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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Drive Home — Where Do You Belong? EP Release Party — May 30, 2026 Almost Made the Mixtape & The Drive Home performing at "Hyrule Castle" to celebrate the release of The Drive Home's new EP, Where Do You Belong? | Photography by LJ Portnoy (@ljportnoy) Article contributed by Leo Lad & LJ Portnoy. Photography by LJ Portnoy. A Backyard Called Hyrule Castle Nestled in a picturesque neighborhood of an outer city in metro Detroit was the backyard of a home. It was a place for a multitude of occasions, one of them being an EP release party. Affectionately dubbed "Hyrule Castle," a reference to the Legend of Zelda franchise, this was our venue for the night. The aroma of burgers and hot dogs, provided by the family of The Drive Home's lead singer, Zelda, drifted over a crowd that had come BYOB. On a mid-70s, slightly sunny day, a small sea of lawn chairs was the perfect setting for a Midwest emo show. Many people in the crowd were close friends of the bands; some were even neighbors. One thing was for certain: it did not get more local or indie than this. The early-afternoon crowd catches the supporting acts, including local favorites, Evergreen, Car Crash Rhetoric, and Almost Made the Mixtape. | Photography by LJ Portnoy (@ljportnoy) The crowd got a bit rowdy at points, starting to mosh, and someone even jumped up to "crowd-surf" — an impressive feat when the crowd itself was probably no more than 45 people packed together. Warming Up the Yard: Evergreen and Car Crash Rhetoric The night ran on house-show time. Doors were called for 4, but it was closer to 6 when Evergreen kicked things off — and by then the lawn chairs were full, and everyone was more than ready for live music. The two-piece opened the show with something that felt new, different, and refreshing, and the backyard greeted them warmly. Evergreen, a local two-piece band, kicked off the house party. | Photography by LJ Portnoy (@ljportnoy) Car Crash Rhetoric took the second slot and left with a few new fans. They won the backyard over fast, the kind of set that pulls people up out of their lawn chairs and a little closer to the front by the time it's over. Car Crash Rhetoric, from Bay City, supported the show, playing one of their first shows on the SE side of MI. | Photography by LJ Portnoy (@ljportnoy) Originally from Bay City, the band was playing one of their first shows on the southeast side of the state, something we only learned later, catching up with one of the members after the set. They made it count. (Leo had a blast, and yes, we walked away with a shirt from their merch table.) A Mosh Pit in the Backyard The crowd got rowdy and started a mini mosh pit in the center of the party - an impressive feat for a house show. | Photography by LJ Portnoy (@ljportnoy) Then came Almost Made the Mixtape, and the energy tipped over. They danced, they jumped, and the crowd went right with them — a full-on mosh pit, in a backyard. How cool is that? Almost Made the Mixtape continued the show, dancing, jumping, and singing the night away. | Photography by LJ Portnoy (@ljportnoy) Before their set wrapped, the two Seans of The Drive Home — Zelda and Daly — climbed up to join the Mixtape for their signature cover of Mayday Parade's "Jamie All Over." It was the moment of the night, and a favorite of ours. Almost Made the Mixtape featuring the Seans of The Drive Home, performing a fan favorite cover | Photography by LJ Portnoy (@ljportnoy) There was something so immediate about it, so purely fun: hometown friends belting a song that landed straight in the elder-emo soul. The Drive Home Kicks it Up, in the Backyard The backyard of neighbors, friends, family, all coming together for The Drive Home to celebrate, their EP release party. | Photography by LJ Portnoy (@ljportnoy) By the time The Drive Home took their corner of the yard, the crowd had swelled to 60, maybe 70 people, all primed for a good time. The power trio of Zelda on vocals and guitar, Sean Daly on bass, and Austin West on drums, hit a few early mic and feedback gremlins, but once they settled into their groove, so did the music. Zelda, from The Drive Home | Photography by LJ Portnoy (@ljportnoy) Zelda's voice is the real deal, and the songs are catchy, danceable, mosh-friendly, all-out jams. The band played through the entirety of the new EP, "Where Do You Belong?", plus a few others, and, if you're reading the signs, a hint of what's coming next. (Zelda may have let slip that the band is already deep into EP number two.) "Where Do You Belong?" The record itself earned the party. "Off The Deep End" remains a standout, with "Expectations" close behind — a track clever enough to fold the band's own name right into its closing line. The Drive Home hits every note as they performed for a backyard filled with fans, friends, and family | Photography by LJ Portnoy (@ljportnoy) Across the EP, the songs pull from the kind of material that doesn't pretend to have everything figured out: addiction, failed relationships, the slow work of spiritual rebuilding. Coming Home If there was a throughline to the whole night, it was gratitude. Zelda was full of shout-outs — to his mom-ager, to the family who set up the food and drinks and ran the whole event, to every band on the bill, and to everyone who came together to make it happen. It was the kind of thank-you list you can only give when the room is full of people you actually know. Impressively, the crowd hoisted up a fan for crowd surfing | Photography by LJ Portnoy (@ljportnoy) By the time the last note rang out over Hyrule Castle, the burgers were long gone and the sun was dipping behind the houses. Nobody seemed in a hurry to leave. For a band built on hooks about coming home, it was hard to imagine a more fitting place to let a new record loose. We left with two copies of "Where Do You Belong?" and an armful of Drive Home merch — and, fittingly, with this show closing out a weekend that had been wall-to-wall music for us. Coming off Breakaway just one day earlier, the backyard offered something a festival can't: a moment of quiet. A beat to sit back, take stock, and feel genuinely satisfied with everything the last few days had brought.

