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On Excess, Grace, and the Album That Found Its Name Lily Forte's Don't Guild the Lily Album Artwork Article Contributed by LJ Portnoy. The Phrase That Named Everything There's a phrase Lily Forte stumbled across while researching lily flowers, a deep dive that started, she'll tell you, because she couldn't decide whether to self-title her debut album. Don't gild the lily.  It means, roughly, that beauty isn't found in excess. That adding to something already whole only diminishes it. The moment she found it, the album had a name. And more than that, it had a through line. Don't Gild the Lily  is eleven tracks built around that exact premise, owning who you are, the polished version and the one crying on the floor about a breakup, with equal honesty. The LA-based singer-songwriter describes it as an album about embracing everything life has to offer, "whether it's good or bad." Simple in theory. Harder in practice, especially when you're writing from the middle of it. The Inspiration You Didn't Ask For The record didn't start where it ended. Forte began writing in a genuinely happy place, in love, creatively alive, but hungry for an audience. Those early songs, Loners on the West  and Stardust , carry that energy. Then came a breakup, mid-process, and the album shifted. Out of the Blue  and The Luckiest  arrived from somewhere rawer. Sometimes, the most honest material finds you whether you're ready for it or not. What makes the record feel cohesive despite that emotional whiplash is Forte's instinct for restraint. She describes her songwriting as poetic, less interested in spelling everything out than in leaving room for the listener to find their own way in. "People can relate to it in their own way that might be different than the experience I had," she says. At the same time, this album pushed her toward bluntness in ways her earlier work didn't. More directness. More edge. The kind of thing she admits she probably wouldn't say out loud to someone's face, but that felt right to sing. Live, Loud, And Built in a Garage The production, done largely in a garage studio with collaborator and co-writer James Cain, leaned hard into live recording, real drums, bass, guitar, and trumpet. Stardust , which started as a quiet piano ballad, ended up with an electric guitar solo and a full rock build at its center. The evolution of that one track feels like a microcosm of the whole album: something that knew what it wanted to be once you stopped trying to control it. Forte talks about her influences, 70s rock, jazz, the blues, Lady Gaga's fearlessness, the Beach Boys' harmonics, with the ease of someone who absorbed them young and has been quietly metabolizing them ever since. Comparisons to Amy Winehouse and Lana Del Rey follow her, and she takes them as the compliment they're meant to be while keeping the line clear. Inspired, not imitated. She's landed on "bluesy pop" as the closest shorthand for what she does: the warmth of the blues, the accessibility of pop, and a voice that knows when to hold back and when to open up. Portrait of Lily Forte - Photo by @juliamckay Beauty in Everything, Lily Forte Shows a Her Sentimental Side The closing track, Beauty in Everything , is where the album exhales. A slow ballad, nostalgic without being sentimental, it wraps the whole record in the only conclusion Forte was really building toward: there is still beauty. In the past, in the present, in the parts that hurt. Asked to reduce the album to a single word, she paused, then said, "Grace. Things take time. Give yourself that." Don't Gild the Lily  is now available. A deluxe version and a classic rock cover are already in the works. But Forte isn't in a rush to move on from this one yet. The album is still becoming what it is, and it's blossomed into a beautiful work of art.

