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Article Contributed by Rebecca McDevitt Franklin Jonas is currently touring with his brothers, playing massive rooms night after night. But before the doors even open, he’s outside the venue with his band hosting intimate pop-up sets that feel like community gatherings. These aren’t secret, random moments either. He posts on Instagram ahead of time so fans know exactly where to find him. It’s intentional. It’s thoughtful. And it’s rare. Franklin Jonas performing outside of Prudential Center in Newark, NJ - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) We saw it firsthand at the Prudential Center in Newark, NJ. Before the show, Franklin came out with nothing but his band and a smile, and within minutes there was a small circle of fans completely locked in. Someone requested “New Girl,” one of his older songs, and without missing a beat, he was locked in, and singing with her. No hesitation. No “I don’t play that anymore.” Just genuine connection and pure love for the people who showed up. That’s the thing about Franklin: he doesn’t treat these moments like obligations or content opportunities. He treats them like conversations. He listens. He interacts. He shares stories. He makes everyone feel like they’re part of something instead of standing behind a barricade watching it from a distance. Franklin Jonas performing outside of Prudential Center in Newark, NJ - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) While most artists on major tours are tucked backstage until stage time, Franklin is building a second, smaller stage outside the venue — one built on community, not production. It’s scrappy, sweet and human as hell. And honestly? It’s something we wish we saw more of from rising artists. Not because it’s trendy, but because it’s the kind of connection that fuels long-term artistry. Fans remember moments like that forever. Franklin Jonas performing outside of Prudential Center in Newark, NJ - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) What we love about this, is that Franklin is opening a space for people to feel seen. And that’s the rise we want to root for. Franklin Jonas’ new song “Break The Levee” is out November 26th on all streaming platforms. Stream “Road Soda” & “Village Liquors” now on all streaming platforms!

Contributed by Rebecca McDevitt & Ilana Bornstein Photo Provided by Ken Phillips Publicity Group David Archuleta is entering his jolly pop era and honestly, we’re obsessed. My Only Wish doesn’t follow the cookie-cutter “holiday album” formula. Instead, it feels like David took festive energy, sprinkled it with pure joy, and built a sound that could genuinely be its own genre. It’s warm, upbeat, and unmistakably holiday, but in a way that makes you want to dance around your living room rather than sip cocoa by a fireplace. It’s the kind of December soundtrack you turn on when you want the season to feel brighter, not quieter. “Sleigh Ride” captures that energy perfectly. It’s fun, flirty, and has that cinematic sparkle without ever slipping into that “forgettable background track” space. Instead, it makes you the main character in a Christmas movie. Think bold colors, cozy sweaters, and that playful wink when David sings “Let’s take Santa’s sleigh for a ride.” Then there’s “Christmas In California,” which David released last month, and it fits perfectly into this new jolly pop universe. It feels like starring in your own West Coast holiday rom-com on the Santa Monica Pier, surrounded by blurred Christmas lights and twinkly-wrapped palm trees. The song is sun-soaked holiday magic. It captures that feeling of having the time of your life with the love of your life, all with a holiday breeze instead of a winter chill. “Wish At The Top Of My List” with Jordin Sparks is exactly what David told us it would be. Soulful, rich, and full of heart. It feels like that big emotional moment in a festive movie where the two leads finally realize their feelings are mutual. Their vocals blend so naturally that it’s impossible not to smile while listening. The EP also includes remastered versions of “Winter in the Air” and “Christmas Every Day,” which add a fresh flair to the project. In rediscovering the holiday spirit and choosing not to take things too seriously, David rebuilt these songs to fit who he is now. It feels like he’s inviting listeners to grow with him, celebrating nostalgia while letting his current artistry shine through. My Only Wish proves David can make holiday music feel exciting again. It’s festive, it’s fun, and it’s everything we love about him in one place. Check out our featured interview with David Archuleta: Catch David Archuleta at Joe's Pub in NYC for a limited run of holiday shows as well as the Peppermint Club in LA. Tickets on sale at davidarchuleta.com

Leyla Ebrahimi explodes on the scene with new track, "i don't like being left behind" A sound that pulls you under “i don’t like being left behind” opens in swirls and spirals, an ambient wash of synths that feel almost video game–esque. It is dreamy and atmospheric, yet it carries a pulse that instantly catches your attention. Leyla Ebrahimi’s voice enters with a softness that glows against the production. Even in these early moments, the track makes its intentions clear. This is indie alternative at its core, but it welcomes pop influences with open arms. Where indie meets something bigger: Leyla Ebrahimi shows us something new After the first chorus, the whole song shifts. Bursting guitars erupt through the mix and the track leans confidently into an alternative rock energy. Leyla anchors the moment with a hypnotic refrain of “I don’t like being left behind,” letting the line loop until it becomes almost trance-like. It is one of those passages that hits you on both a musical and emotional frequency, the kind that lingers long after it fades. Her songwriter voice steps into view The second verse brings everything back down. Leyla’s singer-songwriter sweetness rises to the surface and her vocal tone settles into something more vulnerable, more exposed. But the alternative edge returns quickly in the pre-chorus and chorus, reminding you that the softness is only one part of her palette. She moves between these worlds with a fluidity that feels natural and fully intentional. A bridge that drifts into the surreal The bridge transports the track into a completely new space. It feels dreamlike, almost otherworldly. The mix thins out and opens into something weightless, as if you’re slipping into another room inside the song. It is a moment that shows just how much range Leyla has as an artist. She is not afraid to experiment with mood and texture, and it pays off in a way that makes the track feel expansive. A genre-blender with intention This song is rich and layered. It blends indie pop, alternative rock, ambient textures, and singer-songwriter lyricism without ever feeling disjointed. Leyla’s tone ties everything together. Her voice is warm, honest, and expressive, and the production seems built to elevate that emotional center. There are so many unique touches in this track that listeners from almost any genre can find something to admire. A promising glimpse into the future “i don’t like being left behind” feels like a glimpse into what Leyla Ebrahimi is capable of. She has vision, range, and a creative instinct that bends genre lines rather than following them. If this is the direction she is moving in, the future looks incredibly bright. Leyla is an artist worth keeping close.

Article and Photography Contributed by Fernando Flores Grant Knoche performing at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) So good it's on AUTOPILOT Grant Knoche’s rise from kid-friendly pop prodigy to a fully realized alt-pop force has been nothing short of electric. His latest tour stop in Brooklyn proved exactly why audiences are so drawn to his world, kicking the night off with a burst of warmth and charisma from Taylor Felt, whose soulful vocals and easy command of the stage set the tone. Her performance glowed with confidence that invited the crowd to experience the strength that her vocals had. She was bright, inviting, and emotionally grounded which left the crowd buzzing. Taylor Felt opening for Grant Knoche at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) Handing off to Jades Goudreault who brought a different but equally compelling flavor to the room. With razor-sharp pop instincts and a dynamic presence that controlled the stage, Jades dialed up the momentum, layering vulnerability and power in a way that had the audience fully locked in. Hitting us with a surprise guest star on stage, she had nothing but tricks up her sleeves. After these two amazing performances, the room felt primed for Grant Knoche’s arrival. Jades Goudreault opening for Grant Knoche at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) The room where Taylor Felt and Jades Goudreault delivered fire, Grant brought something darker, sleeker, and undeniably magnetic. His performance was sexy, yes, but never in a simple nor surface-level way. It carried complexity, intention, and emotional intelligence, the kind that makes every movement feel like part of a larger story. A performer that’ll make you say, “WOOHOO” With the room already thrumming from the openers’ energy, the moment Grant stepped onto the stage the atmosphere transformed. Grant didn’t just dance, he performed! Weaving sharp choreography with spontaneous moments that made the crowd go insane. Every glance, every breath, every flick of his hand seemed engineered to make the audience feel something. And judging by the collective swoon that rippled through the room whenever his eyes scanned the crowd, it worked. Grant Knoche performing at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) Yet the confidence he radiates isn’t detached; it’s connective. As he moved from one song to the next, he built an emotional arc that made the performance feel intimate even in a packed venue. The vulnerability added depth to the heat, making his artistry feel rich, textured, and impossible to look away from. Grant shaped the night, leaving the crowd buzzing long after the final note faded. Grant has Brooklyn saying, “I MISS YOUR LOVE” Grant’s Brooklyn show captured the essence of his new album, Good Luck Getting Over Me —a project already promising to blend sharp emotional honesty with the bold, kinetic energy that has become his signature. Even before it was out, the album had generated a palpable buzz, and seeing Grant perform only confirms why. The same pulse that runs through his new tracks such as Friction with its tension, longing, confidence, and the shimmer of vulnerability all is amplified tenfold on stage. Knoche turns every lyric into motion and every beat into a moment. If the recorded versions capture his artistry, the live versions capture his soul. With Good Luck Getting Over Me on the horizon and the tour still rolling, now is the moment to lock in a pre-order, grab a ticket, and experience Grant Knoche while he’s carving out this new era.

