The visual for “I Guess” is simple, sunflower-filled, and a whole vibe, but the lyrics behind 6LACK’s song are the opposite. 6LACK promotional photo | Photo by Joshua Kissi Article Contributed by Monica Soriano On May 22, 2026, 6LACK released his album Love is the New Gangsta; it was a 15-song project with a few collaborations. Recently, he released a visual for the song “I guess” from his album. We absolutely love it; we appreciate that even though it is simple, it maintains an artistic appeal. The contrast between the lyrics and the song's vibrancy suggests to us that this song is about the slight hope that a relationship can be saved, or the denial that it is over. The lyrics are the reality while the melody is the hope - at least that’s one way we can interpret it. It is a conversation with himself about the relationship ending because of his own wrongdoings. At the same time, he explains his partner’s (or ex - partner’s) actions towards his pleading. There’s Art within its Simplicity. In the video, 6LACK is alone; the sets are filled with painted walls that mimic the sky and greenery surrounding him. A large number of sunflowers surround him and become a focal point for the eye. There are effects such as smoke, in some parts, as well as visual effects where the video goes to a dark contrast. A subtle charisma comes through the screen; his movements throughout the visualizer are easygoing and cool, which adds to it. It’s simple overall but effective for fans and new listeners who want to get an idea of who 6LACK is. Introduction to 6LACK’s Love is the New Gangsta. The track is only 2 minutes and 30 seconds, which is relatively short, but in under 3 minutes, 6LACK creates a song with a storyline from both his perspective and his partner's. It is only 1 song from the album, and we were hooked. We had to listen to more, and we must say “I Guess” is a perfect piece of Love is the New Gangsta to break away and entice listeners with. The album is bursting with emotion, grounded songwriting, and gorgeous production. Album artwork for Love is the New Gangsta “I Guess” was the best introduction to this project for us, and we hope it is for others too. 6LACK is about to start his tour, which includes dates in Europe, the United States, and Canada—link to tour dates here. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Deon Speaks with SoundCheck About His Inspirations Deon press photo | Image provided by Deon's team Article Contributed by Konstantina Buhalis Deon's World Singaporean indie artist Deon has been on the rise; with his latest single, "Feels the Same," from his upcoming album, Numbers Game, plus SoFar Sessions and touring, he's been booked and busy. He took some time to chat with SoundCheck about his inspiration, food blogging, and going to college in Boston. It's like Whiplash Deon's musical journey began with piano; from there, he moved to guitar and saxophone, and finally fell in love with the drums. Deon's love of drums drove him to pursue a career as a drummer and eventually led him to audition for Boston's Berklee College of Music; after he was accepted, he began studying drums as his principal instrument. During his tenure studying at Berklee, Deon had to take yearly training lessons to practice pitch, and those lessons taught him that he could sing, saying, "It was at one of those lessons, this very specific module that we were having on a cloudy day in Boston, that the teacher then told me that, you know, what was I doing playing the drums when I could sing? Up to that point, I didn't realize I could sing. So she planted a seed. And after a while, when I started to realize that I could sing, I realized that I could actually carry my own songs and not have to write songs for other people. I gained the confidence that maybe I could just sing on my own tracks and then put the music on and see what happens." Drums helped Deon craft music by giving him the building blocks of rhythm and melody. While he doesn't play drums as often, Deon said drums allowed him to create music, continuing to say, "a higher level, how the drums got me to where I am right now, it just opened many doors for me. I got to know a lot of musicians, first as a drummer. Eventually, when I transitioned into writing songs as a singer-songwriter, many of those musicians also gave me a chance to perform and share my music. It gave me a foot in the door." Deon press photo | Image provided by Deon's team Playing the Numbers Deon's latest album, The Numbers Game, is an album about change, reflection, and love. The cover art features multiple shots of Deon with corresponding numbers, while the single art for "Feels the Same" is numbered photographs of Deon and collaborator Don Aaron. The numbers on the artwork carry significant meaning for Deon: 37 for his childhood home and 21 for his 21st birthday. Deon went into depth explaining his number choices, saying, "The number 37, it's the place where I grew up my entire life. It's my house number. And when I was 21, it was a very pivotal moment in my life, and I was studying in Boston. And at that point, I came to a few realizations while studying overseas in Boston, and that was also the start of my songwriting journey. So those are, I think, two of the more meaningful numbers that I could pull out straight away and that are also more impactful. So for each number, there's a reason it's there." Deon went on to say that as he continued to write the album he started to draw inspiration from numeric from multiple sources, going on to say, "I found that for each song I was able to attribute a line of numbers whether it's geographical coordinates or whether it was meaningful dates and also when I'm about to drop the album I think those closer to me will also know that it's actually going to be a birthday drop it's going to be right around my birthday in October when I where I released the album as well so every single thing has a little I try not to be too cryptic about it." The Numbers Game is an album focused on vulnerability and how it shapes us over time. Deon explained the album was influenced by maturing and understanding that we are all aging, continuing with the realization that we are all learning and growing, saying, "I was getting older; my loved ones around me were getting older as well. And as we grew up together, whether it's my parents or my brother. We were starting to accept each other a little bit more. I wasn't pushing back as hard with arguments or falling out with my loved ones. I was starting to see them for who they were, accepting that everyone is kind of like a flawed human being." Furthering the sentiment, Deon went on to say how he has grown more confident in his value system, explaining, "That was the main thing about this album. A lot of acceptance, a lot of transitions from a space of pushing back, rejecting things that didn't really sit in my value system, and eventually moving into a space where I'm cool with that—everyone's kind of different. We don't get to choose our family most of the time. So for me, that was the major theme that I tried to inject across the album." The release of the single "Feels the Same" was released during an emotional period in Deon's life, the single was released shortly before Deon's father passed away, but in the midst of grief, there is joy, with Deon explaining his father was able to hear the single played on Singaporean radio, "I think the last time where he got to hear any of my works was the first single for the album when it was played on Singapore radio. So that was very, very meaningful for me. And I finally got to deliver that message of acceptance as well to my dad. So it just came at the right time." Deon credits this time in his life with helping him "grow into a complete person," and he wrote his latest album intending to inject that meaning into the lyrics. Food and Friendship Deon's interests span far beyond music, including his love of food and travel; on his Instagram, he regularly posts dishes from his travels, often with his bandmates and friends in the videos. The posts aren't simply food posts, but a peek into Deon's life and a subtle way to share his music, using his songs in the background so fans and scrollers can hear new tracks. Deon continued, "I play with a core group of musicians. They have been with me for, I would say, more than a decade. Most times, we celebrate with food. We gather around food and music before practices, after practices. We talk about food; we talk about music. It just goes hand in hand. And when we've played so many, we've played, okay, for example, when we've played Canadian Music Week, Indie Week Toronto, and Indie Week Canada, and even when we traveled to Japan, the UK, the answer was always, 'Okay, we'll play the shows, and then we'll look for the best food around the area'.That's how we experience the culture as well. And it's opened so many windows of opportunity for me. At the same time, when