The Highs, the Lows, and the Raw Honesty of Franklin Jonas’s Newest Release Franklin Jonas's artwork for his new single, "High and Sad." Co-Contributed by Rebecca McDevitt & LJ Portnoy A Song That Finds You Released today, High & Sad  is the kind of song that doesn't announce itself; it just finds you. Franklin Jonas and The Byzantines have crafted something that exists in the in-between: not quite a ballad, not quite a confessional, but somewhere more honest than either. The song opens with "group hallucination" — a phrase that immediately signals Franklin isn't just talking about himself. There's a shared feeling here, something among him and his people that's quietly unraveling. From the first strum, the guitar and banjos don't push the song forward so much as hold it steady, like arms around someone who's trying to hold it together. Stars Signs and Feeling Out of Sync What makes High & Sad  genuinely surprising is what Franklin reaches for lyrically in those early lines. Pluto's rotation, Aquarius rising, the solar system as a mirror for feeling out of sync with the world around you. You don't hear astrology in country and folk music. (Full disclosure: we have an Aquarius rising on the Soundcheck team, and we absolutely clocked it.) But Franklin uses it with intention, as a way of saying I don't fit where I used to fit.  There's grief in that. A quiet mourning for relationships, for closeness, for a version of connection that may have slipped away. Franklin Jonas performs in concert, in Grand Rapids, MI | Photography by LJ Portnoy (@ljportnoy on IG) Then comes "Utopian,”  that word sitting in the first verse like a wish that knows it won't come true. Franklin isn't describing perfection. He's describing the want  of it. The impossible standard we hold our relationships to, and the slow devastation of watching them fall short. The Chorus: “I’m Fine,” and Everything Between The chorus lands with a kind of wearied honesty: "High and sad, feeling good and feeling bad, it's how I've been, it's where I'm at."  It's the answer you give when someone asks how you're doing and you can't quite tell the truth yet. The highs and lows aren't dramatic; they're mundane. That's what makes it sting. He leans into the classic I'm fine , and we hear everything underneath it. Franklin Jonas performs outside the Little Caesar's Arena in Detroit, MI | Photography by LJ Portnoy (@ljportnoy on IG) The verses that follow dig into that feeling with remarkable specificity. "Silent trepidations, pointless conversations,” the small talk of someone who can't get to the root of what's actually happening inside. And then: "Right or wrong, I'm blowin' off all my obligations."  Franklin doesn't glamorize it or ask for sympathy. He names it plainly. The executive dysfunction of depression, the way even the most basic tasks can feel impossible when you're in it. The battle between knowing what you should be doing and being completely unable to do it. The Dam Breaks The second verse brings "Hoover Dam, she's about to blow,”  and to us, that's the image of tears barely held back, ready to break. "Let it all wash over me"  follows as release. Permission, almost. A recognition that sometimes you just have to let it come. Franklin Jonas performs to an outdoor crowd in Newark, NJ outside Prudential Center | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography on IG) Towards the end, the song shifts. Just slightly, just enough. "I don't want to always be, high and sad."  This is the first time Franklin steps outside the feeling and looks at it. It's the quietest, most devastating line in the song, and it arrives like a cry for help dressed in restraint. Raw vocals, no flourish, no resolution. We don't talk enough about mental health in music. Especially in spaces where the expectation is toughness, or simplicity, or not making people uncomfortable. Franklin Jonas does something rare here: he wears his inner life on his sleeve without performing it. High & Sad  isn't asking you to fix anything. It's asking you to feel something. And from start to finish, it absolutely delivers. A Quick Note From The Editors If you or someone you know is struggling or in crisis, there are resources that can help. Text or dial 988 in the U.S. Know that you are special, and there are people who are here to help. You are always worth it.

An emotional final tour stop filled with beautifully belted notes, shocking confessions, and connection across all ages Article & Photos by Vaneza Gutiérrez Wyckoff On a cool March evening in Seattle, The Moore Theatre transformed into something more than a venue — it became a confessional. The kind where hundreds of voices don’t just listen, but answer back in laughter and recognition. The night opened with two rising artists who each set the emotional tone in their own distinct way. Maisy Kay stepped onto the stage in a striking, flowy dress, her microphone adorned with a delicate butterfly, immediately establishing a sense of theatrical intimacy. Songs like “Somebody You Never Touched” and “Technicolor Honeymoon” filled the room with sweeping, cinematic emotion, her voice floating just above the crowd like a memory you can’t quite let go of. Sofia Camara followed with a more grounded, crooning energy, leaning into the quiet weight of songs like “Complicated” and “Parking Lot.” Bathed in purple and pink lighting, her set felt like a late-night conversation — honest, unfiltered, and deeply relatable. Together, the two openers didn’t just warm up the audience; they built a foundation of feeling, setting the stage for a crowd that had been waiting with bated breath for this final stop. Lauren Spencer Smith performing at MooreTheatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps on IG). By the time Lauren Spencer Smith took the stage, the emotional dial was already turned up — but she pushed it even further. Opening with the haunting declaration of “IF KARMA DOESN’T GET YOU (I WILL),” she immediately established the night’s tone: unflinching, vulnerable, and just a little bit vengeful. That intensity