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Article and Photos Contributed by Ernesto Raul Aguilar The Afterglow Tour with Bob Moses, joined by Cannons and opening act Oxis, arrived at The Salt Shed in Chicago on April 22 and delivered a night defined by atmosphere, pacing, and cohesion. The show unfolded with intention, each set flowing seamlessly into the next and shaping a larger emotional arc. It was a lineup that fully embraced mood and immersion, drawing the crowd in from the very beginning. Bob Moses performing at The Salt Shed in Chicago, IL. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) Oxis opened the evening with a set that immediately established that tone. Working through ambient textures, downtempo rhythms, and off-center beat structures, she created a sound that felt fluid and immersive, guided by a gradual pull that drew the crowd deeper in. Tracks like “Long Sardine,” “Flounder,” and “Piranha” hinted at the underwater quality of the set, where elements drifted, swelled, and dissolved into one another. There was a patience to her performance that stood out, with every moment feeling intentional and fully realized. She allowed space to do part of the work, letting subtle shifts in tone and rhythm reveal themselves over time. The result was a crowd that leaned in, fully engaged and locked into the atmosphere she created. It was an understated opening that set the foundation for everything that followed and gave the night a strong sense of identity early on.\ Oxis performing at The Salt Shed in Chicago, IL. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) Cannons took that foundation and added shape and momentum while maintaining the evening’s atmospheric throughline. Performing without Paul Davis as he continues to recover from a recent medical emergency, the band remained composed and fully in control of their sound. Michelle Joy’s vocals were steady and weightless, gliding over polished, reverb-soaked production that filled the room with a warm, late-night glow. Songs like “Hurricane” and “Bright Lights” provided lift, pushing the energy forward while maintaining the band’s signature restraint. Mid-set, “Bad Dream” and “Desire” introduced a darker undercurrent that added depth and dimension to the performance. What stood out most was their control, with each moment feeling intentional and the transitions between songs unfolding smoothly and naturally. They closed with “Fire for You,” a moment that felt shared across the room, its familiarity and slow build washing over the crowd in a way that was both intimate and expansive. Cannons performing at The Salt Shed in Chicago, IL. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) By the time Bob Moses took the stage, the night moved into its most kinetic phase. Their set leaned fully into rhythm and repetition, creating a steady pulse that moved through the venue and carried the crowd with it. Built on cycles of tension and release, the performance thrived on control and timing. Tracks like “Tearing Me Up” and “Enough to Believe” served as central anchors, each rise and drop met with a unified response from the floor. “Desire” extended that momentum further, unfolding into one of the most driving passages of the night as bass and percussion took hold and pushed the energy forward. They closed with “Blink,” a finale that sustained the momentum and kept the energy in motion, leaving the crowd in that lingering afterglow the tour promises as the night carried out into Chicago. Bob Moses performing at The Salt Shed in Chicago, IL. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery)

Image sourced from IG @jessiejodillion Article Contributed by Monica Soriano Songwriter Spotlight: Jessie Jo Dillon - Dominating Country Music Jessie Jo Dillon has credits in the songs of some of today’s most beloved country superstars, including Kelsea Ballerini, Dan + Shay, and Jelly Roll, to name a few. Jessie Jo Dillon isn’t just the daughter of a country star and a record label executive; she has carved out her own space in Nashville as a songwriter. Her extensive discography has led her to write for, and with, an endless list of household country names. Dominating country music can’t be easy, but Jessie certainly has a way with words that create fan favorite songs. Collaborating with Big Names There may be a secret to her success, but it could also be years of consistency, hard work, and many, many collaborations. A very popular song that Dillon co - wrote is Dan + Shay’s “10,000 Hours,” which had a Justin Bieber feature and won a Grammy for Best Country Duo/Group Performance. Jessie Jo co - wrote Old Dominion’s “Memory Lane,” which was a lead single and shares the same name as their 5th studio album. Keith Urban, Maren Morris, Jelly Roll, and Megan Moroney are only a few names on her long list of collaborators. Her impressive body of work has led her name to be a Nashville favorite. Songwriter Recognition, Awards & More Image sourced from IG: @JessieJoDillion It is because of her extensive resume in Country Music that Jessie Jo Dillon was nominated for Songwriter of the Year, Non-Classical at the Grammy Awards for 3 consecutive years. She has also won in the category Songwriter of the Year at the CMA Awards. The true recognition of her work and talent lies within the words her collaborators use when speaking about her. She receives praise and warmth from artists such as Kelsea Ballerini, Karen Fairchild, and more. Keith Urban performed “Messed Up As Me” to honor Jessie during the 17th ACM Honors. The best thing about songwriters being recognized by their peers, the fans, and the music industry is that their names continue to get cemented within history. There is much to look forward to from Jessie Jo Dillon, and we can’t be happier to keep up with her already massive success.

Article and Photos Contributed by Hannah Hampton The Philadelphia stop of Age of Madness’ “Mount Olympus Tour” felt less like a typical rock show and more like a carefully staged collision between theater and live music. This performance carried an energy that was both intimate and charged, with a dedicated fan base that arrived ready to participate! Age of Madness performing at The Foundry in Philadelphia, PA. Photo by Hannah Hampton (IG: @hannahmaryhampton) Age of Madness is an intriguing and somewhat unconventional rock project that manages to balance theatrical flair with genuine musical substance. Formed by Jeremy Jordan alongside collaborators like Sarah Charness on violin and Mikael on guitar, the band occupies a space somewhere between modern alternative rock and dramatic, almost cinematic storytelling. While still relatively under the radar compared to mainstream acts, Age of Madness offers a compelling artistic identity that feels both deliberate and emotionally charged. At its core, the band thrives on contrast. Their sound blends raw, guitar-driven rock with unexpected elements like electric violin, creating a texture that feels richer than the standard three-piece setup. According to available descriptions, their music emphasizes grit and storytelling, combining heavy riffs with sweeping melodic layers and dynamic vocal delivery. This fusion allows Age of Madness to stand out, where many bands either lean heavily on nostalgia or chase today’s trends. Age of Madness performing at The Foundry in Philadelphia, PA. Photo by Hannah Hampton (IG: @hannahmaryhampton) One of the most striking aspects of Age of Madness is their commitment to emotional intensity. Their songs often feel like narrative experiences rather than simple compositions, filled with poetic imagery and themes that reflect both personal and societal struggles. With songs named after Greek Gods, such as Apollo and Dionysus. Age of Madness takes a very unique approach which makes their music particularly engaging for those who appreciate depth and intention in songwriting. Vocally, Jordan brings a unique presence to the band. Known primarily for his work in theater, he carries over a sense of drama and precision into his rock performances. His voice is powerful yet controlled, capable of shifting from softer, introspective moments to explosive choruses. This theatrical influence could easily feel out of place in a rock setting, but here, it becomes a defining strength. Rather than diluting the band’s authenticity, it enhances their storytelling and adds a distinctive emotional range. Age of Madness performing at The Foundry in Philadelphia, PA. Photo by Hannah Hampton (IG: @hannahmaryhampton) Instrumentally, the band demonstrates a clear respect for classic rock traditions while still forging their own path. The guitar work leans into familiar rock structures but is elevated by the addition of violin, which introduces a layer of sophistication and unpredictability. This combination creates a sound that feels both grounded and expansive, capable of shifting moods within a single track. Age of Madness performing at The Foundry in Philadelphia, PA. Photo by Hannah Hampton (IG: @hannahmaryhampton) In conclusion, Age of Madness is a promising and creatively ambitious band that offers something refreshingly different within modern rock. Their blend of theatrical storytelling, emotional depth, and innovative instrumentation sets them apart from many contemporaries. While they are still evolving and refining their identity, the foundation they have built suggests significant potential. For listeners seeking rock music that feels both expressive and thoughtfully constructed, Age of Madness is well worth exploring!

Article Contributed by Rebecca McDevitt Some songs ask you to feel something. Others just make you feel it before you even realize what's happening. "Medicina", the Spanish-language collaboration between artist Dav Julca and DJ and producer Deleasa, falls firmly into the second category, and that's entirely the point. The track operates like a prescription. The title means exactly what it says: La vibra esta divina, las bocinas siempre arriba, and the energy is coming to recharge you whether you're ready or not. There's an infectious confidence baked into the production, upbeat, warm, built for movement, that makes the whole thing feel like a party that was already in progress when you walked in. What's most interesting about "Medicina" is how deliberately its structure mirrors its message. The hook doesn't just repeat, it insists. A brief turn through "yo decreto cuando gozo" sets the intention, and then the chant pulls you right back in. Over and over. That's not a lack of complexity, that's the whole design. Anyone who has ever written an affirmation knows you don't say it once. You say it until your nervous system believes it. "Ten cuidado, es pegajoso." By the time that line lands, it's already too late. The song has been working on you the whole time. For Deleasa, the track feels like a natural extension of his instinct for energy curation, the same sensibility that translates live, just bottled and delivered in under three minutes. Linking up with Dav makes complete sense -- this is squarely his world too, and the ease between them shows. Two friends making exactly the kind of music they'd want to be in a room listening to together. Put it on when you need a reset. That's the whole prescription.