I do the food reviews, I kind of sneak in some music people haven't heard before. Deon expressed how important the cultural exchange is when touring, saying, "I get really excited as well when I travel, when we do tours, and I have the opportunity to capture some of the culture of the other places, for example, Japan, right? And I could place them on the reels. I think that, for me, That's what it's all about because music has opened so many doors for me, and I'm just finding different creative ways to give back." Deon's commitment to community is at the heart of his music, as he explains how he met his bandmates, who he has been with for over a decade, "Most of the folks in the band have been playing; we've been playing together for more than 10 years. And I would dare call them some of the best friends in my life as well. They were my best men at my wedding and vice versa. And they were there when I proposed, and we were there to help each other through life as well. So there are so many things we kind of grew up together. It's more than music now, right? It's the food. Experiences in life. It's the traveling, it's the, you know, being extremely broke and traveling to Japan to play shows in life houses, sleeping on the floor, being also still extremely broke and flying all the way to Canada on a 29-hour flight and falling asleep while having rehearsals in Canada because we can't stay awake due to the time difference, being super jet-lagged and stuff like that. These experiences have made my life extremely colorful, and I shared them with the same group of people, so they are very precious to me. I think they know this, and I try to feature them in my food videos too so that we can experience life together. I think we have grown up together; it's a really beautiful thing. I don't think many people can say they played in the same band for 10 years without falling out, and I really treasure that." The band shares the unique experience of growing up in Singapore, where English is a primary language but multiple languages and dialects are spoken, fostering a global mindset. However, music culture is primarily Western. Deon explains that you would hear Western and American pop music on the radio, but there is a lack of Singaporean artists. Deon explained that he often looks for opportunities overseas, but a new group of artists is on the rise, and he's excited about them. Deon's interest in media led him to a collaboration with Eden Kai, a Japanese artist who appeared on the Netflix series, Terrace House. Deon had watched Kai on the show, and happened to play a show where Kai heard his music, and they connected and worked on a currently unreleased single. “He heard us play live, we had a quick chat, and we stayed in contact ever since. And I knew that he was a great musician. He's a great ukulele player. I know he travels between Hawaii and Tokyo all the time. And I just wanted to create music with someone that I really look up to. So I reached out to him about this possibility. I think around COVID period, around 2020, it didn't happen then. But after waiting about four years now, after that, it kind of happened,” said Deon. This isn’t the first time Deon has worked with an artist he admired; Deon opened for Rachel Yamagata and Of Monsters and Men as well. Deon has had the opportunity to play multiple shows and tours, but SoFar Singapore has been one of his favorite shows. SoFar Singapore is an intimate acoustic show that lets artists perform close to fans, leaving more time to discuss their music and play a select few songs. The Unplugged inspired live shows are a unique concept that inspired Deon: “ When the organizers contacted us, they said, you know, play maybe like three songs and spend the rest of the time just talking about the songs and connecting with people.”Deon explained. Deon’s Advice In a fast-paced world, Deon prioritizes taking time to enjoy the world around him and encourages others to do the same by saying, “I think with the technology that's going on, with AI, with just the world being more connected, I think everyone's lives have gone a lot faster. It's become more intense. And I just... and hope that everyone has that space and that awareness to still sit with themselves and just be yeah and and if music is one way to get them to do so then then just listen to your favorite songs and just sit down and chill out yeah um and not get too stressed and when they have the opportunity to just give their loved ones a hug, and I think that's all that really matters at the end.” Deon’s music is available to stream on all platforms, and you can follow the band’s adventures and food reviews on their Instagram. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

On Mr. Right Now, the Southern California singer-songwriter Tiger Lewis turns insecurity, vulnerability, and grunge-groove into an honest portrait of finding yourself. Portrait of Tiger Lewis | Photo by Caity Krone Article Contributed by Vaneza Gutiérrez Wyckoff There’s something wonderfully contradictory about Tiger Lewis. His music draws from the warmth of classic soul, the grit of grunge, and the groove of R&B, yet beneath that genre-bending sound is an artist deeply interested in one of the most human contradictions of all: wanting to be enough while constantly questioning whether you are. For Lewis, that tension became the backbone of his latest EP, Mr. Right Now. In a recent conversation with Sound Check Mag, the Southern California-based singer-songwriter opened up about the insecurities, influences, and unexpected self-discoveries woven throughout the project. If Mr. Right Now were a film soundtrack, Lewis knows exactly which movie it belongs to: Swingers. The late-'90s Los Angeles comedy follows characters stumbling through vulnerability, reinvention, and the pursuit of something bigger than themselves, themes Lewis says resonate deeply with the EP. “I pull so much from that movie, in terms of the character itself,” he explains. “There’s this humor in the vulnerability that it explores so well.” That vulnerability runs throughout Mr. Right Now. On “Mrs. Kisses,” Lewis tackles the feeling of being unworthy of love, while the title track explores contorting yourself into something you think someone else wants. “Leaving Me Lonely” continues that thread, while “Runaway” offers an escape from it all. “‘Runaway’ to us is the culmination of the whole project,” Lewis says. “It’s almost laughable [seeing] the ways you’ve contorted yourself, and you’re like, ‘Okay, I have to get up and leave these ideas that I had about myself in order to feel accepted.’” The songs weren’t always as psychologically deliberate as they might appear in retrospect. Lewis wrote “Mrs. Kisses” last summer without fully understanding what he was processing until after the song was finished. “I don’t know if I truly understood what I was writing until after it was written,” he admits. “A lot of the narrative writing can be intentional, but a lot of it is so deeply ingrained in my psyche that I don’t even really think about how it’s coming out.” That realization ultimately became part of the EP’s larger lesson. Mr. Right Now EP Artwork Lewis believes self-doubt can have value when it is kept in perspective and surrounded by people who understand the artist’s vision. “I think self-doubt in doses is healthy,” he says. “I teeter on the side of self-doubt as opposed to being a huge ego.” For Lewis, that uncertainty can actually make the music better. It leaves him open to the best melody, lyric, production idea, or creative choice rather than becoming attached to his own ideas simply because they came from him. That philosophy extends into the sound itself. Lewis describes the EP’s songs as occupying different points along a spectrum of sensitivity and masculinity. “Too Easy,” for example, leans heavily into grunge-groove with its three-chord foundation and guitar-driven production, while “Mr. Right Now” takes on a sleazier, classic soul-inspired character. “I think the contradiction is where I make the decision,” he explains. “If there’s a certain kind of narrative, the sound has to be completely different.” His influences stretch accordingly, from Marvin Gaye, Otis Redding, Al Green, and Bobby Womack to Jimi Hendrix, Sly & The Family Stone, and Anderson .Paak. Lewis says he developed his voice by emulating the singers he loved, particularly the soul artists of the late ’60s and early ’70s. Before recording, he takes that same intentionality into the studio. He warms up his voice for an hour and listens to a playlist of singers he admires before stepping behind the microphone. Once he starts recording, however, analysis has to disappear. “If I’m in the middle of the booth and I get goosebumps by how everything is coming out, I know I’m doing a good job,” he says. “Things have to move me.” That search for feeling also defines Lewis’ approach to performing live. His formative experiences at San Diego’s Che Café and Queen Bee’s taught him that the stage is ultimately about creating a shared experience, not showcasing virtuosity. “Simplicity is more impactful than virtuosity, a lot of the time,” he says. “Serving the audience is the way every single time.” It’s fitting, then, that the lesson Lewis ultimately took from making Mr. Right Now is also about letting go of performance: there is no achievement that suddenly makes you worthy. “You are what you are every day, and it is enough,” he says. Tiger Lewis at his recent show @ The Moroccan Lounge in Los Angeles, CA | Photo by Monica Soriano For his next chapter, Lewis plans to push further into the grunge side of his sound, with heavier, more distorted tones. But whatever shape that evolution takes, the core remains the same: music that allows vulnerability to exist alongside confidence, without forcing either one into a box. After all, maybe finding yourself isn’t about finally becoming the person you thought you needed to be. Maybe it’s about realizing you never had to become them in the first place. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Casandra’s latest album, ISLA TRANQUILITA, delivers a soft yet vibrant pop sound that’s inexplicably soothing. Portrait of Casandra | Photo by Andrey Nikolaev Article Contributed by Monica Soriano The Los Angeles-based artist Casandra recently released her album ISLA TRANQUILITA. The title translates to “little island of peace,” an appropriate title for the serene feeling this project gives off. ISLA TRANQUILITA can be perfect in the background while you work; it’s not in your face at all, but instead creates a good ambiance. Just a warning, though: you might look up a few times to add songs to your playlist, or feel inclined to let your mind wander into her world. But just like this album can be played while multitasking, it can also be a full-on headphones-in experience and a great dive into the intimacy Casandra has chosen to share. When listening closely, the layers of her feelings begin to show. Album Cover for ISLA TRANQUILITA Imagination and creativity bring out her authenticity. Cassandra’s voice pulls us into her world with ease; she has a specific, creative vision for herself that shines through authentically. The first track, “TRUTH SERUM,” introduces the album's vibe: a calm-pop sound with an inviting rhythm. “PERMANENT MISTAKE” follows, and this is where we were able to grasp Casandra’s vision for this project. “WANT VS NEED” paints her feelings beautifully with lyrics like “you haven’t noticed what blooms for you.” “EXPLICIT” was catchy, and while the song itself wasn’t explicit, the subject matter was, and the song echoed in our heads for a while. “SOLUTION” brings out a strong island feel, perfectly to introduce the album's title track “ISLA TRANQUILITA,” another fun rhythmic track in Casandra’s style. “MUÑEQUITA” integrates wonderful Spanish lyrics that pay tribute to her aunt Teresa, whose caring nurture and help inspired this sound and project. It’s a very short song but gorgeous nonetheless. “FELL FROM A TREE THEY SAID” has a cinematic approach, while “HOURGLASS” falls deep into emotions with softness. “BUENA SUERTE,” while still cohesive with the rest of the album, stands out. The remaining 3 tracks, “SUMMON FIRE,” “RESERVED 4 ME,” and “TEAR PROOF,” of the project close out this auditory trip to the Isla Tranquilita splendidly. The last track felt especially immersive, with the sound of the waves toward the end. Press Photo for ISLA TRANQUILITA | Photo by Jenny Rose Gialketsis Ultimately, Cassandra released a piece of work that had intent, creativity, and emotion. Sonically, the incorporation of R&B, Pop, alternative, and electronic sounds was a delightful experience for us. We thoroughly enjoyed her lyricism, and it did feel as though we were transported to an ISLA TRANQUILITA. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Image of Kylie Cantrall | Photo by Edwig Henson Article Contributed by Fernando Flores Ahead of her first U.S. headlining tour, the rising pop artist discusses dream collaborators, cinematic storytelling, and the person behind the performer. Kylie Cantrall is moving from arena-scale spectacle toward something more intimate. After starring in Descendants: The Rise of Red and Descendants: Wicked Wonderland and performing on the Descendants/Zombies tour, the 21-year-old singer and actress is preparing to bring her own musical world to theaters across the country. At the center of that world is Valley Girl Problems, a personal EP blending nostalgic pop and 1990s and 2000s R&B with stories of heartbreak, betrayal, and growth. Cantrall summarized the project in four words: “Fierce. Sparkly. Girly. Personal.” “I wanted it to feel like a movie almost, listening to it,” she said. That cinematic intention allows each song to function as part of a larger emotional journey while maintaining the energy of what Cantrall called an “uptempo club baddie.” Her previous project, B.O.Y., served as an origin story and an introduction to the music that shaped her. Valley Girl Problems reveals the person underneath the performance. “B.O.Y. is the artist,” Cantrall explained. “Valley Girl Problems is the girl behind the curtain.” That evolution was shaped alongside two of her dream collaborators, Grammy-winning producer Tricky Stewart and songwriter Tayla Parx. Songs including Britney Spears’ “Me Against the Music” and Rihanna’s “Umbrella,” both connected to Stewart, helped define Cantrall’s musical taste. When she played reference tracks for him in the studio, Stewart quickly recognized the connection: “Oh, so I’m the inspiration.” Image of Kylie Cantrall | Photo by Edwig Henson Cantrall’s songwriting often begins with only a small concept. She brings that initial idea into the studio and develops it with collaborators she trusts. On “Carrie Bradshaw,” she uses the fashionable but imperfect Sex and the City character to capture the EP’s balance of vulnerability and confidence. Carrie appears polished from the outside, but the series reveals how complicated her life truly is. “You watch the show, and you’re like, ‘Oh, shit, this girl’s a mess,’” Cantrall said. Although she relates to Carrie, Cantrall ultimately hopes to become more like Samantha Jones, whom she admires for being unapologetically herself. A Samantha-inspired song may eventually arrive, she joked, once the healing reflected throughout Valley Girl Problems is complete. The upcoming tour will allow Cantrall to bring these eras together. She hopes to apply lessons from the large-scale Descendants/Zombies production while making her theater shows feel more personal. One particularly emotional moment for Kylie Cantrall will be “Space Between,” a song she still struggles to perform without crying. Show days begin with matcha, stretching, vocal scales, tea, and occasional journaling. Staying close to grounding people also helps place her in the right headspace. Once the preparation ends, Cantrall lets instinct take over. “We do the show,” she said. “Whatever happens, happens.” That openness defines this chapter. Valley Girl Problems does not present a woman with every answer. It captures an artist transforming difficult experiences into music that lets listeners dance, feel understood, and grow alongside her. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Will Swinton Brings Raw Emotion and Big Vocals to Seattle’s Barboza Fresh off a Lollapalooza appearance, the New Zealand singer-songwriter proved that his intimate Seattle performance was only the beginning. Article & Photos by Vaneza Gutiérrez Wyckoff Will Swinton performing at Barboza in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). There’s something uniquely revealing about watching an artist perform in a room as intimate as Barboza. With the stage only a few feet above the floor and the audience packed closely around it, there is nowhere to hide and very little separating performer from listener. For New Zealand singer-songwriter Will Swinton, that intimacy only seemed to amplify the emotional weight of his music. Fresh off a performance at Lollapalooza just days earlier, Swinton brought his band to Seattle on August 10 for an evening that felt simultaneously laid-back and intensely focused. From the moment he stepped onto the stage, Swinton's presence was difficult to miss. Towering over the rest of the band and practically dwarfing the already modest stage, he carried himself with a stoic seriousness that matched the often raw subject matter of his songs. His voice was equally imposing: powerful, slightly scratchy around the edges, and capable of moving effortlessly through a surprisingly wide range. Songs like “December,” “Fall Apart,” “Flames,” “Daydream,” and “Hate My Guts” showcased the full breadth of that vocal ability. Swinton's delivery never felt overly polished or detached. There was a roughness to it that made the songs feel lived-in, particularly