carried seamlessly into “28,” a track that explores heartbreak, betrayal, and the lingering sting of what was left unsaid. The stage itself mirrored the emotional landscape of her music. A phone booth straight out of the ’90s rang intermittently throughout the set, each call signaling what was to come next, while a bus stop scene — complete with a box of tissues labeled “Sad Girl On A Bench ☹” and a “No Stopping: Emotional Arrival Zone” sign — turned heartbreak into something almost tangible. Behind her, a backdrop of close-up eyes watched over the room, as lighting shifted between red, blue, and purple, echoing the many shades of emotion woven through her setlist. And the crowd? They didn’t just watch or listen — they felt. Lauren Spencer Smith performing at MooreTheatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps on IG). There’s something uniquely powerful about hearing hundreds of teenagers sing along to songs about heartbreak, loss, and complicated relationships — stories they may not have fully lived yet, but somehow already understand. It calls back to another era, one of teenagers in the 00s belting out Adele ballads or Taylor Swift lyrics long before they fully made sense, the emotions landing first and the experiences catching up later. Throughout the theater, mothers and daughters sang side by side, some dancing, some wiping away tears, while others — parents in quiet support — stood nearby, absorbing the moment even if they didn’t know every word. At one point, the show took a more interactive turn with the now-infamous “tell your secrets” box. Fans submitted anonymous confessions, which were then read aloud to the delight (and occasional shock) of the crowd. The secrets ranged from lighthearted to deeply revealing — admissions of infidelity, quiet declarations of love, even a recurring confession of affection for the band’s drummer. It was chaotic, vulnerable, and strangely unifying, turning the audience into participants rather than spectators. Between those moments, Spencer Smith’s set continued to explore the many forms heartbreak can take. Songs like “Best Friend Breakup” and “Somebody You’re Supposed to Love” expanded the narrative beyond romance, touching on the quiet devastation of fractured friendships, while “small” shifted the focus toward body image and self-worth — an especially resonant message for the younger fans filling the room. Lauren Spencer Smith performing at MooreTheatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps  on IG). Midway through the set, a trio of young girls made their way to the stage, celebrating a birthday. In response, Spencer Smith led the entire theater in a chorus of “Happy Birthday,” before transitioning into a powerful cover of “Happier Than Ever” by Billie Eilish — a moment that felt both intimate and sweeping, as if the entire crowd was in on something special. As the night drew to a close, the energy only intensified. After a thunderous round of chants — her name echoing so loudly it seemed to shake the balconies — Spencer Smith returned to the stage for an encore of “Fingers Crossed” and “Sticks and Stones.” Before the final notes faded into the night, she paused to take it all in, thanking her band, her crew, and the fans who had followed her throughout the tour — some attending five or more shows along the way. Lauren Spencer Smith performing at MooreTheatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps  on IG). It was a fitting end to a night built on shared emotion. Because in a room like that, filled with voices singing the same words for entirely different reasons, heartbreak doesn’t feel quite so isolating. Instead, it sounds a lot like understanding and belonging.

A night that celebrated both his journey as an artist and the fans who’ve been there since the very beginning, all in one unforgettable show. Article and Photos Contributed by Miranda Wyman Corbyn Besson’s return to the stage felt less like a typical concert and more like a long-awaited reunion. On Monday, March 23, 2026, at the intimate 650-capacity Gramercy Theatre in New York City, fans packed into the historic venue for the first of two (Head) First Shows, celebrating the release of his new EP, HEAD FIRST. But beyond the new music, this night carried deeper meaning. It marked Corbyn’s first time performing live since his days with Why Don’t We, making it an emotional milestone for both him and his fans. Corbyn Besson performing at Gramercy Theatre in New York, NY. Photo by Miranda Wyman (@ shotbymiranda.jpg on IG) Before the show began, it was obvious this night meant something deeper to many. Fans arrived wearing nostalgic Why Don’t We tees, while others wore the brand new merch specifically for the (Head) First Shows. Throughout the venue, fans traded friendship bracelets and caught up with one another, some reuniting for the first time since the last Why Don't We concert they had attended. It felt less like a typical concert crowd and more like a community picking up right where they left off. The energy in the room built from the moment doors opened. Opening the night was 19-year-old New Jersey native Tanner Grigoli, who quickly won over the crowd with a mix of original songs and covers, including a One Direction and Shawn Mendes cover. He set the tone perfectly for what was about to come. Tanner Grigoli performing at Gramercy Theatre in New York, NY. Photo by Miranda Wyman (@ shotbymiranda.jpg  on IG) When Besson came out, the reaction was instant. With his dancers and drummer behind him, he opened with “Kiss”, the first track off his EP, HEAD FIRST, and the crowd erupted. Without missing a beat, it flowed right into “Tied Up,” the second track off the EP. The shift between the two songs was effortless, keeping the energy high and the crowd fully engaged, many already singing along word for word. He followed with “Love Me Better,” his debut single following the end of the Why Don’t We era. The first three songs together set the tone for the entire night: confident and emotionally charged. After “Love Me Better,” Besson paused to