Miley Cyrus revealed the poster for her 20th anniversary special of Hannah Montana with Hulu. Disney Channel viewers were impacted by the show, the music, and Miley’s career; to this day, Hannah Montana remains embedded in pop culture. Article Contributed by Monica Soriano There was a time when kids and teens everywhere were begging for a blonde wig with bangs and a microphone. They needed to be the most famous pop star with a secret normal life - Hannah Montana. 20 years later, the impact of the series is celebrated.  Hannah Montana’s Successful 4 Season Run (Plus A Movie!) Who would have thought that a show on Disney Channel would create a phenomenon that transcended TV audiences? Hannah Montana was first released in 2006 and ran until 2011. A film and 4 seasons of the series created during that time are, and still are, beloved by fans everywhere. Part of what made this world fun for viewers was the comedy, music, the premise of a pop star living a normal life, the cast, and the many guest stars. Corbin Bleu, Austin Butler, Kat Graham, Jesse McCartney, Dolly Parton, and Dwayne “The Rock” Johnson were only a few of the names that made appearances in Hannah Montana. The wackiness and comedic elements allowed for the show to find a place for varying guests, including Dr. Phil, John Cena, and Joey Fatone. The Jonas Brothers’ popular appearance on Hannah Montana led to the song “We Got The Party” by both Hannah and The Jonas Brothers. David Archuleta, appearing on Hannah Montana, is still to this day a fan favorite along with their duet “I Wanna Know You”.  In the film Hannah Montana: The Movie, Taylor Swift, early in her career, made a short appearance to perform a song. The movie premiered in theaters and was a hit with the fans. It also produced “The Climb”, which to this day is a fan favorite song from Miley Cyrus.  Hannah Montana’s Charting Songs & Best of Both Worlds Tour Hannah Montana’s success as an artist surpassed what any executive, cast member, or producer could have imagined. Hannah was everywhere, merch was being purchased left and right…and the music? The music was charting. “The Best of Both Worlds” was the title track of the show, and it made it into the US Billboard Hot 100 Chart. Other songs that charted on the Billboard Hot 100 were “Life’s What You Make It”, “If We Were A Movie”, and “Nobody’s Perfect”. “He Could Be The One” peaked at number 10 on the Billboard Hot 100 Chart, making it the highest charting song from Hannah Montana.  The Best of Both Worlds Tour was highly anticipated; not only were the Jonas Brothers opening the tour, but it was Miley’s introduction to the world as Miley Cyrus, the artist. This tour made a clear division between Miley’s on-screen personality, Hannah Montana, and her real-life self. It wasn’t only a successful tour, but it was turned into a documentary-style concert film which premiered in theaters…in 3D!  Disney’s Gamble on Miley Cyrus It was recently revealed that over 1,200 girls auditioned for the role of Hannah Montana, including names like Lucy Hale, Taylor Momsen, and Jojo. Miley Cyrus was still young and lacked experience in acting, but Disney took a chance. The series became a success, and she became bigger than the show itself. Miley Cyrus’ Success Surpassed Hannah Montana Photography Credit to: @nishajohny Miley Cyrus’ journey post Hannah Montana has been filled with different music genres, legendary pop culture moments, and consistent release of music. Miley has 9 studio albums, not including her Hannah Montana discography. She had a huge fan base with the Hannah Montana series, but it was her star power, personality, and music that continued to grow her career. Fans grew alongside Miley; when she was trying new music genres, new hairstyles, going through heartbreak, or just living life.  Today, Miley Cyrus is a Grammy Award-winning singer who has learned to fully embrace the role that once put her on the path to stardom. She celebrates her life and accomplishments and seems excited for the future. 20th Anniversary Celebration & Fan Nostalgia The Hannah Montana 20th Anniversary celebration was all anyone who was a fan of the show could talk about. Recently, there was a nostalgia-filled special released by Disney+ in celebration of the show. In under an hour, we were transported back in time through the sets, pieces of wardrobe shown, and Miley Cyrus re-recorded and performing “The Best of Both Worlds”. To fans, it feels as though the special could have been longer and included more of the series cast, like Mitchel Musso and Emily Osment, but it still managed to hit the nostalgia factor.  There was so much excitement revolving around this 20th anniversary special; many fans recreated Hannah Montana's looks online and simply enjoyed themselves. Many actors who played beloved characters on the show walked the purple carpet, including Jason Earles, Ana Maria Perez de Tagle, Cody Linley, Shanica Knowles, and many more! The music from both Miley and Hannah was something that raised people; it stayed with them through the good and the bad. The nostalgia isn’t just looking back at the show but at the feelings and situations from 20 years ago. Pretending to be a rockstar in the living room, attending a first concert, being comforted by “Nobody’s Perfect” or just finding the necessary distraction Hannah Montana provided.

HAYLA performs in concert | Photography by @ljportnoy Article Contributed by LJ Portnoy HAYLA — "Heal" | Single Review You think you know an artist. Then they hand you something like this. "Heal" isn't the HAYLA you've been dancing to — it's the one she's been keeping to herself. And we're so glad she's finally letting us in. Released April 10, the new single feels like a deliberate exhale after years of collaborative highs. And what a breath it is. HAYLA has built her name on euphoric moments.The GRAMMY-nominated "In My Arms" with ILLENIUM, the dancefloor-ready "FADED" with Nelly Furtado, the Dance Radio #1 "Where You Are" with John Summit, but "Heal" strips all of that away. What's left is just her, a piano, and something she clearly needed to say. Healing Discovered The song opens with ambient sounds and quiet distortions at the front of the track that feel less like production choices and more like the nervous silence before an honest conversation. Produced by Magnus Skylstad, the arrangement leans heavily into piano, more so than anything she's released before, with atmospheric sounds and pieces threading throughout, unhurried and cinematic. It doesn't rush you. It waits for you to catch up. This song sounds older, wiser, more mature. Her other tracks have been more fun, more playful. This one feels like a change for her, in the best possible way. A new chapter. A new evolution. And then she sings. HAYLA's voice, a mezzo-soprano with an alto's depth and a range that climbs effortlessly above it, has always been her most undeniable asset, but here it operates differently. There's no drop coming to catch her. No build to hide behind. The vocals are haunting. It's just the voice, and it's confident and devastatingly controlled. She carries the full emotional weight of the song on its own. The second chorus is where "Heal" fully opens up, crescendoing elegantly and showcasing HAYLA's vocal prowess in a way that stops you mid-breath. Her vocals shine like Adele's, but with a confidence that is entirely, unmistakably her own. And live? This is one of those songs that the performance is sure not to disappoint. Her vocals soars above the crowd and swallow you whole — and we cannot wait to see this one performed. Our Sit-Down with HAYLA When we sat down with HAYLA for Underground Radar earlier this year, she told us she sees her project as an extension of herself — not a persona. That she writes from lived experience, and knows when a song is ready to be shared. "Heal" is the purest proof of that philosophy yet. She's spoken openly about writing the song while navigating a new relationship — questioning whether healing was something she owed herself, or something she was quietly asking someone else to carry for her. That tension lives in every lyric. The Chorus, Unwrapped The chorus — "I want you to heal the parts of me that no one sees / I fear it but it's good for me / what lies beneath awakening"  — lands like a confession rather than a hook. There's a plea in it, something longing and begging beyond the words themselves. She wants this person to heal her. But here's what the music tells you that the lyrics don't quite say outright — she isn't sure they can. The sadness and power of this tune suggest a woman asking for something she's terrified she may never actually receive. The song doesn't resolve that doubt. It just sits with it — honestly, quietly, the way real healing actually works. Final thoughts Image courtesy of FALCON PUBLICITY HAYLA first performed "Heal" during her fall 2025 North American headlining tour, and brought it to London's iconic St Pancras Church earlier this year, a setting that feels almost destined for a song this reverent. We know firsthand what she sounds like in a room that goes still. We were there at El Club in Detroit last December, a snowstorm delayed the doors nearly two hours, and not one person left. She told us in our Underground Radar conversation that live performance quiets her anxiety rather than amplifying it. That the stage is a source of peace. We saw exactly that in Detroit, and it's immortalized in our feature on her in Issue 7 alongside David Archuleta. You hear it in "Heal" too. With a solo EDC Las Vegas debut on the horizon this May and a spot on the Breakaway Ohio lineup at Historic Crew Stadium in Columbus on May 29-30, sharing a bill with KYGO, GRiZ, REZZ, and more. It's the kind of momentum HAYLA has built only grows when an artist starts telling the truth. "Heal" feels less like a single and more like a statement. HAYLA isn't reinventing herself. She's finally introducing herself. We heard her then. We're really hearing her now. And if you haven't tuned in yet — this is your sign. Final Verdict:  9/10

Article & Photos contributed by Rebecca McDevitt If you have never seen The Maine live, Friday night at Franklin Music Hall would have been the perfect introduction. The five-piece rock band out of Tempe, Arizona have been at this since 2007, eighteen years and ten studio albums deep, and they perform like a band that genuinely cannot believe they still get to do this. Their latest record, Joy Next Door, dropped just last week and they brought it straight to the road with the "I Love You But I Choose The Maine" tour. Philadelphia was one of the stops, and the city took that personally. The Maine performing at Franklin Music Hall on their I Love You But I Choose The Maine tour stop in Philadelphia, PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) Broadside, Nightly, and Grayscale opened the evening, with Grayscale turning their set into something of a homecoming -- the Philadelphia band had the crowd warmed up and already feeling it before The Maine ever touched the stage. By the time the headliners were ready, Franklin Music Hall was packed, loud, and impatient in the best possible way. We have seen The Maine live more times than we can count and yet they still found a way to make Friday night feel like something. From the first notes of "Thoughts I Have While Lying in Bed" the room was already singing not politely, but fully and it never really stopped. The Maine have always been a band that knows exactly what to do with a crowd, and Friday night was a masterclass in it. "Sticky" was an early standout, groove-forward and drum-driven in a way that felt almost hypnotic, a deliberate shift in texture that made the songs around it hit differently. The set moved through moods without ever losing momentum, and the crowd moved with it. The Maine performing at Franklin Music Hall on their I Love You But I Choose The Maine tour stop in Philadelphia, PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) The crowd had already made their intentions clear long before John O'Callaghan noticed a fan with "moshing and crowd surfing here" pulled up on their phone screen. When he spotted it and commented on it, Philadelphia took that as permission to turn things up even further. The crowd surfers were relentless for the rest of the night. The nostalgia hit hard when the band pulled out songs reaching all the way back to Can't Stop Won't Stop, and the crowd responded like they had been waiting for it all night. "We All Roll Along" was its own moment entirely -- the room was already screaming "8123 means everything to me" so loud it felt like the walls were singing it back, and then somehow John was in the balcony, mid-song, working his way through the crowd up there, handing a mic to a fan to sing part of the chorus. How he got up there remains one of Philadelphia's great unsolved mysteries. How any of us can hear today is another one. The set kept building from there. "Slip the Noose" had the pit fully committed despite being one of the more emotionally gutting songs of the night, which is very pop punk of everyone involved. The Maine performing at Franklin Music Hall on their I Love You But I Choose The Maine tour stop in Philadelphia, PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) By "Quiet Part Loud," one of the newer tracks from Joy Next Door, the room had fully given itself over to the evening, while John was on a couch like he was about to give Philadelphia its own therapy lesson. Before closing out the night, The Maine brought out Kenny Vasoli of The Starting Line for a cover of "Best of Me" and the room absolutely lost it. For anyone who grew up on early 2000s pop punk, watching Vasoli on that stage was the kind of moment you text people about on the way home. "Black Butterflies and Déjà Vu" and "Another Night on Mars" sent everyone out into the Philadelphia night still singing, and we just know none of us are going to have voices for a while. The Maine performing at Franklin Music Hall on their I Love You But I Choose The Maine tour stop in Philadelphia, PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) The Maine have always known how to throw a show. Eighteen years in and they are still proving it, every single night. Philly chose them back, loud and without hesitation.