during the more emotionally charged moments of the set. That emotional connection was apparent in the crowd, even in a room that wasn't particularly full. A handful of especially dedicated fans pressed toward the front of the stage, singing along to seemingly every word. Their enthusiasm occasionally became its own part of the performance, with Swinton responding to them with smiles, claps, and bursts of movement that broke through his otherwise serious demeanor. Will Swinton performing at Barboza in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). During those moments, the contrast was striking. One minute, Swinton stood almost motionless behind the microphone, completely absorbed in the song. The next, he was jumping up and down and clapping along with the audience, visibly feeding off the energy coming back at him. The band's chemistry added to that balance. All hailing from New Zealand, the group carried an easygoing presence that never felt overly rehearsed or self-important, while still treating the music and performance with obvious seriousness. The result was a show that felt relaxed without ever becoming casual. Even the visual atmosphere of the room seemed to complement that dynamic. Barboza's lighting was unconventional, with much of the illumination coming from floor-level lights that flashed and pulsed upward rather than traditional overhead stage lighting. The effect dramatically carved the performers' faces out of the darkness, creating moments of stark contrast and fleeting silhouettes. For a photographer, it was a challenging setup; for an audience member, it gave the performance an appropriately intimate and sometimes almost cinematic quality. Songs such as “Hold You Again” and “Two Hands” further emphasized Swinton's ability to pull an audience into the emotional core of his songwriting. The crowd may have been small, but the response to the music was anything but. There was a sense that the people gathered in that room weren't simply watching a promising young artist; they were already invested in where he was headed. And where Swinton is headed appears to be somewhere considerably larger. With more than 100 million streams, two EPs, major touring experience, and a recent Lollapalooza slot already under his belt, Swinton is quickly moving beyond the intimate venues where artists first build their following. His raspy, powerhouse vocals and emotionally direct songwriting give him the tools to make that transition. Will Swinton performing at Barboza in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). At Barboza, Will Swinton didn't need a massive production or a packed arena to prove his ability to command a room. He simply needed a microphone, a band, and a few hundred square feet of stage. The rest came naturally. Seattle may have caught Swinton in an intimate room, but judging by the strength of his performance, it may not be long before those rooms become much harder to find. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Katseye's documentary gives us a behind-the-scenes glimpse into rehearsals for some of their most popular performances and the making of their new EP. Screengrab from Katseye's Wild Hearts Documentary Article Contributed by Monica Soriano In Katseye’s musical journey lately, many things remain unclear in the media, but one thing is crystal clear: Katseye is everywhere. They continue to gain momentum and be the talk of pop culture enthusiasts everywhere. Their music is experimental, catchy, pop-driven, and exciting; appealing to young children, teens, and adults alike. Recently, the girl group released a documentary, KATSEYE: WILD HEARTS, in anticipation of their WILD EP, now available. It was an enjoyable look with many personality-driven moments. The documentary itself was too short, and the editing felt awkward at times, but what truly shone through were the behind-the-scenes bits we got to see. Things like the effect the pressure of rising to fame has on mental health, and the stamina and precision needed to perform a high-energy pop song. It was fun to see the girls experiment with their looks behind the scenes during their photoshoots and music videos. Promotional poster for Katseye's Wild Hearts Documentary While the documentary touched on their single releases, making of music videos like “Gabriella” and their Gap campaign, it quickly moved on from one phase to the next. The most fascinating part for us was seeing the moments from when they first became a group, their show at the El Rey Theater, and their roles within the group. The look into the conversations and disappointment around the initial negative criticism “Gnarly” received was very real, and it was relieving to see the enthusiasm for the single later; after all, the virality, good or bad, launched Katseye to the center of attention in pop culture. A WILD Adventure Overall, the documentary was a small look into the world of Katseye. There is much more to be explored, especially with the release of their new EP, WILD. WILD is a 5-track project in which Katseye experiments with a mix of catchy pop melodies, genre blending, and the incorporation of the Portuguese language. It feels as though we are on a musical journey, an adventure of sorts, while listening to this EP. Early in their career, Katseye’s music was softer, brighter pop, but these songs offer more spunky exploration. They are evolving as a group right before our eyes. A quote from the documentary that made it clear what direction Katseye is heading is: “We’re not trying to reference, we’re trying to create.” The 5 tracks of the EP “PINKY UP”, "Animal ", "Hootie Frutti”, “Bel Air”, and “That Way” all have their own charisma. Our personal favorite, “Animal,” is a catchy, addictive song that Ed Sheeran co-wrote. “Unloveu” is a track co-written and co-produced by Lara, and it was released only as an exclusive bonus track. A portion of the documentary touched on this, and it was charming to see her drive for the group not only as a member/performer but also as a songwriter/producer. Charisma and Looks on Their Press Tour Yoonchae, Daniela, Megan and Lara of Katseye during their press run | Photo by Rahul Bhatt Katseye had their press tour for the release of their EP and Documentary. They looked glamorous, and their charisma oozed out during their segments. They performed “Animal,” and the cohesiveness of their recent wardrobe styling makes their girl-group appeal even stronger. They are set to begin the European leg of their tour on September 1, 2026; then they will have United States & Mexico tour dates. At times, during their special appearances or performances, only a few members show up in person. While we miss all of them, they have mentioned several times that mental and physical health remains a priority. We can only hope this arrangement gives them what they need to continue their pop star careers. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

"After All" is the New Afterparty Anthem by Carly Rae Jepsen Promotional photo of Carly Rae Jepsen | Photo by Vince Aung Article Contributed by Konstantina Buhalis All of the Feelings The iconic Carly Rae Jepsen returned after her 2022 releases, E*MO*TION Side B, Dedicated Side B, and The Loveliest Time. Jepsen’s upcoming album, Day and Night, marks a new era after her brief hiatus and becoming a mother, and the single and accompanying music video explore these themes, along with identity, self-perception, and change. “After All” was written with Kyle Shearer, who also produced, and Nate Cyphert, who helped bring the song to life, and created a sweet and emotional look into Jepsen’s world. Suspended in Time and Space “After All” is the first single released from Day and Night, and it delivers a piano-driven, jazz-inspired upbeat track featuring Jepsen’s breathy vocals. Focusing on the day section of her new album, “After All” is a tightrope balance between the quiet organic instruments and the electronic beats that have been a hallmark of Jepsen’s electro-pop sound. The balance between the two sounds reflects the two sides of Jepsen; however, the track uses elements of both ballad-esque softness and dancefloor-driven electronica, proving that while change is necessary, aspects of the original self can remain. The music video, directed by Aerin Moreno (Tate McRae, KATSEYE), takes a literal look at the day after a party, with a table covered in half-eaten food, a slight mess around the space, and the sun shining through the windows, showing Jepsen in her lounge clothes; meanwhile, when the track changes into the excitable dance track, the scene shifts into the night, midway through the party, with low lighting, dancing, and company. In both scenes, Jepsen is happy and enjoying the quiet moments and the party. “After All” is the thesis statement for the new album and gives the audience a preview of Jepsen’s new era. Day and Night will be released Sep 18, 2026, with the new single available to stream on all platforms, along with the music video. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