Benny Blanco is tied to big names in music and major record breaking songs but how did he become one of the most popular producers? Article Contributed by Monica Soriano Benny Blanco at the pre-Grammy show via Gilbert Flores for Getty Images Influenced by Cassette Tapes It happens often that incredibly successful musicians were introduced to music at an early age, for Benny it was as early as 6 years old by cassette tapes that contained music by Nas and All-4-One. Benny Blanco spent his childhood at the center of music settings, sometimes commuting between Virginia and New York, which eventually led him to his career as a producer. Before he became a household name himself he worked under a big name producer and partook in some of the biggest hits at that time. While under a mentorship, Benny Blanco received credits for producing and writing in some of pop culture’s biggest songs such as Kesha’s “Tik Tok” and Katy Perry’s “California Girls”. He eventually continued on his own path and worked on songs like Maroon 5’s “Payphone” featuring Wiz Khalifa and “Moves Like Jagger” featuring Christina Aguilera, both of which had heavy radio play. To think it all began with cassette tapes and the decision to start learning how to make beats. Collaborations with The Biggest Artists & Personal Projects As of today, Benny Blanco has produced (and also written) for some of the biggest artists including Halsey, Justin Bieber, Snoop Dogg, The Weeknd, Ariana Grande and SZA just to name a few. Through the many collaborations, Blanco has received 11 Grammy Award nominations. Memorable songs that Benny has partook in are “Señorita” by Shawn Mendes and Camilla Cabello, “Perfect” by Ed Sheeran and “Circus” by Britney Spears. Benny Blanco has spent time in the business side of the music industry through different record label endeavors but he has also taken the plunge into releasing music under his name, as an artist. He brought his artistic vision to life with projects such as ‘Friends Keep Secrets’ and ‘I Said I Love You First…’ in collaboration with wife Selena Gomez. Now, he gets to present himself as an artist just like he wanted when he was younger. Even though Benny Blanco has almost 2 decades of hits and experience in the music industry, he still has a long career ahead of him. We are excited to see how he continues accumulating hit songs and big name collaborators. Benny is always open during interviews about his work thus leaving bits of knowledge and stories for future producers.

Confetti cannons, wrecking-ball breakdowns, and a stripped-down singalong, Electric Callboy closed out North America with the most ridiculous, most sincere party in the room. Electric Callboy in Boston, MA | Photography by Michael Riley Article Contributed by Michael Riley. Revisions by LJ Portnoy, Editor-in-Chief Ever heard of electronicore? If you haven't, picture metalcore and EDM slammed together at full speed. If you have, then you already know Electric Callboy. The German six-piece closed out their North American run in Boston, and the room showed up exactly the way you'd hope, half the crowd dressed for a metal show, the other half dressed for a rave, nobody sure which one they were about to get. Neither were we. That was the fun of it. Electric Callboy's Two-Genre Wrecking Ball Electric Callboy in Boston, MA | Photography by Michael Riley The lights dropped. Smoke rolled across the stage. Phones went up. And Electric Callboy walked out in matching fits and detonated the night with Tanzneid and Still Waiting. Four-on-the-floor bass thumping through the floorboards, confetti cannons going off in every direction, for the first thirty seconds, you're convinced you wandered into a rave. Then the breakdown lands like a wrecking ball, and the whole floor folds into a pit. Two genres that have no business working together are working perfectly. A masterclass, honestly. No Shame, All Spandex What sets them apart is that they're not afraid to be ridiculous. They pull the aesthetics straight out of their music videos and drop them into the live show. A few songs in, they vanished, then reappeared head-to-toe in '80s workout, hair-metal glory for Hypa Hypa and Pump It. It sits right on the line between "this is hilarious" and "wait, this is actually kind of brilliant," and they know it. Electric Callboy in Boston, MA | Photography by Michael Riley The Campfire But the moment that stuck wasn't the confetti or the costume changes. Halfway through, the band came down off the stage and onto the floor to play stripped-back versions of Fckboi and Cascada's Everytime We Touch. The crowd folded in around them like a campfire. Phone lights up where lighters used to be, everyone singing at the top of their lungs. Electric Callboy in Boston, MA | Photography by Michael Riley For a few minutes it stopped feeling like a rock show and started feeling like a room full of people who'd known each other forever, like you knew Nico, Dan and Kevin, instead of watching them from a distance. It felt human. And that says everything about how Electric Callboy sees the people who show up for them. Back to the Chaos Electric Callboy fans in Boston, MA | Photography by Michael Riley Then it was the regularly scheduled programming: heavy basslines, breakdowns, more outfit changes, a room that never stopped moving. They closed on We Got The Moves and left the floor wrecked in the best way. Electric Callboy aren't just party boys. They're craftsmen who happen to throw the best party in the room, and we'd be hard-pressed to name anyone blending EDM and metalcore with this much precision, or this much heart.