Going to a Lewis Capaldi show comes with one explicit warning: Expect to cry. Expect to laugh. And expect to try not to pee yourself, because apparently he was attempting the same after drinking enough fluid to keep a fading voice alive through a full arena set. Lewis Capaldi performing at Liacouras Center at Temple University in Philadelphia PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) Philadelphia got Lewis Capaldi in full comeback mode. After stepping away from touring in 2023 to focus on his mental health and the demands of living with Tourette's syndrome, he returned to the stage this year with something to prove, and an arena full of people ready to receive it. The Liacouras Center at Temple University held every bit of that energy. He opened with "Survive," his first single in nearly two years and the one that announced his return last June. Co-written with RØMANS, the same collaborator behind "Someone You Loved", the song is a declaration of resilience rather than a victory lap. Standing in the pit for those opening moments, the weight of the room was immediate. Everyone in that arena knew what it cost him to be back on that stage, and "Survive" gave them the first place to put it. Light in the Darkness The set moved through the span of his catalog with real intention. Early songs like "Grace" and "Heavenly Kind of State of Mind" gave long-time fans their moment, the biblical imagery that has threaded through his writing from the very beginning landing with familiarity. "Almost," the quietly devastating Survive EP cut about the difficulty of moving on, held its own among heavier catalog entries. "Bruises," his 2017 debut single, felt like a reminder of how long this room has been rooting for him. Lewis Capaldi performing at Liacouras Center at Temple University in Philadelphia PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) The production matched the emotional scale. Backdrop visuals throughout the night were immaculate, and during "Something in the Heavens," a curtain opened to reveal a single flower. In a set built around grief, survival, and the hope of reunion, it was a small moment of light offered in exactly the right place. He also paused the night to sign a fan's hat on stage, the kind of spontaneous gesture that confirmed what the crowd already sensed: this is someone who genuinely wants to be here. Four Billion Streams, One Room The emotional center of the set arrived at song eleven. "The Day That I Die," written during what Capaldi himself has described as the lowest point of his life, the period when he was not sure he would still be around, is a care package addressed to his mother, his father, his sister, his friends. Apologies for unanswered texts. Assurances that it is not a goodbye. The room went still in the way rooms only go still when something has reached everyone at once. Lewis Capaldi performing at Liacouras Center at Temple University in Philadelphia PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) The final three songs carried the full weight of a career built on grief turned into melody. "Before You Go," written about the suicide of his aunt. "Hold Me While You Wait." And then "Someone You Loved." That song has over 4 billion streams on Spotify. It is the UK's most-streamed song of all time, and it spent three weeks at the top of the Billboard Hot 100. Every single person in that building knew every word. With Lewis visibly fighting to keep his voice together, the crowd stepped in and carried it, filling Liacouras from floor to rafters. The full circle of that moment, given what happened at Glastonbury 2023 when the crowd did the same thing as he broke down on stage, was not lost on anyone. It was goosebumps in the best possible way. Lewis Capaldi performing at Liacouras Center at Temple University in Philadelphia PA. Photo by Rebecca McDevitt (IG: @ rebeccajeanlimitedphotography ) A Lewis Capaldi show asks a lot of you emotionally, and it gives back even more. Philadelphia showed up for him completely, and he showed up for Philadelphia the same way. Go see him. Bring tissues. And maybe go easy on the pre-show drinks.

2026 Artist to Watch Album artwork for Dijon's Baby Article contributed by Monica Soriano In an industry where producers often remain behind the curtain, Dijon has managed to build a name that resonates both within the studio and beyond it. As a producer and songwriter, he has worked with major artists such as Justin Bieber, Charli XCX, and Matt Champion, contributing to projects that have shaped the contemporary pop and R&B landscape. Dijon and His Early Beginnings Today, Dijon is widely recognized for his musicality and creativity, but there was a time when he was simply Dijon Duenas. In his youth, Duenas moved frequently due to his parents’ time in the military. He credits his older cousins for first exposing him to music. Intrigued from an early age, Dijon began what would become a lifelong journey in sound. From Duo to Solo During his college years at the University of Maryland, Dijon formed a music duo with friend Abhirath Raju called Abhi//Dijon. While pursuing a degree in literature, something that would later support his songwriting craft, he balanced academics with music. In the four years they were active, Abhi//Dijon released two EPs and built a devoted following on SoundCloud. Although the duo eventually parted ways, the friendship remained intact. Abhi later contributed to Dijon’s most recent album. Dijon released his first solo single in 2017, and his trajectory has continued upward ever since. With two albums and two EPs under his name, Dijon has become a recognizable and respected presence in the music industry. Overflowing with Creativity Image of Dijon, sourced from facebook . An artist can be a singer. A producer. A songwriter. But what happens when the definition stretches beyond just one role? Dijon embodies all of it and more. He plays multiple instruments, writes and produces for both himself and other artists, lends background vocals to major projects, and even acts. His artistry extends beyond sound into vision. From genre blending and sonic experimentation to fully realized creative direction, every detail feels intentional and meaningful within his artistic world. Dijon’s Music Industry Contributions As a producer and songwriter, Dijon has contributed to notable tracks such as “Pink Diamond” by Charli XCX, multiple songs from Matt Champion’s album Mika’s Laundry , including “Slow Motion” featuring Jennie of BlackPink, and several songs from Justin Bieber’s albums SWAG  and SWAG II . Dijon’s own albums, Absolutely  and Baby , each offer a glimpse into his evolving artistic identity. Baby , his latest release, feels especially aligned with his growth both as a musician and as a person. The title itself was inspired by his experience entering fatherhood, adding another layer of intimacy to the project. Becoming Grammy Nominated Dijon was recently nominated at the 68th Grammy Awards for Producer of the Year, Non-Classical, as well as Album of the Year for his contributions to Justin Bieber’s SWAG . A Grammy nomination is an enormous honor on its own, but these specific categories carry significant weight. Producer of the Year, Non-Classical recognizes his individual impact on the industry, while Album of the Year remains one of the most prestigious distinctions in music. Beyond the Music As Dijon continues his upward momentum, he has several upcoming performances, including Coachella. The alternative and experimental R&B artist also made his on-screen debut in the film One Battle After Another , directed by Paul Thomas Anderson. Beyond music, his life remains centered on creativity and growth. With his family serving as a steady source of inspiration, Dijon’s artistic evolution feels both grounded and expansive. Many good wishes to our Producer Highlight of the week. We look forward to seeing and hearing more from Dijon in the months and years ahead.

Photo Credit: Nick Walker A 14-Year-Old's Debut EP That Writes Itself Into Your Chest Article Contributed by Monica Soriano The young songstress Iris Copperman recently released her EP Middle School Dropout , a project filled with delicate songwriting and an easy-to-listen-to voice. Iris writes about her teenage struggles in a way that anyone, regardless of age, can relate to. This EP showcases her experiences in school, her inner thoughts, and questions about life.  Six Songs Filled with Life Oftentimes, teens get overlooked, spoken over, and not taken seriously when in reality they have their own view of the world. Iris puts her experiences and views of the world into her music. In just 6 songs, she managed to express her kindness, her hurt, and her awkwardness. The songwriting throughout the entire project is filled with wisdom and authenticity.  Iris Copperman's Album Artwork “Struggle Bus,"“Bully,”“Awkward,”“Middle School Dropout,” “Roses,” and “Kinder” are the tracks that make up this project. Each song has its own message, and when puzzled together, they create a cohesive and enjoyable project. Iris’ name is in the credits of every song, which means her vision has been brought to life with Middle School Dropout . A Billboard to Celebrate Iris Copperman's Release YouTube Music celebrated Iris’ EP by putting up a Billboard on Sunset Boulevard. It is 1 of many accomplishments to come. Middle School Dropout is worthy of celebration and a must-listen EP. Many fans of Taylor Swift, Julia Michaels, or Olivia Rodrigo would truly appreciate her voice and expression through music. We are looking forward to seeing Iris’ career flourish. For a more detailed look at her lyrics, she has lyric videos posted on her YouTube channel. We also had the opportunity to interview her recently, and she shared her perspective and favorite music with us!

Article Contributed by Rebecca McDevitt & Ilana Bornstein Some bands come together through industry connections. Others start because a group of friends simply never stopped playing music together. For Chicago-based alternative pop band Flwers, it’s the second story. SoundCheck first discovered Flwers the same way a lot of fans did lately… scrolling through TikTok. Between honest lyrics, hook-heavy melodies, and videos that felt more like friends sharing music than a carefully planned marketing strategy, the band immediately stood out. Flwers photographed by Vanessa Valadez (IG: @vanessaivaladez) When we sat down with the group for our latest Underground Radar session, it became clear that their story goes a lot deeper than a few viral clips. It’s really about friendship, persistence, and finding your way back to the music you were always meant to make. A Band That Basically Grew Up Together Flwers might feel like a new discovery to a lot of listeners, but the band itself has actually been building for years. Some of the members have been playing together since middle school. “We’ve basically been a band for twelve years,” Collin shared. That kind of history changes the dynamic. Instead of trying to figure out how to work together, the band already has that foundation built in. The chemistry comes naturally because the relationships were there long before the songs. After college, the group took a big swing and moved to Los Angeles to chase the dream more seriously. Like a lot of musicians trying to break into the industry, things didn’t go exactly as planned. At one point they even ended up recording an EP in Indiana before eventually heading back home to Chicago during the pandemic. But instead of the story ending there, something interesting happened. They regrouped. The original members reunited, and they started making music again. Sometimes the long road actually brings you back to where the real momentum starts. When TikTok Suddenly Finds Your Music For Flwers, that momentum arrived in a way a lot of artists can relate to right now. TikTok. Their songs “Bittersweet” and “Aftertaste” began circulating on the platform, introducing the band to thousands of new listeners. At one point, their monthly listener count jumped from around 15 to more than 1,000 practically overnight. A few more viral moments later, they were sitting around 10,000 monthly listeners, a number they’ve continued to maintain. The funny thing is, the band’s strategy isn’t some highly calculated social media playbook. It’s actually the opposite. Jack, who handles most of the band’s social content, said their best-performing posts tend to be the simplest ones. Authentic clips. Low effort. Just sharing the music. Which, ironically, is exactly the kind of content audiences respond to most. Of course, like most artists navigating social media, they admit it can sometimes feel like an entirely separate job on top of making music. But when the right video hits, the results can be massive. Writing Songs That Feel Like Moments When it comes to songwriting, Jack usually starts with a vibe before anything else. Sometimes it’s a chord progression. Sometimes it’s just a feeling. From there, lyrics and themes start to develop naturally. That approach actually led to one of their newest songs, “Aftertaste,” coming together in a single day. After returning from a trip, Jack sat down to write and ended up replacing another track that had originally been planned for the project. The result ended up becoming one of the songs gaining traction online. Interestingly enough, fans started noticing how “Bittersweet” and “Aftertaste” feel connected. That wasn’t necessarily intentional, but Jack admitted he tends to include lyrical callbacks between songs without even realizing it. Which is probably why the titles ended up complementing each other so well. The Visual Side of the Music Like many independent bands, Flwers handles most of their creative direction themselves. Album artwork is often a collaborative process between the members. In the early days, they were focused on finding the “perfect” film photograph to match each release. Now the approach is a little more relaxed. Instead of chasing perfection, they listen to the songs and ask a simpler question: "What colors does this music feel like?" Ideas usually bounce around in group texts until something clicks. Sometimes the result is minimal, sometimes more stylized, but the goal is always the same. The visuals should match the mood of the music. And honestly, sometimes the simplest artwork resonates the most. Taking the Music on the Road Right now, Flwers just wrapped up something that felt like a major milestone. Their first multi-day tour run. The band headed out on a nine-show Midwest tour with Lake Drive, that kicked things off in Milwaukee and hit multiple cities across the region. For a band that has spent years playing shows here and there, the idea of performing night after night was both exciting and a little surreal. Touring is where a lot of artists say the music truly comes alive. Songs that start in bedrooms or rehearsal spaces suddenly become shared experiences between the band and a room full of people. And for Flwers, that was the moment they were most excited for. Turning listeners into real-life fans. The Music That Inspires Them Like most bands, Flwers pulls inspiration from a wide range of artists. Jack and Austin both mentioned being huge fans of The 1975, while Collin gravitates toward more folk-driven artists like The Lumineers and Zac Brown Band. It’s an interesting mix of indie pop, alternative, and storytelling-driven songwriting that ultimately shapes their sound. During the conversation, the band also started throwing around dream tour lineups. Some of the names that came up? The Maine. The Band Camino. Marianas Trench. The Strike And honestly, those lineups make a lot of sense when you hear Flwers’ music. What Happens Next Flwers feels like a band right on the edge of something. They’ve spent years building their sound, navigating the ups and downs of trying to make it in the music world, and finding their way back to the project that started it all. Now they’re seeing new listeners discover their music every day. Flwers photographed by Vanessa Valadez (IG: @vanessaivaladez) And with a tour that just wrapped up, those listeners might soon become crowds. If their story proves anything, it’s that sometimes the biggest momentum comes after the longest journey. And for Flwers, the next chapter is just getting started.

