-pop song is appreciated by any lover of the genre. DeathbyRomy poses for a set of shots to promote her new single, Manic Dream | Photography by Hanna Nasseri. DeathbyRomy’s artistic expression leans heavily on darker topics and visuals but it is in those shadows that she allows her talent to shine. The track wouldn’t work without her vocals to ground the alternative-electronic sounds and lead us, the listeners, through the 3 minutes and 40 seconds. Her vision plays a big part in her music, she creates visuals that are ready to be experienced. It is not just “Manic Dream” that is executed with detail and care but her songs in general pierce through to the listeners. This is also said about her music videos, there is conscious attention that goes into her visual storytelling. Her Visual Presentation of “Manic Dream” The music video with use of red hues in the beginning sets the tone for her rebellious truth. Visually eye-catching with a simplistic story. There are alternating shots of her and the male lead arguing and fighting with other shots of them dancing or expressing affection. Throughout the sequence of events Romy’s performance externalizes those feelings which she sings about in “Manic Dream” and in the end, the male lead simply disappears. Was it all a dream? A manic episode? Or like the title says a “Manic Dream?" A Thought Provoking Artist At last, whether it is a temporary escape into Romy’s inner world or a relatable understanding by the listener, this song proves to be a perfect addition to her discography. With glimpses of her that remind us a bit of Lady Gaga in her most thought provoking music videos. “Manic Dream” continues to keep DeathbyRomy’s dark artistic expressions while providing us with new shades of her art. DeathbyRomy poses for a set of shots to promote her new single, Manic Dream | Photography by Hanna Nasseri. Catch DeathbyRomy on tour, on some dates she is supporting Limp Bizkit and others she is partaking in warped tour. This is truly an exciting time in her career. We look forward to seeing her as she continues to grow and create new musical concepts!

Cowboy Neal’s refreshing take on art rock hits the Chicago scene. Article contributed by Konstantina Buhalis Photo: Edenfm Chicago art-rock juggernauts Cowboy Neal have released their latest single, “Tighten Up,” a funky, prog-rock-inspired track about growth, gaining confidence, and pride in your work. The six-piece group has been a highlight of the Chicago scene, gaining traction while playing throughout the city, reigniting the power of the groove. SoundCheck Mag sat down with Ian Hammond to talk about Cowboy Neal’s inspiration, playing with Dweezil Zappa, and working as a sound designer for the stage play he wrote. Learn Your Lessons “Tighten Up”, written by Hammond, was a track that came together after Hammond was inspired by the act of self-criticism and learning when to allow yourself to feel pride in your work. Hammond said, “I guess it's sort of like learn your lessons. I also feel like I feel more secure in, like, the friendships I have and the people I associate with, and just learned over time what that means to me, and who the right people are, who the right people should be around me.” When Hammond writes music, the lyrics usually come last, giving “Tighten Up” an upbeat sound, but with serious lyricism, Hammond continued to say, “The song I feel like is pretty upbeat, and then that time to song can be a bit of a bummer, like the lyrics too, so it's trying to figure out the good balance between the two has been sort of has been fun” going on to say that working with his friend and bandmate and cast member of Second City, Kenzie, has enhanced the experience of playing the song with her vocals giving the song a lighter feel to them. Building the Band Hammond’s dedication to his bandmates is evident, and with everyone bringing in multiple influences, both in and outside of Cowboy Neal, they have created a unique blend that has helped shape the band's genre-bending sound. Hammond described working with his bandmates, saying, “We're all learning from each other at every moment. It's like a great, all the musicians just have very different backgrounds, too, which is really enriching when you're then trying to make one cohesive sound together.” Hammond continues to say that he’s very lucky to have a talented group of artists working with him, talking about each individual's accomplishments with excitement and adoration, and giving more insight into how Cowboy Neal is rooted in passion and creation. Cowboy Neal’s strength lies in its numbers and dedication to working as a team, allowing everyone to bring their own talents and abilities to build a multi-genre sonic fusion that not only represents the modern Chicago scene but also offers a brief history of the city's ever-changing landscape. Hornets, and The Second City Bandmates Hammond’s artistic interests extend not only to live music but also to sound design for The Second City, Chicago’s premier comedy and improv sketch club, which was home to some of the Cowboy Neal crew. Hammond explained how he and some of the members went from accompanying him to writing for the Hornets. “ I find myself around all these actors. I'm not, like, a trained playwright or anything, or a storyteller in any aspect, but I found myself around all these actors. There were some shows at the Second City's smaller theaters that I scored. I like music directed with a live band, so I had the bass player and drummer from Cowboy Neil, and we just sort of did a three-piece. We did live accompaniment for these sketches, and we did that twice, but the more I found myself around these actors, the more I'm like, okay, I could write something, and then I did, and it was its Hornets.” Hornets was a slight departure from the music of Cowboy Neal, and as Hammond described it, “A bit of a bummer”, but during the writing process, it was very sound forward, similar to the music of Cowboy Neal. The process of writing for Hornets led Hammond to be more experimental with his work, citing Yiannis Xenakus as inspiration for his work, saying, “I can make this as weird as I want, and that was really freeing, because this band is like very song writing heavy, and, like, heavy, a little indie here, a little Midwest emo there, however you want to feel about it, so then being able to open that up in the play and treat it as its own like creative thing and being able to go in different directions with sound and use parts of my brain that I haven't before was really exciting.” The collaboration with the Second City stage crew allowed Hammond to use sound as a vehicle for visual storytelling. Meeting the Band One of the most significant influences on Hammond was Frank Zappa, and a few years ago, Hammond got to live out a dream and have a sit-in with Dweezil Zappa. Through an after-school program, Hammond talked about the experience, saying, “I'm shaking his hand, and he looks like his dad, and he's playing his dad's music, and that was just very surreal, many of my friends in high school all shared the same kind of I don't know if obsession, but fascination with his music, so it was sort of always on, we were always talking about it.” Zappa’s music paved the way for Hammond’s creative process, leading to the dynamic sounds of Cowboy Neal. Cowboy Neal has released their latest single, “No Shade on North Ave.” Cowboy Neal is available to stream on all platforms, is playing throughout Chicago, and is planning a future tour.

There are breakup songs that make you want to text your ex. Then there are songs like Rachel Bochner's "Happier You're Gone (SASE)," the kind that reminds you just how much you've grown since everything fell apart. Article Contributed by Rebecca McDevitt Photography by Smiles Meyer (IG: @strangeexposures) At its core, "Happier You're Gone (SASE)" isn't about bitterness. It's about perspective. While the song can easily be heard as the story of leaving behind a relationship, it also leaves room for something even more personal: saying goodbye to an older version of yourself. That's what makes this track so relatable. We've all had moments, relationships, or even versions of ourselves that shaped who we are, even if we were never meant to stay there. The chorus, "I'm happy you happened, but I'm happier you're gone," feels like the emotional heartbeat of the song. It's honest without being resentful, nostalgic without wanting to go backward. Instead of wishing the past away, Bochner embraces it for what it was while recognizing that growth sometimes means leaving something, or someone, behind. Photography by Smiles Meyer (IG: @strangeexposures) Musically, "Happier You're Gone (SASE)" carries an infectious energy that feels made for a golden hour drive with the windows down. It's the kind of track you'd picture soundtracking that cinematic close up of someone in a convertible, smiling as they reminisce about a love that once meant everything while quietly realizing how much they've grown since then. There's nostalgia woven throughout, but it never overshadows the sense of freedom waiting on the other side. Instead, Bochner turns reflection into something uplifting, making the song just as easy to dance to as it is to get lost in your own thoughts. Lyrically, the song doesn't pretend healing is a straight line. "A clean break is never really cut and dry" is a reminder that moving on isn't about forgetting. It's about changing your relationship with the memories you carry. Later, when Bochner sings, "Today I barely question / Or feel the echo of what could have been," there's a quiet confidence that feels earned. It's a subtle but powerful reminder that closure doesn't always arrive all at once. Sometimes, it shows up when you realize the "what ifs" don't have the same hold on you anymore. As a taste of Bochner's upcoming album, “I Guess A Sure Thing Couldn’t Go Down Gently”, "Happier You're Gone (SASE)" hints at a project that's unafraid to explore identity, self discovery, grief, and acceptance with complete honesty. If this single is any indication, listeners are in for a record that doesn't just revisit the past, but learns from it. Catch Rachel Bochner on her "Sorry If It's Selfish" Tour this fall!