Article and Photos Contributed by Ernesto Raul Aguilar Lords of Acid performing at 191 Toole in Tucson, AZ on the Cheeky Freaky Tour. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) The walls of 191 Toole pulsed with industrial beats, electro chaos, and unapologetic theatrics as The Cheeky Freaky Tour stormed through Tucson. Headlined by legendary provocateurs Lords of Acid and backed by an eclectic lineup that ranged from glam-pop spectacle to dark wave intensity, the night evolved into a nonstop celebration of dance music, underground culture, and pure performance excess. Opening the night was Mz Neon, whose short but effective set immediately pulled the early crowd toward the barricade. After kicking things off with “Hyena,” she encouraged everyone hanging back to move forward, and the audience responded almost instantly. Tracks like “Straight to Hell” and “One of One” carried a confident electro-pop edge, while the live debut of “Sex Bomb,” set to appear on a future 2026 release, felt polished and energetic despite being brand new material. The performance established the tone for the evening early on: interactive, playful, and built for movement. Tony & The Kiki performing at 191 Toole in Tucson, AZ on the Cheeky Freaky Tour. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) Tony & The Kiki followed and quickly became the standout performance of the night. The New York artist delivered a set that blended glam theatrics, dance-pop energy, and commanding vocals into something that felt larger than an opening slot. “B.N.T. (Bitch Not Today)” and “Holy XTC” hit hard with the crowd, while a cover of Tiffany’s “I Think We’re Alone Now” became one of the more memorable moments of the evening. Watching Tony perform felt like seeing a future headliner in real time. There was a massive vocal range and confidence paired with the kind of choreography and movement that brought to mind classic pop divas. By the end of “The Drifter,” it was obvious the crowd had fully bought in. Tony & The Kiki performing at 191 Toole in Tucson, AZ on the Cheeky Freaky Tour. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) Princess Superstar then shifted the venue deeper into electro territory. A longtime fixture in dance and club culture, she brought pure party energy to Tucson. Opening with “Perfect (Exceeder)” immediately elevated the room into late-night rave mode. Princess Superstar performing at 191 Toole in Tucson, AZ on the Cheeky Freaky Tour. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) Songs like “Licky” and “Bad Babysitter” kept the momentum going with pulsing beats and irreverent charisma. If there were a sixth Spice Girl dedicated entirely to nightlife chaos and electro-club culture, it would probably be Princess Superstar. Her set felt fun, self-aware, and completely committed to keeping the audience dancing. Dead On A Sunday performing at 191 Toole in Tucson, AZ on the Cheeky Freaky Tour. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) Dead On A Sunday provided one of the more stylistically unique performances of the evening. Blending goth, emo, punk, dark wave, and rock influences together, the band added a darker atmosphere before the headliner took over. Their taped intro featuring “Ring of Fire” created an unexpected setup before moving into originals like “Bury Us,” “Dance Like Hell,” and “Anyone.” The cover of “Goodbye Horses” fit perfectly within their aesthetic and drew a strong reaction from the crowd. Their sound carried a moody intensity while still maintaining enough energy to keep the room engaged late into the night. By the time Lords of Acid hit the stage, 191 Toole had fully transformed into organized chaos. The legendary electronic-industrial group delivered exactly the kind of spectacle fans came expecting. From the opening run of “Scrood Bi U,” “Do What You Wanna Do,” and “Lover,” the crowd was locked in. The band balanced heavy industrial grooves with absurd humor and nonstop crowd interaction throughout the set. Lords of Acid performing at 191 Toole in Tucson, AZ on the Cheeky Freaky Tour. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) “Rubber Doll” became one of the night’s defining moments as inflatable blow-up dolls were launched into the audience and crowd surfed across the venue. Later, lead singer Carla Harvey jumped into the audience itself, piggyback riding a crew member while singing and dancing directly among fans. It perfectly captured the spirit of the night: outrageous, playful, and entirely committed to audience participation. The collaboration with Tony & The Kiki on “El Mundo Esta Loco” added another high point to an already packed setlist, while classics like “Pussy,” “The Crablouse,” and the encore performance of “I Sit on Acid” reminded everyone why Lords of Acid remain icons within industrial and electronic music culture decades into their career. Lords of Acid performing at 191 Toole in Tucson, AZ on the Cheeky Freaky Tour. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery) The Cheeky Freaky Tour delivered exactly what its name promised. It was loud, sweaty, theatrical, and completely unafraid to lean into excess. At 191 Toole, every artist contributed something different to the experience, but together they created one of the most entertaining nights Tucson has seen this year.