Article contributed by Madison Cozzens Photography by Madison Cozzens Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) November 14th was a jam-packed day at The House of Blues in Cleveland, OH. The Academy Is… was playing in the main room, and Mac Saturn packed the smaller Cambridge Room at the venue. The house was buzzing with fans excited to see their show of choice that evening. The intimate Cambridge Room was filled with people of all ages, ready to have a 70s rock-inspired evening.  Mike Moody of Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) Akron Locals Bring The Energy The Sweet Spot performing at The House of Blues Cleveland. Photography by Madison Cozzens (IG: coz_artphoto ) The opener for the evening was the local Akron band, The Sweet Spot. The moment the group came out on stage, they grabbed the attention of the room. The lead singer, Maddie Indre, was the standout of the group. Her energy was infectious, jumping, kicking, and moving around the stage like she owned it. The group played a majority of their original songs and included a cover of Barracuda by the band Heart. It is always something special to see a local band perform for a group that they look up to. They really bring their A-game and perform like their life depends on it because sometimes it’s one of the biggest ways to make new fans.  If you need any more convincing that The Sweet Spot or any other small band should be openers, go read Rebecca’s piece, Hot Take: Big Artists Need To Stop Booking Big Artists As Openers  (after this). The Sweet Spot definitely deserves the recognition they received in the Cambridge Room, and if you’re local to the Cleveland/Akron area, go check them out.  Mac Saturn Takes the Stage Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) Mac Saturn hails from Detroit and bring a soulful mo-town groove wherever they go. Many fans were dressed for the occasion with leather jackets, platform heels, and bellbottoms. Mac Saturn had a late start to the evening, but that didn’t stop the band or the crowd from having a great time unil the money ran out. The group started with Plain Clothes Gentlemen  off of their 2022 EP “Until the Money Runs Out”. Frontman, Carson Macc, brings the energy and charisma that every 70s rock band needs. He has been compared to a young Mick Jagger, with his hair, outfits and general  stage presence it’s easy to see the similarities. His vibe along with the guitar riffs, bass lines, and harmonies transport you to a different time. Those elements make it so that you can’t help but get out on the dance floor and groove with the strangers around you.  Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) The crowd weren’t the only ones dancing and grooving, the band fed off the crowd’s energy and captivated everyone from beginning to end. Groups of friends young and old were dancing the night away. Mac Saturn’s discography is full of songs to keep the vibes high like “Ain’t Like You”, “Get on the Phone”, and “Mint Julep”. The groups most popular song is “Mr.Cadillac” with over 5 millions streams on Spotify. It is a great representation of the group and their music. The catchy chorus, the 70’s inspired instrumentals, and the bouncy bass line make for a lively performance.  Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) The Detroit-based band consists of Carson Macc (lead singer), Mike Moody (lead guitar), Angelo Coppola (drums), Nick Barone (guitar), and Ian Lukas (bass). Mac Saturn was on a high during the summer of 2024, headlining a tour across the US with their debut album “Hard to Sell”. The group was brought to a halt when their ex-piano player was arrested and overshadowed the tour and album release. Mac Saturn took time to regroup and come back stronger, after a year and a half the group released their newest single “Takes Time” in October. The played a variety of unreleased songs, that keep their signature sound but bring something new to the table.  The band is donating a portion of the proceeds of this tour to Darkness to Light , and provides fans with the ability to donate and learn more at every show. This first tour back from the scandal was relatively small but the group had a great turnout in Cleveland and fans were excited for their comeback. With a new album on the way and renewed sense of purpose, the group is ready to pave a new path forward that empowers not only themselves but anyone who will listen.

Article contributed by Rebecca McDevitt Album artwork for Milahroy's new EP, "Give In To Let Go - The Falling" If you have not listened to Milahroy yet, we suggest adding him to your playlist right now.  His new album, Give In To Let Go (The Falling),  is the perfect introduction to an artist who’s stepping into his most honest, intentional, and emotionally charged era yet. What began as a tight and intimate EP has now evolved into a complete story with three new tracks that deepen the world he built back in June when we first featured him. Hearing the full album feels like catching up with an old friend who is finally saying everything they were too afraid to admit the first time around. From the original EP, two songs still serve as the emotional anchors. “ 2DAMNGR8FUL”  is a playlist essential. It is a manifestation mantra that reminds you to find gratitude even when life feels heavy or negativity tries to pull you off center. It holds this glow of hope that feels uniquely Milahroy. “ Living By Comparison”  takes a different approach, digging into the pressure artists face in an industry-obsessed world with constant comparison. It’s a reminder that your worth is not determined by how you stack up against the person next to you. It’s reflective, raw, and painfully relatable. The new additions bring even more color and honesty into the picture, but SINNER SZN  shines the brightest in our eyes. It bursts into the album with a fun, dancey spark that feels so authentically him. The track captures that complicated mix of heartbreak, insecurity, and dissociation in the aftermath of being left by someone you cared for while still making you want to move your body. It is an emotional release disguised as a pop moment. It is Milahroy transforming hurt into something you can dance through, which is exactly why it hits so hard. The other new tracks, “Sleep In”  and “H e a d l i g h t s” ,  help round out the journey, adding softness, self-reflection, and a sense of closure. Together, they elevate the album from a collection of songs into a full emotional arc. You can hear Milahroy settling into himself, trusting his instincts, and embracing his voice with more confidence than ever before. Give In To Let Go (The Falling)  is tender, vulnerable, and full of heart. It captures the growing pains, the healing, and the messy in-between moments in a way that feels both personal and universal. This project is proof that Milahroy is carving out a space that is entirely his own. And if you have not added him to your playlist yet, now is the time. Catch our exclusive interview with Milahroy available in our PRIDE Edition of SoundCheck Mag - Exclusive, Limited Edition print copies of this mag are now available!