The NYC alt-pop songwriter, Parris Mitchell, on the work behind the wonder, and why he refuses to fit in one box - an Underground Radar feature. Parris Mitchell performs at Under Berlin @ NYC, in New York | Photography by LJ Portnoy (@ljportnoy) Article Contributed by LJ Portnoy Press play on a Parris Mitchell song and you're locked in before you've decided to be. The production is bright, the hooks land before you've made up your mind about them, and for a few minutes, the rest of the room goes quiet. Then you listen again and notice the words underneath are quietly taking the floor out from under you. LJ gave it a name in our conversation, happy heartbreak, and Parris lit up. "I love songs where the melody is uplifting and very happy, and then you listen again and go, wait, these lyrics are actually pretty upsetting," he said. "I love that double take." That contrast, the smile on top and the ache underneath, is the whole project. We first caught the NYC artist on TikTok with "Honey, I," then watched his set supporting Enrose in New York, and the feeling only got louder. The detour that became the path Parris Mitchell performs at Under Berlin @ NYC, in New York | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) Parris didn't set out to be a solo artist. He came up in musical theater and spent years touring with a band. Then 2020 pulled the rug out from live music, and he turned inward and started writing for himself for the first time, with no plan attached. "I just put them out for my own sake," he said. "I wasn't looking for crazy growth or followers. They ended up doing pretty damn well. I was like, all right, maybe I've got something here." His debut, "Specifically You," dropped quietly in December 2020 and racked up over 20,000 Spotify streams within a year, followed by a steady run: "Charger," "Bad Place," "I Never Said I'm Perfect," and "Easy Love." Still, the title of "musician" took him a while to claim. "I can't read music. I wasn't in band in high school, I was in chorus. It wasn't until my first couple of singles that I got the confidence to go, all right, hell yeah. I'm a songwriter." "It's cheaper than therapy" Parris now has roughly 40 songs in the arsenal and a plan to release one every six weeks. Somewhere around late last year, he stopped waiting for inspiration and started showing up whether it came or not. "It's like turning on a faucet," he said. "All the dirty water comes out first, then you get to the one where you go, all right, this slaps." When inspiration does strike, it's less a process than a weather event. "It's like a Ouija board. I could be out at a bar, someone says something, and suddenly it hits. The skill is staying observant and open, because if you're not, you miss a really great hook." Most of it lands in his Notes app. "I'm always forgetting I typed them in there. I feel like my mother operating an iPhone." As for why he keeps mining his own inner monologue: "It's cheaper than therapy." Service the song first Ask Parris what his signature sound is and you've hit the hardest question in the room, the one his manager keeps asking too. "If I played you my next ten demos, not one would sound like the other," he said. "I don't like being put in a box. I'm kind of a slave to the song I'm writing. If it needs to sound more yacht rock, more country, more indie rock, that's what it gets. I have to service the song before I can service the artist." One test holds underneath all the genre-hopping, something he learned early: "If a song doesn't sound good acoustically, it's not a good song." He proved it in February with stripped-down cabin shows on a cruise ship. The result surprised him. "Even the happiest songs felt mellow. Very raw. It made me want to go back and ask, why did I say this? What did I really mean?" He's also quick to admit he can't always tell when a song is done. His new single nearly didn't make it out because of it, until friends he trusts talked him off the ledge. "Trust your gut, but also trust the people you trust most." His Biggest Vice: The Stage Parris Mitchell performs at Under Berlin @ NYC, in New York | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) If the writing is solitary, the stage is where the theater kid resurfaces. "Performing is a drug. The best feeling in the world," he said. "I love calibrating the show based on what I'm getting back from the crowd. It's like a 3D chess game. I love when something goes wrong. Me and my band are so locked in we can turn a mistake into the highlight of the show." You can hear New York in all of it, the who-gives-a-shit swagger braided with genuine warmth. "If I screw up, I own it. But I also want to take care of you like my mother would if you came over for dinner. If I can give somebody twenty-five minutes of forgetting all the stuff going on in their life, that's the most special feeling there is." He's open about the imposter syndrome and the burnout ("I've been burnt out a thousand times. I'm still burnt out"), but something quieter keeps pulling him back. "The core of me is so loud, and it never gets quieter. I have to obey it. This is the gift I was given." He takes the music seriously and himself far less so. Asked what he's most proud of, he didn't reach for a track. "I'm most proud of today. I'm proud of the resilience. Even when it's really difficult, I still show up." New Single: I Love Whatever is Wrong With You We made him describe his new single without saying the title, a tall order he met with a grin ("I'm not the Killers, who gives a shit"). The song, he said, is "a love song about the person you love's imperfections: how love is messy, how nobody's perfect, and finding the one whose imperfections are perfect to you. You don't just accept them or love them. You celebrate them." Then he played it, and the name landed: "I Love Whatever is Wrong With You." You lose yourself at least three times a week / you laugh too loud at your own jokes, you repeat... / I love whatever is wrong with you. Classic Parris: a bright, big-hearted hook wrapped around something genuinely vulnerable. Happy heartbreak, in other words. Before he left, he shouted out a couple of acts doing it right, Some Son (New York / New Jersey, "putting out banger after banger") and Graham Goode and the Painters (out west, "one of the most talented bands I've seen live"), and left a message for everyone listening: "Be kind to one another. There's not a lot of time here. Always let somebody know you love them, but always love yourself first." Parris Mitchell's new single, "I Love Whatever's Wrong With You," is out now.

On his sold-out Cleveland night, the "Ordinary" star, Alex Warren, proved his real instrument isn’t his voice. It’s the room. Alex Warren performs live in concert at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by Carrie Samek. Article and Contributed by LJ Portnoy. The first thing Alex Warren gives you is light. Sparks fall in sheets behind the band, blue beams cut down through the haze, and for a moment it’s a big, generous, slightly disarming opening. It’s the kind of entrance a guy earns after one of the biggest, most inescapable songs of the past year. But Warren isn’t the performer you’d expect. Moments in, he starts proving the pyro was never the point. The story lives deeper. Listen to the lyrics, and you’ll catch it instantly. He’s building a world out of feeling: the people you’ve loved, lost, and grieved, and the way that loss is the thread connecting all of us. Noah Cyrus, Lighting the Torch Noah Cyrus opens the show at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by LJ Portnoy (@ljportnoy) Noah Cyrus opened the night in her own register entirely: dark, whimsical, a little witchy, lit by her signature lanterns. Across a tight 30-some minutes, she made the case that she’s one of the more genuinely talented voices you’ll catch in a support slot right now. A real instrument, with a sweet country thread running underneath the gloom. Noah Cyrus opens the show at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by LJ Portnoy (@ljportnoy) "July" landed as the fan moment it was always going to be, and "I Got So High That I Saw Jesus" was the set's clear peak. Cyrus recently collaborated with Franklin Jonas on his track “High and Sad,” and supports Warren on the Finding Family on the Road tour through July 18. Under the yellow glow of the lantern, she danced, swayed, and sang her heart out. She sparkled; her vocals soared. Noah Cyrus opens the show at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by LJ Portnoy (@ljportnoy) The Connection: The Man of the Hour Here's the thing nobody tells you about an Alex Warren show: the music is the frame, and the crowd work is the painting. Warren talks to people. Not in the choreographed, hit-your-mark way most arena headliners have learned to fake. He drops into ten-, fifteen-second conversations with strangers in the pit, dozens of them, threaded through the set like he genuinely can’t help himself. His crowd work is so seamless it’s nearly a stand-up routine. It reads as exactly what it is: a performer who has not forgotten, for one second, that these are the people who built him. That awareness is rare, and on this stage it's the whole show. Alex Warren performs live in concert at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by Carrie Samek. The floor was a sea of fans vying for his attention, and the costumes told the story before he said a word. Bananas, minions, pickles, sharks, like a Party City held a going-out-of-business sale and Cleveland bought the entire inventory. Warren clocked every one of them. When a fan told him her mom had died, he asked, gently, then not gently, whether her dad was still around, and when she said yes, deadpanned that she was rubbing it in. (Both of Warren's parents are gone. This joke only works because he's the one allowed to make it, and the room lit up, knowingly, laughing along). That’s the tightrope this whole night walks. Warren’s catalog is grief turned into pop that hooks you before you clock what it’s about. You'll Be Alright, Kid was written out of losing both parents and a teenage stretch spent living in his car. The Story Behind Him Alex's lyrics show he knows it all comes back to connection. The relationships, the fans, the people who hold you up are the ones who make you feel whole again. He brought three little girls onstage to sing and dance through "Carry You Home." He pulled a kid up to smash the confetti-blaster button with him after she'd reportedly made eighty consecutive TikToks begging for the job. Alex Warren performs live in concert at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by Carrie Samek. "Passenger" turned the floor into a field of swaying phone lights. "Eternity" gutted everyone still carrying someone they’d lost. During "Save You a Seat," a video took over the screens: his father’s voice on a tape, a message recorded for him to find later. Hauntingly, his dad sounds almost exactly like Alex’s own speaking voice, and Warren mouthed every word along with it. You could feel the arena stop breathing. The Undeniable Encore The tell came at the end. Not a soul left early. In an arena where beating the parking lot is its own competitive sport, the sold-out house stayed planted, even after he walked off: general admission pit, full floor, all the way up to the last row of the 300s. Everyone was waiting for "Ordinary.” We didn't leave early either. "Ordinary" has been on the SoundCheck rotation since before it was "Ordinary," back when Warren was posting it to TikTok on a loop, day after day, all but grabbing the internet by the collar to insist this was the one. By his own account, he pitched it to his own team dozens of times before they bit, then flooded the feed with the song to almost no response. For a long stretch, it didn’t hit. He kept posting it anyway. Then it hit. Ten weeks at No. 1, the biggest song of the year. Watching nineteen thousand people scream it back at him in Cleveland, more than a year into that bet finally paying off, it was impossible not to think about every repost that landed on nobody before this one landed on everybody. We didn’t pull away from Rocket Arena until our Uber finally crawled out, about 55 minutes after the final house lights came up. Nobody around us seemed to be in any hurry either. The night carried a specific kind of energy, unlike any headliner I’d covered before him. Alex Warren Really Shows Us You can build spectacular pyros, shows, and screens. Any budget will rent you the rest. What you can’t buy is a room of thousands who feel personally spoken to, who’d rather wait out the traffic than miss a second of it. Warren has it, holds it, and gives every moment he’s got.