take it all in, addressing the crowd with genuine gratitude. He thanked fans for showing up and supporting him as he stepped into this new chapter. You could tell how much it meant to him to be back. Corbyn Besson performing at Gramercy Theatre in New York, NY. Photo by Miranda Wyman (@ shotbymiranda.jpg  on IG) He continued with his 2024 single “Don’t Run,” easing into the next phase of the set. He then picked the energy back up with “Panic,” a collaboration with electronic duo NOTD. The momentum carried straight into “Summer,” his upbeat collaboration with R&B artist Jeremih. During the track, the entire room seemed to come alive. Fans danced along, moving left to right in sync with Besson as they fully locked into the moment, turning the performance into a shared experience rather than just a show. Midway through the set, Besson took a moment to spotlight the team helping bring his vision to life, introducing his two backup dancers, Khalil McNeil and Arnold Villarreal, as well as his drummer, Jarvis "Jeb" Barnes. It was a small moment, but it showed how much he values the team around him. Keeping the momentum going, he continued the upbeat, dance-driven vibe with “No One Else,” maintaining the high energy that had defined much of the night so far. After “No One Else,” Corbyn took a moment to pause and connect with the crowd, soaking in the energy of the room. He shared how much he loves New York City, praising the “aura” of both the city and the fans in front of him. He specifically called out the crowd, thanking them for matching his energy and jumping along with him. His appreciation for everything felt genuine and unscripted, which made his first show back feel even more personal. Corbyn Besson performing at Gramercy Theatre in New York, NY. Photo by Miranda Wyman (@ shotbymiranda.jpg  on IG) Keeping that connection going, he brought out his creative director, Derec, onto the stage to take a photo of Besson with the crowd, which felt like a celebration of the fans just as much as the night itself. Before moving on, Corbyn reflected on his journey, explaining how his music career began over a decade ago with nothing more than a camera and his guitar. It was a full circle moment, especially in a room filled with fans who have followed his journey from the very beginning. From there, he physically brought that story to life, picking up his guitar and shifting into a more stripped-down, intimate portion of the set. It was during this moment that he performed a heartfelt cover of “Birds of a Feather” by Billie Eilish, drawing the audience into near silence and showcasing a more vulnerable side of the performance. Corbyn Besson performing at Gramercy Theatre in New York, NY. Photo by Miranda Wyman (@ shotbymiranda.jpg  on IG) After performing “Birds of a Feather,” Corbyn Besson kept his guitar in hand as he transitioned into another track from HEAD FIRST. Before getting into the song, Besson shared that this song holds special meaning to him. It was the first track he’s ever released where he recorded all of his own vocals. He performed the song, “Hypnotized”. Halfway through the song, he took it a step further, breaking into a guitar solo that perfectly blended into the track. It was a moment that highlighted not just his vocals, but his artistry as a musician as well. It was another reminder that this new era of his career is fully his own. He spoke to the crowd again, reflecting on the journey that brought him to this moment before introducing the next part of the set. What followed was one of the most emotional highlights of the night. He surprised the crowd by going back to his Why Don’t We days, performing “8 Letters” and “Falling.” The intimacy of the Gramercy Theatre only amplified this moment. Fans who had grown up with these songs were suddenly transported back in time. It didn’t feel like it was just a throwback, it felt like a bridge between his past and where he is now, acknowledging where he came from while still moving forward into his solo artistry. In the context of the night, the decision to include those songs added another layer of meaning to his performance. Rather than separating his past from his present, Besson wove them together, making it clear that this new chapter doesn’t erase what came before; instead, it builds on it. Corbyn Besson performing at Gramercy Theatre in New York, NY. Photo by Miranda Wyman (@ shotbymiranda.jpg  on IG) After performing his Why Don’t We throwbacks, Corbyn wasted no time shifting the energy back to the present, jumping straight into one of his newly released singles, “Blink,” featuring Tzuyu of TWICE. The entire room came alive, with fans singing every word and jumping along in unison, fully locked back into the high energy atmosphere he had built throughout the night. As the song came to an end, Besson took a moment to thank New York City one last time before stepping off the stage. Within seconds, the crowd erupted into chants of “Corbyn! Corbyn! Corbyn!” filling the Gramercy Theatre and refusing to let the night end there. He returned to the stage for an encore and performed “Ruin Me,” which felt like the perfect way to end the night. Corbyn Besson performing at Gramercy Theatre in New York, NY. Photo by Miranda Wyman (@ shotbymiranda.jpg  on IG) Before leaving the stage for good, Besson took one last moment to thank the crowd. He shared how much it meant to him to be back on stage again, calling it an “absolute pleasure”. He gave one last round of thanks to his dancers, his drummer, and the fans who had supported him through every era. Closing it out, he thanked New York City once more before exiting the stage, this time for good, leaving behind a room full of fans who had just witnessed not just a concert, but the beginning of a new chapter. This show felt like being part of something bigger than just another concert. It felt like a moment where we were all celebrating Corbyn’s journey together. Seeing him own the stage, sharing both his past and present with the crowd, and connecting so genuinely made the night unforgettable.