Sienna Spiro photographed by Jennifer Cheng By LJ Portnoy, Editor-in-Chief A voice that draws you in Sienna Spiro’s “Die on This Hill” begins with a quiet magnetism that feels instantly inviting. A single piano line opens the door, and her voice steps in with striking richness. It is warm, resonant, and full of a clarity that draws you in immediately. Early artistry, early confidence She moves into her upper range with ease, giving the opening verse a luminous quality. Even as a rising artist still building her catalog, Sienna sings with the self-possession of someone who has spent years refining her craft. That early sense of identity is rare, especially at this stage in her career. Where listeners start to pay attention The chorus widens everything she has set up. Her phrasing opens, her tone gains new texture, and the melody lifts into a space that feels powerful and deeply emotional. She has been gaining quiet traction online, especially through short-form clips that highlight her upper range, and this song feels like the moment where that early attention begins to click into something bigger. Sienna Spiro photographed by Jennifer Cheng Sienna Spiro's sound takes shape As the track continues, more of her artistic fingerprint becomes clear. She layers harmonies with intention and uses her rasp as a natural texture that gives her sound an instantly recognizable edge. Her performance choices feel thoughtful, which speaks to the kind of musician she is becoming. The kind of track you revisit Repeated listens reveal new details each time. A hidden harmony, a soft rise in the piano, a subtle swell in the production. The final refrain brings all of this together and shows how powerfully her voice can anchor a fully produced track. It points toward the kind of dynamic range she is capable of exploring in future releases. An artist worth following now Sienna Spiro is early in her career, but she carries the spark and confidence of someone stepping into her sound with purpose. “Die on This Hill” feels like a breakthrough moment, the kind that makes you want to follow her journey from the start. She is absolutely one to keep on your radar.

Contributed by Rebecca McDevitt There is something magical about stepping into a venue early, grabbing a drink, and discovering an artist you have never heard of. That is the point of an opener. It is the spark before the headliner. It is where so many lifelong fans realize they just stumbled into their next obsession. Crowd at All Time Low in Detroit, MI - Photography by Laura Jean Portnoy (IG: @ljportnoy ) But somewhere along the way, major artists started treating openers like mini co-headliners. Think massive names stacked with massive names. Think tours where everyone is already on your playlist. And honestly, it is killing one of the most important pipelines the music industry has. If the goal of an opener is to plant seeds, then the industry needs to start planting the right ones. Big Names Should Not Always Book Big Names When an arena-level artist books another arena-level artist as an opener, it feels exciting for a moment. But what it really does is eliminate a powerful chance to break new talent. Smaller and mid-sized artists are fighting harder than ever to be seen. Touring is expensive. Social media is unpredictable. Discovery fatigue is real. Give those artists stages. Give them rooms filled with people who want to fall in love with someone new. That is how careers start. Calliope Wren performing at Amityville Music Hall in Amityville, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) Fans Actually Want To Discover Someone New There is a unique thrill in walking into a venue and realizing you have no idea who is about to step on that stage. Fans love it. They want it. They want to experience that moment where a song hits and they go, “Who is that and why am I suddenly obsessed?” When the opener is already a household name, that discovery magic disappears. It becomes a second headliner instead of a spotlight moment for an artist who is ready to grow. The Industry Grows When Artists Give Back Rachel Bochner opening for David Archuleta in Philadelphia - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Major artists were once those small names on tiny stages. They were once the openers no one knew. They were the ones hustling for their first break. And the cycle continues only when the biggest names remember where they came from and give those opportunities back. That is what keeps the industry alive. That is what shifts the landscape. And that is exactly where smaller artists bloom into acts that eventually fill their own rooms. Why SoundCheck Is Stepping Into That Gap This is why we champion rising artists. This is why we dig into the stories behind the names you might have only heard in passing. This is why we highlight dreamers who are waiting for someone to believe in them. SoundCheck exists for those who deserve a chance. The ones who make fans feel something real. The ones who would light up an arena if they just had the opportunity to step on the stage first. Lead singer Jess of Former Critics performing in Detroit, MI - Photography by Laura Jean Portnoy (IG: @ljportnoy ) Larger artists have the power to shape the next generation of music. And if they want the industry to thrive, it is time to stop booking only big names and start planting seeds again. Because the opener spot has the power to start a ripple that becomes a wave.

Kelly Reynolds, the rising New Jersey artist signed to Moto Records, opens 2025 with a single that feels like a deep breath and a gut punch all at once. “Ready Now” is her first release of the year, and if you love indie storytellers like Leith Ross or Madison Cunningham, she needs to be on your radar immediately. She has only been releasing music for a little over a year, but “Ready Now” shows an artist who already knows exactly what she wants to say. The track pulls you in gently, opening with soft guitar that feels like the quiet moment right before your emotions spill over. Then Reynolds delivers the first line with such clarity and weight that it stops you in your tracks. “Live my life black and white, through my tv screen” sets the stage for a story shaped by longing, distance, and the ache of reflection. Her delivery is tender but intentional, and it makes you lean in closer. As the song unfolds, “Ready Now” feels like stepping into a heartbreak dream. It is soft but powerful, poetic but grounded in real hurt. The production blooms like a field of flowers you did not see coming, matching her voice as it rises with every verse. There is melancholy woven into every chord, but also a spark of strength that cuts through the sadness. When Reynolds sings “You’ve let me go but you don’t know I’m ready now” it hits with that slow burning sting that only the best indie heartbreak songs can deliver. It feels like a dagger and a release at the same time. She turns the moment of being left behind into a declaration of her own growth, and it is impossible not to root for her. “Ready Now” is the kind of song that stays with you long after it ends. It leaves a feeling in your chest you cannot shake, and it solidifies Kelly Reynolds as someone carving out a real space in the indie world. If this is how she is starting 2025, we cannot wait to see what the rest of the year brings.

Article Contributed by Rebecca McDevitt Pop punk is alive, loud, and definitely moving back into the neighborhood. girlfriends’ new album THERE GOES THE NEIGHBORHOOD is the perfect mix of early 2000s nostalgia and modern-day edge. Think Yellowcard and Blink-182 colliding with MGK’s pop-punk revival. It’s fun, chaotic, and full of emotion in all the right ways. The record kicks off with pure energy. The singles “Landslide,” “Garbage,” and “West Coast” already hinted at what was coming, and hearing them flow together on the album ties it all together perfectly. “Landslide” feels like it belongs at an outdoor festival, the kind of track you scream along to while the sun’s beating down and you’re way too dehydrated to care. “Garbage” delivers exactly what you expect: heartbreak wrapped in distortion and grit. When they shout, “For everything you put me through, throw my heart in the garbage,” it’s pop-punk poetry at its finest. Then there’s “Good Luck” featuring Goldfinger, a collab that’s pure adrenaline. If you’re not starting a mosh pit in your living room during this one, what are you even doing? It’s fast, punchy, and proof that girlfriends know how to craft an anthem. “Sunset Blvd” keeps the momentum going with bright guitars and California energy. It’s upbeat, summery, and infectious. It’s the kind of song that makes you roll your windows down and chase the sunset, even when it’s freezing outside. THERE GOES THE NEIGHBORHOOD is exactly what pop punk needed. It’s unapologetic, catchy, and full of emotion. girlfriends have proven they’re not just part of the scene, they’re helping shape where it’s headed next.