A Spotify chart decided you didn't want this show. It doesn't know you'd drive two hours for the tour. Photography by LJ Portnoy (@ljportnoy) Article Contributed by LJ Portnoy & Rebecca McDevitt. There's a specific kind of quiet that happens in a group chat when a tour gets announced. The poster drops. Everybody scans it the same way. Not left to right, but straight to the middle, hunting for the date that's theirs. Chicago. Cleveland. Toronto. And then the pause. The little cluster of people typing, then not typing. Then somebody finally says it. Not here. It doesn't matter if you're in Detroit or Des Moines, West Virginia or Western Australia. The feeling is the same. Like your city got weighed and found wanting. Like the band looked at you and decided you weren't worth the stop. Like, there's something about where you live that makes you less of a fan. We want to argue the opposite. Not that it doesn't sting -- it definitely does -- but that the sting is built on a misunderstanding of how the map gets drawn now. Your city didn't lose a popularity contest. Your city lost a logistics calculation. And the deeper you go into why a city gets skipped, the clearer it becomes that the whole system has quietly stopped asking the only question that used to matter. First, There Are Real Reasons Photography by LJ Portnoy (@ljportnoy) Here's the uncomfortable thing for anyone who wants to be mad: when a band skips your city, there is almost always a real, defensible, non-insulting reason. We went looking for excuses, expecting to find laziness. We found a spreadsheet, and the spreadsheet had a point. The geography tax. A van going from Cleveland to Chicago does not have to clip Detroit. A bus going from New York to Boston does not swing through western Massachusetts. And a tour going from London to Paris is not stopping in rural Kent. The detour costs a day and a tank -- or in the case of any international routing, a flight and a visa and an entirely different set of venue contracts. On margins this thin, a day and a tank is a real number. A transatlantic flight per band member is a budget conversation most mid-level tours simply can't survive. That math gets even sharper when you factor in the places the routing just doesn't pass through. North Dakota. South Dakota. West Virginia. Wyoming. These aren't states that got looked at and passed over. They're states that don't sit between any two cities large enough to anchor a tour leg. The route exists before the map does, and if you're not on the route, you're not on the poster. It has nothing to do with whether the fans are there. The border tax. This one is especially sharp for cities that sit near an international line -- Detroit, Buffalo, El Paso, San Diego -- but the principle scales all the way up. Every piece of merchandise a band wants to sell across a national border has to be declared, itemized, and taxed. For US bands in Canada, there's a hard line at $2,500 in goods, above which you need an actual customs broker to clear it, plus a 5% tax on the lot. That's Canada, which shares a language and a continent. Try routing a North American tour through the UK, and you're dealing with work visas, carnets for equipment, VAT registration, and flying dates that cost more per night than some bands gross in a month. Australian bands eyeing Europe or the US face all of that plus the added math of flights that could run $10,000 or more before a single ticket gets sold. The standard touring advice is to keep the paperwork and the tax bill manageable, and sometimes the cleanest fix for that is to not cross the line at all. The right-sized room. Sometimes the venue you'd need simply isn't free the night the routing allows, or doesn't exist at all. When a band manager finally got fed up with "why no Charlotte?" messages and explained himself publicly, the answer wasn't snobbery. It was that the room they needed in that size was booked solid every night they'd be in the region. A city can want you badly and still have nowhere to put you on a Tuesday. The radius clause. Play a festival, and you've often signed a contract that legally bars you from playing anywhere within a certain distance of it for weeks or months on either side. One festival booking can black out an entire region, and the Midwest gets walled off this way constantly around festival season. The conflict. A manager will scrub a date the second it lands the same night as another major draw around the corner. There are only so many discretionary concert dollars in a city on a given week, and nobody wants to split them. The saturation math. A touring veteran who's been at it for thirty-plus years laid it out plainly: a band can hit a top market maybe twice a year before attendance craters, so the rest of the calendar gets spent grinding through secondary and tertiary cities on weeknights, at lower attendance, at worse cost structures, just to stay a full-time act. His own band, with actual radio hits, does a thousand in San Francisco and two hundred on a Monday in Syracuse. Skipping a city isn't an insult. It's a casualty of a calendar that can only absorb so many low-population weeknight rooms before the whole tour goes red. Every one of these is true. We're not here to pretend they're not. We're here because of what they all have in common. Notice What's Missing Photography by LJ Portnoy (@ljportnoy) Read that list again. Geography. Borders. Room availability. Radius clauses. Scheduling conflicts. Saturation. Mileage. Not one of them is about whether the people actually want to come. And yet the metric that increasingly drives the routing decision is one that's supposed to stand in for that: streaming numbers. The biggest predictor of whether a show gets added is a band's monthly-listener count in that specific city. Somewhere between 1,200 and 5,000 listeners in a market translates to roughly 200 to 400 tickets sold. Under 300 listeners and you're looking at maybe 60 to 150. Agents pull up a heat map of Spotify numbers, and the cold-looking cities fall off the route. Clean. Efficient. Data-driven. Here's the problem. A streaming dashboard cannot see a person who'd drive two hours. It can't see the fan who plays the record off their partner's account, or the one who still buys the vinyl and never streams it, or the entire generational, word-of-mouth, show-up-no-matter-what loyalty that certain scenes run on. It measures a very particular kind of fan -- the one who logs their devotion into an app -- and treats the absence of that signal as the absence of fans. It isn't. It's the absence of that signal. Those are not the same thing, and a map that confuses them will systematically write off exactly the kind of place that would have lined up around the block. This isn't just a US problem. European fans have watched US tours contract to the same six cities over the past decade -- New York, LA, Chicago, maybe London if there's a transatlantic leg. Australian, South American, and New Zealand fans have built entire fan cultures around artists who've never set foot on their continent, streaming devotedly, buying imports, and showing up in enormous numbers the moment anyone takes a chance on the routing. The data says one thing. The room says another. The Hot Take The take isn't "these reasons are fake." The take is that a stack of legitimate tiebreakers has been quietly promoted into the whole decision, and the one variable they were always supposed to serve -- the actual hunger of an actual room full of actual people -- is now the one thing nobody's measuring, because it's the one thing that doesn't fit neatly in a cell. We built SoundCheck on a bet against that map. That the skipped cities have scenes worth covering. That a Tuesday-night room in a place the spreadsheet wrote off can mean more than a sold-out arena in a market that's seen the band four times. That the people who don't show up in the data are still, stubbornly, here. So when the poster drops and the middle of it isn't yours, don't read it as a verdict on your city. Read it as a verdict on the instrument. The dashboard doesn't know you'd drive two hours. But we do. We see you. And we'll see you there.

Article Contributed by Monica Soriano The newly released LP by Jenny Gillespie Mason has grabbed our attention. With her soothing vocals and present atmosphere, it creates a full listening experience. Listening to In The Safety of the Light feels like wandering through green fields and clear skies just as her promotional photos and videos. Jenny Gillespie Mason press photo provided by Force Field PR The Perfect Length This is Mason’s first solo Album release apart from her band Sis and within 8 songs, she managed to leave a meaningful impression through her musicality. The detailed and varied instrumentation and the background sounds and vocals created an atmosphere that grabbed us with ease. Her lyricism paints her songs with intention. The 8 track album was a perfect 31 minute escape as the feelings of serenity filled our ears. “Medicine of Light” and “Touch Everyone on Earth” While all the tracks were enjoyable and together formed the cohesive project, our favorite songs were “Medicine of Light” and “Touch Everyone on Earth.” Both songs are singles of this album and were perfectly chosen to represent the project. “Medicine of Light” sits under 5 minutes and sinks into listeners' ears as soon as Jenny’s voice reveals itself. “Touch Everyone on Earth” is a track filled with hope and tranquility that can resonate with many. Jenny Gillespie Mason’s switch to Folk music after years of releasing pop/jazz/electronic music is something to applaud. We enjoy listening to artists who have a vision and go after it, when it is truthful to their journey it is noticeable. From what we can see and hear this path and return to Folk music is one filled with sincerity and exploration of a genre she appreciates. We hope that In The Safety of the Light reaches the listeners that will appreciate and benefit from this project.

Single Review: The Tampa alternative pop-rock band, Pretty Pity, delivers a hook-filled ode to chemistry, temptation, and living for the night. Article Contributed by Brooke Dougherty Pretty Pitty's artwork for new single, "I.D.K." | Photography by Matt Kraig I.D.K. is the third, in a string of singles, released by Pretty Pity in 2026. Hailing from Tampa, FL, the self-proclaimed sun-soaked alternative pop rock chameleons live up to their name with their latest single. With the voice of a seacoast siren, vocalist Tani Jade melodically bottles the feeling of wanting affection without attachment. Of giving the people around you just enough to get hooked, but never enough to truly know you. Getting lost in a fleeting moment with a stranger you know will never stay. “I don’t know, I don’t know what you’re talking about. But I think I like it.” The song begins with Jade singing a cappella just before the drum beat crashes in. Almost like she’s been wandering aimlessly before suddenly being pulled into a busy bar, ready to lean into the night. As the tempo shifts, the chaos briefly settles. It is as if she has found someone who quiets the rush in her head. The spotlight is just on them in the crowded room. The world around them swirls into a blur and fades away. And before this person can say anything to ruin the moment or make it too real, she shuts them up. “I wanna bite your tongue. ‘Fore you say something stupid. Lies feed me lies so dumb. I just might believe it.” The lyrics reveal the push and pull at the heart of the song. The chemistry is temporary, but that is precisely what makes it appealing. “Turn me on, oh, anyone can. Fuck me up, if I get love drunk I’ll get stuck, can’t find the right way out.” Fist-pumping guitar riffs pair with melodic, soaring yet punchy vocals to create a song you won’t be able to resist singing along to. The chorus practically begs to be shouted back from a crowded venue. I.D.K. sounds like several gin and tonics. Neon lights. Losing yourself on the dance floor. Finding connection in unexpected places. The kind of chemistry that’s best left unexplained. “Bright pretty lights in the corner of the room leaving me to lose it So put your money where your mouth is. Give me something to forget.” With I.D.K., Pretty Pity captures the feeling of a person just wanting to let go and shed all inhibitions with a stranger. The temptation to stay in a perfect moment before reality has the chance to complicate it. A song about craving connection while resisting anything real. And with its dark drum beat, intoxicating riffs, and swoon-worthy punk-pop-infused vocals, it’s easy for the listener to get swept up in the fantasy. Pretty Pity's single, "I.D.K." is one of many new tracks we've been enjoying this June. For a full playlist of all the tracks we can't get out of our head, head over to our monthly Spotify playlist. This month is called, "June Hits Once in a Blue Moon!"