Em Beihold at Music Hall of Williamsburg - Brooklyn, NY| Photography by Fernando Flores (@fernandofloresphotography) Article and Photos Contributed by Fernando Flores On May 27, the Music Hall of Williamsburg was full of energy from the second the night started, and honestly, the entire performance was carried so well by Em Beihold herself. The crowd was clearly excited to see her, and you could feel it throughout the entire venue. Everybody was singing along, cheering loudly after every song, and matching Em’s energy the entire night. It never felt dull for even a second. Voices in a World That Has Gone Silent Janani K. Jha at Music Hall of Williamsburg - Brooklyn, NY| Photography by Fernando Flores (@fernandofloresphotography) Before Em came out, the opener, Janani K. Jha, did an amazing job setting the tone for the night. Not only was the singing beautiful, but there was also a strong message throughout the performance about racial equality and unity. The songs felt meaningful and personal. The crowd was really listening and connecting with it. It added a lot more depth to the night than just being another concert. The vocals were honestly incredible too, and it made the transition into Em’s set feel smooth and exciting. Look at Em’ Go! Em Beihold at Music Hall of Williamsburg - Brooklyn, NY| Photography by Fernando Flores (@fernandofloresphotography) When Em finally took the stage, the room completely lit up. Her stage presence was one of the strongest parts of the night. She moved around constantly, interacted with the crowd naturally, and genuinely looked happy to be there. A lot of artists can sing well live, but Em brought personality and emotion into every part of the performance, which made everything feel more personal. One of the best moments of the night came when Em invited Journeyy onto the stage. Journeyy, who took the stage on America’s Got Talent at just 9 years old, joined Em in singing one of her most popular songs, “Unicorn.” The crowd absolutely loved it. It was one of those moments where the entire venue just felt united and happy together. Seeing Em give that spotlight to Journeyy also showed how supportive and genuine she is as an artist. A Truly Strong Dynamic Between Em Beihold and Her Fans Em Beihold at Music Hall of Williamsburg - Brooklyn, NY| Photography by Fernando Flores (@fernandofloresphotography) As the night went on, the emotions in the room only got stronger. Both Em and the crowd were fully invested in the performance emotionally, especially during the song “Won’t Let Go.” During that moment, the crowd orchestrated together to make sure Em knew she had fans there who truly cared about her. You could visibly see how much it meant to her. Em became teary-eyed during the performance, and truly, it was one of the most heartfelt moments of the night. Instead of feeling awkward or overly dramatic, it felt real and human, which made the connection between her and the audience even stronger. Overall, the performance was very enjoyable, and Em really brought a lot to the table throughout the entire night. Between her energetic movements on stage, her strong vocals, the emotional moments with the crowd, and the overall atmosphere inside Music Hall of Williamsburg, the concert felt memorable from start to finish. It was the type of performance where you leave the venue still thinking about it hours later. It showed exactly why so many people connect with Em Beihold as both a performer and a person.

HAYLA glistens in the sunshine, making her stage debut at Breakaway Music Festival in Columbus, OH on May 29, 2026 | Photography by LJ Portnoy (@ljportnoy) Article Contributed by LJ Portnoy and Leo Lad HAYLA played a sun-drenched main stage at one of the country’s loudest EDM festivals. Loud and Clear Crowd heating up for HAYLA's set | Photography by LJ Portnoy (@ljportnoy) We heard HAYLA before we ever saw her. We’d left the house around 9:30 a.m. on a rare day off, pointed the car south, and rolled into Columbus a little after 2 p.m. As we walked up to Historic Crew Stadium, her voice came drifting through the festival gates during soundcheck. No stage in view, no crowd yet, just that voice cutting clean across the lot. We hadn’t even gotten our wristbands on, and she’d already stopped us in our tracks. It set the tone for the entire day. Welcome to the 4-B’s Breakaway has a particular kind of gravity. There were two stages at the venue, with headliners like KYGO, GRiZ, Disco Lines, and Crankdat, and a sea of people who had very clearly decided that any Friday-night responsibilities were a problem for tomorrow. Packed Audience for HAYLA's set | Photography by LJ Portnoy (@ljportnoy) The crowd skewed early-twenties to thirties (with the occasional seasoned festival head sprinkled in), quirky for the sake of being quirky, and gloriously committed to the bit. Greasy food-truck everything, alcohol vendors handing out swag, more Breakaway merch than any one person could reasonably carry home. We started referring to it as the 4-B’s: beats, booze, buttcheeks, and body glitter. Front row of the VIP pit for HAYLA"s set | Photography by LJ Portnoy (@ljportnoy) The energy was electric in the most literal sense. It’s impossible not to get swept up when you’re standing in a field with thousands of people who are all, genuinely, thrilled to be exactly where they are. Backstage in a Shipping Container: Hanging with HAYLA HAYLA poses for a portrait | Photo by Jeremiah S. Benosa (IG - @jeeerh_) The day had already taken a turn for us before we arrived. Somewhere on the drive down, word came through that HAYLA’s team could give us a few minutes before her set, so the back half of the trip turned into a crash prep session, mapping out everything we wanted to ask about this current chapter of her artistry. Backstage, we were escorted to a fully decked-out shipping container Breakaway had built specifically for artist interviews and told she’d be over in 15 or 20 minutes. She arrived right