The Last Dinner Party brings their “From the Pyre Tour” to Cleveland with a joyful and unforgettable performance.  The Last Dinner Party performs at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Article and Photography contributed by Madison Cozzens. It was a cold Monday night in Cleveland, but that didn’t stop fans from turning out for The Last Dinner Party. The Agora Theater was packed to the brim with people ready for a magical and joyful evening. The venue looked like a Renaissance fair filled with lace, long skirts, corsets, and flowing sleeves. The stage design matched the Renaissance aura with large arches, a bell tower, and flowing curtains. The mood was set, the crowd was excited, and it was time for the show to begin. The Last Dinner Party performs at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Take the Florence Road The Irish rock band Florence Road took the stage at 8 pm. The group was the perfect opener for the show, matching the rock themes that continued through the evening. The group consists of lead singer and guitarist Lily Aron, guitarist Emma Brandon, bassist Ailbhe Barry, and drummer Hannah Kelly. Their sound is grounded and grungey, ranging anywhere from a 90’s alternative rock feel to Olivia Rodrigo and Paramore. Their second song of the night Miss made the Agora feel more like an intense rock show, with a deep bass line and beat drops. The crowd was connecting to the thoughtful lyrics and headbanging to Brandon’s riffs. The group has a large presence on social media and has opened for headliners Olivia Rodrigo and Sombr. The group already has a strong fanbase that will only continue to grow after their opening run on the “From the Pyre Tour”. The Last Dinner Party fans at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) It’s Time for Dinner The show kicked off with Agnes Dei , the opening track off of “From the Pyre”. The opening instrumental section of the song played as lead singer Abigail Morris sauntered onto the stage. One of the lyrics from the song stuck out that evening, ”Twas on the banks, the Ohio”. Fans were excited about the shoutout to their home state and screamed it alongside Morris. The energy and passion from the crowd continued all night, whether feeding off Abigail’s energy or soaking in every slow moment on stage. The Last Dinner Party has a sound all their own that blends breathtaking harmonies with orchestral instrumentals, theatrical elements, sweeping melodies, and poetic lyrics. Their songs explore the human experience through a theatrical lens that blends violence, passion, light, darkness, and love perfectly. The Last Dinner Party is the epitome of what live music is all about. The band elevates their own material through stage presence and energy, but Morris was quick to give the fans their flowers as well. The lead singer stated that every time they play in a new city, the fans make it a new experience. It gives the songs a new life and a new meaning to not only the fans but the band, and was highlighted during their performance of The Scythe . Before the song began, Abigail told the fans that this song was missing something in the studio, that it was made to be performed live with the audience. The song explores dealing with loss and death and despite the somber topics, it truly did come alive in the Agora. The chorus is filled with hope and love, bringing everyone in that theater together, even if only for that night. The Last Dinner Party performs at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) The Last Dinner Party consists of Abigail Morris (vocals), Lizzie Mayland (vocals, guitar), Emily Roberts (lead guitar, mandolin, flute, backing vocals), Georgia Davies (bass), and Aurora Nishevci (keyboards, vocals). Unfortunately, Georgia suffered a back injury that required surgery and was not able to join the band on the tour. Soundcheck is wishing her a quick and easy recovery! The British group came together in 2018 but didn’t release their first debut single “Nothing Matters” until 2023. When the song was released in the US, it reached the top 10 on the Billboard Adult Alternative Airplay in September. The song celebrates the unashamed passion and desire of loving another person; it fills you with a joy that makes you want to run through a field or cruise with the windows down. It also showcases the band's openness in expressing their power, sexuality, and femininity, which can be seen across their discography. Morris stated it best when discussing the non-explicit versions released on TV and radio:   "There's no good word to fit in there ... because there's something so powerful about a woman saying 'I will fuck you', about being active rather than passive in sex. I didn't really think about how confident and secure that sounds as a sexual person. So it’s really interesting to think about that line in retrospect. It’s important to hear women in that position.” Definitely Not Second Best Every member of The Last Dinner Party got a chance to shine on Monday night. Mayland acts as the main vocalist during Rifle , the fifth song off the album. The intense build up and group chorus contrasted against the haunting solo vocals from Mayland make for a James Bond-esque experience. The song is an expression of Mayland’s anger regarding war and death. The crowd took that energy and ran with it, headbanging to the powerful bass line. Pianist Aurora Nishevci is a featured vocalist in two songs, I Hold Your Anger  and Gjuha. The latter is off the band’s first album, “Prelude to Ecstasy," and is sung in Nishevci’s mother tongue, Albanian. She stated the song is about being ashamed about not knowing Albanian very well, and still being proud of her heritage and immigrant family. The song had the venue silent as the mandolin paired with Nishevci’s vocals transported the crowd. While Roberts does get plenty of solo guitar riff moments, her unique voice is highlighted in I Hold your Anger . She gets a solo moment in the chorus, a high-pitched hum that could be mistaken for Kate Bush. The whole band gets to shine during Woman is a Tree , they quietly formed a circle and began to sing. The dissonant yet harmonious vocalizations make for an eerie and beautiful entrance to the witchy song. The crowd was silent yet again, mesmerized by the ethereal sounds coming from the stage. The Last Dinner Party performs at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Their 2025 album “From the Pyre” is one of those records that needs to be listened to in its entirety, being a journey through hardships, loves, death, and life itself. The band states that the album itself is a collection of stories that weave together modern topics, myth, religion, kings and queens, and other imagery to create a new experience. The band’s styling is a perfect reflection of these themes, and fans are always excited to see what the band will be wearing for their show. They are often styled in a range of items from punk platform boots to frilly dresses, chainmail, ruffled garments, suits, and corsets. Their unique look meshes wholly with their music, making The Last Dinner Party the whole package. The Last Dinner Party performs at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Your Final Course Towards the end of the show, The Last Dinner Party played  a new song and teased a third record. “The cool thing about being in a rock and roll band is…. You can make one album…. and you can make a second album,” Someone in the audience then screams “Make a third!!”, Morris responded, “right you are, my friend”, and a sea of applause followed. Fans are eager for more music and were already loving the new song, singing along by the second chorus. At the end of the show, the group came out for their encore with the song This is the Killer Speaking , the first single off the album. Morris, Mayland, and Roberts stepped out in line, marching to the slowly drawn beat. The beginning of the song feels like an atmospheric western, ready to draw guns in a duel. The song then bursts into the chorus with such a fun vibe that the crowd couldn’t help but jump. Abigail brought the show to a halt to teach everyone the dance to the song, which consists of running in place and moving your arms up and down to the beat. The end result was one of the most joyful experiences, where everyone in the venue was releasing their worries and having fun. The evening came full circle with a reprise of the opening song, Agnes Dei . It felt like watching the end of a theatrical performance, a bombastic finisher for an energetic show. It was the perfect way to a show with such a character and story driven energy. The Last Dinner Party performs at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) The Last Dinner Party is using this North American tour to help fundraise for  WhyHunger with Ribbons for Provisions. Fans can donate online (just keep your receipt) or at the show to get a The Last Dinner Party ribbon. Fans get a unique keepsake or accessory while helping to make a difference in their state. The band has been partnering with food banks since their first tour and will continue the current partnership until their US tour ends in June. With the playing of the unreleased song and the teasing of new music, we will patiently await the single to drop. Cleveland was left with an experience they will not forget, and The Last Dinner Party will most definitely be welcomed back to Ohio with open arms.

Edgar Barrera is the bilingual songwriter and producer behind some of the biggest spanish songs, english pop songs and career launching singles. Article Contributed by Monica Soriano Photo from https://edgarbarrera.com/ Young Edgar Barrera - His English and Spanish Inspirations Edgar Barrera has traveled internationally working with the biggest stars in the world. He has written a large number of popular Spanish language songs within the last 10 years in varying genres. But who was he before all the popularized hit songs? Before he was writing hits with Karol G such as “Mi Ex Tenía Razón” and “Si Antes Te Hubiera Conocido”, he was just a kid traveling to and from the United States and Mexico on a daily basis. It was through being raised on both sides of the border that he developed an appreciation for both English and Spanish music. In Mexico he would listen to greats like Juan Gabriel and in Texas he would tap into bands like Green Day. Music runs through his veins as his dad was the lead singer of Cumbia group Mister Chivo. Finding His Place In The Music Industry In various interviews Edgar has spoken about how he was accepted into Berklee College of Music and received a scholarship but ultimately the scholarship wasn’t enough to cover the costs so he packed his bags and moved to Miami instead. He started off as an intern in a studio and worked his way to paid collaborations. Edgar attributes his work with a young Maluma to be a big first step into what his career would eventually evolve to. With his rich background in music, he explores different genres and creates genuine music that connects with people. Barrera Means Barrier…….Barrier Breaking Songwriter Some of Edgar’s biggest collaborators are leading the Latin music industry today. This is a wave that hasn’t slowed down and with Edgar behind the scenes, it may never stop. Maluma and Christian Nodal both worked with Barrera very early in their careers when they were both still in their teens. To this day they continue to work alongside him for their projects. Edgar’s blend of Música Tropical, Pop, Dembow helped create Karol G’s Grammy Nominated album Tropicoqueta. His work in Camilo’s album De Adentro Pa Afuera, is a beautiful blend of Pop, Latin, Bachata and Música Mexicana. The genre of Música Regional Mexicana has become more mainstream within the past few years with the likes of Peso Pluma and Bandas collaborating with popular pop and reggaeton artists to create music for the new generation. Many of these collaborations have the penmanship of Edgar Barrera including “un x100to” by Grupo Frontera and Bad Bunny and “Una Noche Contigo” by La Arrolladora Banda El Limon and Juanes. Aside from his work connecting Latino artists together, Edgar Barrera is no stranger to having pop singles in mainstream radio. He helped pen “Boyfriend” by Ariana Grande and Social House which peaked at number 1 on US Rolling Stone Top 100 chart. Other mainstream artists within the United States that he has written for or with are Madonna, Jason Derulo, Ed Sheeran, Shawn Mendes, Megan Thee Stallion and Khalid. He Makes Receiving Nominations and Awards Seem Effortless Edgar Barrera makes winning look effortless. While he has said during interviews that he would rather be behind the scenes in a studio rather than in front of cameras or up on a stage, he is still appreciative of all the nominations he receives for his work. He has accumulated over 72 Latin Grammy nominations and 29 Latin Grammy wins, as well as 3 Grammy nominations and 1 Grammy win. He is notably the only spanish language writer to be nominated for Songwriter of the Year for 3 consecutive years. Edgar’s work continues to be recognized by people in the industry both in Spanish and in English. The way in which he navigates through genres and is able to collaborate with different artists makes him one of the most sought after songwriters and producers. Incoming In 2026 As Edgar Barrera continues writing and shaping the music industry through his experiences and his ear, we can’t help but root for him and his accomplishments. Sometimes people can spot him on TV playing guitar for the artists he collaborates with and other times hearing a new song that blends multiple genres makes you wonder if he contributed his talents to it. As he continues his journey this year, we are excited to see what new collaborations he is credited for. Edgar has a record label by the suitable name of Borderkid Records in which he shares his knowledge with his artists and teaches them how to stand on their own. Navigating this industry can be treacherous but his stance of educating artists and songwriters rather than just taking a percentage is admirable.