More than a decade after stepping away, The Cab returned to Philadelphia with a night full of unforgettable songs, surprising covers, and a crowd that never forgot a single lyric. Article & Photos Contributed by Rebecca McDevitt The Cab performing at the TLA in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Since forming in Las Vegas in 2004, The Cab built a loyal following in the pop rock scene, blending infectious hooks with heartfelt lyrics across albums like Whisper War and Symphony Soldier. Fronted by vocalist Alex DeLeon and joined by guitarist and keyboardist Alex Marshall, bassist Joey Thunder, drummer Dave Briggs, and guitarist Chantry Johnson, the band stepped away from touring for several years before the Back From the Dead Tour brought them back to stages across the country -- and back to the fans who never stopped listening. A Time Capsule in the Heart of Philly Some concerts leave you talking about the setlist. Others leave you talking about how they made you feel. The Cab's stop at Philadelphia's Theatre of Living Arts was the latter. Philadelphia native CARR opened the evening, blending indie pop with infectious energy and earning a warm reception from her hometown crowd. CARR opening for The Cab on their Back From The Dead Tour at the TLA in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Following her, Paradise Fears took the stage in a set that felt especially fitting for the night. Like The Cab, the South Dakota pop rock band spent years away before returning to fans who never stopped supporting them -- and those fans made that clear. A section of the crowd to stage left was absolutely unhinged for them, screaming every word from the first note, and that energy radiated through the rest of the floor and into the balcony. Some audiences don't just remember a band. They've been waiting. By the time the lights dimmed for The Cab, the room was ready. For some it was a long awaited reunion. For others, a first introduction. Either way, what followed made a believer out of everyone. Symphony Soldier Still Hits Home From the moment The Cab took the stage, it was clear this wasn't just another reunion show. Fans packed the TLA from wall to wall, singing nearly every lyric back before Alex DeLeon even had the chance to finish them himself, turning every chorus into a conversation between band and crowd. The Cab performing on the Back From The Dead Tour at the TLA in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) And then there was DeLeon's voice. Live, it is something else entirely -- the kind of vocals that make you stop whatever you're doing and just listen. "Intoxicated" and "Temporary Bliss" were among the night's biggest highlights, with DeLeon's range on full display and a room full of people feeling every single note. Alex DeLeon of the Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Songs like "Bounce," "La La," and "Bad" kept the energy moving, while newer releases blended seamlessly into the set, proving The Cab's story is still being written. By the midpoint of the show, guitarist Chantry Johnson had already joked he was "sweating Cheese Whiz up in here" and the crowd, soaked and fully unbothered, couldn't have agreed more. Chantry Johnson of the Cab performing on the Back From The Dead tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The Cab's Back, Alright Nobody in the room was expecting it. Midway through the set, The Cab launched into a medley that sent the TLA into a completely different kind of chaos -- Backstreet Boys' "Everybody (Backstreet's Back)," Britney Spears' "Oops!... I Did It Again," and NSYNC's "It's Gonna Be Me," back to back. Dave Briggs of The Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photos by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The crowd absolutely lost it. Joey Thunder of The Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) It was silly, self aware, and exactly the kind of moment that separates a great show from a memorable one. And with a band on a tour called Back From the Dead, hearing "Backstreet's Back" hit a little different. The Cab's back, alright. Alex Marshall of The Cab performing on The Back From The Dead Tour in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) One Last Shot Before "Living Louder," Alex DeLeon took a moment to remind everyone in the room that June is his favorite month because it's Pride Month -- that people should always feel free to be themselves and love whoever they love. Paradise Fears frontman Sam Miller then joined the band onstage, turning the song into one of the night's fullest circle moments. Alex DeLeon of the Cab performing with Sam Miller of Paradise Fears at the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) But the emotional peak came in the encore. DeLeon stripped things back for an acoustic performance woven into "One of THOSE Nights," pulling from Justin Bieber's "YUKON" in a moment nobody saw coming. With nothing to hide behind, his vocals did all the talking -- and they more than held up. Goosebumps, wall to wall. "Angel With a Shotgun" closed the night the only way it could, with every voice in the room joining together one last time. Alex DeLeon of the Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The mark of a great show isn't just what happens inside the venue. It's what you're still listening to the next morning. For us, that was The Cab.

Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) For many artists, a first headlining show is a milestone. For New Jersey native Tanner Grigoli, it felt like a homecoming. Article and Photography Contributed by Miranda Wyman. On Saturday, June 20, Tanner filled House of Independents in Asbury Park for his debut headlining show. The intimate 500-capacity venue provided the perfect atmosphere for this milestone in his career. The room was packed with family members, childhood friends, classmates, longtime supporters, and fans who have followed Tanner's journey from the very beginning. Della performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) The evening opened with performances from Della and Jordana Bryant, two talented singer-songwriters who delivered impressive sets of their own. Both artists connected with the crowd effortlessly, setting the stage for what would become a memorable night. Jordana Bryant live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) Fans of all ages filled the venue, from young listeners who discovered Tanner through social media to those who first became fans after seeing him perform at their schools. There were groups of Grigoli’s friends singing every lyric, proud family members cheering from the crowd, and supporters who had watched Tanner's growth as an artist since the beginning. The atmosphere felt less like a concert and more like an entire community gathering to celebrate one of their own. Tanner opened his 11-song set with "Figure You Out" before going right into "Bad to Worse," which immediately brought the energy to the room. Between songs, he paused to speak with the audience about his life over the last few years, sharing stories of traveling back and forth between New Jersey and Los Angeles while pursuing his music career. Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) Grigoli talked about the distance and how it often had him feeling homesick, which resonated strongly with the hometown crowd. Those emotions flowed naturally into "Summer in Jersey," which felt especially fitting given the location and the audience before him. He followed it with "Love Worth Saving," continuing to showcase the heartfelt songwriting that has helped him build a loyal fanbase. One of the night's most memorable moments came when Jordana Bryant returned to the stage for the live debut of their unreleased collab, "If I Know You." Despite not yet being released, the song received one of the loudest reactions of the evening. The chemistry between the two artists was undeniable. Tanner then shifted gears with a cover of Shawn Mendes' "There's Nothing Holdin' Me Back." The crowdsang along, creating one of the night's biggest singalong moments. The rest of the set featured fan favorites including "Say It Baby," followed by a fun mashup of "In It For The Fun" and Sabrina Carpenter's smash hit "Espresso." The mashup showcased Tanner's playful side and kept the energy high as the crowd sang along. Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) As the evening moved toward its conclusion, Tanner performed "If You Knew" and "Erasing". By this point, the connection between artist and audience was undeniable. Every lyric was met with cheers, and every pause between songs felt filled with gratitude from both sides. Of course, the crowd wasn't ready for the night to end. After leaving the stage, Tanner returned for an encore performance of "Love You Right," which worked perfectly as the closing chapter to a night that celebrated not only his music but his journey. Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) For Tanner Grigoli, this wasn't simply a concert. It was proof of the community he has built through his music. House of Independents became more than a venue for one night; it became a gathering place for everyone who has supported him along the way. If Saturday's sold-out hometown celebration proved anything, it's that Tanner Grigoli is no longer just a promising New Jersey artist. He's an artist on the rise, and this first headlining show felt like the beginning of something much bigger than just himself.

Why Pride Belongs in Music — On Stage, in the Crowd, and Behind the Scenes Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) Article Contributed by Rebecca McDevitt Music has always been about more than melodies and lyrics. It’s about finding the song that gets you through a breakup, the artist who makes you feel seen, or the community that forms around a shared love of an album or live show. That’s why Pride matters in the music industry, not just during June, but every day of the year. For fans, music can be life-changing. It can provide comfort during difficult times, inspire confidence, and create a sense of belonging. For LGBTQIA+ listeners in particular, seeing artists live openly and authentically can be incredibly meaningful. Representation doesn’t just exist on a stage or in music videos, but echoes through headphones, concert venues, and fan communities around the world. Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) At the same time, Pride is about recognizing the countless LGBTQIA+ artists who have shaped the soundtrack of our lives. Long before conversations about representation became mainstream, trailblazers like Freddie Mercury and Elton John were redefining what it meant to be global music icons, leaving an undeniable mark on rock and pop culture. Their artistry opened doors for future generations to express themselves more freely and challenge expectations. Today, a new wave of artists continues that legacy in exciting and deeply personal ways. David Archuleta’s openness about his own journey has resonated with fans who appreciate his honesty and vulnerability. Chappell Roan has become a beacon of queer joy and unapologetic self-expression, while Lil Nas X continues to push creative boundaries with fearless storytelling and unforgettable performances. Artists like Troye Sivan, Hayley Kiyoko, Janelle Monáe, Sam Smith, and Brandi Carlile each bring distinct voices and experiences to their work, reminding audiences that authenticity is one of music’s greatest strengths. Their impact extends far beyond charts and streaming numbers. Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) They help fans feel less alone. They encourage people to embrace who they are. They create spaces where individuality is celebrated instead of hidden. For young listeners especially, seeing someone they admire succeed while living authentically can be both empowering and inspiring. But Pride in music isn’t only about the artists in the spotlight. It’s about the fans who build communities around them. Every playlist shared with a friend, every piece of fan art, every concert bracelet exchanged in line, and every online discussion about a favorite lyric helps create connections that transcend geography and background. Music fandoms have long been places where people find acceptance, friendship, and belonging. The industry behind the scenes benefits from that same spirit of inclusion. Songwriters, producers, dancers, photographers, journalists, venue staff, managers, and countless others contribute to the creative ecosystem that brings music to life. When those spaces welcome diverse perspectives and lived experiences, the result is richer storytelling, greater innovation, and stronger communities. Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) Pride also serves as a reminder that creativity flourishes when people are free to be themselves. Some of the most memorable songs ever written come from vulnerability, honesty, and the courage to tell deeply personal stories. When artists feel empowered to share those experiences openly, audiences connect on a profoundly human level, regardless of identity or background. Ultimately, the magic of music lies in its ability to unite people. A chorus sung by thousands of strangers at a concert can become a moment of shared joy. A lyric can make someone feel understood for the first time. A favorite artist can inspire confidence simply by existing authentically and inviting others to do the same. That’s why Pride matters in the music industry. It honors the artists who create fearlessly, the pioneers who paved the way, and the fans whose passion keeps music alive. It celebrates the idea that everyone deserves a place in the crowd, on the stage, and behind the scenes. And when every voice has the opportunity to be heard, the music becomes richer, the community becomes stronger, and everyone benefits.

The alternative indie pop sensation Lila Holler released her new EP, Born to Bite, bringing her signature brand of alternative grit and candid lyricism to another iconic release. Lila Holler poses for her new EP, Born to Bite | Photography Charlie Williams Contributed by Konstantina Buhalis After playing her biggest show in Liverpool to date this past May, Born to Bite is a record of radical honesty and the journey of womanhood. Nomadic Lifestyles and Genre Mixing Inspiration Holler has gone on record about her nomadic upbringing, which has allowed her to engage with multiple cultures, musical styles, and subcultures, leading her to reside in the UK currently and to have recently traveled to Poland. Holler’s travels have lent themselves to the fluidity of sound in Holler’s work, shifting genres with ease and confidence. After appearing on Spotify playlists like Best Viral TikTok Songs 2026, Holler’s international audience is growing, including a festival performance at Sound City Music Festival. Lila Holler Rocks Lila Holler poses for her new EP, Born to Bite | Photography Charlie Williams On the Born to Bite EP, Holler’s writing takes a candid look at relationships and growth. Starting with an indie electro track, “Bruising” opens with a tongue-in-cheek commentary on faking it in bed, but the upbeat, danceable track takes the listener on a whirlwind journey. Born to Bite has an alternative backing that is relentless and takes cues from 00s pop punk, and Holler’s tender vocals bring the EP into an emotionally cathartic space. The final track, “Bite,” slows things down for a moment and takes on a Midwest-emo, down-tempo style, with the lyric “I’m only what they make of me” as a thesis statement about losing yourself, the manipulation of performance, and living truthfully. Holler’s writing is mature and introspective, with feminist undertones that are a welcome presence in the alternative and indie scene. Final Verdict: 9/10 Standout Tracks: Bruising Monster Lila Holler soars on this new EP and is continuing to grow as an artist. Holler’s storytelling abilities are entrancing. This EP is a genre-bending indie alternative journey into the modern era of songwriting.