on schedule with her tour manager, and she greeted the whole room and shook every hand. Then she clocked me from our earlier Zoom call and lit up with recognition. That small moment did something. It’s one thing to be warm to a room of strangers; it’s another to remember the people you’ve already worked with, in the middle of a festival day, an hour out from a main-stage set. It humanized her instantly. LJ Portnoy sits down with HAYLA - Photo by Jeremiah S. Benosa (IG - @jeeerh_) We talked about her latest singles, including “Heal,” which we covered when it dropped, and “Enough,” the new one that leans all the way into the cinematic, emotionally raw storytelling she’s been building toward. Mostly, we talked about what’s next: her new album DARK, out July 31, an eleven-track collection that marks a real pivot away from the dance-floor anthems that made her name and toward something moodier, more personal, and entirely her own. She has a captivating way of actually seeing you when she talks; eye contact that tells you she’s present, taking the whole thing in rather than letting the day autoplay around her. You can hear it in her answers. (The full interview is coming soon! Keep an eye out.) Left to Right - Leo Lad, LJ Portnoy, HAYLA | Photo by Jeremiah S. Benosa (IG - @jeeerh_) When HAYLA Hit the Stage By 6:30 p.m., we were about to hit the pit as she took the main stage. The production was good, but I genuinely couldn’t tell you half of what was happening behind her. Between her vocals and her sheer presence, I stopped noticing everything else around me. This is a singer who has shared stages and tracks with deadmau5, Kx5, John Summit, Sub Focus, and Illenium, who made her EDC Las Vegas main-stage debut just weeks ago, and live, unfiltered, she’s even more than the features suggest. HAYLA performs live during the Breakaway Music Festival, in Columbus, OH | Photography by LJ Portnoy (@ljportnoy) Here’s the thing that stuck with us: the contrast. HAYLA is as bubbly, as kind, as visibly excited to be there as anyone in that crowd. But the second she sings, her voice and her presence cut through the beats in this hauntingly beautiful way, a strange, gorgeous juxtaposition between the radiant person and the storm of a voice. HAYLA performs live during the Breakaway Music Festival, in Columbus, OH | Photography by LJ Portnoy (@ljportnoy) It’s the DARK era in miniature: light and dark holding hands on a festival main stage. Shooting it from the pit, that’s exactly what kept pulling the lens back to her, not the rig, not the lights, just her. Capture Everything, and Pack SPF We caught most of Serene Dion that day too, but we tapped out before the night fully ramped up. We were unglamorously defeated by sunburn, having shown up with zero sunscreen and even less foresight. Major reminder for festivals - Capture everything and pack SPF. The Breakaway Music Festival, in Columbus, OH | Photography by LJ Portnoy (@ljportnoy) Still, we got what we came for the moment that voice came through the gates at 2 p.m. HAYLA is operating on a different frequency right now, and DARK is going to be a moment. We’re glad we got to be there for the moments right before. Watch out, this next era is all hers.

The soulful songstress Bailey Hyneman shared with us the songwriting process for “Better Days”, musical collaborations she would love and more. Article Contributed by Monica Soriano Bailey Hyneman photographed by Lulu Shing It is not often that one can stumble across a song that states “not all bad days have silver linings” but feel a sense of joy while listening to it. “Better Days” by Bailey Hyneman portrays life perfectly, allowing a bad day to be a bad day but knowing that’s all it is. We had the lovely opportunity to interview Bailey and learn about her as an artist and person. “It Felt Like Purpose” We asked Bailey if there was a specific moment she realized she wanted to become a musician and to our surprise she stated that it was at the age of 4 when she knew. She went on to say “I was in the back seat of the car singing along to “The Little Mermaid” sound track. It was the part when Ursula is taking Ariel's voice - the ‘ahhhhs’, and I remember how good it felt to sing along to that. I think I sang it over and over.” She said that at that moment she knew “....there was nothing else I wanted to do in my life but sing. From then on there was no question what path I would try to take in my life. I think it felt like purpose - which I realize is a really wild thing to feel at such a young age.” Bailey Hyneman photographed by Lulu Shing Hyneman’s journey is filled with personal experiences and musical inspirations that shaped her to be the artist she is today. Because Bailey grew up in a household where artists like Al Green and The Manhattans were on rotation we had to ask her what her dream collaborations are. She said “I would LOVE to collaborate with Al Green, John Legend, and Alicia Keys. They are top top top for me. An absolute dream.” She let us know she was going to start manifesting it and continued “And Cleo Sol. I just love her. Kojey Radical is also someone I would love to hop on a song with! I have really loved his work for a long time and think that would be so cool.” “New York Challenges You To Dig Deep” The Memphis born singer made her way over to New York City. Since New York is a popular hub for artists we had to ask about this change musically and personally. Bailey stated that “Memphis to New York is definitely different. Luckily I had a few stops along the way. I went to Berklee College of Music in Boston right out of high school, and for someone from the south who has never lived in a big city, Boston was the perfect landing spot. It was small enough, but had that fast city feel. I learned to use the train, I discovered new cuisine, it was great. Then I spent quite a bit of time in Nashville and from there NYC.” She proceeded “I am very much influenced energetically by the environment around me, and