NOANNE and Gregory Darling blur the line between seduction and destruction in a theatrical tale of obsession with "Suite 17." Promotional Photo for "Suite 17" | Photo by Kiti (kitiwullich) Article Contributed by Shyanne Vaden Some songs tell stories, others construct entire movies. In “Suite 17,” NOANNE and Gregory Darling create a shadowy universe filled with unanswered questions, unreliable memories, and the unsettling feeling that something, or someone, is waiting behind a closed door. Released on July 17, the collaboration immediately separates itself from the traditional structure of a pop duet. Instead of simply trading verses about a shared relationship, NOANNE and Darling assume distinct roles within a psychological drama, which is such a unique take. The result feels less like a conversation between two musicians and more like a theatrical exchange between characters whose histories are deliberately kept just beyond the listener’s reach. At the center of the song is the mysterious Jack, who introduces himself through the declaration that he lives in Suite 17. The room is a physical location and a symbol of the emotional places people repeatedly return to, even after learning how dangerous they can be. It could represent an unhealthy relationship, an addiction, a memory, or a destructive part of the self that becomes most persuasive during moments of vulnerability. The song wisely refuses to provide a definitive explanation. That ambiguity is one of its greatest strengths. “Suite 17” understands that what remains unseen can be far more frightening than what is fully revealed. Like walking through an unfamiliar hotel late at night, the listener receives only fragments: a name, a room number, a warning, and the growing suspicion that this story has happened before. Promotional portrait of NOANNE | Photo by Kiti (kitiwullich) NOANNE’s performance gives the song its most energy; she really embodies her character with such craft. Her voice moves through the arrangement like a presence that cannot be contained within one body or perspective. At times, she appears vulnerable and trapped inside the story. At other times, she seems to embody the temptation pulling its characters deeper in. Her theatrical delivery turns every shift in tone into a possible clue. The contrast between their voices creates the feeling of two realities at once. One character may be remembering while the other is reliving. One may be trying to escape while the other holds the door open. They could even represent opposing parts of the same consciousness: the voice that recognizes a destructive pattern and the one that still finds comfort in returning to it. Promotional portrait of Gregory Darling | Photo by Kiti (kitiwullich) Musically, “Suite 17” embraces its theatrical instincts. Its sweeping strings and escalating arrangement recall the tension of a classic mystery without making the track sound trapped in another era or done before. Anything that is theatrical can end up being corny, overdone, or like musical theatre, but this does not give that at all. “Suite 17” ultimately succeeds because it doesn’t try to solve its own mystery within the song; it gives ambiguity to its listeners. NOANNE and Gregory Darling leave listeners inside the room with their characters, forced to decide whether Jack is a man, a memory, or the voice of self-destruction. It is an ambitious collaboration that transforms a song into a psychological setting, one that will remain in the listener’s mind long after turning it off. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

A night of intimacy and reflection that warmed a winter crowd. Article and Photos contributed by Vaneza Gutiérrez Wyckoff January 19th at Showbox SoDo had the crowd of concert-goers feeling like their own cozy little world tucked inside the grungy brick venue walls — even as the chilly winter air outside made it clear just how deep into January the PNW was. By showtime, the room was already humming, bodies packed shoulder to shoulder, phones raised and waiting, the anticipation causing a low murmur from the crowd. From the moment Dean Lewis stepped onstage, there was a rare kind of intimacy in the space — the kind that only exists when an audience is fully present in the moment and every lyric is sung back with excited vigor. Dean Lewis performing at Showbox SoDo in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). The evening opened with Matt Hansen, whose stripped-back acoustic set immediately set the tone for an unforgettable night. A guitar savant with a knack for emotional precision, Hansen moved effortlessly between soft, crooning love songs and soaring, intense ballads about heartache. The crowd swayed gently along to his greatest hits, including “yellowstone (holding you)” and “LET EM GO”, creating an energetic atmosphere that felt less like an opening act and more like an invitation to settle in. Matt Hansen performing at Showbox SoDo in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG) When Dean Lewis made his entrance, the crowd came alive with screams and cheers to rival those in attendance at T-Mobile Park down the street during a nail-biting Seahawks game. From the first notes, the crowd didn’t just listen — they leaned in to relish each chord. The collective focus in the room was almost palpable, as if everyone was willing the sound to linger just a moment longer under the cool wash of the teal stage lights. Lewis’s Aussie accent cut through with warmth and clarity, not as a performance delivered to the audience, but as a conversation unfolding with some of his biggest fans. Fans look on in admiration as Lewis covered “Iris” by Goo Goo Dolls at Showbox SoDo in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). The set flowed seamlessly between fan favorites and moments of unexpected vulnerability. In a nod to shared musical memory, Lewis surprised the audience with covers, including a charming rendition of “That’s So True” by Gracie Abrams and a stripped-back, emotionally charged rendition of “Iris” by Goo Goo Dolls, which had the crowd belting the words right back at the singer. The covers felt less like random songs selected on shuffle and more like individual moments of communion, with the crowd singing along to timeless songs, both new and old. Speaking to the crowd in the middle of the set, he candidly offered an unguarded glimpse into his life, briefly acknowledging that the past year of difficulties had pushed him to confront mistakes, take responsibility for them, and approach both his music and life with renewed respect and intention. Dean Lewis performing at Showbox SoDo in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). That sense of reflection came into sharper focus when Lewis introduced several unreleased songs, recently written during what he described as the lowest point of his life. Composed while he spent a few weeks reflecting in rehab, “Seconds Before Sunrise” and “I Am Getting Well” unfolded with a quiet honesty that beguiled the entire crowd. There was no attempt to dramatize the moment or explain it away; instead, the songs stood as markers of accountability, learning, and forward motion. The room responded instinctively — falling silent to absorb the unreleased words, then rising into applause that felt less like a celebration of mistakes made and more like recognition of owning up to wrongs and becoming a better person for them. Dean Lewis performing at Showbox SoDo in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). But the sense of closeness extended beyond the stage. Near the end of the set, Lewis stepped down from the spotlight and onto the barricade step, standing mere centimeters from the most devoted fans at the front of the crowd as he sang directly out into the sea of faces. Excited voices rose to meet his, hands stretching towards him as he clasped them in return, the moment unfolding with an intimacy that felt unscripted and sincere. Joining the crowd, eye-to-eye, was less a performance choice than audience core memories unfolding right in front of us — in the moment where the boundary between artist and audience briefly disappeared. Dean Lewis performing at Showbox SoDo in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). As the final notes hung in the air and applause and cheers rocked the stage — and between the hand hearts he lovingly signed to the audience in appreciation — it was clear this wasn’t just another stop on a tour schedule. No, this night was shaped by honesty, connection, and the shared understanding that music can hold space for not only joy or heartbreak, but also never-ending growth. Dean Lewis gave Seattle a performance that felt unguarded and unmistakably alive — and the crowd carried that warmth with them long after the lights dimmed and the doors opened back into the freezing Seattle night.