Connor Price & Nic D opened their Iconic Tour at a sold-out Royal Oak Music Theatre, joined by opener GRAHAM, a live "Scoop" TikTok, and a room of first-timers who knew every word. A SoundCheck Mag concert review. Connor Price, Nic D, and GRAHAM perform at the Royal Oak Music Theater | Photography by @ljportnoy Article Contributed by LJ Portnoy & Mark Portnoy. Photography by LJ Portnoy. A Sold-Out Crowd Arrived Early and Loud The Iconic Tour started in Royal Oak, and from the first beat the whole room was singing along. Connor Price and Nic D sold out the Royal Oak Music Theatre two weeks before they ever set foot on its stage, and on opening night the floor was packed with fans who knew every lyric before the lights went down. For plenty of them, this was a first concert, and you could feel that in the air. Fans excitedly wait for Connor Price & Nic D to hit the stage | Photography by @ljportnoy By the time the opener hit, the room had already arrived loud. Strangers in line were trading names and starting chants. This was a crowd that did not need to be warmed up so much as pointed at the stage. GRAHAM Opened the Iconic Tour and Warmed a Room That Didn't Need It GRAHAM opens to a crowd of cheering fans at the Royal Oak Music Theater, date of the Iconic Tour | Photography by @ljportnoy The night opened with GRAHAM, the producer behind a long list of Connor Price tracks and a real artist in his own right. He had wrapped his own headlining run barely a day earlier and turned right around to launch this one, which is a lot of road for one weekend. His pop-rap set landed easily with a crowd that, frankly, was ready hours before doors. If you know Connor's catalog, you already know GRAHAM, even if the name never registered. He produced a huge chunk of it, and Connor's remix of GRAHAM's "HOV" became GRAHAM's first entry on the Billboard charts. GRAHAM opens to a crowd of cheering fans at the Royal Oak Music Theater, date of the Iconic Tour | Photography by @ljportnoy He has put out well over a hundred songs since 2022 without ever settling into a single genre. That range finally got its fullest statement this past January on his debut album, MOODSWINGS, fifteen tracks that move between sounds without ever losing the plot. Pull up "Not My Problem" or "Perfect Timing" if you want a way in. Something was fitting about watching him open the very tour whose sound he helped build, then step behind the decks to run the headline set. A lot of this night ran through one guy, and he earned every second of that stage. Nic D's First Headline Tour Begins With a Plead Nic D stuns crowds as he warmly embraces the audience in music, fun, and entertainment during the opening night of the Iconic Tour in Royal Oak, MI | Photography by @ljportnoy When Connor and Nic took the stage, they opened with a video: Connor working to convince Nic to leave home, his family, and everything else behind to tour at all. It was funny, and it was also the literal backstory. This is Nic D's first headline tour, and by his own account he never planned to do one. Connor Price and Nic D's Onstage Chemistry Is the Whole Show Connor Price & Nic D during the opening night of the Iconic Tour in Royal Oak,MI | Photography by @ljportnoy Which is what made the rest of the night so impressive. From the first song, Nic carried himself like someone who had been doing this for years. He and Connor barely stopped moving, bouncing across the stage with enough presence to fill a room twice this size, and the energy never once dipped. For a debut run, opening night included, it was remarkably assured. The chemistry between the two of them is the actual product here. They hype each other, trade verses, and clearly love being up there together. The Night's Best Moments: "Buddy," Signed Paperboys Vinyl, and a Live "Scoop" Connor Price & Nic D during the opening night of the Iconic Tour in Royal Oak,MI | Photography by @ljportnoy They never let the audience out of their sight. At one point they pulled an eleven-year-old up to sing "Buddy," Connor's collaboration with Hoodie Allen, and the kid delivered. A locker on stage held copies of their vinyl, and they handed signed records into the front row, including to a nine-year-old who is not going to forget it. Those records were Paperboys, the joint album the two of them would not officially release until a month after this show, which made an early signed copy a real prize. For "Scoop," the track they turned into a viral ping-pong bit after Marty Supreme, they filmed a TikTok live mid-song, keeping a paddle rally going while rapping with the whole crowd behind them. It is a clever hook on a feed. It is even better in a room. Connor Price & GRAHAM on stage, during the opening night of the Iconic Tour in Royal Oak,MI | Photography by @ljportnoy A screen behind them ran music videos and lyrics all night, doubling as a singalong prompt for a crowd that did not need one. GRAHAM handled the musicality from a DJ setup for the headline set. The lighting did the heaviest visual lifting, gorgeous washes of purple, red, and blue that I was very grateful for from the photo pit. The Cleanest Set in Rap: Why Connor Price and Nic D Connect With All Ages Connor Price during the opening night of the Iconic Tour in Royal Oak,MI | Photography by @ljportnoy Here is the thing I could not unhear once it got pointed out to me: they do not curse. Not once, across a full set of rap. It is the cleanest version of this sound, Jack Harlow energy with the edges sanded down for a younger crowd and the parents standing behind them. That is not a knock. It is the entire point. Connor Price and Nic D have made something a kid can love out loud and a parent can stand in the back of without flinching, and a sold-out room of first-timers in Royal Oak proved there is a real, hungry audience for exactly that. We had a great time. So did a roomful of first-timers, and they will remember this one for a lifetime.

With smoky vocals and lyrics that ache, this track captures the realization that some relationships don't end with a bang, they unravel until there's nothing left to save. Article Contributed by Shyanne Vaden Rising artist Marilyn Hucek’s single “Self Destruct” tells a story about love and mutual destruction that we are all too familiar with, holding onto a relationship that is past the point of return and struggling to let go. Released June 12, 2026, the Chilean-American artist who resides in Washington, DC, takes us on a journey about being in love until a breaking point and that it is often too late to return to when the foundation is broken. Produced by Kuczynski, the beginning of the song and the first verse reminded me of a darker, more haunting and powerful version of Kacey Musgraves, not knowing what to expect. Once the chorus punches through, it is a powerful line with deep vocals giving a warning about the deterioration of a relationship, “We’re about to self-destruct, I know.” This line is repeated throughout the song, creating a countdown and a feeling of impending doom that hangs around every verse. Marilyn Hucek’s Spotify photo Marilyn expresses that she can see the tumultuous end but she cannot stop it which I and many can relate to in both romantic and platonic relationships. The song at its core is not about a dramatic breakup, but more about watching a love die in slow motion. It is not something you can stop, but something that you just have to watch unfold. Marilyn’s lyrics are straightforward but extremely effective, it allows listeners to relate to the lyrics with their own personal narratives. It personally brought me back to certain moments in my own relationships, where I also knew that the relationship was ending and if I didn’t let go, it would be self-annihilation. The most powerful statement in “Self Destruct” is when Marilyn conveys what it is like to have a relationship that erodes your sense of self, integrity and drains who you are as a person, “I've been drowning in your wake / You drain my color, I'm going gray.” It is a feeling many know all too well when the person you love the most is turning you into a person you do not know to preserve the relationship. “Self Destruct” is less of a break up anthem and more of a harrowing tale of how relationships often don’t just implode abruptly, but experience atrophy over time until you are at the brink of collapse. Marilyn’s emotional voice and lyricism is focused on emotional neglect and personifies what it is like to beg to be seen by someone you love when they are already emotionally checked out. Every note she sings is textured, with emotional grit as she describes her vulnerable experience with dealing with one-sided emotional labor while the person she loves is passive. It's a familiar dynamic for many listeners, trying to save something alone until there is nothing left to save. Marilyn’s delivery sits somewhere between vulnerability and quiet desperation, she is telling a story. There's a rawness to her voice that makes every lyric sound lived-in rather than performed, especially in the live acoustic version which was released on Youtube on June 13, 2026. Rather than Marilyn relying on vocal acrobatics, she allows restraint to carry her through the emotions of the song, making the performance feel truly authentic. The result is a song that feels cinematic, smoky and emotionally worn, complimenting the lyrics about a love imploding in front of her eyes. Ultimately, “Self Destruct” by Marilyn Hucek succeeds as a meditation on emotional burnout, how relationships fracture through silence, neglect, and levels of disappointment until self-destruction becomes the only possible ending.

The Swedish doom metal trio and Portland's Mizmor transformed Substation into a space for reflection, immersion, and overwhelming sound. Article & Photos by Vaneza Gutiérrez Wyckoff Monolord performing at Substation in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). Heavy music is often misunderstood. For those unfamiliar with doom metal and its many neighboring subgenres, the expectation might be one of chaos: constant movement, shouted lyrics, and relentless energy. Yet on a recent night at Seattle's Substation, Monolord and Mizmor offered something entirely different. Their performances felt less like a traditional concert and more like a shared act of reverence, with an audience gathered not simply to hear the music, but to fully surrender to it. Opening the evening was Portland-based band Mizmor, whose atmospheric blend of doom, black metal, and post-metal immediately transformed the venue. Layers of distortion and crushingly heavy instrumentation filled the room, creating soundscapes that felt immense in both volume and emotional weight. While the vocals often arrived as anguished screams and growls, the emotional core of the music never felt inaccessible. If anything, the obscured lyrics seemed to direct attention elsewhere. Listeners were encouraged to focus on the movement of the songs themselves: the tension and release, the gradual crescendos, and the immense walls of sound that seemed to vibrate through every surface of the venue. It was music designed to be felt as much as heard. Mizmor performing at Substation in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). By the time Monolord took the stage, the atmosphere inside Substation had become almost meditative. Thick riffs rolled through the room like distant thunder while hypnotic rhythms encouraged the audience to settle into the band's deliberate pacing. Unlike many rock concerts where crowds sing along to every chorus, the audience response throughout the night was notably restrained. A few hands rose and swayed gently in time with the music, but most attendees remained nearly motionless, heads bowed and eyes closed as they absorbed each song. The room carried an energy that felt remarkably focused, as though everyone present understood that the experience required attention rather than participation. The result was surprisingly communal. Monolord performing at Substation in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). Rather than drawing energy from outward expression, the crowd seemed connected through collective immersion. Hundreds of people shared the same sonic journey while responding in deeply personal ways. Some stood completely still. Others rocked gently with the rhythm. Yet despite these individual experiences, there was a palpable sense of unity throughout the room. Part of what made the evening so compelling was the diversity of the audience itself. Fans spanned multiple generations, from teenagers and young adults discovering the genre to longtime devotees sporting decades of experience and impressive, Gandalf-worthy white beards. The gathering served as a reminder that heavy music continues to bridge age groups and backgrounds through a shared appreciation for artistry that values patience, atmosphere, and emotional depth. Monolord's performance showcased exactly why the Swedish trio has become one of doom metal's most respected acts. Their music thrives on repetition and gradual evolution, allowing riffs to breathe and develop rather than rushing toward a destination. What might appear simplistic from the outside revealed itself to be remarkably nuanced in practice. Small shifts in tone, dynamics, and tempo carried enormous emotional impact, drawing listeners deeper into each composition. Monolord performing at Substation in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). The band's stage presence mirrored the character of their music. There were few dramatic gestures and little need for elaborate theatrics. Instead, the focus remained firmly on the songs themselves. Every note felt intentional, every sustained chord serving a purpose within the larger emotional arc of the set. That restraint only amplified the music's power. Throughout the evening, both Mizmor and Monolord demonstrated that heaviness is about far more than volume or aggression. At its best, heavy music creates space for reflection, introspection, and emotional release. The performances at Substation accomplished exactly that, transforming overwhelming sound into something unexpectedly transcendent. As the final notes faded and the audience slowly emerged from the spell cast over the room, the atmosphere felt markedly different from the end of a typical concert. There was applause, certainly, but also a sense of quiet gratitude. The crowd wasn't leaving with the adrenaline rush often associated with live music. Instead, they departed carrying something more reflective. Monolord performing at Substation in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). For a few hours, Monolord and Mizmor turned Seattle's Substation into a sanctuary of distortion, volume, and contemplation, proving that sometimes the heaviest music can also be the most profound.