Article Contributed by Rebecca McDevitt There's a specific kind of music that doesn't just sound like your teenage years, it feels like them. The kind that puts you right back in your parents' living room, watching local bands play basements and VFW halls, wondering if feeling everything this loudly and this openly was something you'd eventually grow out of. Listening to Homebase's debut EP Close To Something , the answer, at least for this reviewer, is a hard no. Press photograph of Homebase provided by Earshot Media The NJ/NY five-piece formed in the summer of 2023 out of what started as casual hangouts, pizza, and late night jam sessions that turned serious the moment the chemistry became undeniable. They built their reputation the old-fashioned way, relentless DIY hustle and raw, high-energy live shows across the Northeast punk and hardcore circuit, and Close To Something is the clearest argument yet for why people should be paying attention. From the jump, they sound like exactly what would happen if blink-182 and New Found Glory had a kid who grew up going to hardcore shows in New Jersey. At just 11 minutes across five tracks, the EP wastes nothing. Every second earns its place. What ties it together isn't just the sound, it's one central feeling threaded through every song. Front to back, Close To Something is about being stuck, stuck in your own head, stuck in cycles you can name but can't seem to break, standing in your own way and watching yourself do it. It's a familiar pop-punk subject, but Homebase makes it feel lived-in and specific. Album artwork for Homebase's EP Close To Something. Artwork provided by Earshot Media The title track sets the tone immediately, a low intro of drums that cracks open into two minutes of abrasive guitars and a chorus that wants to be shouted back. It's the most blink of the five songs, all suburban restlessness and sing-along melody, but the lyrics do something a little more complicated. Something is always within reach, close enough to feel, but you can't quite get there, whether it's you or the universe doing the holding back. The optimism is hard-won, and that's what makes it stick. "Start Over" earns its place as the EP's breath, stripped back and almost confessional, like locking yourself in your room and turning everything over before you decide what to do next. It's an interlude in the truest sense, and it belongs exactly where it sits, because what comes after it needs the runway. "Nuff Said" is where the New Found Glory DNA shows up fully and where the EP reveals what it's really about. This is a song about getting in your own way, knowing you're stuck in a cycle, seeing it clearly, and still not being able to break out. The dual vocals give it a push-pull energy that fits the subject perfectly, and it builds into something heavier and more chaotic by the end. The kind of song you put on when you need to scream something you don't have words for yet. It's the centerpiece, and it earns it. "Bold" clocks in at under two minutes with no traditional chorus and is somehow immediately lodged in your head. It's about the kind of relationship that costs you yourself, where someone's boldness with their words leaves you bold in your mind but lost everywhere else, looking for a way out and throwing a quiet but very clear middle finger on the way. The bass line on the breakdown is worth the price of admission alone. The closer, "I Feel," is where the EP's whole emotional arc lands. The admission that things have gone too far, that you're stuck, that you know it, and that something has to change even if you're not sure how yet. It doesn't wrap anything up. It ends with the particular kind of numbness that comes right before something shifts, and that's exactly the right place to leave it. Pop-punk has always been at its best when it refuses to pretend things are fine while still refusing to give up, and Close To Something lives in that space with real conviction. A record for anyone who's ever been close but not quite there, who's wanted to start over without knowing where to begin, who's known they were stuck without knowing how to get out. Soundcheck Verdict: Homebase don't sound like a band figuring it out, but a band that already knows exactly who they are. Close To Something is 11 minutes of hardcore-infused pop-punk that hits harder than most full-lengths, with five songs that all pull in the same direction without ever feeling repetitive. "Bold" already crossed 30,000 streams before the EP even dropped. The region is starting to notice. A full-length from these guys isn't just something to look forward to. It's something to wait for. Rating: 7/10

Article Contributed by Monica Soriano After almost 3 years since they released an album, Seafret has returned. Their latest album, Fear of Emotion  projects their growth, feelings and their continuous love for their craft. Jack Sedman and Harry Draper have crafted a true listening experience from beginning to end.  It Grabs You From The Very First Track Upon hitting the play button it was clear this project was put together with immense care. With a catchy chorus and lyrics that align with the album title, “River Of Tears” serves as the perfect introductory track and a necessary attention grabber. It is followed by the equally strong “Signal Fire” in which Seafret expresses supportive and uplifting feelings. The 12 tracks continue one after another placed almost like puzzle pieces, fitting together to create a bigger picture. The Best Songs Aside from the very first track, the album has more attention grabbers that can stand on their own. The sentimental “Desert Heart” shines with a simplicity that allows the vocals to shine through and connect superbly with the lyrics. “Driftwood” with James Morrison being their latest single makes sense as it encompasses the album’s sound and direction enjoyably. “Five More Seconds” with KT Tunstall is a pop leaning, upbeat track that is just fun. Their collaborations were perfectly placed and picked. The last song on the album “Nobody Sees Us” features Katie Gregson-MacLeod, her enchanting voice added to the listening experience. The Only Criticism While it was a joy to listen to the album in its entirety, we couldn’t help but notice that most of the album tracks were already released before the official album was dropped. All but 4 songs were available to listen to and while that can be a great thing, it can also leave little to look forward to. Overall, this album deserves its flowers, Seafret took their experiences and created something beautiful and cohesive. It can be nerve wrecking to follow up “Atlantis” which reached over 1 billion streams but if they continue to focus on the music (which they have), there is no doubt that this album will resonate with many. We are looking forward to seeing Jack and Harry’s continuous exploration of music in the years to come.

Meet the talented person behind Kendrick Lamar’s hits like “Bitch, Don’t Kill My Vibe”, “Not Like Us” and “All the Stars” featuring SZA. Article Contributed by Monica Soriano Sounwave is one of Kendrick Lamar’s biggest collaborators when it comes to the production side of things, his talent has grabbed the attention of fans and industry professionals worldwide. Born Mark Anthony Spears, Sounwave had a strong interest in music at an early age and was discovered by Terrance “Punch” Henderson at just 13 years old. It seems as though his path to obtain his current success was unwavering. He graduated high school in 2005 and by 2009 he was already working with Kendrick Lamar and Flo Rida.  Sounwave and Kendrick Lamar’s Music Partnership It appears almost impossible that two people from Compton who are deeply focused on music and close in age didn't cross paths earlier. That is exactly what happened with Sounwave and Kendrick Lamar, although they had seemingly paralleled paths in their youth, they didn’t meet until 2009. Their music partnership is longlasting from producing on Kendrick’s 2010 mixtape Overly Dedicated , his debut album Section.80 to his latest album GNX in 2025. Sounwave has produced some of the biggest Kendrick hits including “Not Like Us” and “Luther” featuring SZA, earning Grammy Awards for both. Other Collaborators Other artists Sounwave produced for include Beyonce, Kali Uchis, Doja Cat Chloe x Halle, Baby Keem and Schoolboy Q. In fact, “London Boy”, “Lavender Haze” and “Karma” by Taylor Swift were all produced by Mark Anthony Spears. It speaks volumes about Mark’s capabilities when he can produce both successful pop and hip hop songs. A project which he contributed to that was highly acclaimed and earned nominations at the Golden Globes, Academy Awards and Grammys Black Panther: The Album . This project included the highly popular track “All the Stars” by Kendrick feat. SZA. Producing & Beyond In 2019 Sounwave, Jack Antonoff and Sam Dew came together to create the musical group Red Hearse. Combining their insane songwriting and producing abilities created a wonderful pop project that charms our ears with soothing harmonies and innovative sounds. Although the group hasn’t released a project since their first and only album self-titled  Red Hearse , it is a delight to have that moment to look back on. While Sounwave has accumulated many nominations and won many Grammy awards, we would like to highlight his nomination for Producer Of The Year, Non-Classical in the 68th Annual Grammy Awards that recently passed. This specific award truly celebrates solely the producers and their work in the industry. Congratulations to Sounwave on his continuous success and impact within the music industry.

