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Philadelphia, PA – August 30, 2025 | Skyline Stage at The Mann Photos & Show Review by Rebecca McDevitt On a late-summer Saturday night, the Skyline Stage at The Mann transformed into a time machine. Thousands of fans gathered under the Philly sky, ready to scream, laugh, and maybe even cry with Simple Plan. By the end of the night, one thing was clear: Philly was just a kid again. Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) A Pop-Punk Playground The party started early thanks to a stacked lineup. LØLØ opened with raw, confessional lyrics and cheeky stage presence, pulling the crowd closer before Bowling for Soup took things full-blast with “1985”  and their trademark banter. 3OH!3 kept the chaos alive with “Don’t Trust Me”  and a sea of hands thrown up in the air. By the time Simple Plan hit the stage, the Skyline had already turned into a pop-punk playground. Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Simple Plan’s Time Machine Pierre, Chuck, Jeff, and Sébastien stormed the stage like no time had passed since their early 2000s breakthrough. They tore into “I’d Do Anything”  and “Shut Up!”  and instantly had the crowd bouncing. Fans weren’t just watching — they were part of the show, yelling every lyric back like muscle memory. Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) The band leaned into nostalgia while keeping things unpredictable. A mid-show mashup of Smash Mouth’s “All Star,”  Avril Lavigne’s “Sk8er Boi,”  and The Killers’ “Mr. Brightside”  turned the skyline into the loudest karaoke session in the city. Then came one of the most iconic moments of the night: fans dressed as Scooby-Doo storming the stage during “What’s New Scooby-Doo?”  The mix of chaos and pure joy was peak Simple Plan energy. From Chaos to Catharsis For every playful moment, there was a song that pulled the heartstrings. Pierre sat down at the piano for “Untitled (How Could This Happen to Me?),”  and suddenly the entire lawn was glowing with phone lights. Strangers swayed shoulder to shoulder, belting out the words through tears. It was a reminder that these songs are more than hits — they’re lifelines fans still carry with them. Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) LØLØ rejoined the band for “Jet Lag,”  bringing a fresh spark to one of Simple Plan’s biggest duets. The collaboration bridged generations of pop-punk fans, creating a moment that felt both new and nostalgic. Closing the Circle Of course, no Simple Plan show is complete without “I’m Just a Kid.”  When the opening riff hit, the entire crowd erupted, pogo-jumping and screaming like it was 2002 all over again. The band closed the night with “Perfect,”  sending fans home teary-eyed, cathartic, and grateful for songs that still feel timeless. Photo by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Simple Plan’s Bigger Than You Think!  tour is proof that these songs never belonged to just one moment in time. In Philly, they reminded everyone that pop-punk isn’t just about nostalgia — it’s about community, release, and joy. On August 30, every single fan left the Mann knowing one truth: we might grow up, but with Simple Plan, we’ll always be just kids at heart.

Article by Rebecca McDevitt Sombr’s Big Glow Up Album Artwork: Nicky Parks and Amelie Boose If you have been watching Sombr over the last few years you know this moment was coming. The kid who first popped off with “Carolina” in 2022 has officially leveled up. He went from making hazy bedroom tracks to dropping out of high school, chasing the dream, and somehow turning heartbreak into his biggest statement yet. With his debut album I Barely Know Her  Sombr finally steps out of the DIY shadows and into the spotlight. A Breakup Record You Can Dance Cry To This is very much a breakup album but do not expect soft whispers and acoustic tears. Sombr is loud about it. On “Undressed” he is literally stuck on the train tracks watching his ex move on. “Canal Street” has him chain smoking like every cigarette could bring her back. Even the big energy moments like the disco pop shimmer of “12 to 12” or the heavy thump of “Under the Mat” still carry heartbreak in the background. Then there is “I Wish I Knew How to Quit You.” He drops the kind of gut punch lyric that fans will have tattooed before tour season. “You are in my DNA, you are the echo in my veins.”  It is dramatic and over the top in the best way. That is exactly what makes it hit. Nostalgia but Make It Pop Sombr’s influences are easy to spot. You can hear the Beach Boys harmonies floating through the record. The choruses feel like tidal waves padded with “oohs” that make every hook swell bigger than it should be. Think Panda Bear but polished and stadium ready instead of fuzzy and abstract. Part of that comes from Tony Berg who has worked with Phoebe Bridgers and Lizzy McAlpine. He helps expand Sombr’s sketches and give them more space. But it is still Sombr at the core. He wrote everything, played nearly everything and shaped this record into something that sounds massive without losing its edge. Why This Feels Like The Moment I Barely Know Her  is not just a debut. It is the glow up fans have been waiting for. Sombr sounds ready to take what he built online and carry it into rooms far bigger than bedrooms. Even while he is stuck in heartbreak the record plays like an arrival. It is messy, emotional and completely confident. If you have been rooting for him since “Carolina” this feels like the reward. If you are just tuning in, welcome to the Sombr universe. It is only getting bigger from here. Check out Sombr on tour this fall.