Dexter and the Moonrocks Turn Cleveland into a Grunge Rock Oasis Article and Photos Contributed by Madison Cozzens Dexter and the Moonrocks is reaching further than they ever thought possible. With a #1 song on the alternative charts and sold-out shows, anyone can see they are gaining traction. The group came to Cleveland on the tail end of their “The Donkey Flats” tour. The show sold out weeks before the performance, and fans lined up outside Globe Iron in hopes of getting close to the stage. The 1,200-capacity venue was the perfect setting for a rock show, with plenty of pit space to crowd surf, mosh, and vibe to the music. The scene was set, the people were ready, all they needed was a show. Dexter and the Moonrocks performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) High June Kicks off the Night The first band of the evening was High June, an alternative rock band from North Carolina. The group brought the perfect energy to get the night started. With a unique sound that can’t be defined by boundaries or any one genre, they quickly grabbed the attention of the crowd. High June is a group of friends playing music together, and it comes through in their performance. While the young band had a great sound and chemistry, the frontman, Jack Flowers, stole the show. Flowers has one of those voices that doesn’t seem to match his appearance; the raspy, gritty vocals sound like a 90’s alternative star in his prime. That voice matched with an energetic performance full of movement and crowd participation made for a great start to the night. Jack Flowers of High June performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Flowers wasn’t the only member of High June to bring the energy; the group’s bassist Ryon Gerringer was the first crowd surfer of the evening. He climbed down into the pit as the rock music continued to play. Eager fans reached their arms up to support him as he made his way around the venue. Gerringer surfed his way across the venue with arms in the air before making his way back to the stage. High June was a perfect opener; the crowd was pumped up and ready for the next band to start. High June performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Welcome to Appalachia If you read our review of The Wombats’ show, you may recognize the next group that took the stage, Cigarettes @ Sunset. The “Appalachian possum rock” band brought their signature sound; not just rock, bluegrass, or country, but a blend that becomes something all its own. Through the lead singer, Garrett Dellinger’s raspy and raw vocals, you can feel the emotion behind every song. He bops around the stage interacting with all the band members, swinging his guitar around and getting personal with the crowd. About halfway through the set, Dellinger got into the pit, weaving his way through the crowd until he found his stopping point. While the song was holding before the beat drop, he got everyone around him to get down as low as they could, waiting in anticipation. He screamed the countdown into the microphone, and the pit exploded with people jumping around and headbanging to the song. Dellinger was right in the middle of it all, giving those around him something special to hold onto. The group seems to be everywhere in 2026, and we’re sure they’re not slowing down anytime soon. Cigarettes @ Sunset performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) The Moonrocks Take the Stage After two opening bands to get the party started, Dexter and the Moonrocks hit the stage at 10pm. The band came out to thunderous applause; the crowd had been waiting all night for this moment. Dexter and the Moonrocks’ music is self-identified as “Western Space Grunge”, their lyrics and instrumentals resonate with lovers of the “Midwest Emo” genre. The group’s drummer Ryan Fox arrived appropriately dressed, wearing a cowboy hat and boots with a vintage Cleveland Indians shirt. Many in the crowd matched his vibe in oversized T-shirts, camo dad hats, and cowboy hats. Sad in Carolina was their first song of the night, a perfect amalgamation of what their music is all about. A song about being sad, a chorus that people can sing along to, and catchy guitar riffs. Dexter and the Moonrocks performing while a fan crowd surfs at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) While the band may seem nonchalant when playing their music, their live show is anything but. The crowd surfing and moshing began almost immediately. One of the most memorable parts of the night was during the crowd surfing. While he was not the first, he made an impression as a wheelchair user lifted into the air, chair and all. Throughout the song, he made his way through the crowd, fellow concertgoers lifting him up. It was heartwarming to see someone get to experience something they may have never had the chance to. The entire venue felt the same way; phones were up, capturing the moment, and smiles were plastered on every face. When the song was over, the lead singer, James Tuffs, had the venue turn the lights up so the crowd could more easily surf the man back to his friends. Anyone who attended the show won’t forget that experience anytime soon. James Tuffs of Dexter and the Moonrocks performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Who’s Dexter? Dexter and the Moonrocks consists of four friends: James Tuffs (Lead Vocals, Rhythm Guitar), Ryan Anderson (Lead Guitar, Harmonies), Ty Anderson (Bass, Harmonies), and Ryan "Fox" Fox (Drums, Harmonies). The group found success with their song Couch on TikTok, gaining traction and seemingly never stopping. Taking a look at their social media, the band doesn’t take themselves too seriously. The self deprecating jokes and Gen-Z humor lend themselves well to the band’s music and growing their fanbase. A combination of their online presence, relatable lyrics, catchy melodies, and a great live show has had them on the top of the alternative charts for weeks. With their most recent release, 12 Steps featuring country rock band Treaty Oak Revival, Dexter and the Moonrocks has shown us they’re not stopping anytime soon. A Night to Remember Towards the end of the night during Bird and the Bees, a couple towards the barricade got engaged. Tuffs gave the couple a shoutout, and the venue shouted out in cheers and congratulations to the couple. Fans got another surprise as the band was planning on playing one unreleased song, but thanks to Cleveland’s energy, they added another to the setlist. Fans were head banging and swaying with each other as they took in this brand new experience together. The energy overall that evening was unreal, and Globe Iron was the perfect place for this show. The brick and steel warehouse made everything feel intimate and personal; like a garage band performance on a larger scale. Dexter and the Moonrocks’ music reaches just about anyone; whether you’ve been in a bad relationship, you deal with anxiety or depression, or even if you’ve just had a bad day. It’s something that resonates with people; the sold-out show and topping of the charts is evidence of that. The connection between everyone at Globe Iron that evening was apparent, whether they knew each other or not. Dexter and the Moonrocks brought us all together and made it a night to remember. Fan watching Dexter and the Moonrocks Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.)

Victory Kid's debut-style album 'Catalyst' channels early-2000s alt-rock with rebellious energy and vulnerable lyrics that could spark the genre's next wave. Victory Kid poses for a band portrait | Photo by Pawel Wieloch Article Contributed by Monica Soriano West Coast band Victory Kid recently dropped their album ‘Catalyst.’ Upon starting the album, we were transported into an early 2000’s comedy film montage, immediately understanding what Victory Kid is all about. The intense energy from the album, combined with the rebellious and vulnerable lyrics, is perfectly suited for the fans who miss the early 2000’s bands. Music Made for Live Shows Each song from the album perfectly captures attention with even transitions and a cohesiveness that delights. The instrumentals, the lyrics, and the vocals are part of what makes this project enjoyable and leaves us yearning for live shows and music videos. Bands from over 20 years ago had a combination of intentionality, unruliness, and the ability to write about pain and suffering into a good, relatable song. This is the essence we can feel from Victory Kid while listening to their album. “L’Appel Du Vide” is a brilliant introduction; other songs that stood out are “Here We Go Again”, “Lost Control”, “Expectations,” and the closing track “Frequency.” Assertiveness & Relatability are Their Strength The album’s single “You’re Alright” dives into the fight of someone navigating their inner and outer conflicts with the person they’ve become because of today’s society. There are gems of relatability within the pockets of the lyrics. The assertiveness in the messaging helps with the overall appeal of this project. This might be an album that helps inspire a group of kids to make their own band or someone to pick up an instrument. ‘Catalyst’ Can Create The Next Big Wave for Victory Kid Overall, the band from California released a project that many fans who yearn for the early 2000’s music and spunk will appreciate. The mainstream popularity of pop/punk and alternative rock bands may not be as strong as it once was, but as long as the music continues to be made and evolves, then there is always someone who will listen. It could be something like ‘Catalyst’ that creates the new wave. We are looking forward to seeing more of Victory Kid in the near future.

Goldie Scott's upcoming Summer debut. Contributed by Konstantina Buhalis Goldie Scott poses for a portrait | Photo: Holy Smoke Photography New Jersey-born, LA-based artist Goldie Scott has released her new single ahead of her upcoming full-length debut album. Taking cues from the long history of Western Americana sounds, Scott blends indie ballads and pop to create a highly personal and emotional account of the complications of family relationships. Young Girl Coming to the Canyon Goldie Scott is proof that the inspiration of Laurel Canyon lives on in the modern era through her inspired mix of Americana, Pop, and Country to develop a tribute to the LA music scene, while remaining true to herself. Coming from New Jersey Scott comments that the nature of New Jersey was influential in her inspiration, including watching her father perform at the Stone Pony, leading to her fascination with the concept of “home” as a physical place that gives you the license to be who you are without reservations. On her latest single, “Blame It On Me,” Scott gets personal and dives into the complications of relationships and the politics of family, saying, “Family relationships can be really complicated, and I don’t think people talk about that enough. “There’s a certain intensity that comes with loving someone deeply while also feeling hurt or frustrated by them. It’s messy, but it’s honest.” Scott allowed herself the opportunity to reflect on the emotional event that inspired the song, writing it almost immediately following the moment, calling it “instinctual”. Scott remarking the writing was instinctual is a testament to her talent and ability to craft a compelling narrative and bring it to life. Summertime Realness As Scott prepares to release her full-length debut this Summer, Scott is also releasing an accompanying music video to “Blame It On Me” featuring cottagecore visuals and a dreamscape of Sott’s personas of a stage starlett and the singer-songwriter behind the scenes. Scott’s dedication to honesty in the music video is the extension of her dedication to being real with her artistry through her writing, saying, “It reflects that feeling of chasing an impossible version of yourself. And realizing you don’t need the mask — you can just come home to who you actually are.” Scott’s mature and introspective self-reflection sets the stage for an album filled with relatable experiences intertwined with personal stories. Join the Coven Scott is preparing for shows in New York and Los Angeles, and you can join the “coven” on her website, along with streaming all of her music on all platforms. In the meantime, Scott’s debut will be coming soon!