From intimate dedications to fan requests and cinematic string collaborations, Hunter Hayes seamlessly blends his past hits with new music, creating an unforgettable New York City performance. Hunter Hayes performs at the Gramercy Theater in NYC | Photography by Miranda Wyman. Article and Photography contributed by Miranda Wyman. Hunter Hayes’ return to New York City felt like the kind of concert that reminded everyone why live music still matters. On Friday, April 2, 2026, Hayes brought The Evergreen Tour to the intimate Gramercy Theatre in New York City, giving fans a 24-song set that perfectly balanced the nostalgia of his earlier hits with the growth of his newest era. From the moment doors opened, it was clear this crowd was there for every version of Hunter Hayes. Hunter Hayes performs at the Gramercy Theater in NYC | Photography by Miranda Wyman. Opening the night was BLÜ EYES, the Los Angeles pop singer-songwriter whose emotionally driven set immediately won over the room. Her setlist included personal tracks like Healing Hurts , Muscle Memory , and Time Heals Everything , while a mashup of Taylor Swift’s Cruel Summer gave the audience a familiar moment to sing along to. The way she captivated the audience was telling, and it genuinely felt like it’s only a matter of time before she blows up. By the end of her set, she already felt like more than just an opener. Even before Hunter hit the stage, the energy in the room had its own personality. The crowd leaned older, which gave the night a different kind of atmosphere. The bar lines stretched long before the show started, drinks stayed in everyone’s hands, and the room carried that relaxed but excited buzz that only a seasoned crowd can bring. It set the tone for a night that felt easy and fully lived in. When Hunter finally came out, there was no dramatic intro or flashy production moment. Instead, the band casually walked onstage one by one before Hayes followed, smiling and greeting the crowd like he was stepping into a room full of friends. He opened with Evergreen , the title track from his newest album, and it was the perfect way to start the night. The rhythm was energetic, and from the very first song, the crowd was fully locked in. Hunter Hayes performs at the Gramercy Theater in NYC | Photography by Miranda Wyman. Without missing a beat, he moved right into Storm Warning , pulling out an acoustic guitar with the phrase “ For the Love of Music ”  written across it. It was a small detail, but one that perfectly matched the sincerity he carried throughout the night. The opening run of Evergreen , Storm Warning , and Too Late  set the pace early, balancing energy with the kind of musicianship that has always made Hunter such a strong live performer. After the first three songs, Hunter paused to properly welcome New York City to The Evergreen Tour. He thanked everyone for coming and made it clear that this show was for every kind of fan in the room, whether they were there for the old songs, the new album, or everything in between. He promised the audience he was going to play every song from Evergreen  along with a few throwbacks, and over the course of the night, he absolutely kept that promise. Hunter Hayes performs at the Gramercy Theater in NYC | Photography by Miranda Wyman. One of the first big nostalgic moments came with Still Fallin’ , the fifth song of the night from his 2014 album Storyline . Before getting into it, Hunter dedicated the song to everyone in love and wished them a lifetime of happiness. It was a sweet, genuine moment that fit naturally into the warmth of the night. From there, he moved back into the new era with Dream About  before jumping into crowd favorites Somebody’s Heartbreak  and Everybody’s Got Somebody but Me . Those throwback moments instantly brought the room to life, with longtime fans singing every word back to him. What stood out most throughout the show was how easy his connection with the crowd felt. He joked with fans constantly, making the entire concert feel conversational instead of rehearsed. One of the biggest running moments of the night came from fans repeatedly shouting for I Want Crazy . Hunter kept laughing it off, promising he would get to it. At one point, he joked that if he played it too early, everyone would just leave after hearing it. It was the kind of easy humor that made the entire night feel personal. That connection became even clearer when he took a fan request and performed Light Me Up . In a set already packed with 24 songs, making room for a crowd request made the show feel even more intimate. Right after that, the mood shifted into one of the most emotional moments of the night. Before performing The Ones You Love , Hunter dedicated it to anyone who has ever lost someone. The room noticeably softened as the weight of the lyrics settled in, creating one of the most heartfelt moments of the show. What made that section even more special was when he welcomed BLÜ EYES back to the stage. By that point, her return felt like more than just bringing the opener back out. She felt like a genuine part of Hunter’s artistic journey, almost like a light within this chapter of his life and music. Their presence together onstage gave the night another emotional layer and made the collaboration feel meaningful rather than routine. Hunter Hayes performs at the Gramercy Theater in NYC | Photography by Miranda Wyman. There is always something special about a show in New York City. No matter who the artist is, the city carries a different kind of weight, and special guests always seem to find their way onto the stage. Hunter embraced that tradition by bringing out ARKAI, the GRAMMY Award-winning string duo, for a stunning performance of Invisible . The addition of live strings transformed the song into one of the most cinematic moments of the night, filling Gramercy Theatre in a way that felt both intimate and larger than life. He continued through songs like Dear God , 21 , One Shot , Heartbreak , Tattoo , and Around the Sun , keeping the momentum steady while continuing to blend every era of his career into one seamless story. By the time he finally got to I Want Crazy , the payoff felt huge. The moment the song started, phones shot into the air all across the venue. Fans from the very front to the back of the room were dancing and screaming every word in sync. The entire room felt united in that moment, moving together in a way only the biggest songs can create. It was easily one of the loudest and most electric moments of the entire night. Before closing out the show, Hunter took one final moment to thank New York City. His appreciation for the crowd felt genuine, especially after how connected the room had felt from start to finish. He then closed the night with Wanted , a song that felt like the perfect ending. Where the show began by introducing fans to this new Evergreen  era, it ended with one of the songs that helped define his career, giving the crowd one last emotional sing-along before the lights came up. Hunter Hayes performs at the Gramercy Theater in NYC | Photography by Miranda Wyman. This show felt like more than just another stop on tour. It felt like a celebration of every chapter of Hunter Hayes’ career, from the songs fans grew up with to the music that is defining who he is now. The way he blended old and new, kept the crowd laughing, and created genuine emotional moments made the night unforgettable. At Gramercy Theatre, Hunter Hayes did not just perform a concert. He reminded New York City of why his music continues to stay with people through every era.

Article Contributed by Rebecca McDevitt Dead Wrong photographed in Philadelphia, PA - Photo by Chris Lopez (IG: @ chrislopezest89 ) Philadelphia has never had a shortage of bands willing to wear their hearts on their sleeves. It's practically a city requirement. But Dead Wrong, the four-piece pop-punk outfit made up of Matt McKay, Stephen Morrell, Roberto Marcial, and Dan Fedele, do something a little more specific than just feeling things loudly. On their debut full-length The Extent, they document the full wreckage of being human with the kind of clarity that only comes from actually living it. If you've been paying attention to the Philly scene, Dead Wrong aren't a surprise, but they are an arrival. Singles like "Jaded," "Wayside," and "Summer Runaways" have been building their case track by track since 2023, and The Extent is the payoff. Eleven songs, no filler, and a band that sounds like they've been waiting a long time to say all of this at once. The Sound of a City That Doesn't Quit What Dead Wrong do well, and they do it consistently, is make pop-punk feel urgent without making it feel cheap. The guitars are driving and precise, the rhythms punchy without being mechanical, and the hooks land the way good hooks are supposed to: like you've heard them before even when you haven't. Produced, mixed, and mastered entirely by Morrell, the record has a cohesion that a lot of debut albums fumble. This sounds like one band with one vision, not a collection of demos dressed up for release. There's a lineage here, classic pop-punk urgency, that late-2000s emotional directness, but Dead Wrong aren't nostalgic about it. They've absorbed the influence without drowning in it. Dead Wrong's "The Extent" Album Artwork The Album Unfolds Like a Bruise Opener "Divide" sets the tone without wasting a second. It's accusatory and unflinching, a song about holding someone accountable for the bridges they burned and the people they left behind. There's no sympathy here, no attempt to understand the other side. Just the weight of consequences settling in.   You did this. You know you did this. Now live in it. It's a bold way to open a debut record and it works precisely because it doesn't soften the blow. Then comes "Straight Through Me," and it stops you. On the surface it reads as a breakup song, but sit with it long enough and it opens up into something more complicated: a friendship fracturing, a pattern repeating, mental health quietly dismantling a relationship from the inside out. The narrator isn't oblivious. That's what makes it hurt. They know the other person sees straight through them, understand completely why they're losing this person, and they're asking for forgiveness anyway, not because they think they've earned it, but because they can't stop caring. / “I swear with every breath I'll change in time / but I know that you see straight through me.” It's the sound of someone who means it and knows it isn't enough. That specific kind of self-awareness, loving someone while being unable to stop letting them down, is one of the most honest things this record does. "Pieces" arrives at the album's midpoint like an exhale. Where much of The Extent is about falling apart, this one is about what holds you together when you can't do it yourself. It's a song about loving someone so completely that they become a mirror for the best parts of you, the parts that are still intact, still worth something, even when everything else is chipping away. “All these pieces of me are what's left / she's every good part of me.” Dead Wrong photographed by Thom Hall (IG: @ thomshall ) There's a tenderness here that the rest of the record earns the hard way. It doesn't shy away from the vulnerability of needing someone that deeply. Instead it treats it as something worth protecting. In a record full of guilt and people letting each other down, "Pieces" is the moment someone gets held together. It reframes everything around it. "Summer Runaways" is the obvious single and it earns it. There's a specific feeling this song chases, blurry polaroids, beach light, the particular ache of early 2000s TV where everyone was always falling in love with each other in slow motion and you were watching through a screen wanting to crawl inside it. It sounds like a music video that doesn't exist yet. “I don't ever want this to end, every moment I sink more into you.” That line isn't just a lyric, it's the whole project of the song, trying to freeze a moment before it becomes a memory. If you've seen Dead Wrong live, there's a good chance this one already feels like an old friend. On record it holds up: it's the breather the album needs, and it's proof the band can write a song that feels like pure joy without it feeling hollow. Is This The Extent? The title track is the last song on the record and it earns that placement completely. It opens with a woman's voice, an intimate setup, someone checking in, wanting to hear all of it, before the band comes in and Matt lays everything out: losing friends, the same dead-end routines, the gap between the life you imagined and the one you're actually living. Dead Wrong photographed by Aaron Ditro (IG: @ aaronditro ) “Can't seem to focus cause I'm seeing red / forgot the feeling of being content / is this the extent?” That question lands differently depending on who you are when you hear it. But for anyone who has ever worked a full time job while quietly, stubbornly building something they hope will matter someday, a band, a magazine, anything made out of love and not money, it hits like it was written specifically for you. The dream had a shape in your head. The reality has a different one. And you keep going anyway, not because you're sure it'll work out, but because stopping isn't really an option either. Dead Wrong close their debut by asking the question a lot of us are too tired to say out loud. That kind of honesty is rare. That kind of nerve is rarer. Why This Record Matters, Right Here Philadelphia deserves to know about Dead Wrong. Not in an obligatory local-pride way, but in a genuine, this-band-is-good-and-they're-yours way. The Extent is the kind of debut that reminds you why independent music matters: no label, no machine, just four people from this city making something real and releasing it into the world on their own terms. They've been building toward this record one single at a time since 2023 and it shows, not in a way that makes it feel like a patchwork, but in a way that makes every track feel considered and earned. There are no throwaways here. Every song is pulling its weight. And somewhere in this city, right now, there's a version of Matt McKay asking is this the extent and the answer, based on this record, is no. Not even close. Rating: 8.5/10