Article by Rebecca McDevitt, Contributions by Annie Gallo Photos by Annie Gallo & Rebecca McDevitt Bristow, Virginia • Virginia Beach, Virginia • Hershey, Pennsylvania Twenty years after their debut, the Jonas Brothers have proven that their story is as much about the fans as it is about the music. The Greetings From Your Hometown Tour  feels like an invitation to relive the moments that shaped an entire generation, while also embracing the present. Across Bristow, VA, Virginia Beach, VA, and Hershey, PA, SoundCheck was there — not in the pit with photo passes, but shoulder-to-shoulder with the fans, cameras & phones in hand, living the experience just like everyone else. Photo by Rebecca McDevitt ( @ rebeccajeanlimitedphotography on IG) Setting the Stage: From Family to Festival Even before the brothers stepped out, each night felt like an event all its own. DJ Deleasa set the tone right as fans walked into the venue, spinning tracks that instantly lifted the energy and got people dancing in their seats. Then came family. Their youngest brother, Franklin Jonas, affectionately known as “the littlest Jonas”, performed a set that felt equal parts new beginning and family tradition, proving he’s carving his own lane while still honoring the legacy. The All-American Rejects followed, unleashing mid-2000s anthems that sent fans right back to their teenage bedrooms, screaming every word like no time had passed. Photo by Annie Gallo (@ anniegdatsme on IG) Later in the night, just when the brothers ducked off for an outfit change, Marshmello took over. His high-energy set kept the crowd moving, turning the pause into a full-on EDM party instead of a lull. The entire structure of the night felt intentional, as if the Jonas Brothers wanted the evening to unfold like a festival, blending nostalgia, family ties, and pure celebration before they even hit their stride. Photo by Rebecca McDevitt (@ rebeccajeanlimitedphotography  on IG) Bristow: A Night of Nostalgia Annie, part of the SoundCheck team, kicked off our coverage in Bristow. From the moment the lights dropped, there was this shared gasp of recognition, the kind that only comes when you’ve been waiting years for a song to transport you back. The band pulled deep from their catalog, weaving in fan favorites from Jonas Brothers Self Titled  & with radio hits like Burnin’ Up  and Sucker. Photo by Annie Gallo (@ anniegdatsme  on IG) Then came the night’s big surprise: All Time Low stormed the stage for an explosive performance of Dear Maria, Count Me In.  The crowd’s reaction was deafening, a mix of shock and nostalgia that turned the amphitheater into a pop-punk time machine. Watching the Jonas Brothers share the stage with another band that defined the same era drove home the sense that JONAS20 isn’t just about their history, it’s about the whole scene they came up with. In the crowd, strangers became instant friends. Fans traded stories about their first Jonas concerts, who their favorite brother was growing up, and which songs still hold the deepest meaning. Bristow wasn’t just a concert; it was a reunion of music, memories, and moments in time we all still carry with us. Virginia Beach: A Birthday and a Love Letter If Bristow was about nostalgia, Virginia Beach was pure celebration. Annie described the energy as unmatched, a balmy summer night that doubled as Joe Jonas’ birthday. Midway through the show, the crew rolled out a giant “Cup of Joe” birthday cake, and the amphitheater roared with cheers. Joe, grinning ear to ear, leaned into the moment, the celebration as playful and heartfelt as his stage presence has always been. Photo by Annie Gallo (@ anniegdatsme  on IG) Then came the collaboration nobody saw coming: the brothers brought out Hanson. Together, they launched into Hanson’s classic MMMBop  before seamlessly sliding into the Jonas Brothers’ own That’s Just the Way We Roll.  It was a generational handshake — one band that defined the late ‘90s standing shoulder-to-shoulder with the brothers who redefined pop-rock for the 2000s. The moment felt symbolic, like a passing of the torch and a shared celebration rolled into one. As if that weren’t enough, the night also featured a special treat: Joe stepping into his solo world, performing songs from his solo project Music For People Who Believe in Love . Vulnerable yet confident, the set felt like both a gift to the fans and a milestone for Joe himself. The crowd embraced it instantly, screaming along to Honey Blonde and Heart by Heart. From the warmth of the visuals to the spontaneous laughter between songs, Virginia Beach didn’t just feel like another stop on tour. It was a birthday party, a love letter, and a glimpse of what the next chapter holds. Hershey: Sweet Surprises Under the Stars By the time the tour reached Hersheypark Stadium, SoundCheck’s Rebecca was there to capture it through the lens of a fan. From the very first song, Hershey set itself apart. The brothers launched into Rollercoaster  while the real rollercoasters behind the stadium lit up the skyline, giving the night a cinematic, almost surreal opening. And the surprises didn’t stop there. Midway through the show, the Jonas Brothers brought out Cartel for a throwback performance of Say Anything (Else)  — a nod to the pop-punk roots of the era when they first broke out. Later, Hoobastank joined them on stage for The Reason , turning the stadium into one massive singalong. These guest moments blurred the line between headliner and fan, with the brothers grinning as wide as the crowd, clearly just as excited to share the stage with the bands that shaped their own journey. Photo by Rebecca McDevitt (@ rebeccajeanlimitedphotography  on IG) Joe, Kevin, and Nick carried the rest of the set with ease, trading smiles and energy between each other and the crowd. Hershey wasn’t just a show; it was a celebration of influences, friendships, and the nostalgia of an entire scene,  all under the Pennsylvania summer sky. Why JONAS20 Feels Like Home The Jonas Brothers could have easily made this a greatest hits victory lap. Instead, they crafted something more intentional. The Greetings From Your Hometown Tour  isn’t about closing a chapter; it’s about honoring the journey while making space for what’s still to come. From DJ Deleasa’s crowd-warming beats, to Franklin’s family-first set, to The All-American Rejects’ emo nostalgia, and Marshmello’s high-voltage EDM break, every moment built toward a headlining set that told its own story. Bristow’s surprise with All Time Low, Virginia Beach’s birthday bash, and Hershey’s rollercoaster of special guests each proved why fans keep coming back. Photo by Rebecca McDevitt (@ rebeccajeanlimitedphotography  on IG) For SoundCheck, being there as fans in the crowd, capturing the way the lights hit, the way the harmonies carried, the way the smiles spread, was a reminder that this isn’t just about music. It’s about community, memory, and that unshakable feeling of coming home.

Article & Photos by Fernando Flores AJR, a band of three brothers with limitless potential rose to stardom with their hit song, I'm Ready  in 2014. Since then, they continue to write and produce their own songs in the comfort of their own living room, keeping true to their original roots and connection to home. AJR consists of three brothers, Jack, Adam, and Ryan Met. They started out playing in the streets of New York City where their songs eventually took off from. What sets AJR apart from other artists is their blend of youthful lyrics and serious mental health topics that are usually overshadowed in the media. Fans all around respect that AJR focuses on the hard to talk about topics making even the loneliness of fans feel seen and know that they’re not alone. Walking into the venue you can't tell what to expect from AJR. They are known for their amazing setlists. Their creativity has only grown as new tours emerge year by year. A sea of fans all ecstatic to see AJR perform fill the venue. One by one each runs to get into their seat with merch in hand and excitement in their eyes. The fans ready to be in awe once more by the band are restlessly waiting for the show to start. Suddenly the lights dim and the magic begins. The crowd roars. Masterfully beginning the setlist with Way Less Sad , the crowd rumbles with excitement as the trumpet plays but only Jack and Ryan come out. Yet, in a blend of screens, graphics and creative planning the band submerges the stage and creates an immersive experience for everyone in the crowd. As the show goes on, AJR continues to surprise the audience with a mixture of illusion and quick thinking. The audience, captivated by the band's great mixture of technology, art and music, cries out AJR! AJR! AJR!   Although the set is very energetic, the band still takes time to interact with the audience throughout the whole set. They play out a story with their songs and insert the audience into their adventures all while providing excellent vocals and high-energy performances. One particular instance that stood out was their musical demonstration of their song 100 Bad Days.  The band creates a very well-done combination of visuals and dialogue to bring the audience deep into their creative brainstorming that ends up being the creation of one of their top songs. Like a teacher in a class room and the audience is the student, AJR made an educational moment, inspiring for the crowd especially if you want to go into music as a career.  Jack and Ryan really knew how to rock the crowd and make sure everyone was really having fun. As they continued to run through the setlist, a fan in the crowd caught my attention when they exclaimed Where’s Adam? Yes, where is he? For this particular show Adam made a surprise appearance for one song that left the crowd ROARING. He explained that he's out creating change for the world while his brothers continue to perform for us. Adam says that none of what he is doing would have been possible if it wasn’t for the AJR fans and thanks the crowd after performing, Bang!  With the other two brothers. Year after year, AJR continues to wow the audience with their captivating performance, amazing visuals and fan interactions. They are true artists that don't make music because it's their job but because it's what they love. Adam, Jack and Ryan are truly amazing people that are doing amazing things on and off the stage. If you want to be heard or support a band that goes all out for each of their shows, go see AJR!

Article by Rebecca McDevitt Back to Where It All Began With Greetings From Your Hometown , the Jonas Brothers are asking us to slow down, take a breath, and remember where it all began. This record strips away the excess and brings it back to the basics—their harmonies. And honestly? That’s exactly what we’ve been waiting for. Nostalgia runs through every track, but it’s not just a throwback—it’s their classic pop sound layered with grooves that feel straight out of the 70s. Twenty Years, Full Circle The timing couldn’t be better. Twenty years into their career, the Jonas Brothers are celebrating not just longevity, but the bond that’s kept them grounded. Between kicking off a tour in their home state of New Jersey, prepping for A Very Jonas Christmas  on Disney+, and dropping songs that are literally everywhere (from Disneyland’s 70th anniversary to ESPN’s Sunday Night Baseball ), the guys are making it clear: they’re not slowing down. Let’s be real, after the mixed response to The Album  in 2023, some fans weren’t sure if the JoBros could win us back. But songs like “Tables” and “When You Know” feel like they’ve been pulled right out of 2007, reminding us why we fell in love with them in the first place. Collabs That Hit Different And the collabs? Perfection. Dean Lewis joins them on the piano ballad “Loved You Better,” which hits straight in the feels. Switchfoot steps in for the title track, while tour mate Marshmello brings his signature touch to “Slow Motion.” It’s a lineup that proves the Jonas Brothers aren’t afraid to experiment while keeping their sound intact. The real heart of the album, though, comes with “Lucky.” It’s a gentle reminder that even when life leaves scars, healing is possible. The lyrics are soft, hopeful, and so personal that it feels like they’re speaking directly to anyone who’s ever needed a reason to keep going. Why It Matters Greetings From Your Hometown  isn’t just another Jonas Brothers album, it’s a love letter to the fans who’ve been there since day one, and proof that twenty years in, they still know how to hit us right where it matters. And if you think it sounds good on the record, just wait until you hear it live. The Jonas Brothers are on tour now, and trust us, you’re going to want to be in the crowd for this one. TOUR DATES BELOW:

If you’ve been paying attention to Philly’s alternative scene, you’ve probably heard the name Modern Culture floating around. The five-piece has been carving out a space with their blend of emo-leaning alt-rock, pulling in shades of shoegaze and post-hardcore, and pairing it with lyrics that stick with you long after the set ends. Since their 'Cabin Fever' debut in 2021, they’ve dropped tracks like "Streets", "Stasis", and last year’s Separation  EP — each one adding another layer to their moody, cathartic sound. On August 3rd at MilkBoy, they reminded everyone exactly why they’re one of Philly’s must-watch bands. The crowd was small, but the moment they launched into "Separation", the energy in the room doubled. Big guitars washed over the space, drums hit with precision, and the vocals carried that perfect mix of grit and emotion. Between songs, they kept the vibe casual; chatting with fans, laughing, and making it feel less like a show and more like a room full of friends who all happened to know the same songs by heart. Then came the new material. Motives , that just dropped August 12th, was a standout, a driving, atmospheric track that instantly clicked with the crowd even on first listen. You could feel the room leaning in, catching every rise and fall. If their upcoming releases keep this momentum, they’re about to level up in a big way. Modern Culture showed what the Philly scene is all about. No frills, no filler, just honest, passionate music that leaves you buzzing on the sidewalk afterward. Whether you’ve been following them since the early singles or you’re just finding them now, this band is the real deal and nights like this prove it.

Photos and Article by Fernando Flores Big Time Rush July, 23 2025 Wantagh, NY For all of our readers that loved watching Nickelodeon back in the day. If you’re not one of us, let us put you on. Big Time Rush started out as a Nickelodeon show that follows the lives of four Minnesota Hockey Players who went from being your ordinary Joe to your next top boy band. Carlos, Logan, James and Kendall are officially signed by Roque Records, a fictional record label. At Roque Records, the band works hard, creates mischief and learns what it takes to become the next big thing. There they're managed by Gustavo Roque, the fictional owner of Roque Records, who has created a plentiful amount of top dog star-quality singers throughout the decades but as of recent has not had any chart topping successes. When Big Time Rush isn’t working on music, they’re home at the Palm Woods where Kendall met his on-and-off girlfriend, Joe. In 2013, the show, Big Time Rush, ended after a successful run and 2 full-length movies.  It was unclear if Big Time Rush will be anything more than a show until 2022 when Big Time Rush started their reunion tour, Forever Tour. Since the Forever Tour, Big Time Rush became more than the show, they became a real boy band with an already addicted fanbase. Since reuniting in 2022, they started having yearly tours with the most recent being the Big Time Rush In Real Life Worldwide Tour.  On the Big Time Rush In Real Life Worldwide Tour the band aims to perform every song from every episode! It's a great throwback to their earlier years while filming the show. The fanbase continues to show vast enthusiasm by dressing up in purple bandana bandit costumes, tree hats, and many other crazy fits from the show. All nods to the influence Big Time Rush had on the crowd from a young age. The atmosphere, already energetic, becomes electrifying when the large screen graphics change and a very familiar opening theme song starts playing. Big Time Rush kicks off the show with their theme song, Big Time Rush, since the very first note the crowd did not stop having fun. The band performed a two-hour setlist with lots of high energy, choreography and live vocals. They really give it all when it comes to performing for their fans. What made the concert uniquely engaging was the band’s genuine connection with the audience. They understand their fans and interact with them as if they know each one of them. So many fans compete for their attention and somehow they manage to give them what they want. Of course, at this point in the article one might ask, Did they play every song from every episode? , the answer is yes and no. They played every song, yes, but if you wanted to hear quick jingles that made it on the show or gag-songs, they did not include these.  Overall, it's a great experience to see Big Time Rush in concert. They know how to put on a show and will keep your feet moving till the very end. Yes, even for a 2-hour set. Get ready to be very tired afterwards. See Big Time Rush on tour now while you still can, it will be an amazing time whether you're a long time fan or trying to find something new.

Good Vibes Tour Bristow, VA & Raleigh, NC Photos & Review by Annie Gallo Part one of the Good Vibes Only Tour has just wrapped up. The tour featured Wiz Khalifa, Sean Paul, DaBaby, Chevy Woods, Fedd The God, and Young Deji - all taking the same stage. Soundcheck Mag had the pleasure of attending the Bristow, Virginia and Raleigh, North Carolina shows before the first part of the tour ended in Atlanta, Georgia on July 27th. At both shows smoke was in the air and the good vibes were definitely there.  First to take the stage was DJ Bonics who pumped up the fans with music before rapper Young Deji took the stage. Deji is signed to Wiz’s record label Taylor Gang. Deji is most known for putting the “Hit that Woah” dance on the map. He performed his 2021 hit “24 Hours”. Fedd The God, another Taylor Gang signed artist, took the stage after Young Deji, and performed hits like “Activated” and “Fortnight”. At one point he asked if anyone had a birthday in the crowd and had about five people come on the stage to dance and take in the experience as he performed.  Chevy Woods, also signed to Taylor Gang, took the stage after Fedd The Godd. He shared some words to the crowd about how we all go through tough times then he sang “Escape” which was released in 2020. The rap song has more emotion to it than most people would associate with the genre and the crowd was into it, singing along. Fans screamed and sang louder when he performed his hit “Medicaded” which featured Wiz Khalifa on the track.  Next to take the stage was the rapper DaBaby with some dancers. The crowd could be seen screaming his name before he even came out. When he did, the fans got louder as he performed hits like “BOP”, “Suge”, “Rockstar”, and more. The rapper even went out into the crowd at one point, and people left their seats to get as close as they could to him.  The reggae and hip hop artist Sean Paul hit the stage with dancers, a live band, and bright, colorful lights. People at the show were singing and dancing along as he performed well known songs like “Temperature”, “Get Busy”, and more.  The highlight of both nights was when Wiz Khalifa took the stage with his band. There was more smoke filling the air. That included the artist as he lit up a joint that he ended up throwing into the crowd to share. His energy on stage is contagious as he’s full of joy, and you can tell he loves what he’s doing. Not only does he love it, but he’s authentic in everything he does on stage. He often cracks a big smile and chuckles with his recognizable laugh.  One of the most authentic and heartwarming moments was when Khalifa’s 12-year-old son Sebastian came out on stage. Sebastian helped pump up the crowd before getting the microphone from Khalifa and thanking the fans for supporting his dad. Whether fans know all the songs or not, Khalifa knows how to entertain and put on a mesmerizing show as he performs a mix of older and newer hits. From songs on ‘Kush & Orange Juice’ released in 2010 to ‘Kush & Orange Juice 2’ released this year, there’s music played at the show for fans of his older music and newer music.  The Good Vibes Only Tour Part #2 Smokers Edition featuring Wiz Khalifa, Dom Kennedy, Earl Sweatshirt, Curren$y, Ab-Soul, Chevy Woods, Fedd The God, Young Deji, and DJ Bonics is happening now though the middle of August. For tickets to the tour and other Wiz Khalifa shows you can head here - Tour – Wiz Khalifa .