while I enjoy the slower paces of Memphis and Nashville on occasion, I really need that push of city life to keep me moving and inspired! Knowing that made the transition feel like a breath of fresh air rather than a challenge.” Bailey Hyneman photographed by Lulu Shing We had to ask if New York inspired her musically differently than Memphis and she responded “New York has allowed me to explore more parts of myself. Being in Memphis gave me a great musical foundation, but living in New York challenges you to dig deep and encourages you to get out of the confines of self imposed margins!” “Better Days” Was Really Therapeutic “Better Days” not only has Bailey’s beautiful voice but also lyrics that will grab the listeners attention and make one reflect. This was a personal song for Bailey, knowing that, we had to ask what the writing process was like. She explained how the song came about. “This was really personal. It was also the first time I didn’t have anyone helping lead the direction. Meaning, I didn’t have a producer working on it. I wrote it during a time when my identity was shifting, the world around me was changing, and I needed to earn my own trust - in so many ways. So it was really therapeutic.” She continued with “I enjoyed being in charge, and it also helped me see where I may lack and do need to lean on people. Luckily, I have incredible musicians and friends around me who helped guide me. Like my friend Jovan, he gave extensive and really detailed notes - something that would typically be expected of a producer or someone who would benefit from giving those notes - but he did it out of the kindness of his heart, because he is a really exceptional friend, and cared about me and the song. The actual writing of the song felt pretty simple, it was pushing myself to finish it and believing in my vision that taught me the most.” New Music & Hopes for Listeners We brought up her release of the AGAIN EP last year and asked about a possible new EP or Album release this year. Bailey went ahead and confirmed for us that there will be a new EP stating “I am working on it now. Slowly, but surely. By the end of the year there will be a new EP and I am really excited. It will be a sort of new-ish sound. New explorations. Same me, just expanded and explored more.” It made us excited to hear that she will be expanding her horizons sonically. Lastly, we wondered what she hoped listeners would take away while diving into her music. Hyneman said “I hope people just feel good, or feel seen, or feel connected. I hope they feel hope, I hope they feel that they have a place to go and be who they need to be when they listen.” An honest sentiment from someone who includes fragments of her heart and life into her music. Bailey Hyneman photographed by Lulu Shing We enjoyed learning about Bailey’s journey in New York and her songwriting process for “Better Days”. We look forward to hearing her voice reach people everywhere and follow her career as it reaches new heights!

Article Contributed by Monica Soriano On May 16, 2026, a celebration of Japanese music took place at The Rosebowl in Pasadena, Ca. Thousands of people gathered to watch music acts such as Hana, 10-Feet, Chanmina, Man With A Mission, Atarashii Gakko!, Yuki Chiba and Ado! The lines wrapped around the venue and many fans were wearing merchandise from previously attended concerts of the act they were most excited for. Vendors surrounded the grassy fields with options such as matcha, onigiri, noodles, dumplings and much more. The merch lines were lengthy with some attendees lining up for over 3 hours. The SVIP section provided the best viewing for the music lovers and the VIP section was to the left side of the stage and had easy access to restrooms, charging stations and also provided a good view of the stage. While the stage for GA was further out and varied depending on what area one was at, the small hills at The Rosebowl provided great views and room to sit on blankets. The sky was cloudy therefore it wasn’t too hot and the sound was loud enough to know what act was on stage while standing on the lines for food. For a first year event, the schedule for the acts was precise and The Rosebowl proved to be perfect for Zipangu. The many acts varied in genres and visual styles. There was a girl group, bands with live instruments and a mysterious artist that doesn’t show her face but draws a big enough crowd to headline. Each artist had their own interactions with the public and truly enamoured new viewers. First up was a DJ set by Teddy Loid, perfect to get the arriving fans a good welcome. After Teddy, the members of girl group Hana took the stage. HANA The 7 member girl group opened the event with charisma and eye-catching choreography. Hana at Zipangu Music Festival in Los Angeles, CA. Photography by Viola Kam Hana performed songs such as “All In”, “My Body”, “Bad Girl”, “Blue Jeans”, “Rose” and more. Their wardrobe was fun and colorful with a spunky element of T-shirt made skirts and layering. Hana was truly a wonderful kickoff following Teddy’s DJ set as they provided a lighthearted atmosphere. Since there was no MC and the acts were being presented through a video clip on screen, their communication with the audience helped set the tone. In about 30ish minutes Chika, Naoko, Jisoo, Yuri, Momoka, Koharu and Mahina filled the stage with confidence, excitement, choreography and a full on performance rich in vibrance. Hana at Zipangu Music Festival in Los Angeles, CA. Photography by Viola Kam 10-FEET The band, which debuted in 1997, was full of energy at Zipangu. 10-FEET performing at Zipangu Music Festival in Los Angeles, CA. Photography by Ryo Kawakami The rock trio consisting of Takuma Mitamura, Naoki Inoue and Kouichi Nakaoka are seasoned in the music scene and gave a performance that reflected just that gained experience. They appeared playing live instruments in normal t-shirts allowing for a focus to be directed to their delivery filling the ambiance with high intensity. They performed songs such as “Spurt Syndromer”, “Dave Road”, “Dai Zero-kan”, “River” and many others. The band would take moments to speak with the audience about their enjoyment being in Los Angeles and their musical inspirations. A wonderful rock performance. 