A 16-Year-Old Channeling 2016 Nostalgia into Indie Pop’s Next Wave Portrait of Sdoku Contributed by Konstantina Buhalis In an era of genre blending and algorithm driven listening, a new artist is stepping confidently into the glow of Tumblr era pop and its cultural revival. Sdoku creates music for the whimsical moments in this chaotic life. Through shimmering synth lines, jangle guitars, and punchy drum machines, he builds soundscapes that reflect both the accessibility and emotional immediacy of music in the digital age. Youthful Leanings Portrait of Sdoku At just 16, Sdoku has released an atmospheric and engaging debut, Infinite Moments , blending elements of New Wave and indie pop into a thoughtful and introspective observation of the world around him. His storytelling is playful yet reflective, pairing catchy hooks with a dreamy lens on the everyday. Across Infinite Moments , listeners can trace the influence of early era The 1975 and the effervescent pulse of British pop. The sound feels perfectly aligned with the cultural nostalgia for 2016 that continues to resurface. The record feels like wandering through Lush with a tea in hand, dip dyed hair brushing against a black choker, the air thick with bath bomb sweetness and possibility. Sdoku reflects on his inspiration: “A lot of it comes from what was on the radio when I was a kid. I grew up listening to bands like Arctic Monkeys and Coldplay, but also a lot of 2010s pop that was everywhere back then. That style really stayed with me and became part of how I hear music.” He captures the danceability of indie pop while maintaining emotional sincerity. He is a refreshing presence in today’s landscape, especially as 2016 nostalgia continues to rise. In Their Own Words Portrait of Sdoku performing live Sdoku describes his music as personal, yet universal. These are songs meant for anyone who wants to feel deeply and move through it. “From heartbreak to hope, loneliness to love, my songs live between daylight and nightlight. My debut album Infinite Moments  and singles ‘Gambling’ and ‘Never Stop Believing’ capture everything I’m about. Honesty, feeling too much, and making you dance through it anyway.” He continues: “I usually start writing from a feeling, not from a full story. I love writing love songs, even if they can sound a bit cliché on paper, because that's the easiest way for me to express what I'm feeling. But I don't like explaining everything every time. I'd rather leave things slightly open, like real memories are. You remember how something felt more than what exactly happened. That's why I say it's storytelling, but not too literal.” Sdoku’s ability to merge emotional authenticity with open ended storytelling is part of what makes his music so compelling. Rather than inviting listeners to decode a mystery, he allows the songs to exist as shared emotional spaces that feel nostalgic, immediate, and unconfined. Italo Pop Influence - Sdoku Shines Portrait of Sdoku Growing up in Italy has shaped Sdoku’s emotional perspective in subtle but meaningful ways. At the intersection of 2010s British pop revival and the lingering shimmer of Italo disco, he has formed a sensibility rooted less in direct sonic homage and more in atmosphere. “Not directly in terms of sound. Growing up in Italy definitely influenced the way I see emotions and nostalgia. There's this mix of warmth and distance that I feel a lot here. Even if I'm not consciously referencing Italian alternative music, that way of feeling things ends up in my songs anyway.” That warmth and distance tension hums quietly beneath the surface of his work. As for what is ahead, Sdoku’s vision is grounded and clear: “I just hope I'm still curious and still excited to sit down and make sounds. If in ten years I'm doing music on a bigger scale but it still feels personal and real to me, then I'm exactly where I should be.” You can follow Sdoku on social media, and his music is available to stream on all major platforms.

An unrelenting set of hits by Rise Against — a fleeting moment of stillness, and a crowd that carried every word. Rise Against, live in concert in Vancouver, BC | Photography by Vaneza Gutiérrez Wyckoff  Article & Photos by Vaneza Gutiérrez Wyckoff  There was no slow build—only impact. Rise Against hit the Vancouver stage with “Re-Education (Through Labor)”  and immediately set the tone: loud, urgent, and all-consuming. The kind of opening that doesn’t invite you in so much as pull you under, dropping the entire room into motion within seconds. And the crowd followed without hesitation. Rise Against performing at PNE Forum in Vancouver, BC. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). It stretched across generations, fans who grew up on these songs standing beside kids just learning them in real time. Parents lifted their children onto shoulders, pointing toward the stage as if introducing them to something sacred. Every chorus felt shared, not just sung. Less a concert and more a collective memory unfolding in real time, where the past and present blurred together under the same lights. That energy didn’t begin with Rise Against, it was already simmering. Destroy Boys took the stage with a set that felt equal parts theatrical and feral. Frontwoman Alexia Roditis appeared almost otherworldly, her white makeup and frilled pantaloons giving her the air of a punk-rock mime—somewhere between playful and unsettling, impossible to ignore. The performance leaned into that unpredictability, pulling the crowd deeper into the chaos. Alongside them, Speed of Light—a sibling trio—brought a different kind of intensity. Their set was sharp and kinetic, each moment delivered with a precision that hinted at something much bigger ahead. Together, the openers didn’t just warm up the room—they lit the match. And the pit caught immediately. It sparked early and refused to fade, evolving into a constant, shifting presence at the center of the crowd. Not disruptive, but essential—a physical extension of the music itself. By the time Rise Against took over, it felt inevitable, like the room had already decided what kind of night this would be. Rise Against performing at PNE Forum in Vancouver, BC. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). The band leaned into that momentum, moving seamlessly through a set packed with songs that have long outgrown their original release dates. Each track landed with the same urgency it must have had years ago, but now carried by hundreds of voices at once, louder and more insistent than ever. Midway through, everything shifted. Stripped to acoustic, frontman Tim McIlrath stepped into the quiet with “Hero of War”  and “Swing Life Away.”  The change was immediate. Where there had been movement, there was stillness. Where there had been shouting, there was listening. Phones lowered. Conversations stopped. For a few minutes, the room exhaled together, held in place by the weight of the songs rather than their volume. It didn’t last—but it didn’t need to. The full band returned with force, rebuilding the energy piece by piece until it crested with “Prayer of the Refugee.”  It felt like a closing statement, delivered with the kind of intensity that leaves nothing behind. The band stepped offstage, and for a moment, it seemed final. But the room wasn’t done yet. The brief pause only sharpened the anticipation, the crowd holding onto the last note like it hadn’t fully landed. When Rise Against returned, it felt deliberate—earned. Rise Against performing at PNE Forum in Vancouver, BC. Photography by Vaneza Gutiérrez Wyckoff (@vanezasnaps on IG). “Make It Stop (September’s Children)”  carried a different kind of weight, its message landing with clarity in a room that had already proven how deeply these songs still resonate. From there, “Savior”  brought everything to a close—not quietly, not gently, but in full voice. The crowd didn’t just sing along; they took over , turning the final moments into something shared between stage and floor, impossible to separate. By the time the last chord rang out, the distinction between band and audience had all but disappeared. What remained was something louder than a setlist and more lasting than a single night—an echo of why these songs have endured, carried forward by every voice that refused to let them fade.

Jackson Wang photographed for a Cartier campaign - Image has been sourced from Instagram. Ever wonder what a Jackson Wang concert is like? Why is he beloved amongst fans worldwide? We had the opportunity to attend his show at The Kia Forum in Los Angeles, CA, and the answers were clear. Article Contributed by Monica Soriano After almost a year break, Jackson Wang returned to music with the release of MAGICMAN 2, a self-reflective and honest project. He is currently on his MAGICMAN 2  World Tour, and on March 31, 2026, we were in Los Angeles, CA, to see his show. We arrived at The Kia Forum and felt the excitement through the attendees as they took pictures, found their seats, and filmed vlogs. Seeing a fan handout, freebies, and people getting their drinks at the bar truly set the ambiance for what the show would be. As soon as the lights dimmed in the forum, the screams erupted, and the big screen lit up with a Jackson Wang intro video. The audience became still while awaiting Jackson’s entrance. Then he appeared, in all black, Jackson was floating while suspended on wires with a spotlight focused in his direction. “High Alone” started playing, and beneath him, the dancers, wearing all black with red gloves, added to the intensity of the song. As the show continued, the stage lighting turned red, and his performance of “Access” began. The combination of flame projectors, the smoke, and lasers, combined with the dancers and Jackson’s stage presence, was a delight. After his song “Hate to Love,” Jackson Wang invited a fan onstage, and he sang to her, danced for her, and made her blush. If that wasn’t enough fan service, he proceeded to invite 4 more fans and do it again. The audience screamed throughout this section, and the girls on stage seemed to have the night of their lives.  Jackson briefly left the stage, and this began the next portion of the show. More fog, blue lighting, and Jackson Wang wearing all white appeared in a somber setting, singing “Not For Me”. During this song, the emotional beats were felt, and it was visually stunning to see the dancers float up and down the stage. He then transitioned to “Blue,” in which the lighting became dimmer, and the hue of the blue lights deepened. His all-white outfit design is similar to that of the belts on a straitjacket; if that was intentional, it certainly intensifies the meaning of this portion of the show.  The oh so sentimental track “Everything” was performed in a simplistic manner with the screens projecting his performance in black and white. “Dopamine” lit up the forum with phone lights and a purple setting illuminating the entirety of the venue.  After an emotionally charged set of songs, it was time for a change in pace. Once again, Jackson left the stage, and in the meantime, the live band performed against a black and red screen. Suddenly, a dance break started, and Jackson reappeared, wearing all black and a simple cap. The flame projectors started again, and the once emotional setting vanished into an energizing one. “BUCK”, “Let Loose”, “TITANIC”, and “GBAD” were perfect to hype the fans. The show was approaching its end and Jackson remained energized throughout these heavy dance sequences. Jackson has expressed many times over how impactful his break was for himself, his career, and his relationship with his parents. During his next segment, he played a video filled with photos, clips, and words he wished to share. He took this time to express appreciation towards his parents. While again in all white, but this time, a more polished look, he faced a photo of himself with his parents and kicked off this section. The songs “Dear:”, “Sophie Ricky”, and “Made Me a Man” were the last songs on this tour. Towards the end, as he was exiting the stage, it was clear that he had become emotional.  At this time, very few fans started leaving, but most started chanting “encore” or “Jackson.” In true Jackson Wang fashion, he reappeared to throw a mini party before the end. Upbeat music started, and he invited some fans to the stage. Some of his dancers, crew, and friends were also up there. Green laser lights filled the room as people jumped and danced. In such a lively and positive environment, people were able to leave aside their worries. Jackson addressed the commentary regarding him being the party guy, and his response was epic. He said, “You know what? I fucking am. But I think the people who comment… they just want to come to the party.” Overall, we were more than pleasantly surprised to see this show come together. It was a concert in which every detail was thought of. The lighting in every song is perfectly aligned with the embodiment of Jackson’s performance. His energy, work ethic, and creativity shone through. The amount of gratitude he expressed to those around him, including fans, new Team Wang, friends, crew, dancers, band, and beyond, was felt honestly. He rolled credits at the end, thus giving merit where it’s due, but also served as a closing for his film-like show. Jackson Wang is a fully realized artist, and we were happy to witness his live presentation of MAGICMAN 2. He stated there were many announcements to come this year, and we will keep an eye out for them!