Chicago, July 23, 2025 Photos and Review By Ernesto Raul Aguilar There’s a particular kind of magic that happens when an artist’s energy doesn’t just reach the crowd but runs straight through it. On July 23, Michael Franti & Spearhead brought that kind of electricity to a packed Riviera Theater in Chicago, turning the historic venue into an experience of love, movement, and soul-stirring connection. Opening the night was HIRIE, the reggae-pop powerhouse whose radiant charisma and velvet voice warmed up the room like the first sunbeam on a summer morning. Backed by a tight, dynamic band, she cruised through a set that included “I’m High,” “Queen,” and the fan-favorite “Sensi Boy.” With lyrics that balance empowerment and playful freedom, HIRIE gave the audience both groove and grounding, an invitation to let go and be present. And that presence only deepened when Franti took the stage. Launching straight into “Welcome to the Family,” Franti didn’t wait to build momentum, he was the momentum. Within minutes, he was off the stage and weaving through the crowd, high-fiving, hugging, and making the audience not just feel seen, but held. From the dance floor to the balcony, he didn’t miss a section, literally running up to serenade the rafters. Franti’s set was a joy-saturated journey that spanned more than 20 songs, from the anthemic “I’m Alive” and “Good Day for a Good Day,” to “Only Thing Missing Was You,” where HIRIE returned to the stage for a heartfelt duet. One of the night’s most emotional moments came halfway through the show, when Franti paused the high-energy celebration to share a personal story about the recent passing of his mother. Reflecting on missed phone calls and late-night exhaustion, he urged the crowd to make time for love. Among the crowd was one fan whose story was as full circle as they come. Mallory Crisafulli, now a teenager, first saw Franti in 2018 and got to sing with him on stage. She returned to the Riviera this year, holding a large sign with a photo of that moment, asking if she could join him again. Franti saw it and just like that, she was back on stage, singing with the same joy she did as a child, this time with a signed poster and a memory rekindled. That’s the thing about a Franti show, it’s not a concert; it’s a communion Closing the night with hits like “Say Hey (I Love You),” “Rise Up,” and “Shine,” Franti gave every person in the room something to take home, whether it was a lyric, a beat, a hug, or a message. And maybe that’s why fans like Mallory stay connected for so many years. As she told me, “[His music] just brings a lot of peace to me... like I had somebody to go to. It opened up a whole new world.” And on this night, in a room full of rhythm and strangers turned family, that world felt wide open for all of us.

MilkBoy – July 25, 2025 Photos & Review by Rebecca McDevitt You know that feeling when a band you just discovered ends up blowing you away live? That’s exactly what happened Friday night at MilkBoy in Philly when The Break Plans took the stage. Hailing from Freehold, NJ, this indie-pop trio, made up of Colton Braun (vocals/keys), M ikey Strawz (guitar), and Dan Carr (drums), call their sound poptimistic , and honestly, we couldn’t agree more. It’s a perfect blend of catchy melodies, throwback 80s vibes, and emotionally honest lyrics. Since forming in 2019, they’ve been making waves across the Asbury Park scene and beyond, with tracks like “Fashionably Late” landing in the Top 40 and an EP ( Mistakes Are a Friend of Mine ) that’s as heartfelt as it is danceable. On Friday, Soundcheck Mag got a front-row seat to what the buzz is all about, and we’re officially hooked. We’ve said it before and we’ll say it again: Philly crowds never disappoint. Even in an intimate space, fans were singing every word, dancing in place, and matching the band’s high-octane energy from the jump. It felt like everyone in that room already knew the lyrics, or were about to learn them fast. Colton Had the Crowd in the Palm of His Hand Frontman Colton Braun didn’t just perform , he connected . Whether he was joking between sets, or handing out sharpies after the show for fans to sign his guitar (yes, really), he made sure the night felt personal alongside the entire band. It wasn’t just a concert; it felt like hanging out with your friends’ band, if your friends happened to be incredibly talented and radiating stage presence. Philly Might’ve Just Made a New Favorite Band The Break Plans delivered a tight, emotional, and incredibly fun set. Fan favorites like “Better Off,” “Sad Sometimes,” “Not What I Want,” and “Fashionably Late” were all in rotation—and the crowd was living for it. But one of the biggest moments of the night? A completely unhinged (in the best way) cover of Lit’s “My Own Worst Enemy.” It turned MilkBoy into a full-on singalong, with fists in the air and everyone shouting “Can we forget about the things I said when I was drunk?”  like their lives depended on it. Maybe we found The Break Plans through the algorithm (okay, guilty), but Friday night made one thing clear: this band is the real deal. There’s heart in their lyrics, fire in their live set, and a deep-rooted joy in their connection with fans. At SoundCheck, we’re officially on board, and judging by the packed room and energy spilling out onto Chestnut Street, so is Philly. We came for the music. We stayed for the memories. And we’re already counting down to the next show.

Magnus Ferrell is stepping out with serious main character energy on his latest single, "Miss Me Vendetta." The 21-year-old singer, who recently signed to Republic and Visva Records, is proving he's not just Will Ferrell's son, he's carving his own space in the alt-pop universe. With a background in jazz piano, a deep love for retro synths, and a creative partnership with longtime friend Gabe Yaron (plus writing credits from Ant Clemons), Magnus is blending cinematic storytelling with a moody, electronic edge that feels fully formed. From the first note, "Miss Me Vendetta" drops you into a neon-lit fever dream. It's synthy, dramatic, and built for repeat listens, the kind of track that sounds like it belongs in a slow-motion revenge montage or the closing credits of a stylish indie thriller. Think The Weeknd’s noir-pop meets the emotional drama of early 2010s R&B, with Magnus bringing his own spin. Vocally, he's smooth but dangerous —confident without trying too hard. And lyrically? He’s sharp, clever, and just a little venomous. Lines like "Baby, does it make you feel better? / Talk a little shhh you so clever" and "You fled the fire, dodged a bullet / But why you gotta shoot when I wasn't lookin'?" hit like coolly delivered call-outs, dripping with wounded confidence and the kind of bite that stays with you. The track plays in that deliciously toxic space between heartbreak and revenge fantasy. It’s seductive, a little petty, and totally unforgettable. This is the soundtrack to walking away from someone who underestimated you, preferably in slow-mo, flames optional. "Lil’ miss love me never / Gotta miss me, vendetta" might just be the most poetic kiss-off we’ve heard all year. What’s even more exciting? Magnus says this is just the start. He’s aiming to drop a new single every eight weeks, building momentum with each release. With tracks like this, we’re locked in and watching. Magnus Ferrell might be early in his journey, but "Miss Me Vendetta" proves he knows exactly where he's going. And at SoundCheck, we're here for it.

Benson Boone is clearly aiming for the moment . After a chart-topping breakout and viral momentum, American Heart  was supposed to be his grand artistic leap. But instead of a full-on evolution, what we get is a slick, emotionally dramatic album that feels more like a playlist of Pinterest-pop aesthetics than something personal. Let’s break it down. Theatrics Over Truth Boone’s got a voice, no question. It’s powerful, emotional, and built to fill arenas. And he knows  it. But on American Heart , he leans so far into that theatrical delivery that the vulnerability starts to feel… manufactured. You can hear how badly he wants each song to hit like a gut-punch, but without the lyrical depth or originality to back it up, it ends up more exhausting than emotional. There’s a lot of telling here. Boone tells us he’s heartbroken, tells us he’s hurting, tells us he’s complicated, but we never really see  it. The drama’s there, but the storytelling isn’t. Retro But Not Refreshing A big part of this record pulls from 70s and 80s influences: glam rock, synth-pop, classic piano ballads. He’s drawing from icons like Elton John and Queen, which sounds cool on paper, but in execution, it feels more like dress-up than homage. There’s a theatrical shell, but no clear heartbeat underneath it. Boone’s trying on aesthetics, but we’re left wondering who he actually is. The production is glossy, maybe too glossy. It feels expensive, but that polish smooths over any raw edge that might have made the album hit harder. Photo by David Roemer Some Flickers of Heart… But Only Flickers There are  a few moments where Boone shows glimmers of something deeper. “Momma’s Song” is a sweet, stripped-back moment that feels like it could’ve come from a different album entirely. “My Greatest Fear” almost gets to something real. But these tracks are the exception, not the rule. Even “Mr. Electric Blue,” which is supposed to be self-aware and campy, ends up kind of hollow. Like he’s in on the joke… but forgot to actually make it funny. Final Thoughts: Pretty, But Paper-Thin American Heart  sounds like a debut album from someone trying really hard to prove he belongs on the world stage—but skipping the part where we actually get to know  him. The vocals are there. The ambition is there. But the identity? Not yet. Boone’s still figuring himself out—and hey, that’s okay. But for now, American Heart  feels more like a mood board than a memoir. Rating: 5.5/10