Article Contributed by Monica Soriano Olivia Rodrigo, Sabrina Carpenter and The Jonas Brothers have become names that circle the media often. Sometimes it is due to Olivia and Sabrina’s success internationally as beloved pop girls and other times it is The Jonas Brothers’ continuous release of projects while tapping into infectious nostalgia. Disney Channel was a starting point for these artists but what came after was entirely up to them. Olivia Rodrigo’s Penmanship & Huge Debut Although she had a successful debut with her song “Drivers License”, she followed it by taking a writing class at USC. Olivia Rodrigo’s name was orbiting around with her participation in the Disney+ series High School Musical: The Musical: The Series. She was establishing herself as a Disney actress and singer when in 2021 she released her first single “Drivers License”, which grew to be bigger than anyone could have imagined. Her debut as an artist was so impactful it earned her 7 Grammy nominations for the 64th Annual Grammy Awards which she won 3 of them. Photo pulled from Amazon Music Her albums Sour and Guts both peaked at number 1 on the US Billboards Hot 200 Chart. Even though her time with Disney was short, it was a very important building block for her career. She is one of the most sought after pop stars at the moment. Olivia has spoken about taking a poetry class to improve her songwriting. Her artistry has reached levels beyond what her career at Disney could have provided her. It’s always great to see artists deeply involved in their music like Rodrigo. Sabrina Carpenter’s Elongated Journey to Mainstream Success It took several albums to establish herself as an ultimate pop girl, but she did it. Sabrina Carpenter’s success wasn’t an overnight one, it was years of acting on Disney Channel, releasing music and figuring out her sound and style. She started making her name known through her role in Disney Channel’s Girl Meets World, a spinoff of Boy Meets World. Under Disney’s label Hollywood Records, Sabrina Carpenter released 4 studio albums. She didn’t achieve mainstream success with them but they helped build a foundation for her artistry. Once she signed with Island Records, Sabrina’s career in music started taking off. Her debut album under Island records, Emails I Can’t Send, had a debut at number 23 on the US Billboard 200 Chart. Photo by LJ Portnoy - IG: ( @ljportnoy ) It wasn’t until her album Short n’ Sweet, that she truly established herself as an artist with her own sound, style and voice. This was when she escaped the mouse. This album went on to win Best Pop Vocal Album at the 2025 Grammy awards and peaked at number 1 on the US Billboard Hot 200 Chart. Her latest album, Man’s Best Friend, earned 2 Grammy nominations and its lead single “Manchild” earned 4 nominations. Her success has surpassed her time at Disney but the entirety of her journey should continue to be celebrated. Jonas Brothers’ Success In and Out of Disney The Jonas Brothers gained mass amounts of success through their work with Disney Channel early in their career and they continue to tap into that nostalgia to this day . While the Jonas Brothers were slowly gaining a fanbase and industry attention before joining Disney, the network and its record label provided them with a huge platform through guest star appearances, their own show and a movie franchise. Jonas Brothers performing at Hershey Park Stadium. Photo by Rebecca McDevitt - IG ( @rebeccajeanlimitedphotography ) The band had already released their first album but it wasn’t until they signed with Disney’s Hollywood Records that they began to truly establish themselves. Their second album, Jonas Brothers, included singles that went on to chart on Billboard’s Hot 100 and the entire album peaked at number 5 on Billboard’s 200 chart. Kevin, Joe and Nick had success with the Jonas Brothers name but also through their work in the Camp Rock films. The song “We Rock” by the entire cast peaked at number 1 on the Billboard US Hot Singles Sales Chart and “Play My Music” peaked at number 20 on the US Billboard Hot 100 Chart. Disney Channel had a collaboration for Friends for Change. This collaboration was the song “Send It On” by the Jonas Brothers, Miley Cyrus, Selena Gomez and Demi Lovato. “Send It On” went on to peak at number 20 on the US Billboard Hot 100 Chart. The Jonas Brothers were really beloved by Disney and the fans, they were teen heartthrobs and eventually surpassed the Disney Channel brand. The longevity in their career is what makes them successful. They have been able to be apart, release solo music and still find their way back to the Jonas Brothers brand. During their concerts they smoothly tap into the nostalgia of the fan base by bringing out various guests from their Disney days or artists that are beloved by the same fans.