Michigan Metalcore's Of Virtue on Love and Loss Article contributed by Konstantina Buhalis Of Virtue poses for a portrait | Photography by Alexander Bemis Michigan Metalcore outfit Of Virtue has released their second single of the year, “The Art of Love.” This second single is a look at the all-consuming challenge of love and the risk of not being loved in return. Of Virtue has never shied away from the darker aspects of the human condition, and this single is no exception, with their dedication to lyrical honesty. Better to Have Loved and Lost Of Virtue meshes love and violence on “The Art of Love,” conjuring images of blood and carnage on the quest for understanding how love has faded so quickly. Featuring lines like, “Love is a cold war” and “Like a gun to the head. 20 gauge in hindsight.” “The Art of Love” is a journey through the stages of violent yearning and the desire for closure. Of Virtue’s lyrics are a testament to the way in which love shapes and alters our chemistry. Of Virtue said this about the single, Having always been unflinching about the things that hollow us out, this brand new single widens the lens and zeroes in on the devastating toll of a love that takes everything and gives nothing back. Metal Lovers Look No Further Of Virtue doesn’t shy away from their melodic metal sound on this track, giving the single the auditory weight fans have come to expect, but also brings to life the devastation of lost relationships. Of Virtue brings their unique style to this track, adding to their thought-provoking metalcore catalog. With their background featuring unique inspirations, Of Virtue continues to mature in their sound and bring the best out of each other, while maintaining the sound that has enthralled listeners from the start. Of Virtue’s “The Art of Love” is available to stream on all platforms.

If you've been sleeping on Holly Humberstone, Tuesday night at the TLA was a very rude awakening. Holly Humberstone performing at the Theatre of Living Arts in Philadelphia, PA. | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The Lincolnshire-born singer-songwriter has been quietly building one of the most devoted fanbases in indie pop since her debut single "Deep End" dropped in 2020 and made it immediately clear she was not here to play it safe. A BRIT Rising Star award, a spot opening for Taylor Swift at Wembley, and two albums deep, she is now well into the North American leg of the Cruel World tour, and Philadelphia got her on a Tuesday night in a venue that was absolutely made for this kind of show. Sold out. Packed to the door. Like sardines. Diva Smith opening for Holly Humberstone in at the Theatre of Living Arts in Philadelphia, PA. | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Before Holly even took the stage, Diva Smith set the bar high. The LA-raised singer-songwriter, who has been carving out her own lane in indie pop with what she calls "therapy pop," stepped out solo with nothing but her guitar, and the room went completely still. You could hear a pin drop. Every shutter in the photo pit. That kind of quiet is rare at a sold-out show, and she earned every second of it. Her vocals are the kind that stop a room, and they did exactly that. Diva Smith opening for Holly Humberstone in at the Theatre of Living Arts in Philadelphia, PA. | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) ____________________________________________________________________________ Then came Holly. Holly Humberstone performing at the Theatre of Living Arts in Philadelphia, PA. | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Cruel World, released this past April, is the follow-up to her 2023 debut Paint My Bedroom Black, and it marks a real shift in where she is as a writer. The new record turns toward something steadier and more intentional, exploring belonging, long-distance love, and the ache of wanting someone in a world that keeps pulling you apart. She wrote it out of a period of deliberate stillness, returning to daily sessions with long-time collaborator Rob Milton, and that intentionality is all over the live show too. The room was completely present with her from the jump. Girls dancing and swaying and just having the best time, the whole floor moving together, everyone locked in. That kind of energy is not manufactured. It means the people in that room know these songs and they feel them, and Humberstone held every single one of them for the whole set. Holly Humberstone performing at the Theatre of Living Arts in Philadelphia, PA. | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The Cruel World material hit hard throughout the night, but the moments when she reached back into the catalog landed just as heavy. "The Walls Are Way Too Thin," "Kissing in Swimming Pools," "Paint My Bedroom Black," "Falling Asleep at the Wheel," songs that have been living in people's bodies for years now, and you could feel it. Nineteen songs and not one of them felt like filler. The TLA was the right room for this. Humberstone does not need anything bigger to make her music feel enormous. She just needs people willing to show up for it, and Philadelphia absolutely did. Holly Humberstone performing at the Theatre of Living Arts in Philadelphia, PA. | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography)

The Paper Kites performing at the Moore Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). The Paper Kites and Donovan Woods delivered a night of harmony, storytelling, and genuine connection at Seattle's Moore Theatre. Article & Photos by Vaneza Gutiérrez Wyckoff Some concerts are remembered for their spectacle. Others linger because of how they make people feel. On May 21, Australian indie-folk outfit The Paper Kites brought the latter to Seattle's Moore Theatre, delivering a performance built not on flashy production or arena-sized theatrics, but on thoughtful storytelling, stunning harmonies, and a rare ability to make a room full of strangers feel connected. Opening the evening was Canadian singer-songwriter Donovan Woods, whose acoustic set quickly established the intimate tone that would define the night. Armed with a guitar, a catalog of heartfelt songs, and a sharp sense of humor, Woods effortlessly balanced sincerity and comedy throughout his performance. Donovan Woods performing at the Moore Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). Between songs, he had the audience laughing with self-deprecating stories and dry observations that often felt more like a stand-up routine than traditional concert banter. Yet beneath the jokes was a songwriter capable of delivering deeply personal moments. His songs about relationships, family, and life's quieter chapters resonated throughout the ornate theater, earning enthusiastic applause from a crowd that seemed increasingly invested with every song. By the time Woods exited the stage, he had accomplished what every great opener hopes to do: transform a room of potentially unfamiliar listeners into eager fans. When The Paper Kites took the stage, the atmosphere shifted almost immediately. A calm anticipation settled over the Moore Theatre as the band eased into a set that felt less like a concert and more like an invitation to slow down and be present. What stood out most throughout the evening was the sense of connection the band fostered among the audience. Looking around the theater, it was impossible not to notice couples leaning into one another, friends wrapping arms around shoulders, and entire rows swaying gently together. In a world increasingly defined by distraction, The Paper Kites created a space where people seemed genuinely content to simply share a moment together. That feeling was reflected in the band's music. Throughout the night, songs unfolded patiently, allowing listeners to fully settle into each story. Rich harmonies floated through the theater while layers of guitar, keys, and percussion created soundscapes that felt expansive without ever becoming overwhelming. The Paper Kites performing at the Moore Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). One of the evening's most memorable moments arrived during "Deep (In The Plans We Made)." As a glowing sphere resembling the moon illuminated the stage, the band stripped the performance down to its essentials. A single guitar provided the foundation while three voices intertwined in breathtaking harmony. The simplicity of the arrangement only amplified its impact. For several minutes, the Moore Theatre seemed suspended in silence, the audience hanging onto every note as the song unfolded beneath the soft glow of the artificial moon. The moment perfectly captured what makes The Paper Kites such a compelling live act. Rather than relying on spectacle, they trust the strength of their songwriting and musicianship to carry the performance. That confidence extended to the production itself. While visually understated, every lighting cue felt intentional. Warm ambers, cool blues, and dramatic washes of color helped shape the emotional landscape of each song without ever overshadowing it. The lighting served as another storytelling tool, enhancing the mood and themes of the music while allowing the songs themselves to remain the focus. Of course, the audience eagerly welcomed one of the band's most recognizable songs, "Bloom." With more than 830 million streams on Spotify, the track has become synonymous with The Paper Kites' success and remains a favorite among longtime fans and casual listeners alike. Yet what made its inclusion notable was that it never felt like the centerpiece of the evening. Rather than serving as the night's defining moment, "Bloom" functioned as one chapter in a larger narrative, a familiar landmark within a set filled with equally moving songs and performances. That speaks volumes about the depth of The Paper Kites' catalog. While many artists spend an evening building toward their biggest hit, The Paper Kites treated every song with the same level of care and importance. The result was a performance that felt cohesive from beginning to end, with each piece contributing to the larger emotional journey. The Paper Kites performing at the Moore Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). As the final notes rang through the Moore Theatre, the audience seemed reluctant to let the evening end. The applause that followed felt less like a customary response and more like an expression of gratitude. Together, Donovan Woods and The Paper Kites delivered an evening defined by authenticity, vulnerability, and connection. Through heartfelt songwriting, remarkable musicianship, and an atmosphere that encouraged listeners to be fully present, they transformed the Moore Theatre into something more than a concert venue for a few hours. They transformed it into a community.