Article Contributed by Rebecca McDevitt & Fernando Flores There’s a calmness to David Archuleta that feels almost luminous. Even over a screen, it radiates a gentle peace that comes from someone who’s done the work of rediscovering themselves. When he smiles, it’s easy to see that the joy he’s singing about isn’t just a theme; it’s a state of being. Photo Provided by Ken Phillips Publicity Group As the holiday season approaches, Archuleta returns with My Only Wish, a festive EP filled with warmth, playfulness, and heart. But this release feels different; freer, lighter, touched by self-renewal. He describes it as a celebration of joy, connection, and the choice to embrace fun again “Christmas used to be really serious for me,” he laughs. “It was sacred, it still is, but now it’s about joy and connection. I’ve lightened up. It’s become fun again.” That balance between reverence and release runs through My Only Wish. The project revisits the familiar holiday roots fans know him for but adds a sparkle of spontaneity, a retro-pop shimmer that mirrors his new chapter of life. Songs like “Christmas in California” sound sunlit and bright, as if joy itself packed its bags and headed west. “I wrote it in Laguna Beach,” he recalls. “It was January, but it was gorgeous. I wanted something playful and fun — something that just felt different.” The result is exactly that; breezy, hopeful, and full of heart. It’s the sound of someone who’s learned that joy doesn’t have to be complicated. When told the song feels like “reindeer on the beach,” he bursts out laughing. “Nice! Global warming!” he jokes, his humor disarming and contagious. Archuleta’s renewed ease carries into his collaborations. On My Only Wish, he finally teams up with longtime friend Jordin Sparks for a soulful, joyful duet that had been years in the making. “We’ve been talking about doing something together for over a decade,” he says. “She killed it. She sounds so good on it. She’s one of my dear friends, and I’m honored she joined me on this.” That same spirit of experimentation and openness colors his Mixes en Español project, which reimagines some of his songs entirely in Spanish. “It just made sense,” he explains. “I was already doing Spanglish versions, so I thought, why not go full Spanish? Working with Esteman was amazing. He’s got this playful quirkiness, and we connected on so many levels. We both know what it’s like to rediscover who you are as artists and as people.” Rediscovery is, fittingly, the heartbeat of this whole era. After years of growth, reflection, and redefining happiness, Archuleta stands himself more than ever. That authenticity shines in his upcoming holiday shows, including a multi-night run at Joe’s Pub in New York and dates in Los Angeles. “Intimate shows are just so much more laid back,” he says. “They’re more interactive, more personal. I’m all for a chill vibe.” It’s that closeness and sense of shared joy that keeps him excited year after year. “It’s the people,” he says simply. “That feeling when everyone sings along. It’s like we all get to remember why we love this time of year.” And maybe that’s what makes My Only Wish resonate so deeply. It’s a holiday record that’s a reflection of growth, gratitude, and the magic that happens when you let light back in. For David Archuleta, joy isn’t something fleeting. It’s a choice that is renewed each day, sung from the heart, and shared freely with the world. Catch David Archuleta in NYC & LA for his holiday shows. Get tickets & VIP at davidarchuleta.com Photo Provided by Ken Phillips Publicity Group

The Nashville indie-folk singer-songwriter delivers a moving, sold-out debut in New York City — blending raw emotion, crowd connection, and musical grace in his first U.S. headlining tour. Article & Photos Contributed by Miranda Wyman Indie-folk singer, songwriter, and producer Hunter Metts delivered an unforgettable performance at New York City’s Mercury Lounge on Friday, November 7, as part of his first U.S. headlining tour. Playing to a sold-out crowd of 250, Metts transformed the intimate Lower East Side venue into something far greater — a space filled with emotion, connection, and musical sincerity that felt deeply personal from start to finish. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman (IG: @shotbymiranda.jpg ) The night opened with Emma Andersen, whose ethereal vocals and poetic songwriting immediately drew the crowd in. Her gentle, introspective set created a calm anticipation in the room, perfectly setting the tone for Metts’ arrival. It was clear she’s already built a loyal following — an entire front row sang her lyrics back to her, a rare and telling sight for an opening act. Andersen’s performance carried both confidence and warmth, leaving a lasting impression that lingered even after she exited the stage. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman   (IG: @shotbymiranda.jpg ) Metts’ 13-song setlist struck a perfect balance between quiet reflection and full-band energy. Some songs were performed solo, allowing his delicate voice and expressive guitar work to take the spotlight. Others featured his full band, adding dynamic layers and subtle textures that gave the performance an organic richness. In two songs, Metts brought his band back out for backup vocals, creating warm, immersive harmonies that showcased his producer’s ear for detail. What made the evening especially captivating was Metts’ genuine connection with the crowd. Between songs, he spoke candidly; cracking jokes, responding to fans, and opening up about his hopes for the tour. He admitted he’s still breaking out of habits from his days as an opener, often having to rush through sets, and even apologized if any of those habits showed, saying he wanted each show on this tour to be perfect for the audience. That humility and self-awareness only deepened the crowd’s appreciation, turning the performance into something that felt collaborative rather than performative. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman   (IG: @shotbymiranda.jpg ) A highlight of the night came when Metts brought Andersen back on stage for a stunning duet of “Across The Great Divide.” Their voices blended seamlessly, evoking the spirit of classic folk duos while retaining a fresh, modern intimacy that held the audience in complete silence. Every song carried the emotional depth that defines Metts’ music. Tracks like “Heavy, Heavy Love” and “Telescope Lovers” showcased his lyrical vulnerability, while newer material hinted at an artist continually refining his craft. His voice, smooth yet raw, carried each lyric with a sincerity that made even the smallest moments feel significant. Metts closed the night with “Weathervane,” a soaring, heartfelt finale that encapsulated the themes of direction, introspection, and change that run through his work. As the final notes faded, the room erupted in applause — a standing ovation of sorts in the tight quarters of Mercury Lounge. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman   (IG: @shotbymiranda.jpg ) For an artist embarking on his first headlining tour, Hunter Metts commanded the stage with both grace and gratitude. His performance at Mercury Lounge was a testament to his evolution — a rare blend of technical precision and emotional authenticity. If this night was any indication, Metts isn’t just finding his voice as a headliner; he’s proving he was meant to be one all along.

Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) Article & Photos Contributed by Ernesto Raul Aguilar Few artists blur the lines between virtuosity and eccentricity like Thundercat. On November 7th, 2025, the Los Angeles bassist, singer, and producer brought his signature blend of jazz, funk, and soul to Chicago’s historic Aragon Ballroom, delivering a performance that was both musically dazzling and emotionally charged. Touring in support of his catalog that’s redefined modern fusion, Thundercat reminded a packed house why he remains one of the most magnetic live acts in contemporary music. From the opening track, “Children of the Baked Potato,” the tone was set, technical mastery, groove-heavy arrangements, and a sense of play that makes Thundercat shows unlike anything else. His six-string bass work was nothing short of jaw-dropping, effortlessly moving between dense chordal runs and rhythmic flourishes that served both as foundation and melody. Behind him, his touring band locked into every twist and tempo shift with precision, creating a soundscape that was both tightly rehearsed and loose enough to feel spontaneous. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) “Candlelight” and “I Love Louis Cole” followed, giving the crowd moments of emotional texture and humor in equal measure. The chemistry between Thundercat and his bandmates radiated throughout the venue, translating complex time signatures and harmonic progressions into something infectious and deeply human. When “Black Qualls” hit, the energy in the ballroom surged, its mix of funk and social commentary resonating loudly with a Chicago audience that knows a good groove when it hears one. Midway through the set, the mood took a more introspective turn. “Overseas” and “I Wish I Didn’t Waste Your Time” showcased the tender, melancholic side of Thundercat’s songwriting. His falsetto, fragile but confident, cut through the mix with disarming sincerity. The swirl of light and visuals added to the dreamlike quality of the performance, enhancing the surreal contrast between heartbreak and humor that defines much of his music. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) The second half of the night leaned into fan favorites. “Lava Lamp,” “A Fan’s Mail (Tron Song Suite II),” and “Tron Song” reminded everyone that Thundercat’s deep-cut catalog is just as strong as his hits. The crowd erupted when he launched into “Dragonball Durag,” his playful ode to romance and self-image, followed by “Funny Thing,” which had nearly the entire room dancing. The collaboration with Tame Impala, “No More Lies,” gave a nod to his continued evolution and crossover appeal, its shimmering groove feeling right at home between the older material. By the time “Lady / Them Changes” hit, the Aragon had transformed into a communal singalong. The signature bassline, instantly recognizable, sent a wave of nostalgia through the audience, a reminder of how far Thundercat’s music has traveled since his Drunk era. The encore was an emotional exhale. “Show You the Way” brought warmth and reflection, while “Friend Zone” reignited the room’s collective energy. He closed with “It Is What It Is,” a fitting emotional coda, equal parts mournful and transcendent. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) For nearly two hours, Thundercat turned the Aragon Ballroom into a cosmic jam session, balancing technical brilliance with soulful vulnerability. His ability to make virtuosity feel accessible and deeply fun remains unmatched. In a music landscape often obsessed with perfection, Thundercat’s Chicago performance was a celebration of imperfection, emotion, and groove in their purest forms.

Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Article & Photos Contributed by Rebecca McDevitt If you grew up blasting pop punk on your iPod Nano, this tour was basically therapy. The Delilah vs. Juliet Tour brought two fan-favorite names, Plain White T’s and We The Kings, together for a night that felt like Warped Tour 2010 all over again. And with Emo Nite setting the tone, the nostalgia levels were off the charts. We The Kings hit the stage first and honestly? They made a strong case for Juliet taking the crown. The crowd screamed “Skyway Avenue” and “Check Yes Juliet” like it was the last song they’d ever sing. Every lyric echoed back to the band, and for a second, it felt like the entire venue time-traveled straight to 2008. Photos by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) But the Plain White T’s knew Delilah would have her moment. Before We The Kings even walked out, a “Hey There Delilah” dubstep remix played through the speakers, a bold move and a clear warning that Delilah was taking the night. The band celebrated 20 years of All That We Needed, performing the title track along with a mix of old favorites and newer songs that reminded everyone why we still love them. They opened with songs like “Hate (I Really Don’t Like You)” and “1,2,3,4”, and the crowd didn’t miss a beat. That quick acoustic rundown of 1,2,3,4 was just the right kind of heart-melty moment before picking the pace back up. Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Somewhere between the “left side vs. right side” crowd battle and the Tuesday night energy slump, it became clear that this show was a time capsule. Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Plain White T’s closed with “Hey There Delilah” in its rawest, stripped-down form, just pure emotion, and wrapped the night with “Our Time Now”, reminding everyone that yes, it’s still our time. For every elder emo in the room, this wasn’t just a concert. It was a reunion with the songs that raised us, the bands that never really left, and the feeling that live music still hits just as hard as it did back then. Catch Plain White T's and We The Kings on tour!

Article Contributed by Fernando Flores Keeping it Short n’ Spooky A few months ago, SoundCheck Mag had a special interview with Amber Mark, highlighting the release of her new album, Pretty Idea, which dropped on October 10, 2025. Today, we have the privilege to deep dive into her set while touring alongside Sabrina Carpenter, making the Short n’ Sweet Tour just a little bit sweeter. Amber kicks off the performance coming out in a stunning Black Cat-inspired bunny outfit which easily became an iconic outfit choice for her set. Simplistic yet stunning, she grasps everyone’s attention the moment the spotlight shinned, and she walked out onto the stage. Never have I seen the crowd go wild for the first opener like how New York City did for Amber Mark, but the crowd did not disappoint. It’s true what Sabrina Carpenter stated in her Instagram post: “MSG... [has] been unreal.” Pure Energy at Madison Square Garden Night 4 starts strong with Amber performing a set of pure excitement. In the mix, she sings a few songs off the new album, Pretty Idea, that, as predicted, had the crowd moving and vibing with Amber Mark. Playing favorites such as “Let Me Love You,” Mark gives an energy that makes the 25-minute set feel electrifying. With a setlist that moves seamlessly song to song, her voice filled the large venue that is Madison Square Garden. Even those unfamiliar with the new material were caught up in the rhythm, clapping, singing, and getting lost in the beat. Amber Mark was never just the owner but the right fit to be part of the Short n’ Sweet Tour, making a name for herself in every city she visits. By the time she wrapped up her set, the crowd was left buzzing with excitement. This was just the beginning. Based on the crowd's raw emotion, you can already feel the momentum building. If her performance in New York was any indication, Amber Mark is quickly becoming an artist you’ll want to keep an eye on, especially as she continues to carve out her place in the music world. The Soundtrack to Your Next Obsession Listening to Pretty Idea, Amber Mark’s brand new album that, not even a month in, has already earned the crowds’ approval. Her fresh sound is undeniably infectious, blending smooth R&B with pop sensibilities that make every track feel like a soundtrack to your best moments. With her unique voice and effortless cool, Amber Mark is bound to soar into pop stardom in the same league as rising stars like Sabrina Carpenter and SZA. What sets her apart, though, is her ability to create an atmosphere that transports you. Whether it’s through her emotionally charged lyrics or infectious beats, she knows how to get the mood going. Bold n’ Brilliant Trio If you haven’t already jumped on the Amber Mark train, it is the perfect time to do so. Catch her live on the Short n’ Sweet Tour before she hits the mainstream stratosphere. This tour offers fans an intimate opportunity to experience her music in its rawest form. You don’t want to miss the chance to see Amber perform alongside Sabrina Carpenter and Olivia Dean, a lineup of today’s strongest female voices, each bringing their own unique flair to the stage. Be sure to grab your tickets for the final leg of the tour ending late November, 2025—it’s bound to be a night to remember. With Amber Mark leading the charge, there’s no doubt this will be one of those shows you’ll talk about for years to come. If you can’t make this tour keep any eye out for future events from Amber Mark, here, or through her socials.