Review & Photos contributed by Madison Cozzens Moonchild performing at The House of Blues in Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) Moonchild took The Agora stage in Cleveland on March 19th. The neo-soul band is taking their newest album, Waves, across North America showcasing their musical talents and local action groups. From Chicago to Cleveland Brittney Carter performing at The House of Blues in Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) The opener for the evening was Chicago local, Brittney Carter. The singer, rapper, and songwriter took to stage with her diary-like lyrics and jazzy beats. Armed with only a microphone and a laptop, Carter used her relatability to connect to the audience immediately. Her laid back vibe and introspective songs tap into something that everyone can relate to, using music as a way of getting through the hard times and feeling your way through life. Her latest EP, "blacksheep", touches on those themes and dives deeper with lyrics like, “But that’s just how the game goes. Made plenty errors and I know that Imma make more. But it’s the beauty in it all, the rise and the falls, ups and the downs…” Carter is a real up and coming talent, with her stage presence and approachability she will be one to watch. Taking a Moment for the Community LaToya Logan of Project Lift speaking at The House of Blues in Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Moonchild is passionate about social justice and likes to take action in the communities they visit. The group focuses on highlighting people and organizations that help black and brown communities who often cannot speak up for themselves. During their time in Cleveland, the band chose to feature Project Lift, a local organization that creates a safe space for black men and boys across all ages. The group’s goal is to uplift black men and provide them with resources, training, workshops, and tools to help them thrive. The organization’s founder, LaToya Logan, took the stage for a brief interview discussing their 10 year anniversary, their mission and goals for the year. The crowd was listening intently to the conversation, learning about how they could get involved and/or donate to the cause. Moonchild’s dedication to uplifting local voices and taking action is admirable. Taking a pause from the music to showcase important causes is not something you see everyday, though maybe we could get used to it. To learn more about Project Lift, get involved or donate you can visit their website https://projectliftservices.org/ or give them a follow on instagram. https://www.instagram.com/projectliftus?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== Moonchild’s Turn to Take the Stage Amber Navran of Moonchild performing at The House of Blues in Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Moonchild took the stage at 9:15, arriving one by one, with lead singer Amber Navran making the final entrance. Navran came out in one of her unique outfits, a shiny monochrome blue look that made Navran feel like a bubble personified. The ensemble was fitting, matching her spirited on stage personality and the fun, celestial vibe of their music. Navran’s apparent joy coupled with her unique light and airy vocal performance make her a delight to watch. The group began their set with “Tell Him”, the first track off their Grammy nominated album, Starfruit. You can feel the compelling harmonies, production, and beats across all Moonchild’s discography. Their newest album Waves, takes inspiration from new-wave and synth which can be seen in their stage design art work. The new-wave atmosphere meld perfectly with the R&B and jazz elements of their music, making for a relaxing and soulful evening. Members of the crowd spent the night bobbing their heads to the beat, and feeling the music float through their body. Andris Mattson of Moonchild performing at The House of Blues in Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Moonchild is a unique group blending neo-soul, R&B, jazz, and electronic beats to create a complex sound and memorable experience. The group’s musical prowess could be seen before they even stepped foot on the stage as a clarinet, a flute, and multiple guitars, saxophones, keyboards, and horns adorned the scene. Moonchild consists of three core members; Amber Navran (lead vocals, flute, tenor saxophone, synthesizer, piano, drums), Max Bryk (piano, synthesizer, alto saxophone, clarinet, kalimba, drums), and Andris Mattson (piano, synthesizer, trumpet, flugelhorn, acoustic guitar, ukulele, drums). The three met at USC Thornton School of Music's Jazz Studies program, and started Moonchild in 2011. Their NPR Tiny Desk Concert was what brought them to the mainstream, showcasing their acoustic talents and voice for social justice Amber Navran of Moonchild performing at The House of Blues in Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Halfway through the show, Navran welcomed Brittney Carter back onto the stage to rap in the song “Nothing to Prove”. Carter is featured on track 13 of Waves, a pleasant surprise for those who were new to the album. Moonchild’s lo-fi beats merge perfectly with Carter’s flow making it a match made in heaven. Mixing even more genres together to create something old school with new school elements. The group also played a surprise song, “Wan’t Me”, the Shaggy hit from 2000. Moonchild’s take on the song was new and refreshing, turning it into something entirely different. The audience grooved to the updated soulful twist of the hip hop classic. The band blends all of their elements together seamlessly, entrancing even those who had never heard of them before that evening. Moonchild showed us that sometimes it’s necessary to slow down and get introspective. Allowing ourselves the time and opportunity to feel ourselves through music.