Taylor Contarino's Artwork for "Survivors Guilt" | Photo by Alina (capturesby.alina) Article Contributed by Rachel Catherine Singer-songwriter Taylor Contarino released her newest single in July, “Survivor’s Guilt,” an Alternative Pop and R&B track with themes of grief, loss, addiction awareness, and resilience. Grief is 50/50 when it comes to whether artists share that vulnerable, fragile messiness. Taylor is one of the artists who has chosen to open up about her experiences with grief, using it in her music and songwriting. This track backs away from being upbeat and loudly overproduced. It shows us that raw vulnerability that is the one side of the spectrum where artists do share their intimate sides of vulnerability. This track is driven by soulful vocals and production that lets her voice carry the story, using the song to express her feelings. Her choice to showcase her openness and transparency suggests that her strength lies in sharing such a real-life experience and tragedy. “Survivor's Guilt” sets the tone for listeners who share similar stories of surviving battles their friends or loved ones lost, allowing them to share an experience rather than carry their unexpressed guilt and pain alone. Lyrically, it tackles the heaviness and emotional weight that’s left to carry with loss. This song acknowledges the harsh realities of addiction, grief, and loss. This release is emotional and establishes Taylor as an empathetic storyteller, showing that it’s okay to share and turn your personal struggles and hardships into a musical art form. This allows you to express your feelings of pain and hurt, as well as your struggles with the grief and loss of the ones you love. For anyone navigating healing and heavy feelings after lost battles, this single offers a connection and a reminder that you’re not alone. There can be a light at the end of a very dark tunnel. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Fuel has returned with their seventh studio album, Pendulum, and released their single, “Want It,” a stadium-worthy track. Fuel's promotional photo | Photo by Josh Erdman Article Contributed by Konstantina Buhalis Return of Radio-Rock Royalty Fuel gained attention in the late 1990s with their melodic radio-rock sound and emotional lyrics that resonated with fans. They landed on the Billboard chart for their early singles multiple times, and their debut, Sunburn, was certified platinum, and Something Like Human was certified double-platinum. With multiple lineup changes, including recruiting NBC’s The Voice contestant Aaron Scott as a lead vocalist, Fuel has remained one of the most beloved bands of the 90s and 00s. Fuel Injection “Want It” is a heavy alternative metal-inspired track that is reminiscent of Fuel’s earlier work, but maintains the melodic break that made Fuel one of the most recognizable alternative bands. “Want It” is the first single Scott shared with the group, with founding member, guitarist, and songwriter Carl Bell saying, “He delivered an actual, tangible song idea, and we began shaping it from there. It’s been so refreshing to have someone so proactive in our corner. We have more synergy as a band now than we ever have, and that truly pushed this record into existence.” Artwork for "Want It" “Want It” takes the listener on a ride, starting at daredevil speeds with a thunderous wall of sound that immediately barrages the listener with a steady drumbeat and a faint synth line that adds texture to the breaks. Scott’s vocals are powerful and controlled, matching the intensity and pulling back for the emotional delivery Fuel is known for. “Want It” is a return to form that older fans will appreciate, and newer fans will enjoy, breathing new life into Fuel. “Want It” sets the stage for Pendulum through lyrical themes of resilience and ambition, while using melodic rock as the foundation for Fuel's next era. Fuel's promotional photo | Photo by Josh Erdman Fuel is currently touring, and you can stream their music on all platforms. 8.14 Sturgis, SD @ Sturgis Buffalo Chip 9.6 Lake Charles, LA @ L'Auberge Casino Resort Lake Charles 9.9 New York, NY @ Silver Lining Lounge (presented by Scott Lipps) 9.11 Ocean City, MD @ OC Rock & Ride 2026 11.6 Bensalem, PA @ Parx Xcite Center Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Hudson Ingram and Sydney Rose turn emotional avoidance into an intimate conversation with "Don’t Get Me Started” Hudson Ingram’s The Long Way Home (Vol. 1) Cover Article Contributed by Shyanne Vaden Sometimes the quickest way to discover what someone is still hurting over is to ask them about what they refuse to discuss. On “Don’t Get Me Started,” Hudson Ingram and Sydney Rose capture that exact feeling, insisting something is in the past while remaining one question away from unraveling completely. Released on May 1, 2026, the song is simple, beautiful, and relatable. Released as part of Ingram’s The Long Way Home (Vol. 1), the collaboration unfolds like a conversation between two people attempting to maintain their composure. The title initially sounds dismissive, like something said with an eye roll before changing the subject. In the song, it becomes less a warning and more a confession. “Don’t get me started” really means, If I begin telling the truth, I may not know how to stop. Ingram’s performance carries the exhaustion of someone who has already replayed the situation too many times alone. His voice feels restrained but never emotionally distant. Rather than turning heartbreak into a dramatic confrontation, he approaches it with the uneasiness of someone still deciding how much he is willing to admit. Rose’s entrance gives the song another dimension. She does not feel like a featured artist added to fill a verse; she sounds like the other half the song needed. Her soft, expressive voice complements Ingram’s. Where his performance can feel guarded, hers brings a tenderness. Together, their voices create the sense that both people have been privately carrying different versions of the same ending. That shared perspective makes the duet so effective; we love the differences in their voices. Many breakup songs provide a clear hero and villain, but “Don’t Get Me Started” lives in the real unfortunate reality that two people can hurt each other without either person being entirely wrong. Ingram and Rose do not sing like opponents trying to win an argument. They sound like two people finally acknowledging what was left unsaid. The production understands that the song’s power lies in its intimacy. As the arrangement expands, the emotional pressure rises. The music mirrors what happens when someone tries to tell a painful story calmly: the details accumulate, the voice grows less steady, and eventually. Despite that gradual build, “Don’t Get Me Started” never sacrifices sincerity. Its most affecting quality is its closeness. The song feels like overhearing a private exchange. At its fullest, it retains the tenderness of two singer-songwriters sitting beside one another and allowing the emotion to speak before either can edit it. We really love the rawness of that. With “Don’t Get Me Started,” Ingram and Rose give that emotional contradiction. Their chemistry transforms the song from a solitary reflection into a shared perspective that the audience can also relate to, creating a duet that feels in sync rather than staged. It is a tender portrait of what happens when moving forward and moving on turn out to be two entirely different things. We really adore this song; it sounds like something that could be featured in TV shows like Sterling Point or Ransom Canyon. It is very darling! Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Surf Rock Meets Coffee Shop on Surfaces' “All The Spaces Between” Press photo of Surfaces | Photo by JT Boehme Article Contributed by Konstantina Buhalis The Road to Hope Surfaces has released their seventh album, All The Spaces Between. Featuring the TikTok viral single, “Call Me When You’re Home,” the album is already garnering attention. Written during these tumultuous times, it chronicles the journey of managing grief, love, gratitude, and loss. Finding Peace All The Spaces Between is a concept album about experiencing grief and finding peace. Padalecki went on to say, “Writing these songs over the past two years helped me find peace in letting go of what I can't hold, and opening my arms for love to find me again. Like most people, I still struggle with polarities in my life, but this album helped me grow so much in the space between them... where life is really lived." Padalecki’s writing is emotionally forward, taking the listener on a journey of acknowledging hardships without letting them rule your life. Padalecki’s vocals float softly over mellow contemporary arrangements, creating a calm, meditative atmosphere. Throughout the album, the arrangements blend seamlessly to create a multi-genre narrative of life's ebbs and flows. All The Spaces Between also features the single that went viral on TikTok, “Call Me When You’re Home,” with 16k posts showcasing the band’s cultural impact. Growing Through It Surfaces’ transformative album is a breath of fresh air in a rushed lifestyle, letting listeners slow down for a moment and embrace the space they're in. The opening track, “Blame It All On Me,” features a collaboration with Mike Posner, adding vocal depth and a throwback 2010s adult contemporary vibe. As the album continues, “Guess We’ll Never Know” uses gang vocals throughout the chorus, acting as a choir to create a dynamic sound and make it perfect for a sing-along. All the Spaces Between maintains a beach-inspired vibe, taking cues from surf rock throughout the sonic landscape to build a strong foundation for the lyrical content, directly mentioning the coastline and the beach. The waves on the beach perfectly encapsulate this album: there is tranquility in watching the waves roll in, and even when storms gather on the horizon, the water eventually calms and peace returns; we just have to be brave and weather the storm. Soundcheck Rating: 6/10 Artwork for All the Spaces Between Overall, we must be brave, and All the Spaces Between reminds us that we can survive and that slowing down is a chance to grow. Standout tracks: Blame It All On Me Truman’s Show Snake Eyes Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

A masterclass in confidence: how HAYLA turned Williamsburg's spotlight into her moment. HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Article and Photos by Fernando Flores Lizzy Jane: An Opening Set with a Power of Its Own Lizzy Jane performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Music Hall of Williamsburg was already buzzing before HAYLA ever stepped onto the stage, and Lizzy Jane made sure that energy had somewhere to go. Lizzy Jane, who is usually known for DJing, brings something different to her sets by putting her own voice directly into her mixes. Instead of simply standing behind the decks, she sang throughout her opening set, really showing the power she has in both creating and performing her music. Lizzy Jane performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Her movement was just as powerful. She stirred the crowd into a bundle of excitement, constantly moving across the stage and warming everyone up for HAYLA. Lizzy Jane mastered the balance between bringing energy onstage and actually engaging with the crowd, making for a fun and memorable introduction, especially for the people in the room who may have been hearing her for the first time. Then HAYLA arrived HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) There was no slow build or lengthy introduction. HAYLA abruptly captured everyone’s attention with an eye catching spectacle of lights and smoke. Through the mist, she appeared and began walking toward center stage, and almost immediately the crowd became completely unhinged. The excitement in the room made it very clear that they had been waiting for this moment. From there, HAYLA never really let the energy come back down. Power in Every Detail HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Her powerful vocals carried a hint of elegance while energetic tracks pulsed underneath her voice. She moved left and right across the stage, saying hi to fans, throwing hand hearts into the crowd, and showing power in nearly every little detail. From her stance to her presence, there was a confidence about her that made her difficult to look away from. Chest held high, vocals consistently on point, and complete control of the stage. Most artists eventually take a moment to pause, breathe, or bring the show down for a while. HAYLA barely gave the crowd that opportunity. Even during the more mesmerizing spotlight moments where the attention was entirely on her voice, the room remained electrified. That may have been one of the biggest strengths of the entire performance. HAYLA did not need constant spectacle to hold everyone’s attention. The production was beautiful, but when the lights settled and her voice became the focal point, she was just as captivating. The Reviews Are In Throughout the night, HAYLA gave fans a taste of new material before eventually ending with “DARK,” from her new album. But the crowd was not forgiving enough to simply let her walk away. They wanted an encore. HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) And with seemingly just as much energy left as the people standing in front of her, HAYLA came back and gave everything she had to one final song. It left the room buzzing, and you could hear the reviews beginning before fans even made it out of the venue. “She has great vocals.” “She’s my favorite.” “I love HAYLA.” “Thank you for taking me, she was incredible.” Those little conversations happening throughout the crowd might have been the best review of the night. People were not simply leaving satisfied. They were left impressed. The night goes DARK If you have not heard of HAYLA yet, give her new album a listen. And if she is playing anywhere near you, take the opportunity to see her live. Because as strong as HAYLA may sound in the studio, the recordings simply do not do justice to what happens when that voice is standing directly in front of you. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Press photo of Lily Lane | Photo by Quinn Hawking Article Contributed by Monica Soriano We had the opportunity to interview talented singer-songwriter Lily Lane, who recently moved from California back to her home state of New York. With this shift in life, she released a song titled “So Long, California,” in which she closes a meaningful chapter in her book. She greeted us warmly and was an absolute delight to talk with. “So Long, California” Is Her Way of Saying Goodbye One of the first things we asked her was how her new life back in New York was going, and then we dove into “So Long, California.” In the interview, she told us that “the years in California were actually wonderful” and went on to say that this song is “kind of a breakup song, and I just loved my time in California. I loved all my friends that still live there - I just went and did a show there last weekend. So I’ve been back, but it was also kind of my way of explaining to all of my friends and community there like ‘Hey I’m leaving.’” She elaborated that she moved during the pandemic with an idealized version of California. She described her experience as a 6-foot-tall woman living in the City of Angels, and how the city she fantasized about became real once she got there, but she also gushed about finding love in LA. She said “‘So Long, California’ is my love letter to the city but also my explanation why I had to go” and “just because it’s good, didn’t mean it was right for me.” “That EP Is How I Found My New Sound” We continued our chat about her life in New York, then moved on to discuss her ‘Domesticasted’ EP, which she released last year. She mentioned “that EP is how I found my new sound” and continued to say that it was “a more mature evolution of my original sound.” Lily Lane has a soulful voice and a strong talent for projecting her emotions through her music; we were curious which artists she looked up to and hoped to collaborate with in the future. For artists she looks up to, she named the one and only Kelly Clarkson, and for artists she would love to collaborate with, she said she would like to write for Beyoncé as well as collaborate with John Legend and Olivia Dean. A Day In The Studio with Lily Lane A day in the studio can look different for every artist; we had to know what Lily Lane’s days were like when she hit the studio. Lily told us about her most recent studio visit, which was when she had her show in Los Angeles. She explained, "I just had kind of a wild one in LA” and continued “I woke up, walked the dogs, went to the studio. Was in the studio for maybe 8 hours, then I left, went to soundcheck for my show…went back to the studio. Finished doing all the harmonies and then went back and did my show.” She explained that not all days are like this, but the pressure from such a long day, and working with her producer Taylor, created something she loved. We continued the conversation by talking about how she decides which songs to keep for herself and which to save or pass off to other artists. She shared many details, including an artist she’s currently writing for and a song she wished Demi would have released. Press photo of Lily Lane | Photo by Quinn Hawking There were many more things we discussed with Lily Lane, including how she knew she was going to pursue a music career. She also had wise words to say to new artists: “Something that looks like overnight success is often something that was preceded by 10 years of really hard work……you never know when that moment is gonna come; it doesn’t mean you should stop.” It was such a wonderful time getting to know Lily Lane as an artist and person; she gave us the details on her upcoming single "Georgia"! To hear Lily Lane express herself and get to listen to a more detailed discussion, watch/listen to the full interview! Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Singles are supposed to build anticipation for an album or EP. But when nearly every song arrives little by little, are we actually creating excitement for a project or giving fans less to discover when release day finally comes? Photo by Brett Jordan | https://www.pexels.com/photo/close-up-of-piles-of-cd-records-5553301/ Article Contributed by Rebecca McDevitt There was a time when an album release felt like an actual event. You knew the date, you knew the artwork, you probably knew the lead single, and you formed completely irrational attachments to song titles you had never even heard yet. Then release night arrived, you pressed play on track one, and suddenly an entire body of work was sitting in front of you. That feels increasingly rare in an industry obsessed with releasing music little by little. A song drops, a few weeks pass, another drops, and eventually an EP gets announced and you realize you have already heard four of its six tracks. At that point, what exactly are we waiting for? This isn't an argument against singles. A great single should make you curious and open the door just enough that you desperately want to know what is behind it. But if you keep opening that door a little wider every few weeks, eventually there is nothing left to discover. We Miss Discovering an Album Together There is something uniquely communal about the first few hours of an album existing in the world. Everyone hears the same songs at once but finds something different inside them. One person falls in love with track three, someone else cannot understand why nobody is talking about track eight, and by the end of the day fans are ranking songs, quoting lyrics, and deciding which supposedly insignificant deep cut deserves its own national holiday. That gets harder when we already know half the tracklist before the project arrives, and it costs us the best kind of surprise: the album drops, everyone latches onto a song nobody expected, and there is your next single, chosen by fans instead of a marketing plan. We want to press play without already knowing which songs were designated the important ones, and we want to stumble onto the weird little track buried in the middle that we somehow end up playing 400 times. Singles Should Make Us Want More Photo by Ivett M | https://www.pexels.com/photo/person-browsing-records-in-brazilian-music-store-38969086/ A great single should accomplish something simple: make us want the album. Give us the song that introduces the era, the video that establishes its visual identity, the interviews and behind-the-scenes footage, and, sure, a second single if there is a reason to show another side of the project. The problem isn't singles, but the proportion. If you are releasing a five-song EP, do fans really need four of them first? A rollout should leave fans hungry for the project, not feeling like they have been eating it one bite at a time for four months. Release Day Shouldn't Be the Finish Line Artists need content, and that reality isn't going away. But why does all of that marketing have to happen before the album even arrives? A release should be the beginning of another phase of promotion, not the moment everyone packs up the campaign. Drop the album, then give another track a music video, put out a live version, break down the lyrics, show us the first demo. A twelve-song album is not one piece of content. It’s twelve opportunities to keep people invested in an era, and those don't disappear just because the songs are already streamable. Anticipation is part of that too. Give us photos, interviews, studio footage, artwork, snippets if you really want to torture everyone. Let fans speculate, wonder, and wait because anticipation isn't the absence of engagement. Anticipation is engagement. Give Us the Damn Album None of this means recreating the release strategies of twenty years ago. Streaming and algorithms aren't going anywhere, and singles will always be part of introducing new music. But there is a middle ground: release the lead single and give it a real moment, release another if you want to reveal another piece of the puzzle, then stop. Leave some of the puzzle in the box. Trust that fans can handle ten songs at once, and trust us to find our own favorites. Photo by Ron Lach | https://www.pexels.com/photo/close-up-of-couple-sharing-headphones-9654036/ Because the best moments in music fandom happen when nobody tells you which song you're supposed to love. You press play, get halfway through, a song you knew nothing about comes on, and suddenly you're texting your friend in all caps. "TRACK SEVEN. NOW." Five minutes later, they're screaming too. So release the singles, tease the era, feed the algorithm, but leave us something to discover when we finally get there. Bring back the full album drop. And please, if you're releasing a five-song EP, don't make us hear four of them first. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

In our sit-down with Australian-Filipino artist VITA, we dive into her upcoming album OPIA and her creative intent. "PLEASER" single art Article Contributed by Monica Soriano The remarkably talented artist known as VITA recently released her single “PLEASER” as a taste of her upcoming album OPIA. We had the opportunity to hear her talk about her music, her life right now, and her creative vision. First off, VITA looked incredible sporting a wardrobe for an upcoming project she is currently working on. She told us she loves fashion and even took part in making and dyeing the fabric she was wearing. VITA shared that she is not only filming in Mexico City, but she's also fallen in love with the atmosphere and now lives there. Her excitement about what was happening around her was a breath of fresh air. “The sky is the limit” In a recent social media post, VITA mentioned finally having a budget for her music video. We had to ask if this newfound freedom to go bigger made her excited for all the creative planning she can now do. She said, “The sky is the limit...my team at Interscope is so amazing…I have a joke with my team that there’s probably somebody in Interscope that rolls their eyes every time they get a text from me because my ideas are so absolutely nutcase.” She continued to say that it “feels really expansive now … you know when I first started I had these massive ideas and I just didn’t have the funds to do them….I’m looking out at them setting up a set right now, and I’m just like getting emotional thinking about, you know, 5 years ago. This was not the case for me. So, I’m deeply grateful every day.” Her enthusiasm for this new phase of life was bright, and it made us truly appreciate this first single, “PLEASER,” and the visual video released for it. It felt like part of a short film or a series of videos that would tell a bigger story. The colors are bright with a cinematic feel, and her fashion is dramatic and avant-garde in the best way possible. We look forward to the release of OPIA and to seeing VITA continue to share her vision with the world. Showing Her Inner World Promotional image for "PLEASER" | Image provided by VITA's team Since VITA is a true world builder and her artistic expressions are personal, we asked her how the title of her upcoming album, OPIA, fits her narrative creatively or personally. She elaborated by saying, “ OPIA means the vulnerability and intensity of looking someone in the eye, and I think that kind of encapsulates the whole project of like looking at yourself rather than looking at other people.” She went on to say that before, her music was very outward, whereas now it is more inward. She spoke about introspection and the lack of eye contact within society nowadays. Something that stayed with us was when she stated: “When anybody made too much eye contact with me, I would get really uncomfortable and then I had to ask myself why I was so afraid to be seen.” Well, she certainly isn’t afraid to be seen anymore. Her art is being poured into the ears and eyes of people everywhere! Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

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!

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.