Article Contributed by LJ & Mark Portnoy Photography by LJ Portnoy Everyone's Talking tour in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) Some bands have been here for most of your life. Others have been here longer than you have even been alive. Mayday Parade has been a band for twenty years. All Time Low has been a band for twenty two. The crowd reflected that timeline in full. Some people first heard these songs on burned CDs and shared iPods. Others found them on streaming years later. Different ages, different entry points, but everyone already knew the words. This wasn’t nostalgia. This was continuity.  The music stayed. So did the people who needed it. The Paradox The Paradox in Detroit, photography by LJ Portnoy (@ ljportnoy on IG) The Paradox opened the night with a presence that filled the room before the first chorus hit. Formed in Atlanta in 2024, the band includes vocalist and guitarist Eric Dangerfield , Xelan  on lead guitar and backing vocals, Rayman  on bass, and PC3  on drums. Their chemistry is instant. Their confidence is loud without tipping into ego. Their humor is effortless, not performative. Their sound sits somewhere between indie rock, pop punk, and early 2000s irreverence. The kind of energy Blink-182 had at the beginning, when everything felt chaotic but somehow still precise. And it works. We already had The Paradox on our playlists coming in, and seeing them live only locked it in further. The Paradox in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) At one point, Eric pointed out a man in the pit with a truly magnificent mustache and treated him like the night’s chosen hero. He introduced a breakup song with, “This one’s about an ex who cheated on me. Bitch.” The crowd howled. A mid song butt slap landed with such unshakeable confidence that the front half of the venue laughed in unison. It was theatrical, wild, and tight. No sloppiness. No irony. Just personality and musicianship operating at the same volume. The Paradox in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) By the end, you could hear people whispering, “Who are they?” Searches started. New fans were made. And deservedly so. The Cab The Cab in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) The Cab brought the room into something warm and familiar. Formed in Las Vegas in the mid 2000s, their music has always lived where melody, sincerity, and emotional clarity meet. When One of THOSE Nights  began, the crowd reaction was instant. The kind of recognition that doesn’t require thought. The Cab in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) Take My Hand , Stay This Way Forever , and Temporary Bliss  followed, each one landing with the ease of songs that have been part of people’s lives for years. Midway through the set, vocalist Alexander DeLeon  paused to share something real. There was a time when he didn’t know if he would ever sing again due to serious vocal damage. He said he was grateful to be here. Grateful to have his voice back. Grateful to be performing in a room that still cared. The crowd responded with exactly the right kind of sound. Not loud. Not silent. Just soft cheers, small hoots, and a shared awww  that rolled through the room. The Cab in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) Then he sang Living Louder , and the lyric “If you’re scared of the future tonight”  landed differently. People leaned closer to each other. Not dramatic. Just connected. Bounce  brought the energy back up, and Angel with a Shotgun  closed the set with a full room singalong that felt like picking up the past without trying to relive it. The Cab didn’t return to the stage. They continued something that had never really ended. Mayday Parade Mayday Parade in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) When the lights shifted for Mayday Parade, the entire venue moved at once. During the earlier sets, the balcony had been a mix of sitting and standing. But the second Mayday walked out, everyone rose . Every level. Every row. Without hesitation. This band means something to people. For many in the room, these songs weren’t just tracks. They were chapters. Held close. Carried forward. Revisited when needed. Mayday Parade in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) For me, there was a different layer of meaning. I first heard Mayday Parade on the family computer. The shared one that squeaked, lagged, and only worked when nobody picked up the landline. One day in 2005, a MySpace friend request from a band called Mayday Parade appeared, and clicking play felt like opening a door my younger self didn’t have the language for yet. I didn’t know what that moment would become. I just didn’t forget it. And I didn’t let it go. Mayday Parade in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) So when Derek Sanders  stepped onto the stage barefoot, wearing a Pyramid Scheme tank, hair moving like it had its own stage direction, it felt like something familiar returning to meet us where we are now. Older. Softer. Still full of feeling. Under My Sweater  began, and the singing was instant and the full room was loud.  Jersey  hit like a release.  Kids in Love  brought back the rush of being young and painfully earnest.  Pretty Good to Feel Something  lived up to its name. The room felt full. And then the crowd surfers. Not chaotic. Not reckless.  Just people floating. Mayday Parade in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) Hands reached up without hesitation. Strangers caught strangers. The venue moved in one unified rhythm. Crowd surfing feels rare these days. But here, it made sense. It felt safe to be held. It felt right to lift each other. Mayday Parade in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) By Jamie All Over , the room was a single instrument. This wasn’t nostalgia. This was something still alive. Mayday Parade didn’t return us to who we used to be. They reminded us that part of us never left. All Time Low All Time Low in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) All Time Low closed the night by turning the floor into motion. Formed in Baltimore in 2003, they have grown up alongside multiple generations of fans, and the connection is still vivid and alive. All Time Low in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) They opened with Oh No! , SUCKERPUNCH , and Weightless , and the crowd immediately launched into full body motion. People danced with their best friends, shouted lyrics with complete clarity, and laughed mid chorus. The lighting was vibrant, bright, and crisp. One of the clearest, best lit shows we’ve seen. PMA  brought reflection.  Damned If I Do Ya  and Time Bomb  sent the crowd into joyful chaos. During Missing You , people leaned into each other softly. The emotional arc was intentional and felt. All Time Low in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) Then came the moment that changed the temperature of the room entirely.  Hate This Song , performed with Eric Vanlerberghe  of I Prevail . The crowd didn’t just get loud. It surged. From they moved into Monsters , and the energy held like electricity. The encore included a drum solo, The Weather , Lost in Stereo , and a final, inevitable, full throttle scream of: Dear Maria, Count Me In. No one in that venue sang it alone. No one ever does. All Time Low in Detroit, photography by LJ Portnoy (@ ljportnoy  on IG) What Stayed Some of us have been singing these songs for twenty years. Some of us learned them last year. All of us sang together. This wasn’t a night about looking back. It was proof that music doesn’t stay in the past unless we do. The music stayed. So did we. It was never a phase, Mom.

Paul Bergen / Redferns / Getty The same fans who stream songs into existence can also tear an artist down in 280 characters. Stan culture is the reason many artists still have careers in 2025, but it’s also why some can’t sleep at night. Passion is powerful, and online communities have turned that passion into entire ecosystems. But when love turns into possession, the same force that fuels a career can start to quietly destroy it. No label marketing plan can compete with an organized fandom. Stans trend hashtags, stream albums overnight, and dissect every lyric as if it’s sacred text. They’re the reason eras last longer than album cycles and why nostalgia is constantly reborn on TikTok. It’s easy to forget how much good stan culture has done. Fans have raised money for charities in their favorite artist’s name, revived forgotten songs, and even helped new artists break into the mainstream. This is the beauty of fandom; connection, community, and a shared sense of purpose that keeps the music world alive. When Support Crosses the Line But somewhere along the way, connection turned into control. Parasocial culture, also known as the illusion of a personal relationship between fan and artist, has blurred the line between admiration and obsession. Every post is decoded like a secret message. Every lyric becomes a breadcrumb. And when artists dare to live lives outside the fan narrative, the backlash hits hard. The expectation for constant accessibility drains artists. They’re expected to be endlessly relatable, emotionally available, and online 24/7. Authenticity becomes performance, and privacy becomes rebellion. The darkest part? How that same devotion fuels online bullying. Entire fanbases go to war online, harassing journalists, critics, and even other fans who don’t share the same opinions. It becomes a sport. Who can defend their fave the loudest, even if it means tearing someone else apart. We’ve seen this too many times. Artists lose control of their own narratives because fans are fighting battles they never asked for. The irony? The same love meant to protect ends up isolating them further. Passion vs. Possession It’s not hard to imagine why so many artists log off. The constant noise, praise, critique, and speculation can feel like standing under a spotlight that never dims. The fear of disappointing fans, of being “canceled” by the very people who helped build their career, keeps many in survival mode. Some are choosing boundaries over burnout, limiting online interaction, hiding comment sections, or creating music purely for themselves again. That might be the healthiest rebellion of all. Stan culture isn’t all bad. It’s proof that music still matters enough to make people feel something. But passion has to come with perspective. You can stream, show up, and hype your favorite artists without crossing into toxicity. At the end of the day, music is supposed to unite us, not turn connection into competition. Because passion keeps the music alive, but respect keeps it human.

Contributed by Rebecca McDevitt Taylor Acorn isn’t new to the scene, but she’s definitely started redefining it. With her latest album Poster Child, she surpasses the expectations she’s built. The record feels like flipping through pages of her diary, every lyric blurring the line between strength and softness, heartbreak and healing. “Poster Child” delivers everything you’d expect from Taylor — upbeat, infectious melodies — but it’s the vulnerability underneath that hits hardest. The title track sets the tone: energetic, catchy, and deeply self-aware. Instead of heartbreak, Taylor turns inward; exploring the complexities of self-worth and the process of finding peace with who you are. Nostalgia, Reimagined “Home Videos” instantly stands out. It’s intimate, reflective, and achingly relatable. When she sings, “There’s not one thing I would change, if I could go back for a day,” it’s like hearing someone finally make peace with their past. In a genre that often leans into angst, Taylor’s decision to celebrate her history, even the complicated parts, feels refreshing. She captures the ache of missing home without drowning in it, giving voice to the quiet kind of homesickness that lingers long after you’ve grown up. Anthem Energy with a Personal Edge The album’s first single, “Goodbye, Good Riddance,” brings back the electric pop-punk energy we love her for. It’s a danceable, cathartic track made for both your bedroom mirror and a summer festival crowd. The production mirrors that post-breakup chaos, both steady and logical one moment, wild and emotional the next, like the sound of moving on before you’ve fully let go. Why Poster Child  Matters Taylor Acorn has always known how to turn personal moments into shared ones, but Poster Child feels like her boldest statement yet. It’s proof that pop rock is alive, well, and evolving, and that Taylor is helping lead the charge. From festival stages to late-night drives, this record feels like a companion, one that grows with you every time you hit replay.