Would You Still Love Me If You Really Knew Me?  isn’t just an album, it’s a soul dump. The kind of record that makes you pause, breathe, and then spiral (in the best possible way). Album Artwork by Carissa Gallo After stepping back from the noise and taking a break from social media, FLETCHER came back softer, clearer, and more honest than ever. This isn’t Girl of My Dreams  2.0. This is her asking the scariest question of all: If you saw the real me, no edits, no Instagram filter, would you still love me? This Is Cari, Not the Character From the very first track, it’s clear: FLETCHER’s not trying to be the loudest voice in the room. She’s just trying to be heard, really heard. No punchy pop intros, no cheeky one-liners. Just her voice, a guitar, and a million tangled feelings. There’s a noticeable shift here. This isn’t about being savage or petty. It’s about being exhausted. “Party” and “Chaos” are soft but heavy, like finally admitting to yourself you’re not okay. And then there’s “Boy”—which had the internet in a full-on meltdown —but really, it’s just her being real about confusion and evolution. She’s not here to play into expectations. She’s here to be honest. The Whole Album Feels Like a Deep Breath Tracks like “Hi, Everyone Leave Please” are exactly what they sound like, moments where you just want the world to stop so you can think straight. “The Arsonist” and “Congratulations” dig into burnout, fame, and what it’s like to live a life that people think they own. But don’t worry, there are still those classic FLETCHER melodies. “All of the Women” and “Good Girl/Gone Girl” bring some sparkle to the sadness. This album doesn’t wallow, it reflects. It doesn’t ask for pity, it asks for understanding. Would You Still Love Me? That’s the question she closes with. And it lingers. Not just for her, but for all of us. It’s the part of healing no one really talks about: once you start showing the parts you used to hide, will anyone still stick around? The answer? Yeah. We will. Because this version of FLETCHER, scared, searching, still figuring it out, is the most powerful one yet. Final Take: This Isn’t Just a Record, It’s a Release If you’ve ever wondered whether being “too much” makes you unlovable, this album’s for you. If you’ve ever felt lost in your own story, this album’s for you. If you’ve ever been afraid to evolve because people might not come with you, yep, this one’s for you too. FLETCHER didn’t just give us songs. She gave us space to feel. And we’ll love her even more for it. Rating: 7.5/10

Album Review by Annie Gallo This July Kesha released her first album as an independent artist under her own record label, Kesha Records. It’s an album full of dance music, some country twang, and pop music that will get stuck in your head.  Album Artwork by Brandon Walter The album’s name is simple, it's just ‘.’ (referred to as Period from here on out in this article). The first track “Freedom”, starts off with instrumentals of a piano playing for about 38 seconds before listeners hear the voice of the singer. Her voice is low as she sings the first words of the album “Freedom I’ve been waiting for you”. The beat drops about 2 minutes and 30 seconds into the song and it turns into a song that’s uplifting and makes you want to celebrate along with Kesha as she reclaims her freedom and sings about it. On March 6th, 2024 Kesha posted to X saying “First day I’ve owned my voice in 19 years. Welcome.” Little did fans know that ‘Period.’ would come out a year and some months later. The most emotionally charged song with powerful lyrics on the album is “Cathedral”, which happens to be the last track. “ Pain was my ritual, fear my religion. But I was the one that needed forgiving. Oh, I'm, I’m the cathedral ,” she sings. Kesha’s making one thing clear, don’t underestimate her ability to still write and sing a catchy, sometimes horny and always empowering song without a huge label backing her. One song from the album, “Joyride” was released last July, the first song under Kesha Records. It went viral on social media platforms like TikTok with now over 65,000 videos using the song. “Joyride” starts with an unexpected accordion playing and then Kesha starts to rap and sing over the track about looking for a joyride. She sings at one point “Baby, I want you to rev my engine till you make it purr. Keep it kinky but I come first,”.  If listeners are looking to embrace self love after a breakup , “Glow” is the song to listen to. “Got a brand new glow, yeah I’m dripping UV. I’m a star you ain’t even in my galaxy,” she raps on the track. Since the start of her career Kesha has been unapologetically herself, and this album is no different. From start to finish the album shares empowering messages about self love, being carefree, and self-aware. Kesha is currently on a tour which is called the “Tits Out Tour”. She’s traveling across the country playing amphitheaters with a setlist that includes songs she hasn’t performed in a decade off her 2012 album ‘Warrior’.  Dates and tickets can be found here - https://keshaofficial.com/tour .

Review and Photos by Rebecca McDevitt The Fillmore, Philadelphia – July 18, 2025 Sweat, Sax, and Shoeys: A Night of Pure Chaos If The Fillmore had a roof, Bilmuri would’ve blown it clean off. From the moment doors opened, the venue turned into a full-body sweat lodge. Fans were dripping before the first band even finished soundcheck—and somehow, that only added to the experience. This wasn’t just a concert. It was a full-sensory rock meltdown, Philly-style. John Harvie Starts Strong with Hometown Love Kicking things off was Philly’s own John Harvie , and he showed up like it was his living room. The crowd lit up the second he took the stage—singing every word, arms raised, the whole thing. His set felt like a victory lap, with raw energy and heartfelt lyrics bouncing off the walls. There’s a certain magic when a hometown artist gets this kind of welcome, and Harvie soaked up every second. Driveways Keep the Chaos Climbing Next came Driveways , and they wasted no time launching the night into overdrive. Their pop-punk-laced set had the pit spinning and surfers flying. By the time they closed out, it felt like Bilmuri might not even have to show up, the crowd was already running at 200%. Bilmuri Brings the Heat (and the Hog) Bilmuri stormed the stage and unleashed the kind of set that turns a show into folklore. From the first chord to the final encore, it was nonstop intensity—crowd surfers launching like missiles, a pit that never rested, and fans screaming lyrics so loud you couldn’t hear yourself think. But the real  moment? Johnny’s shoey. That’s right, he poured a beer into his own sneaker mid-set and chugged  it. No hesitation, no regrets. Just pure, unfiltered chaos. The Fillmore erupted. Philly has seen a lot, but that? That was a first. Encore Energy: Dual Saxes, One Massive Blowout Just when we thought we were done, Bilmuri hit the stage one more time for their encore and brought out Saxl Rose to join Gabi Rose for a dual-sax showdown during “Anabolic Spudsman.” It was weird, wild, and absolutely perfect—horns blaring, crowd screaming, pure madness. Final Thoughts: Loud, Hot, and Hog-Wild From start to finish, this show was a masterclass in chaos. The crowd never stopped moving. The surfers kept flying. The pit never calmed. The volume? Deafening. The heat? Unholy. The vibe? Unmatched. Bilmuri didn’t just crank their hogs, they turned Philly into a full-blown hog haven. And if you were there, you’re probably still recovering. If you weren’t… you missed one for the history books.