The producer blends cinematic ambition with trance energy on his most intentional project yet. Article Contributed by Vaneza Gutiérrez Wyckoff Photos contributed by UMG 1824 For Aaron Hibell, releasing Synchronicity isn’t simply about putting out another album. It’s about revealing a body of work that has been quietly forming for years — one shaped by patience, instinct, and a creative philosophy rooted in timing and trust. Across its 11 tracks, Synchronicity blends orchestral atmosphere with trance and late-night techno, creating a sound that often feels closer to a film score than a traditional dance record. But what gives the album its emotional weight isn’t just the cinematic scope. It’s the intention behind it. When Soundcheck Mag spoke with Hibell, he described Synchronicity as the first time he truly approached a release as a complete artistic statement. “I think this is the first project which feels very intentional,” he told us. While earlier releases were more like “snapshots and collections of tracks throughout a period,” this album was built as a continuous listening experience. “You can kind of hear that in the way the tracks flow into one another… that’s something I really wanted to make a part of this project." Following his debut album Astral Projection, Synchronicity represents a shift toward a more deliberate vision. Despite being written over several years, Hibell said the album didn’t feel difficult to assemble. Hibell explained that although the songs came from different moments in his life, they all shared what he described as “a real through line.” He continued, “In the end it wasn’t like a jigsaw puzzle. It kind of just flowed, it really did.” That natural alignment ties directly into the album’s title. Hibell had been thinking about the concept of synchronicity for years, and when the time came to shape the project, he wanted the process to reflect that concept. Rather than forcing songs into place, he let them develop organically. “It was really important not to force anything. I wanted the right tracks to flow at the right time.” That mindset also grew out of personal experience. Hibell has spoken openly about health struggles that changed how he views both life and creativity. Going through that period forced him to slow down and become more present, a shift that ultimately influenced the tone of the album. Because of those challenges, he said he now tries to “take less things for granted” and focus more on the small moments that often go unnoticed. That perspective carried directly into his music-making. “I’d say it definitely made me more present and appreciative of things,” he reflected. “And in my music making, I think that’s also been the case.” Musically, Synchronicity draws inspiration from artists known for cinematic storytelling. Hibell points to Porter Robinson as a meaningful comparison, noting his admiration for Robinson as “an album-driven artist” who creates expansive soundscapes. But many of Hibell’s biggest influences come from film. Composers like Hans Zimmer and Ludwig Göransson helped shape the album’s epic sound. Hibell describes his goal as bringing that cinematic intensity “into a trance/techno lane,” merging orchestral emotion with electronic energy. The creative process behind the record reflects that same balance between structure and freedom. Again and again, Hibell described creativity as something that thrives when artists stop overthinking and allow their instincts to take over. “The creative process for me is all about getting into that state of play where you can just let music flow from.” Ironically, that freedom often comes from limitation. Rather than leaving himself with endless possibilities in the studio, Hibell sometimes sets strict boundaries to spark creativity. One of his favorite techniques is a “one hour track” challenge, where he must finish a complete piece within sixty minutes regardless of the outcome. Removing the pressure to make something perfect, he explained, often leads to surprising results. “i feel lost,” one of his most popular tracks, came together during one of those sessions. Environment also played a key role in shaping the album’s atmosphere. Much of Synchronicity was created near the sea in Hibell’s hometown in the UK. When he needed inspiration, he would walk along the rugged coastline and record the sounds around him. Those recordings — waves, wind, and shifting sand — found their way into the album’s transitions and textures. “I’d go down to the beach and take field recordings of the sea, the winds hitting the dunes,” he said. “I layered those ambient sounds into the album to give it context.” That immersive mindset carries into his live performances as well. Hibell sees a live show as more than a DJ set — it’s an emotional journey designed to move between explosive energy and quieter moments of connection. Ultimately, he wants audiences to leave feeling transformed. “I always want to leave people with this sense of euphoria at the end.” Fans across the United States and Canada will soon get the chance to experience that firsthand as Hibell prepares for the upcoming North American leg of his tour. For him, the live show is where the world of Synchronicity truly comes alive — a space where cinematic atmosphere, dance-floor energy, and human connection all meet. If the album itself is about alignment and creative flow, Hibell at the edge of the stage is where those ideas find their fullest expression.