10-FEET performing at Zipangu Music Festival in Los Angeles, CA. Photography by Ryo Kawakami CHANMINA The Rapper/Singer performed a set filled with great vigor. Someone who surprised many was Chanmina, her inner rockstar energy truly shined through on the stage. She performed a 40 minute set which included songs like “Bijin”, “Picky”, “Forgive Me”, “I’m Not Ok” amongst many others and ending her set with “Work Hard”. Her engagement with the cameras throughout her performance gave fun angles for those further out and her commentary while speaking to the audience was undeniably charismatic. A fun moment during her set was when a bit of sunshine peaked through the outcast sky and she said hello to it. The contrast between her bubbly personality and her alternative performing style was refreshing. MAN WITH A MISSION The 5 member band who wear wolf masks on stage to hide their identities had the crowd jumping and fully engaged. Man With A Mission performing at Zipangu Music Festival in Los Angeles, CA. Photography by Ryo Kawakami Man With A Mission’s set was a sight to remember, the audience had their arms high and jumping. There were some who took their own wolf masks to the show and were there to see this set specifically. Tokyo Tanaka, Jean-Ken Johnny, Kamikaze Boy, Dj Santa Monica and Spear Rib are the names of the members behind the masks, they interacted with the audience in such a way that was positively infectious. Man With A Mission performing at Zipangu Music Festival in Los Angeles, CA. Photography by Ryo Kawakami The band had no photo, no video and no binoculars sign up during their set which may be part of the reason why people felt free enough to raise their arms and fully engage with the music. MWAM performed songs like “Raise your flag”, an AC/DC cover of “Thunderstruck” “database” featuring Takuma Mitamura of band 10-Feet, “Against the Kings and Gods” among others. ATARASHII GAKKO! The all girl quartet has mastered the art of visually stunning choreography. Atarashii Gakko! began their set while still daylight out and ended their set with a dark sky. The high energy performance and tightly synched choreography was so mesmerising that the shift from day to night was not a focus. What made their choreography stunning was the delivery from Mizyu,Rin, Suzuka and Kanon. All the girls seemed immersed in their on stage persona while performing and had an intense sharpness to them that was a joy to watch. Some songs from their set included “Go Wild”, new song “Chanka Chanka”, “Arigato”, "Pineapple Kryptonite” and the song which made fans go wild “Tokyo Calling”. Towards the end of their set Suzuka launched herself to crowd surf. It was an epic way to leave behind a memorable performance for those fans in the front rows. Yuki Chiba The performer who ran down the pathway to say hello to the audience. Yuki Chiba performing at Zipangu Music Festival in Los Angeles, CA. Photography by Ryo Kawakami Rapper Yuki Chiba’s performance had moments that were fun and others that were touching. His set started upbeat then turned into a somber setting with lights from cellphones and lightsticks lighting up the event. He had an emotionally charged performance of “Moraimono” before picking back up. Songs in his set included “Omote”, “Shinpai Muyou”, and “Annyeonghaseyo” among others. Yuki Chiba performing at Zipangu Music Festival in Los Angeles, CA. Photography by Ryo Kawakami During “Team Tomodachi” Yuki took the liberty of running around the stage and beyond through the pathways wherever he could reach people. His high energy stunned fans and commentary about living in and loving Los Angeles was rather endearing. Ado The mysterious singer with a voice that can echo beyond The Rosebowl. Ado performing at Zipangu Music Festival in Los Angeles, CA. Photography by Viola Kam Ado is known for her powerful voice, of course, but she is also known for the mystery that surrounds her identity. She performs in a semi enclosed box on stage which helps shield her face along with bright lights and visuals on the screen behind her and strobe lights flickering. Before her set began, there were signs that appeared on screen that photos, videos and binoculars were not allowed for the duration on her set, this is to help prevent any leaks of her appearance and respect her privacy. Many of the event goers were wearing either Ado concert merch from previous shows or character shirts/merch from ‘One Piece’ since she lent her singing voice to the main character Uta. Some of the songs she performed were “Odo”, “Gira Gira”, “Kira”, “Value”, “Tot Musica”, a cover of Miki Matsubara’s “Stay With Me” and “New Genesis”. It’s not often that an artist is full of energy and willingly confines themselves into a limited space for their performances but that was the case for Zipangu’s headlining act.The impression that remained was that Ado’s voice is simply splendid. She could have stood there singing and the crowd would have still adored her. The imagery added a nice touch, her silhouette let us know she was there but her voice was powerful beyond belief. The entirety of her set was entertaining, leaving many in awe. Ado performing at Zipangu Music Festival in Los Angeles, CA. Photography by Viola Kam Zipangu was an incredible experience filled with talented performers and a fun crowd. Some of the artists made their U.S. debut at Zipangu, there was much excitement felt from the stage and their expressions delivered said enthusiasm with sincerity. The artists Zipangu selected to perform during this event represented the rich, vibrant and diverse music scene in Japan. We hope Zipangu returns for a second year in 2027 to bring more music to Los Angeles, Ca.