July 11, 2025 Salt Shed Chicago, IL Photos & Review by Ernesto Raul Aguilar On a warm, breezy, overcast evening at Chicago’s Salt Shed Fairgrounds, the Onward & Upward Tour rolled through town, bringing a memorable double bill featuring Ty Segall and Primus. Though lightning and rain threatened later in the day the weather held steady, setting an atmospheric backdrop perfect for the evening’s unfolding madness. The show kicked off with Ty Segall, whose tight, energetic set perfectly balanced fuzz-soaked garage rock with melodic psychedelic flourishes. His band delivered a full-bodied sound that was both raw and nuanced, creating an engaging dynamic that drew the crowd in early. Their carefully chosen setlist, including Finger, Candy Sam, Whisper, Possession, Wave Goodbye, and She, warmed the audience without overstaying its welcome, providing the ideal opening that raised anticipation for what was next. After a brief but efficient stage rearrangement, the unmistakable strains of Danny Elfman’s Clown Dream signaled Primus’s arrival. Les Claypool emerged bass in hand, flanked by longtime guitarist Larry LaLonde and the new addition, drummer John Hoffman. Hoffman’s presence marked a notable moment, having been handpicked earlier this year from a staggering 6,200 candidates in a highly competitive open audition process. His debut with Primus on this tour proved impressive, as the trio launched into Those Damned Blue-Collar Tweekers with a combination of wild energy and tight precision that immediately seized the audience’s attention. Primus’s setlist classic favorites with deep cuts, showing the band’s willingness to revisit lesser-played material, a fact Claypool credited to Hoffman's love of all things Primus. Tracks like Dirty Drowning Man, American Life, Duchess and the Proverbial Mind Spread, Moron TV, and Over the Falls hit with the trademark weirdness and groove that have long defined the Primus sound. A particularly notable highlight was the surprise return of Amos Moses, a Jerry Reed cover making its first live appearance since 2017. This unexpected addition elicited enthusiastic cheers from longtime fans. The chemistry among the trio was palpable throughout the night. LaLonde’s adventurous and sometimes playful guitar lines weaved effortlessly around Claypool’s nimble bass work, while Hoffman anchored the band’s complex rhythms. Songs like Jilly’s on Smack, Restin’ Bones, and Bob’s Party Time Lounge demonstrated the band’s ability to balance eccentric storytelling with exceptional musicianship, a defining quality that has kept Primus relevant and beloved over the years. As the night ended, the crowd erupted during the performances of Welcome to This World, My Name Is Mud, and Jerry Was a Race Car Driver, songs that have become enduring anthems for this idiosyncratic band. The show ended with an encore performance of Southbound Pachyderm, a slow, heavy, and haunting piece that left the Salt Shed reverberating. The Onward & Upward Tour’s stop in Chicago was a powerful reminder that Primus remains a singular force in modern rock, weird, unorthodox, and yet undeniably masterful, carrying a legacy built on defying expectations. Somewhere within the distortion and the glorious weirdness, one thing rang clear: Primus still sucks, and that’s exactly why we love them.

Release Date:  June 20, 2025 Label:  Locomotion/Capitol Reviewed by:  SoundCheck Mag The Theatrics Return—Louder, Bigger, and All Heart Yungblud has always thrived on drama, but with "Idols", he doesn’t just lean into it, he builds a cathedral out of it. Gone are the safe hooks and polished polish of his earlier mainstream plays. Instead, we’re given a sweeping, unapologetically massive rock record that flirts with operatic scale and emotional overdrive, drenched in Britpop bravado, glam rock excess, and a pounding pulse of purpose. “Hello Heaven, Hello” Sets the Stage for Chaos & Catharsis Clocking in at just over nine minutes, the opener 'Hello Heaven, Hello' feels like a curtain rising on an existential play. It’s as if Bowie met early Muse backstage and handed Yungblud the megaphone. It’s bold. It’s bloated. It’s brilliant. And it instantly lets you know: subtlety is on sabbatical. An Album Made for the Stage (and the Stars) From the soaring strings of 'Zombie' to the raw-silk grit of 'Lovesick Lullaby', "Idols" knows exactly what it is, a soundtrack for outcasts, romantics, and anyone who’s ever wanted to scream into the wind. These aren’t pop songs. They’re movements. Every crescendo, every layered vocal, every swelling orchestral stab feels like it was made to echo through a stadium rafters or a broken heart at 2AM. There are shades of Queen, The Verve, even a little early My Chemical Romance, but it's never derivative. Yungblud pulls from rock’s grand past to make a personal future. Not for the Mild-Mannered (and That’s the Point) Is it over-the-top? Absolutely. But that’s the point. This isn’t music built for background listening, "Idols " demands attention, vulnerability, and maybe a few tears. There’s no wink, no irony. Just a full send into sincerity, sorrow, and sound. He reportedly recorded much of this in solitude, post-breakup, post-tour, and post-algorithm. And it shows. For all the album’s flash and thunder, there’s an emotional throughline that hits hardest when things get quiet. Tracks like 'Ghosts' and 'Change' drip with loss and longing, even as the arrangements tower sky-high. Final Verdict: A Bold Swing That Mostly Soars "Idols" is Yungblud’s love letter to the music that saved him and a middle finger to playing it safe. It's bloated and brilliant, raw and theatrical, and packed with enough ambition to either collapse under its own weight or lift off entirely. Thankfully, it does the latter. This is Yungblud untethered, unfiltered, and finally sounding like the rockstar he’s always claimed to be. Rating: 7/10 A flawed but fearless ode to feeling too much. And honestly? That’s rock’n’roll at its finest.

Photos and Article by Ernesto Raul Aguilar Chicago, IL June 25, 2025 The Summer Circus Tour headlined by Less Than Jake made its much-anticipated stop at the Metro in Chicago and for two sweaty chaotic nights, the historic venue became a punk rock carnival. With support from Bite Me Bambi, Fishbone, and The Suicide Machines, the stacked bill delivered a sonic barrage that was parts nostalgia, political resistance, and full-blown spectacle. First up was Southern California’s Bite Me Bambi, who brought pop-punk energy to the Metro stage. Their tight, confident set leaned into infectious rhythms and playful hooks, getting the crowd moving early with “Too Many People” and “Girls Like You.” A surprise Offspring cover of “Want You Bad” ignited a singalong from the early crowd, but it was their original tracks like “Strippers on a Sunday” and “Gaslighter’s Anthem” that truly shined. Their set was more than just upbeat pop-punk, it carried a message of inclusion, with shoutouts to transgender and nonbinary artists serving as a reminder that scenes are only as strong as they are welcoming. “Hot Lava” closed things out with maximum bounce, leaving behind a fired-up crowd ready for more. Fishbone followed with grit, funk, and politically charged fire. Drawing on decades of genre-defying evolution, their set veered from ska-punk to jazz-inflected chaos and back again. Standouts like “Skankin’ to the Beat” and “Ma and Pa” energized the room, but it was newer material like “Last Call in America” and the blistering “Racist Piece of Shit” that gave the set weight. The band’s new album, Stockholm Syndrome, their first in two decades, served as a direct commentary on America’s current socio-political unrest. The live debut of those new tracks felt immediate and raw, especially when paired with classics like “Party at Ground Zero” and “Lyin' Ass Bitch.” With horns blasting and tempo shifts flying, their set was wild, unfiltered, and brilliant. Part protest, part performance art, and entirely Fishbone. Detroit’s The Suicide Machines wasted no time launching into a 13-song set that felt like a whirlwind. From opener “Hey” to the closer “War Profiteering is Killing Us All,” they blasted through their discography with speed and purpose, so much so that halfway through even they were surprised at how much stage time they had left. Songs like “To Play Caesar (Is to Be Stabbed to Death)” and “Never Go Quietly” doubled down on themes of resistance, while the band’s roots in hardcore punk surfaced through their aggressive rendition of Minor Threat’s “I Don’t Wanna Hear It.” Headliners Less Than Jake turned the circus theme into a full-fledged punk pageant. Launching with “Gainesville Rock City,” the band powered through a massive 20-song setlist that pulled from nearly every era of their career. Fan favorites like “All My Best Friends Are Metalheads” and “Johnny Quest Thinks We’re Sellouts” sent the crowd into a frenzy. Visually, their set was just as outrageous as their music. Two crew members roamed the stage with leaf blower-powered toilet paper blasters, while inflatable tube men flailed behind the band like punk rock mascots. Clown makeup and hair dotted the crowd, bringing the tour’s namesake theme to life. Mosh pits opened and collapsed. Crowd surfers rode waves of hands to the front barrier and back. Confetti mixed with sweat, and chaos reigned in the most joyous way possible. More than just a concert, Less Than Jake’s Summer Circus Tour felt like a collective act of defiance and celebration. It brought together old-school punks, fresh-faced fans, and political radicals under one roof to dance, scream, and exist unapologetically. Every act brought its own flavor, but each carried a shared message. In a world increasingly hostile to both art and truth, nights like these remind us of what live music is truly for, to connect, to resist, and to be free.