Article Contributed by Madison Cozzens Photography by Madison Cozzens Nick Mateyunas of Arcy Drive performing at Beachland Ballroom, Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) On October 28th, anyone driving through the Waterloo Arts District of Cleveland would see a line of people waiting to get into the Beachland Ballroom. The crowd was there for the self-proclaimed “attic rock” band, Arcy Drive. The venue was covered in stickers and flyers, with graffiti all over the bathroom and neon signs at the bar – It was the perfect setting to rock the night away.  The evening began with an acoustic set by the opener, Mercury. The five-piece band was missing two of their members and decided to ditch their usual electric sound. Lead vocalist, Maddie Kerr, told the crowd, “We usually don’t do this, and probably won’t for a long time after this. So thank you for letting us try something different.” Kerr’s gravelly and authentic voice carried through the venue and captivated the audience. Mercury performing at Beachland Ballroom, Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) If you are a fan of the Flipturn, you may recognize the name Mercury. The bands recently collaborated with Mercury covering the song “Right?” from Flipturn’s, recent album Burnout Days . Mercury brings a  yearning to the song that makes it a different experience than the original. Go check it out if you haven’t listened to it already. Attic Rock, Unleashed: Enter Arcy Drive Arcy Drive took the stage at 9:30 PM to fans who eagerly awaited their fun and energetic performance to begin. All of the band members came out with a beer in hand, cheering along with the crowd and getting them even more hyped up for the next two hours. The front man Nick Mateyunas brings an energy that translates to the crowd. His movements, headbanging, and interactions with the microphone match the unpolished and lively sound the band is known for. Arcy Drive’s loose and friendly demeanor and authentic presence allowed the crowd to forgo judgement, arms in the air, screaming to the sky, and jumping with strangers. Forgetting their worries; being part of something raw and unforgettable. rcy Drive performing at Beachland Ballroom, Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) The Long Island-based band consists of Nick Mateyunas (vocals, guitar), Austin Jones (guitar), Patrick Helrigel (bass), and Brooke Tuozzo (drums). The group were friends before the band and began playing around in the attics, basements, and spare space in their homes. They eventually came to love performing live and found a following that was going to support them. Starting in bars and music halls, to opening for bands like Flipturn , and hey, nothing.  Arcy Drive is now on their biggest year yet with their headlining “The Pit Tour” across the US and Canada.  The four members played songs across their discography with hits like, “Roll My Stone”, “What’s in my Head?”, and  “Under the Rug”. Their final song “Louie”, gave fans a bombastic ending to the evening. While the crowd was engaged all night, the encore song really brought the space together, ramping up the already high energy. The crowd let it all out during the line “But baby, remember, this is our December”, chanting it as the band played their instruments taking in the love from their fans. It’s moments like these that make live music so special not only for the fans who get to see their favorite artists, but for the artists as well. After the show lines of people stayed to grab merch or to get a chance to interact with the band at the local venue. These are the moments that make the evening even more special, for the artists and the fans alike. Arcy Drive performing at Beachland Ballroom, Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) Arcy Drive is still a relative newcomer in the space; releasing their first single in 2022 and their debut album earlier this year. With their raw instrumentals, raspy vocals, and exciting live performances, it’s no surprise their fanbase continues to grow. The band’s lyrics and authenticity can resonate with just about anyone. Arcy Drive’s performance will make you let loose and release those inhibitions for a night that you won’t forget.

Photo credit: Devin Dygert Article contributed by Fernando Flores The Crowd Goes Wild! It’s been a week since the release of Grant Knoche’s new album, Good Luck Getting Over Me—and the reviews are in! Grant Knoche hits the nail on the head with this fantastic record, blending EDM and pop in a way I didn’t know I needed. The melodies are incredible from start to finish, and the overall production value is top-tier. When it comes to Grant and his music, you know he’s always delivering pure gold. Album Strip Down My personal favorite song on the album is “Stripped.” Not many artists can craft a song that conveys emotion through both lyrics and instrumentation. “Stripped,” however, takes me through every feeling Grant sings about. From the crescendos to the lyrical play, he immerses you in the story behind the song. The lyric that stands out most is, “When I’m showing you my heart, all you see is my chest.” It’s a reflection that made me think about my own past relationships and connect deeply with what Grant was expressing. You can truly feel the emotional hardship he brings to life in this upbeat track. If you asked whether to listen to the album in order, my answer would be “YES!” Grant’s storytelling shines throughout, and hearing it in sequence makes all the difference. Listening in fragments means missing a big part of his message. For example, “Autopilot” drops us into the club scene—no worries, just parties and no regrets. Then we move through songs like “Talk,” “Friction,” and “Automatic.” If you’ve ever thought about going back to a time when you were happy with someone you’ve lost, you’ll resonate with these tracks. As the album progresses, things get messy in the storyline as Grant gives in to his desires. But let’s remember—this man has a heart, not just an empty chest! Full Circle Moments Through and through, after this emotional rollercoaster with Grant, we end up back where we started: alone and missing the love we once had. Closing with “I Miss Your Love,” Knoche beautifully wraps up what might be the album of Summer 2026. The Man, The Legend, The Tour. A well-produced and thoughtfully crafted project, Good Luck Getting Over Me exceeds all expectations. SoundCheck Mag wishes Grant the best of luck as he rises into stardom in the coming year. If you’re down to cry in the club—in the best way possible—listen to Good Luck Getting Over Me on all streaming platforms. It’s packed with amazing beats, heartfelt lyrics, and dynamic collaborations that’ll have you dancing in no time. And if you love it as much as we do, catch Grant live on tour performing your favorite songs from the album. Nov 13 Thu GRANT KNOCHE - 2025 TOUR @ 7:00 PM Toronto, ON, Canada Nov 14 Fri GRANT KNOCHE - 2025 TOUR @ 7:00 PM Brooklyn, NY, United States Dec 6 Sat GRANT KNOCHE - 2025 TOUR @ 9:30 PM Los Angeles, CA, United States Jan 23 Fri Beat Kitchen @ 8:00 PM Chicago, IL, United States Get tickets at grantknoche.com/tour Check out our interview with Grant Knoche here!

Photo by Fernando Flores (IG: @fernandofloresphotography ) Article & Photos Contributed by Fernando Flores When Calliope Wren walks on stage, the atmosphere changes. There’s an energy that's magnetic, untamed, and beautifully deliberate. Her performances aren’t just performances, they have an otherworldly pull that takes you into orbit. Long Island-based singer Calliope Wren has set herself up to carve out her own lane in a music world that often tries to define women before they can define themselves. Her sound lives somewhere between dark pop and alternative rock, drenched in emotion and theatrical edge. It’s haunting and hypnotic with a Paramore flair that brings out some of that magic that's inside of you. Especially when you hear her live, it's an intoxicating atmosphere that really brings in a crowd. The Muse Photo by Fernando Flores (IG: @fernandofloresphotography ) Before commanding festival stages and cult-following venues, Wren studied Musical Theater at Five Towns College on scholarship, learning under industry veterans David Krasner and Jennifer Barsamian. The background and extensive studies she has applied to her craft still echo in her music as she grows powerful within her ever-growing fanbase. Every song she performs has a driving energy that the audience just devours and thrives on. Not one person is standing still when Wren takes the stage. The Journey On stage, she’s accompanied by her band, The Muses: Alexis Haas, Kaity Danielsen, Ava Lena, and Jaclyn Barbieri. You can tell they are a group that just works; they aren’t just bandmates but an extension of Wren’s universe. Together, they’ve filled rooms such as The Bitter End to Jones Beach Bandshell, Spotlight: At The Paramount, and the Montauk Music Festival with sound that feels as cinematic as it is intimate. Big or small, the venue is built with energy from a performance by Calliope Wren and The Muses. The Power SoundCheck Mag has taken note of Calliope Wren’s rising artistry that highlights the emotional duality that runs through her music. Her raw honesty and introspective energy draws power through the audience and creates an electrifying performance that most big-time performers can only portray with props and expensive gear. Calliope Wren and The Muse really combine their forces to create an otherworldly experience for their listeners. Photo by Fernando Flores (IG: @fernandofloresphotography ) During her performance at the Amityville Music Hall in Long Island, NY, she really made heads move. The moment she took the stage, the crowd went wild; not one person was standing still. She created a stage presence like no other. Her interaction and her performative aspects all aligned perfectly to create an EP Release Party that overcame all expectations. The Movement Calliope is a woman who is clearly building a movement. When Calliope Wren demands the stage, all you can see is a person who is powerful without apology, sensitive without weakness, unbound by genre or expectation. She is a performer who shows limitless possibilities in the growth of her career. Photo by Fernando Flores (IG: @fernandofloresphotography ) When you go to a performance of hers, listening isn’t passive; it’s participation. Each performance is a reminder that strength and softness can coexist, that music can heal and haunt at the same time. Calliope Wren doesn’t just sing; she conjures. And if you’re lucky enough to witness it live, you’ll understand why she’s one of the most compelling voices rising right now.