Photography by Ivan S. Why artists are being asked to be everything, everywhere, all at once — and why smaller artists need us now more than ever. Article Contributed by LJ Portnoy, Editor-in-Chief Visibility Has Become Survival Somewhere between soundcheck and stage time, musicians became full-time content creators. Before the show even starts, the work has already begun. Artists are filming TikToks backstage, posting setlist teasers, editing recap videos in the green room, replying to comments in the van, promoting merch drops between tour stops, livestreaming late into the night, uploading YouTube shorts the next morning, and documenting nearly every moment of the process in real time. And for many artists, especially smaller independent ones, this is no longer optional. Visibility has become survival. Open TikTok for five minutes and you’ll see it immediately. Hundreds, if not thousands, of micro artists all fighting to stay afloat in an endless sea of content. They post constantly. They reply constantly. They livestream. They post stories. They tease unreleased songs. They build communities. They become marketers, editors, videographers, designers, managers, and personalities all while still somehow trying to remain musicians at the center of it all. Because if they stop posting, even briefly, they risk disappearing. Not intentionally. Not maliciously. But algorithmically. Or else – their fans go cold. The listeners who once loved their music don’t necessarily abandon them on purpose. Instead, attention shifts. Algorithms cycle. New content appears. Feeds refresh endlessly. Audiences are swept into the next sound, the next trend, the next artist placed directly in front of them. Attention is fluid now. Temporary. Disposable. And that creates an exhausting reality for creatives: remain visible at all times, or risk becoming irrelevant. Creativity Was Never Meant to Be Constant Content Photography by Cottonbro Studio The difficult part is that creativity rarely thrives under constant surveillance. Creativity often comes from strange combinations, wandering thoughts, failed experiments, boredom, and quiet observation. It comes from sitting with ideas long enough for them to become something unexpected. It comes from privacy. From trial and error. From creating badly before creating brilliantly. But algorithms reward something entirely different. They reward speed. Consistency. Immediacy. Repetition. Visibility. Which means artists are increasingly pressured to constantly produce instead of becoming. And maybe that’s one of the biggest emotional costs of modern music culture. Musicians today are expected to share every step of the process while they are still figuring themselves out. Songs are teased before they’re finished. Personalities become part of the product. Authenticity becomes branding. Even vulnerability can begin feeling performative when every emotional moment is expected to become content. When every moment must be captured, when does experimentation get to stay private? When are artists allowed to disappear for a while and simply learn? To fail quietly? To evolve without an audience watching in real time? And perhaps more importantly, how many musicians are burning out before they ever truly get the chance to make it? Easier to Be Discovered, Harder to Be Heard Yungblud | Photography by @ljportnoy At the same time, this era of music is also undeniably beautiful. It has never been easier for artists to be discovered. Fans no longer need to stumble upon a local band by accident or wait for a physical CD to circulate through their friend group. Artists can now upload music instantly, connect directly with listeners across the world, and build passionate communities completely independently. Entire niche scenes are thriving because of this accessibility. Music has become more personalized than ever before. We’ve watched that happen firsthand while building SoundCheck Mag. Artists like Sombr, Leon Thomas, and Yungblud felt like the kinds of artists people discovered and immediately couldn’t stop talking about. The rise was undeniable. You could feel the momentum building in real time. Others are still in the middle of that climb right now. Artists like HAYLA, Livingston, and Bilmuri are building intensely dedicated communities while continuing to shape and evolve their sound in front of audiences who are growing alongside them. HAYLA | Photography by @ljportnoy And then there are the artists helping define local scenes entirely. Artists like Former Critics, Alex Ray, Milahroy, and Anthony Winters are telling their stories to anyone willing to listen, building community show by show, song by song, proving that some of the most important music movements still begin in small rooms long before the rest of the industry catches up. Former Critics | Photography by @ljportnoy Genres no longer fit neatly into boxes. Songs can exist across countless moods, aesthetics, and micro-scenes simultaneously. Artists are blending influences in ways that would have been nearly impossible to categorize a decade ago. That freedom is exciting. But it’s also overwhelming. When there’s a flavor of music for everyone, how do listeners even begin finding what they’re looking for? How do smaller artists break through when they’re competing not just against major labels, but against infinite content at all times? Your Next Favorite Artist Probably Isn’t Charting Yet That’s why intentional discovery matters now more than ever. Anthony Winters | | Photography by @ljportnoy Not just listening to the latest number one hit on repeat because an algorithm handed it to you, but actively searching for artists who are still building something. Staying for the opener. Giving the smaller band a chance. Clicking on the artist with 4,000 monthly listeners instead of 4 million. Letting yourself fall into a new scene, a new voice, a new sound you may have never discovered otherwise. Because your next favorite artist probably isn’t sitting at the top of the charts yet. They’re likely somewhere in the middle of posting their fifth video of the day, answering fan comments at 1 AM, driving overnight to the next city, and trying desperately to balance creativity with visibility in an industry that increasingly demands both. Beyond the Barricade and Behind the Music That’s part of why spaces dedicated to music discovery still matter so deeply. Not as gatekeepers, but as curators. As people willing to dig through the noise because they genuinely believe incredible artists deserve to be heard before the rest of the world catches up. At SoundCheck Mag, that’s always been part of our DNA. From Underground Radar to our Spotlight features, monthly playlists, interviews, and live coverage, we’ve always believed music culture lives far beyond the biggest names on a festival poster. It exists in crowded small venues, in opening sets, in artists still finding their sound, and in the communities forming around them in real time. We take our readers beyond the barricade and behind the music because somewhere out there is someone’s next favorite artist just waiting to be discovered. And maybe now more than ever, they need listeners willing to truly hear them. ✨