June 18, 2025 – Brooklyn Bowl Philadelphia Article & Photos by Rebecca McDevitt What do you get when you mix glittering guitars, full-throttle vocals, and a lineup packed with femme power? The answer: Honey Revenge at Brooklyn Bowl Philly — and trust us, it was everything . From the moment the doors opened, the energy inside the venue was electric. Vana, Daisy Grenade, and Nightlife didn’t just set the tone, they detonated it. Nightlife’s shoutout to the Pride community hit right in the heart, and the wave of crowd support that followed? Chills. All three openers embodied the same message the entire tour screams loud and clear: feminine energy is not just present in the alternative scene, it’s running the show . Then came Honey Revenge, and the crowd lost it. Kicking things off with their brand-new single “Risk,” they didn’t ease in, they charged. Within seconds, bodies were in the air, fans were screaming every lyric, and it was clear: this was going to be a night to remember. Devin Papadol is a force . Vocals? Flawless. Charisma? Off the charts. Whether she was leading the charge from center stage or sharing little moments of connection between songs, she had the room in the palm of her hand. And Donny Lloyd on guitar brought the fire , his playing adding grit and edge to every sugary hook. The chemistry between them? Unreal. The setlist was packed with fan favorites and tour staples, “Airhead,” “Rerun,” “Sensitive,” “Worst Apology,” and the undeniable crowd singalong “Distracted.” If you weren’t screaming, you were probably crying. Or both. There’s something magical about a room where every voice is heard, every gender expression celebrated, and every scream feels like release. That was June 18th. That was Honey Revenge. That was Philly. This tour isn’t just a series of shows, it’s a movement . One that says loud and clear: the girls, the gays, and the theys are not here to take sides. They’re here to take stages . And Honey Revenge? They’re leading the charge.

Article & Photos by Rebecca McDevitt There are shows you attend, and then there are shows you feel . Zane Carney’s set at The Green Room 42  in Manhattan belonged firmly to the latter. In a softly lit space tucked just above the city’s noise, Zane created something rare. The night felt sacred in its softness. The crowd was small, intentional, and completely present. Every seat felt like the front row. Every song felt like a quiet revelation. This was not just a performance. It was a shared moment that lingered in the air. Zane has spent years contributing to larger-than-life projects. From performing with Foster the People to collaborating with Joe Jonas and John Mayer, his résumé speaks for itself. But this night was something else entirely. With the spotlight on him alone, his artistry took on new meaning. The focus was not on flash or scale. It was on feeling. He held the room with a quiet intensity, revealing the depth of his musicianship and emotional reach. Midway through the set, he delivered a full song in Spanish, and it was nothing short of captivating. The language, tone, and expression came together in a moment of deep connection. It transcended translation. It was about presence and authenticity. He closed the night with “Fade to Black,” an original that moved like a slow exhale. It did not clamor for attention. It invited stillness and reflection. The final notes rang out with a quiet power before the room erupted in warm, grateful applause. Zane Carney did more than perform. He created a space filled with intimacy, stillness, and soul. In doing so, he reminded us that the most powerful moments are often the softest ones.

On June 12, 2025, Sleigh Bells brought their signature sonic chaos to Metro Chicago. Well known for their explosive fusion of noise pop, punk, and electro, they delivered a set that had the crowd in a nonstop frenzy from start to finish. The night opened with a playful jolt as The Ronettes’ Be My Baby rang through the venue, triggering cheers before the lights even went down. Keyboardist Kate Steinberg burst onto the stage with the energy of a fighter entering a boxing ring. The rest of the band followed suit, then launched straight into Badly , the lead track from their new album Bunky Becky Birthday Boy . Bunky Becky was the nickname of Alexis Krauss's late dog, Riz. From that instant, the night had a momentum all its own. Photo by Ernesto Aguilar Frontwoman Alexis Krauss commanded the stage, her voice cutting cleanly through the maelstrom of distortion and bass. Guitarist Derek Miller matched her intensity with blistering riffs that transformed each song into a visceral experience. Krauss and Miller fed off each other in a way that made the entire performance feel spontaneous yet razor sharp. The setlist smartly balanced fan favorites with newer material, while never straying far from their core sound. Classics like Rill Rill  and Infinity Guitars  had the audience shouting along, while fresh cuts from the new album added urgency and edge. Sleigh Bells’ bass-heavy, beat driven aesthetic ensured there wasn’t a dull moment as each track flowed into the next with ferocious momentum. One of the night’s most electrifying moments came during Bitter Rivals . As the first chords rang out, the crowd erupted. Krauss’s soaring vocals rode the waves of guitar and percussion, creating a hypnotic tension between melody and aggression that’s become the band’s hallmark. Photo by Ernesto Aguilar Opening act Sophie Hunter set the tone with a compelling set of her own. Her experimental blend of rap and electropop offered a sleek, stylish contrast to Sleigh Bells’ raw power. Even enlisting the crowd to sing along on her closing song CVNT. It was a smart pairing that gave the evening texture and range. Photo by Ernesto Aguilar Visually, the show was a perfect storm. Strobe lights, and a minimalist but effective stage setup heightened the sense of organized chaos. Metro’s cozy, high-fidelity space amplified the energy tenfold; there wasn’t a corner of the room untouched by the sound, an ideal setting for a band like Sleigh Bells, whose music is meant to be felt as much as heard. As the final notes faded, the audience was left buzzing, ears ringing, adrenaline still high. Sleigh Bells reaffirmed their status as one of the most thrilling, genre defying acts in alternative music. Their fearless mix of beauty and noise, polish and fury, continues to push boundaries. And on this night in Chicago, they didn’t just play a show, they detonated it. Photo by Ernesto Aguilar For anyone drawn to music that doesn’t ask permission, that thrives on risk, this wasn’t just a concert. It was a gut punch in the best way, a high voltage release I’ll be chasing for a long time.