Contributed by Fernando Flores Edited by Rebecca McDevitt, Managing Editor Images courtesy of UMG / °1824 A Steady Beginning Queen Naija is quickly becoming one of the hottest names in R&B. The Atlanta-based singer-songwriter has been wowing fans with her talent and relatable lyrics that speak to anyone who has ever felt love, heartbreak, or empowerment. But before she was breaking hearts and making hits, Queen Naija’s music journey started as early as three years old. Growing up in church, Queen Naija started singing at an incredibly young age. By the time she was old enough to understand it, she was already writing her own songs. Talk about starting early! She then turned to YouTube to share her music, where she quickly built a dedicated following. Her breakout moment came when she appeared on American Idol, but it wasn’t until 2017 that she made the full jump into music. The Start of a Queen Enter “Medicine”, the track that put her on the map. This song, about the messy side of relationships and the feeling of being taken advantage of, caught the attention of listeners everywhere. It went multi-platinum, and for good reason: Queen Naija is a storytelling artist who’s able to connect with her listeners and bring out what she feels in her music. This was a song you could relate to on a personal level. In 2020, she dropped her debut album “missunderstood” and it didn’t take long for it to climb the charts. The album hit number 1 on the Billboard Top R&B Albums chart and even made its way into the top ten on the Billboard 200. On top of that, Queen Naija earned nominations for some major awards, including Billboard’s Top R&B Artist and BET’s Best New Artist. But she wasn’t just taking the praise she was proving that she belonged at the top. As Queen told SoundCheck Mag, she enjoys being part of the movement and contributing to keeping R&B alive. The Hustle of a Mother Fast forward to today, and Queen Naija’s still pushing forward with new music that shows off her versatility. Her latest single, “rain…” resembles her growth and dedication to the craft. It’s smooth, sexy, and totally captures the feeling of falling head over heels for someone. The production is on point, and her lyrics are equal parts sensual and real. It's the perfect track to kick off her new era of music. Especially as a mom, she states that her growth in life is reflective of her growth in her music. She stays down to earth. She lets SoundCheck know that even in her selfish era she is living life like the rest of us and is here to make sure she provides the best life for her kids. Her Reign Has Only Begun A strong woman, that’s not just a mother but a hustler. Queen Naija has her next EP called “30” coming out this fall, and if her incredible discography is any sign of what’s to come, we’re in for some seriously fire music. She’s only getting started even if life is tough she will always deliver as the artist she is. “30” dives deeper in her development as a mother and creative from her earlier years to now. A growth that's so moving, she is bound to make heads turn with this new release. An artist that’s not just devoted to her craft but relatable in more ways than one to her fans. Catch Queen Naija on all streaming platforms. Now’s the time to get on the Queen Naija train because she’s definitely going places. Pre-save Queen Naija's new EP "30" now

Article Contributed by Rebecca McDevitt Quotes and Photos Courtesy of Ken Phillips Publicity Group If you thought David Archuleta’s latest chapter couldn’t get any more vibrant, think again. The pop favorite just revisited two of his Earthly Delights standouts — “Crème Brulée” and “Can I Call You” — with brand-new Spanish versions plus a bilingual remix of “Crème Brulée” featuring Colombian alt-pop icon, Esteman. Fans might remember that “Crème Brulée” already flirted with a touch of Spanish when it first released back in March. This time, Archuleta goes all in. The full-Spanish feels like love letters to his Honduran heritage. You can feel how soulful and playful the song is while radiating that same sweetness the original versions had, just now with a deeper cultural heartbeat. The “Crème Brulée” Collab We Didn’t Know We Needed For the bilingual version, Archuleta teamed up with Esteman, a Colombian alt-pop artist and proud LGBTQIA+ voice known for crafting music that celebrates authenticity. Esteman said he was drawn to the song because “it was about a guy who’s comfortable with his orientation ... making pop music from such a genuine place,” and wow, can we feel that. Together, they melt English and Spanish like the perfect dessert; creamy, smooth, and a little unexpected, kinda like a crème brulée. It’s playful, magnetic, and every bit of the bilingual bop you’ll want on repeat. “Can I Call You” and “Crème Brulée” (Español): Same Emotion, New Energy Hearing these tracks in Spanish adds a new layer of intimacy. The warmth in Archuleta’s vocals, paired with the rhythm and flow of the language, gives the songs fresh emotion and even more groove. If Earthly Delights was about exploring connection and self-expression, Mixes en Español feels like a continuation of that journey, one that embraces his roots while expanding his sound. Why SoundCheck’s Here for It Because this is what SoundCheck loves the most. We thrive on watching artists evolve in real time. Archuleta’s Mixes en Español feels like confidence, joy, and freedom rolled into one. It’s proof that even after all these years, he’s still finding new ways to tell his story, and he’s doing it authentically, on his own terms. This new phase feels bilingual, bi-coastal, and beautifully him. Stream Mixes en Español  available now on all streaming platforms

Article Contributed by Rebecca McDevitt Streaming has made music feel endless. Millions of songs at your fingertips, playlists that update overnight, and the ability to dive into a new artist’s world in seconds. It’s convenient, sure. But here’s the truth: streaming is more like renting than owning. And if we really want to support the artists we love, buying their music still matters, maybe more than ever. Buying Gives Artists What Streaming Can’t When you hit play on Spotify or Apple Music, you don’t actually own that track. The moment a licensing deal changes or a label pulls a catalog, it can vanish. How many times have you gone back to a favorite song only to find it “unavailable”? Buying a record, CD, cassette, or even a digital download means it’s yours. Forever. No algorithm, no licensing change, no corporate shuffle can take that away. The other piece of this is financial. Streaming pays artists fractions of a penny per play, around $0.003 to $0.005 per stream. It could take thousands of streams just to equal what an artist makes from one $10 Bandcamp purchase. Buying directly, whether online or at the merch table, means your money goes straight to the people making the music. One purchase can sometimes mean more to them than months of streaming ever could. Music You Can Hold Means Deeper Connection There’s also something more emotional about ownership. Think about your favorite album cover. The artwork, the lyric booklet, the feeling of sliding a record out of its sleeve or popping a CD into the car stereo. Physical music carries memory and meaning. It’s something you can hold, gift, display — a reminder of why that music mattered to you at that moment in time. Streaming might be great for discovery, but buying is about connection. It’s the difference between adding a song to a playlist and letting it fade into the algorithm, or choosing to keep it with you as part of your life. Every vinyl, cassette, or download is a piece of history you’re helping preserve. And every purchase is a step toward ensuring the artist can keep creating their next chapter. The Future of Music Is in Our Hands Streaming isn’t going anywhere, and it doesn’t have to. But as fans, we can choose balance. Stream for convenience. Buy for connection. Buy for ownership. Buy because you want the artists you love to be here tomorrow. Because at the end of the day, streaming gives you access, but buying gives you a piece of music that’s truly yours. And that difference could be the reason your favorite band gets to make their next record.