Franklin Jonas kneels on the bartop, amid his second set of the night, at Sports & Social. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). A two-set marathon at Live! Casino & Hotel Maryland made the case, in real time, for why Franklin Jonas is our #1 artist to watch in 2026. Article Contributed by LJ Portnoy and Rebecca McDevitt. Photography by Rebecca McDevitt. Videography by LJ Portnoy. Franklin Jonas dancing with the crowd during his second set of the night, at the Sports & Social, within the Hanover, MD Casino. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). By the time Franklin Jonas leapt off the platform at Sports & Social and up onto the bar top, striding across tabletops, twirling audience members mid-song, and leaning down to grab every hand within reach, it was obvious the room could no longer contain him. A small stage had been set. He needed the whole casino. Franklin Jonas shaking hands with the crowd, during his second set of the night, at the Sports & Social, within the Hanover, MD Casino. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). That kind of night doesn't come around often. SoundCheck has covered hundreds of shows, and this one ranks at the very top of the list. Franklin appeared as part of A Night With Nick Jonas at Live! Casino & Hotel Maryland in Hanover, MD, on a bill rounded out by Magnus Ferrell. He delivered not one but two back-to-back performances on June 6, and somewhere across those twelve to fourteen songs, he reminded everyone in earshot exactly why his is a name worth remembering. Grounded, grateful, and completely Franklin Jonas Franklin Jonas performs in Hanover, MD - The Hall at Live! Casino and Hotel, with the Byzantines, pictured Tim & Aidan. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). What sets Franklin apart isn't volume or flash. It's sincerity. There's a drive to him and a gratitude that reads as completely genuine. He's entirely unbothered by the fame surrounding him, never cocky, and grounded in every sense of the word. He's surrounded by one of the realest teams we've come across, people who show up for him and work alongside him, and that warmth radiates straight off the stage. Set One: Live! At The Hall Franklin Jonas performs in Hanover, MD - The Hall at Live! Casino and Hotel, with the Byzantines, pictured Tim & Aidan. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). The night opened at The Hall, where Franklin packed roughly six or seven songs into a tight set of about 25 to 30 minutes. He moved easily between unreleased material, including the fan favorite "Theodora," and the singles that have begun to define him, with "Road Soda" and "Break the Levee" among them. Franklin Jonas plays with a room the way some performers only dream of. From the pit to the back row, he moved to the beat of his own drum, drawing the crowd into his world without ever seeming to try -- and SoundCheck can confirm, even the pit wasn't safe from his pull. Franklin Jonas and the Byzantines videography from his performance at The Hall at Live! Casino and Hotel. | Videography by LJ Portnoy (@ljportnoy) Franklin Jonas performs in Hanover, MD - The Hall at Live! Casino and Hotel. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). Set Two: Sports & Social Franklin Jonas belts out his tracks, during his second set of the night, at Sports & Social. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). Later in the evening, Franklin gave the casino a second show, this one at Sports & Social, the sports bar tucked inside the property. He started on a modest little platform, but a song or two in, it was clear that platform was never going to hold him. So he didn't let it. He burst onto the bar top and turned the entire space into his stage, jumping table to table, spinning fans, shaking hands, and handing out a reason to smile to everyone he passed. Another six or seven songs followed, digging into deeper cuts like "Cherub" before he closed, as he always does, on "Break the Levee." From the first strum to the final cry, delivered off-mic, he had every single person in that room. His charisma, his charm, the full force of his personality: he leaves none of it backstage. And here's the part that stays with you. He's exactly the same person on that bar top as he is off it. That's craft. That's main-character energy. That's the whole point. Our Pick For 2026 Artist to Watch Franklin Jonas performs in Hanover, MD - The Hall at Live! Casino and Hotel, with the Byzantines, pictured Aidan. | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography). Franklin Jonas is having his moment, and bearing witness to someone stepping so fully and so publicly into their own light is a rare thing. He's our 2026 artist to watch, full stop. He's SoundCheck's mission statement wrapped in a warm hug, and we could not be more thrilled to see what comes next as he readies his first headlining run, The First of Many Tour. If you don't have tickets yet, consider this your only warning. Look out, world. Franklin Jonas is someone special, and someone worth watching. The full story is still coming. SoundCheck's conversation with Franklin drops in July. Franklin Jonas photographed by Rebecca McDevitt in Hanover, MD . | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography).

Mt. Joy brings their memorable and joyous 10 year celebration to the shores of Cleveland. People stretched across the parking lot, waiting in line for Jacob’s Pavillion. The line buzzed with excitement for Mt.Joy’s show that evening. Clevelander’s couldn’t have asked for better weather, the sun beginning to set against the city skyline. The Pavillion was already packed with people inside and out. Being situated on the edge of the river, people showed up in boats, paddleboards, and kayaks to listen to the show. The band is on their “Celebrating 10 Years World Tour” and the fans showed up ready for a journey through Mt.Joy’s lifetime. Mt.Joy performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Mt.Joy take the jam band approach to their shows. Foregoing the traditional opening act and performing two sets themselves with a brief intermission. Though they are not considered a “true jame band”, their indie, folk, psychedelic, sound lends itself well to the format. Mt.Joy took the stage at 8:30 to a very excited crowd. The group began the evening with Lemon Tree, the song begins with a flowing melody that slowly ramps up to funky instrumentals. By the end of the song, the entire venue was full of moving bodies and synchronous head bobs. Lemon Tree is a take on the saying “When life gives you lemons”, leaning on making positive connections and generating happiness within and around yourself. The song’s lyrics and sound make it a perfect opener for a live experience, encouraging everyone listening to do the same. Mt.Joy fans at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Mt.Joy consists of Matt Quinn (vocals, guitar), Sam Cooper (guitar), Sotiris Eliopoulos (drums), Jackie Miclau (keyboards) and Michael Byrnes (bass). Quinn and Cooper met in high school while living in Philadelphia but didn’t start making music until they reunited in Los Angeles years later. The band became fully established in 2016 with their release of Astrovan, which is still one of their most well known songs to date. Astrovan is often saved to be the last song of the evening, leaving fans with a feeling of joy and community. The venue to scream along to the bridge, “and maybe we're all alone together now”, ringing across the Cuyahoga River. Mt.Joy’s music connects with a deeper part of all of us, and aim to bring us together. Throughout the evening people, danced, hugged, swayed, twirled, cried, and grooved, whatever you’re feeling Mt.Joy has a song for that. Mt.Joy performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Since the release of their most recent album “Hope We Have Fun” the band has included the song Pink Lady to their setlist. While the song started off as a joke within the band, it has become a way for fans to interact with each other and the band. Before playing the song, Mt.Joy will pick someone from the crowd to be their pink lady for the evening and give them a sash. Many hardcore fans take it upon themselves to dress for the occasion in hopes to get picked for the title. This often ranges anywhere from pink outfits, to wigs, or even body paint. Becoming the pink lady gives that fan a unique souvenir from the show an experience they will never forget. Mt.Joy fans at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Mt.Joy’s show is one that every fan should experience if given the chance. If you can’t see them live, the band has two live recorded albums on streaming services you should check out. Mt.Joy breathes new life into their songs with their live shows. The added keys and guitar solos, the inclusion of Grateful Dead covers, the real and raw emotions, it brings the songs to a new level. You can feel the passion, connection, and dedication each member brings to the stage. You could feel the joy radiating from everyone there; whether they were on barricade, in the stands, or just listening from across the river. Mt. Joy brings a live show that will leave you wanting more, and we want more. Mt.Joy performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.)

There are concerts, and then there are experiences. Marc E. Bassy's performance at City Winery in New York City felt much more like the latter. Marc E. Bassy performing at City Winery in NYC. Photography by Miranda Wyman (IG: @shotbymiranda) Article and Photography Contributed by Miranda Wyman. Marc E. Bassy brought his tour to City Winery in New York City on Saturday, May 31st, and it was unlike any concert we’ve been to before. City Winery's 350-seat room combines live music with a unique dining experience. Guests ordered drinks and food throughout the show while seated at tables, creating an atmosphere that felt more like a cozy restaurant gathering than just another concert. By the time Bassy took the stage, nearly every seat in the venue had been filled. Marc E. Bassy performing at City Winery in NYC. Photography by Miranda Wyman (IG: @shotbymiranda) What made the night especially unique was how stripped-down and personal it felt. There wasn’t a flashy entrance or any opening act. Instead, Marc E. Bassy casually walked onto the stage alongside his drummer and keyboard player, introducing himself as if he were welcoming friends into his living room. He opened with "Some Kind of Drug," his feature on G-Eazy's 2015 album When It's Dark Out, before performing "Just My Luck" and "Drunk & I'm Drunk." After the opening three songs, he welcomed everyone to City Winery and immediately leaned into the atmosphere, joking about how close everyone was and asking if anyone had any questions. Throughout the night, audience interaction became a major part of the show, with Bassy often pausing between songs to tell stories and chat with fans. The set continued with songs including "XX," "Lock It Up," "Paper Paper," "Slide," "Dirty Water", and "Plot Twist". Before performing "Lock It Up," he gave a shoutout to fellow Bay Area artist Kehlani. Between songs, Bassy reflected on his career and his time living in New York City from 2011 to 2014, calling it one of the most fun places in the world. He opened up about a failed band he was once part of and how he eventually shifted his focus to writing songs for artists such as Charlie Puth and CeeLo Green. He explained that his career changed when he wrote a song that felt too personal to give away to someone else. That song was "You & Me." The crowd erupted when he began performing the hit track. Afterward, a fan shouted, "Where's G-Eazy?" Bassy quickly replied, "He's in Greece," before joking, "I hope you didn't come all the way here for G-Eazy." Fans at Marc E. Bassy at City Winery in NYC. Photography by Miranda Wyman (IG: @shotbymiranda) One thing nobody saw coming was Bassy revealing that he had teamed up with City Winery to create his own custom red wine. The bottle sat on stage all night, and both Bassy and his bandmates kept pouring glasses throughout the show. The bottle sat on stage throughout the show, and both Bassy and his bandmates enjoyed glasses of it throughout the night, adding to the relaxed atmosphere. From there, the show slowed down for an acoustic set that included "Coffee," "Express My Love," "Morning Mercy," "Having Fun," "God Dam," and "Barbados." The stripped-down performances matched the venue's laid-back vibe. Following "Barbados," he spoke about moving from Los Angeles back to his hometown of San Francisco before introducing two unreleased songs, "Are You In" and "Tides." Before performing them, he jokingly encouraged everyone to take out their phones and post the songs on TikTok. He also told the audience that "Tides" might be the best song he has ever written. He jokingly added that this song hasn’t even been recorded yet, and this was seriously the first time ever performed. Marc E. Bassy performing at City Winery in NYC. Photography by Miranda Wyman (IG: @shotbymiranda) After "Tides," Bassy thanked the audience for coming and walked off stage. It didn't take long for chants of "encore" to fill the room, and within a few moments, he returned to the stage with his bandmates. For the encore, he performed "Morning" and invited everyone to leave their seats and gather as close to the stage as possible. Fans quickly crowded the front of the room, creating one final intimate moment between artist and audience. Marc E. Bassy performing at City Winery in NYC. Photography by Miranda Wyman (IG: @shotbymiranda) The connection between Bassy and his fans didn't end when the music stopped. After the show, he came down to the floor to greet concertgoers, taking photos and spending time talking with anyone who wanted to meet him. It was the perfect ending to a night that never felt like a typical concert. Instead, it felt like Bassy had invited 350 people into his living room for an evening of music, stories, and conversation. From answering questions throughout the show to personally meeting fans afterward, he made everyone feel like part of the experience. Between the stories, audience interaction, and the chance to meet him after the show, the night felt less like a concert and more like hanging out with an old friend who happened to be performing. For anyone lucky enough to be Marc E. Bassy’s show at City Winery, it was a show they won't forget anytime soon. Marc E. Bassy performing at City Winery in NYC. Photography by Miranda Wyman (IG: @shotbymiranda)