Article & Photos by Rebecca McDevitt Let’s be real: if your voice wasn’t gone and your shirt wasn’t damp, you didn’t do The Driver Era right . Opening the night was VALÉ, a Spanish singer-songwriter whose charisma instantly grabbed the crowd. Her cultural flair added richness to her set, weaving bilingual lyrics and rhythms into a sound that felt both global and deeply personal. Her stage presence? Unmatched. She knew exactly how to work the room, turning The Met into a full-on dance party before the main event even began. Philly was moving, and VALÉ made sure of it. Then came that  moment. The lights dimmed. Shadows flickered behind a massive curtain. You could feel the bass from “Touch” pulsing through the floorboards. Just like that, the crowd knew it was time. Deafening screams erupted as silhouettes of Ross and Rocky Lynch teased the audience. Then BOOM, curtain drop. Ross stood center stage, hat tipped, bathed in dramatic light like a living poster. It was pure theater, pure Driver Era . From there, it was a fever dream of funk, sweat, and synth. “Better” had the crowd losing their minds, and “You Keep Me Up At Night” took that momentum and shot it through the roof. You could feel  the band feeding off the energy, letting the night unfold with a loose, unpredictable rhythm only they could pull off. When “Natural” hit, well… let’s just say the buttoned shirt didn’t stand a chance. Ross, charismatic as ever, bared his chest, and the screams genuinely drowned out the band. Not an exaggeration . Philly hasn’t been that loud since the Eagles won the Super Bowl. But The Driver Era knows how to ride the wave. Later in the set, they pulled things back with an acoustic version of “Afterglow” that felt like stepping into a dream. It was soft, intimate, and stunning proving that behind the glam and groove, there’s some real songwriting magic happening. Closing with fan-favorite “A Kiss,” the band left nothing on the stage. It was dizzying. Euphoric. A little sweaty. And entirely unforgettable. The Driver Era’s blend of 80s-inspired disco-pop, rock riffs, and undeniable sex appeal makes them one of the most electric live acts out right now. Ross might get the screams, but Rocky? He's the secret weapon. The vibe was real. The crowd was crying, dancing, singing every lyric. The Driver Era is continuously proving that this band is more than a vibe. They’re a movement . If this is The Driver Era, we’re driving straight into the next show.

Interview by Rebecca McDevitt & Ilana Bornstein Article & Photos by Rebecca McDevitt Photo by Rebecca McDevitt Genre-defying. Heart-forward. Undeniably raw. Milahroy is the kind of artist who doesn’t just sing to you—he makes you feel . Sitting down with SoundCheck Mag for an exclusive Sessions  chat, the Connecticut-born, LA-based singer-songwriter opened up about everything from family roots to social media burnout, creative evolution, and the healing power of a good pop-punk anthem. From Roy to Milahroy: A Reinvented Identity Milahroy didn’t just stumble onto his name—it was born during a walk down Hollywood Boulevard. “I flipped my last name and put it in front of my first,” he explains. The result: Milahroy—a one-name identity that feels like an alter ego and a nod to his roots. “I’m a first-generation Albanian-American,” he says proudly. “This felt like a way to honor that while making it my own.” Photo by Rebecca McDevitt Shaped by Sound: Pop-Punk, Paramore, and Vulnerability “I grew up on a lot of pop-punk—Paramore, Fall Out Boy,” Milahroy says, “but I’ve always had an ear for female R&B, too.” That sonic fusion defines his work today: gritty yet melodic, nostalgic yet forward-thinking. His latest EP, Give In To Let Go , is a sonic kaleidoscope that captures the chaos and clarity of self-expression. The record’s evolution wasn’t fast or easy—it took two years to find its shape. Songs like “5432DONE” and “2 DAMN GR8FUL” began as standalones, but slowly started forming a cohesive narrative. “I wanted variety,” he says. “A stripped acoustic track next to something heavily produced. I like bending genres—it’s what keeps me creatively free.” Music With Meaning For Milahroy, music is more than just melody—it’s therapy. “I started singing with my cousins at five or six. I was always the emotional one, getting lost in the music,” he says. That emotional vulnerability carries into his songwriting process today. “Sometimes I write things that only my therapist should probably hear. But if it resonates with someone, it’s worth it.” His favorite track from the EP? “Living By Comparison.” Though he doesn’t love performing it live, it’s the song that sticks with him. “It’s about rejecting the pressure to compete, especially in a place like LA where everything feels like a main character contest.” Social Media and the Double-Edged Sword of Content Creation Milahroy is no stranger to the pressure of online presence. “Social media is a full-time job,” he admits. “Some days I’ll open my phone, hit record, and just go with it. If it works, great. If not, at least I tried.” He’s involved in every detail, from aesthetics to captions—yes, the stylized, AIM-inspired titles like “2DAMNGR8FUL” are very intentional. Despite having a small team, he often trusts his gut. “I want to be involved in every part of my art, from the song title to the visuals. That’s how I stay connected.” LA, Lessons, and Letting Go Now six years into his LA journey, Milahroy has seen the city’s highs and lows. “I’m glad I came out here when I did,” he reflects. “If I came earlier, I think the industry might have chewed me up. LA has taught me to keep some cards close—protect what matters.” When asked how he defines success, his answer is grounded: “Being able to take a feeling, record it, and have someone listen to it—that’s success. Passion over paycheck.” Color Palettes, Palo Santo, and King Boo Every SoundCheck Session ends with some fun—and Milahroy did not disappoint. His music, he says, would be a palette of forest greens and citrine golds. “Green is the heart chakra. It’s emotional. It’s me.” Unexpected tour bag items? Palo Santo. Fictional character swap? King Boo from Mario Kart . “He’s chill, glides through walls, and doesn’t let anything get to him.” What’s Next for Milahroy? There’s more on the horizon: a brand new single is coming in the next month or two. Written during the LA wildfires and inspired by the dream of a more united world, the track is currently in final production. “It asks—what if we could really set aside our differences?” he shares. And he's already deep into writing the next EP, collaborating with ZK Productions (Mayday Parade, Cartel) in Atlanta. Milahroy isn’t just releasing music—he’s releasing himself, piece by piece, track by track. Through every lyric, post, and performance, he’s crafting a world that invites others in—to feel, to reflect, to heal. Follow Milahroy on all platforms and stream Give In To Let Go now.

Philadelphia, PA – June 5, 2025 It’s rare that a show makes the floor move. Like, literally. But when Phoneboy took over The Foundry at The Fillmore in Philly, it was impossible not to feel it—pulsing beneath your feet, in sync with a room full of bodies jumping, clapping, and screaming lyrics so loud the band was almost drowned out. Almost. Photo by Rebecca McDevitt The night kicked off with two openers who understood the assignment. Double Standard brought pure energy from the jump, followed by Inoha who locked in the vibe with hooks and serious stage presence. The venue was buzzing before Phoneboy even touched the mic. By the time the Hoboken-based indie rockers stepped on stage, the room had already become a living, breathing organism. From the first notes of “Wayside,” the crowd was alive—belting every word back, arms in the air, and smiles everywhere. The band, made up of college friends-turned-tour warriors Wyn Barnum, Ricky Dana, James Fusco, and Jordan Torres, has built a reputation for crafting relatable, emotional bangers. And in a live setting? They transform into full-on anthems. Photo by Rebecca McDevitt Let’s talk about that moment: mid-set, the band got the entire crowd to crouch down low, tension building—and then BOOM. Jump. Chaos. Euphoria. You had to be there. One of their openers even crowd surfed, and yup, so did their merch guy. That’s the kind of night it was—no barriers, just sweaty, joyful, beautifully chaotic connection. The setlist hit every fan-favorite, weaving through tracks like “Nevermind,” “Ferrari,” and my personal new favorite “Better Than You” off their new album ‘Heartbreak Designer’. But the closer, a pop goes punk cover of Lit’s “My Own Worst Enemy,” sent things over the edge. The pit opened up, hands flew, and The Foundry became a full-on release. There’s no better way to describe it: it was fun as hell. Photo by Rebecca McDevitt This was one of the high-impact, unhinged in the best way shows we’ve covered this year. Phoneboy didn’t just perform—they invited everyone in and let them take over. If you weren’t jumping, were you even at the show? Check out Phoneboy's new album Heartbreak Designer on all streaming platforms now!