Article and Photos Contributed by Rebecca McDevitt & LJ Portnoy Enrose live in Philly, PA | (Photography by LJ Portnoy @ljportnoy ) There are shows you go to for fun, and then there are shows that remind you exactly why live music matters. Across two back-to-back nights, Philadelphia at MilkBoy and New York City at Berlin, Enrose created something you could feel long after the last note. Enrose at MilkBoy in Philadelphia, PA. | (Photography by @ RebeccaJeanLimitedPhotography ) Some of the SoundCheck Mag team was there, cameras in hand, shooting side by side. Two perspectives on the same magic. And yeah, we're glad it happened. Philly: Shoulder-to-Shoulder, Heart-to-Heart MilkBoy was completely packed, the kind of packed where you're pressed up against the stage, surrounded by strangers who somehow feel like friends by the end of the night. Wallace Tonight opening for Enrose at Milkboy in Philadelphia, PA. Photo by LJ Portnoy (IG: @ ljportnoy ) Wallace Tonight kicked things off with a gritty, unapologetic rock and roll energy that set the tone immediately. But what stopped us in our tracks was their drummer, a woman commanding that kit with a precision and power that carried the entire set. She held that stage. She deserved every second of it. Wallace Tonight opening for Enrose at MilkBoy in Philadelphia, PA. | (Photography by @ RebeccaJeanLimitedPhotography ) Then Ang and the Damn Band shifted the atmosphere entirely. Ang's vocals cut through the room with both strength and vulnerability. Ang and the Damn Band opening for Enrose at Milkboy in Philadelphia, PA. Photo by LJ Portnoy (IG: @ ljportnoy ) The moment that stopped everything: a cover of Yungblud's "Changes," dedicated to someone she had recently lost. Every single person in that venue started screaming the chorus back together until it stopped being a cover and started being something else entirely. A release. A shared exhale. Ang and the Damn Band opening for Enrose at Milkboy in Philadelphia, PA. Photo by Rebecca McDevitt ( @RebeccaJeanLimitedPhotography ) NYC: A Sold-Out Homecoming By the time we made it to New York City, the energy had only grown. Berlin was sold out, packed wall-to-wall with a crowd that was more than ready. Parris Mitchell opening for Enrose at Berlin in New York, NY. Photo by Rebecca McDevitt ( @RebeccaJeanLimitedPhotography ) Opening the night was Parris Mitchell, and finally seeing him live was everything we hoped for. Him and his entire band took the crowd and ran with it, engaging, silly, and completely unbothered by taking themselves too seriously. His set is the kind that sneaks up on you until you realize you've been smiling the entire time. And "Honey, I"? Still stuck in our heads. Parris Mitchell opening for Enrose at Berlin in New York, NY. Photo by Rebecca McDevitt ( @RebeccaJeanLimitedPhotography ) Enrose: The Main Event From the second Gabi Rose stepped on stage, both nights felt like they belonged to her. Opening with "Glad It Happened" set the tone for everything that followed: reflective, powerful, and completely immersive.  Enrose at Milkboy in Philadelphia, PA. Photo by LJ Portnoy (IG: @ ljportnoy ) Gabi is the kind of performer who doesn't stay confined to the stage. She told stories between songs, created moments of audience participation that felt natural and never forced, and jumped into the crowd to dance, to sing, to just let the sax take her wherever it needed to go. Every note moved through her first, pure conviction over performance. Enrose at Berlin in New York, NY. | (Photography by @ RebeccaJeanLimitedPhotography ) She connected with her audience in a way that made every lyric feel like it was being said directly to you and somehow to everyone at once. The room wasn't watching, it was part of it. Kit, Nick, Dan and Val: More Than a Band This is Gabi's project, her vision, her voice, her sax. But what was unmistakable across both nights is that Kit, Nick, Dan, and Val aren't just musicians playing her songs. They're her people. Enrose at MilkBoy & Berlin in Philadelphia, PA & New York, NY. | (Photography by @LJPortnoy & @RebeccaJeanLimitedPhotography) Nick is the kind of musician who'll make you laugh one second and completely floor you the next. Kit brought a quiet warmth to every moment, deeply present, the kind of talent that doesn't need to announce itself. Val on bass was the anchor the whole thing moved around, holding the floor steady so everyone else could fly. And Dan behind the kit was a full performance in himself, explosive when the song called for it and impossibly delicate when it didn't.  Enrose at Milkboy in Philadelphia, PA. Photo by  Rebecca McDevitt ( @RebeccaJeanLimitedPhotography ) The setlist they carried with her: "Delusional," "Tattoo," "Therapy," "Not A Barbie," and their newest release "Take Care," which already feels like it belongs at the core of their live show. Let's Talk About the Sax  Enrose at Milkboy in Philadelphia, PA. Photo by LJ Portnoy (IG: @ ljportnoy ) The saxophone deserves a permanent spot in modern music, and Gabi Rose is making the case better than anyone right now. She picks it up and disappears into it. The sound she pulls out is bold and cinematic one moment, tender and searching the next. After two nights of watching it live, one thing is clear: we want more sax. Everywhere. Immediately. The SoundCheck Take These were two nights of connection, energy, and moments that reminded us why we keep showing up for live music in the first place.  Enrose at Milkboy in Philadelphia, PA. Photo by Rebecca McDevitt (IG: @ RebeccaJeanLimitedPhotography ) Every time some of us are in the room with Gabi Rose, the feeling is the same: something is happening here that you don't want to miss. She transformed both rooms with her sax, her songs, and a presence that made everyone fall in love simultaneously, with the music, with the feeling, with what it means to be surrounded by people all feeling the same thing at once.  Enrose at Berlin in New York, NY. Photo by Rebecca McDevitt (IG: @ RebeccaJeanLimitedPhotography ) That's Enrose. Go find them. Go see them. Let the sax take you somewhere.

Article Contributed by Monica Soriano Nickelodeon made many people laugh through its quirky series, cartoons and movies. There are various familiar faces in mainstream media within music that were able to reach unexpected (or expected) success after their time with the network. Some cultivated strong fan bases and have established their names among the biggest artists. While most of the cast in Victorious have gone on to gain a large amount of popularity and varying success within music and acting, there are two names that are currently making big waves. Also, who would have thought that a kids band would still to this day have a die hard fan base? The Naked Brothers Band: A Successful Band & TV Show Before The Age of 13 Photo from Spotify The Naked Brothers Band might have been an eccentric name for a band and a TV series but that quirkiness is what drew kids to the show. A fun series about kids living the rockstar life, of course it grabbed the attention of children and teens. The Naked Brothers Band series lasted 3 seasons and 1 film. Aside from the show's beloved characters and storylines, the real attention grabber was the music. The band released 3 albums and 2 were able to break into the Billboard 200 chart. After the success of The Naked Brothers Band and being nominated for various awards, for both the series and the music, brothers Nat & Alex Wolff continued to release music as a duo. Nat & Alex Wolff were only 12 and 9 while on Nickelodeon and fans still support them years later in their adulthood. Their youthful pop rock sound evolved to be more mature and softer. The Naked Brothers Band Spotify page still has over 49k monthly listeners while Nat & Alex Wolff have almost 200k monthly listeners. Fans grew alongside Nat & Alex Wolff which could be the reason for the genuine amount of support they receive to this day, it doesn’t seem overbearing but rather appreciative. Ariana Grande: From Nickelodeon Comedy Star to International Pop Star Ariana Grande as her character "Cat". Photo from IMDB Ariana Grande is an internationally known pop star and actress. She has reinvented herself over and over again and has maintained a steady career since her exit from Nickelodeon. During her time with the network, Ariana was the beloved character Cat Valentine in ‘Victorious’ and ‘Sam & Cat’. Her comedic timing and bright red hair became her introduction to many. While starting her music career she released “Put Your Hearts Up” in 2011 and “The Way” featuring the late Mac Miller in 2013. She only kept rising in popularity, moving her sound to new directions, sometimes with a heavy focus on R&B and others geared more towards powerful pop ballads. She has achieved stardom at a level that not many can transition to after starring in a teen series. Her efforts have earned her many awards including 3 Grammys. While she made a shift in the past few years to focus more on her acting career, she remains a beloved pop icon. Even though she is focused on her on screen work, she managed to squeeze in a tour for later this year! Leon Thomas: Quietly Worked Behind The Scenes After Victorious, Now He Multiple Grammy Awards Lately, Leon Thomas has been making noise within the music industry. Many know him from playing Andre in ‘Victorious’ or from his behind the scenes work writing and producing for artists such as Ariana Grande, Giveon, SZA, Kehlani and many more. Leon is at the height of his success as an artist himself right now. With the release of his album ‘Mutt’, he earned a Grammy for Best R&B Album during the 2026 Grammy awards. Leon Thomas peforming on Victorious. Photo pulled from IMDB. It’s been almost 13 years since ‘Victorious’ ended and even though Leon Thomas is now a 3x Grammy Award winner, to some he is still Andre Harris. ‘Victorious’ was extremely popular from 2010 to 2013 and to this day the cast is well loved and supported by fans. It isn’t just fans of the show that support Leon though, it is the new listeners and the music industry itself. He has become a well known name through the insane amount of projects he’s written and/or produced for and now dominating the R&B space as an artist. Nickelodeon produced series that will stay with fans forever, some so big that are known internationally. Many of the young actors were given a foundation to launch themselves into a career in music, acting or anything entertainment. While there were a lot of issues with the network that should be taken into account, there were many shows that inspired kids to be Andre, Cat or join a band like Nat & Alex. Witnessing the transition from teen actors to musicians is fulfilling and they should all be applauded for their dedication!

Article Contributed by Konstantina Buhalis Houston rap star, Lebra Jolie, prepares for a new album, Better Than Yesterday, through Interscope Records. In the meantime, Jolie released “Whole Thang” with an accompanying music video featuring iconic visuals, and a “Better Than Yesterday” docuseries, in which she digs into the creation of the album's inspiration and her history as an artist. Lebra Jolie portrait by Interscope Records Lebra Jolie Let’s Us In In 2022, Jolie released her hit single, “Spring, Summer,” and earned a spot on Pitchfork’s “The Ones” chart. Lebra Jolie has been rising in the rap scene, bringing her best to the new era of rap with millennial flair and a fresh perspective. In 2026, Jolie’s Better Than Yesterday is her most personal work yet, chronicling her journey from living in shelters to singing with Interscope Records. In her docuseries, she continues to detail this journey, allowing the audience to take a step into her world and discover the life of Lebra Jolie. The Whole Thang Docu-Series The three-part docu-series features an interview between Jolie and herself, in which she answers questions about the creation of Better Than Yesterday and her life leading up to becoming an artist. Jolie sat down with Soundcheck to talk about her series, saying that while the series didn’t necessarily give her work new meaning, retracing her steps was therapeutic. Jolie went on to say, "I had ended up crying because I've just kind of was, like, it just got intense, like the questioning, and I was, for the first time, able to just put everything out on the floor and put everything, you know, allow everybody to see me in a vulnerable state. And so I felt really good after it, though. It was one of my most intense. I think, I think I really love talking to myself too. It was just like, really, I was just really able to express myself fully without feeling like, feeling like I got to answer the question correctly or right, you know, I just was able to just talk to myself. " Better Than Yesterday Jolie’s Better Than Yesterday is out now and available to stream through all platforms, and the BTY docu-series is available to stream on YouTube.