From Warped Tour memories to a crowd-immersed finale, the band bridges past and present in Seattle. Article & Photos by Vaneza Gutiérrez Wyckoff On that typical drizzly Tuesday night in Seattle, El Corazon was packed with a crowd nearly going out the door. Emo fans spanning generations gathered, filling every corner of the darkly lit venue, shouting lyrics, hands held high in the air, singing their hearts out to songs rushing back as if it were still 2006, the album spinning in their car’s CD player. From any angle in the room, the heat of the crowd and the low stage lighting made the moment feel even closer, as if the entire room was moving as one. The concert bill touted a night of celebrating If Only You Were Lonely , the band’s 2006 sophomore album that helped define an era of emo and post-hardcore. Nearly two decades later, those songs still hit with the same depth, now layered with years of lived experience from both the band and the fans who grew up alongside them. Hawthorne Heights performing at El Corazon in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps on IG). The energy was set, the crowd already hyped up before Hawthorne Heights took the stage. Creeper opened the night with a theatrical, dark, and immersive set, pulling the crowd into their world from the very first note. Their performance leaned heavily into atmosphere, blending horror-tinged visuals with an intensity reminiscent of classic Dracula-era horror. letlive. followed with a sharp shift in tone — raw, chaotic, and completely unrestrained. Their set felt like a controlled explosion, filling the room with movement and unpredictability — evident by the metal trashcan being crowd-surfed towards the end of their set. Together, the two acts set the stage for a night that would balance dramatic lyrics, catharsis, and nostalgia. By the time Hawthorne Heights emerged, the room was roaring to go. From the opening notes, it was clear this was more than just a performance. Songs from If Only You Were Lonely landed with precision, but also with a kind of emotional weight that only grows over time. Tracks like “Saying Sorry” and “Pens and Needles” turned into full-room singalongs, the crowd’s voices rising to meet the band’s in a way that blurred the line between performer and audience. Midway through the set, frontman JT Woodruff paused to reflect on the era that shaped the album. “When we were first writing this album, we had just finished Warped Tour 2005,” he shared, recalling what he described as “the Golden Year where every single awesome band was on it.” For Hawthorne Heights, that moment marked both a turning point and the beginning of something bigger. Hawthorne Heights performing at El Corazon in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps  on IG). “We got to play The Gorge for the first time in WA — it was magic,” he continued, grounding the memory in a sense of place and time that felt especially resonant for a Seattle crowd. The reflection didn’t stay in the past for long, though. As he spoke about touring their debut album “for the very first time for two full years,” the message shifted toward something more personal. “If I can live through this in an emo band, you can live through this — I promise you,” he told the crowd. “So just love each other, man.” It was a moment that encapsulated the heart of the night — not just nostalgia, but connection. That balance carried into one of the set’s most unexpected highlights: the live debut of “Like a Cardinal.” In a show rooted in looking back, the then-unreleased track felt like a glimpse ahead, and the crowd responded with immediate enthusiasm. It was a reminder that Hawthorne Heights isn’t just revisiting their past — they’re still writing their future. Hawthorne Heights performing at El Corazon in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps  on IG). As the set pushed into its final stretch, the energy in the room only intensified. Near the end of the night, Woodruff stepped down from the stage and into the crowd, closing the distance entirely. Surrounded by fans, he delivered the final few songs from the middle of the room, turning the performance into something immersive and immediate. It wasn’t just a visual highlight — it was a physical representation of what the night had already become: a shared space where the music belonged to everyone in it. By the time the last notes rang out, the line between band and audience had fully dissolved. At El Corazon, Hawthorne Heights didn’t just celebrate If Only You Were Lonely . They brought it back to life — not as a relic of the past, but as something still evolving, still connecting, and still very much alive for future generations of emo kids.

There’s a long list of superstar names Cirkut has produced and co-written songs for including Katy Perry, The Weeknd, Lady Gaga, Rihanna and more. Article Contributed by Monica Soriano Photo from Instagram via @cirkut Before Cirkut, There Was Henry Russell Walter He created his own opportunities, was it luck or possibly a lot of perseverance? Cirkut was born in Canada and given the name Henry Russell Walter. While he didn’t grow up in a music filled environment he said in an interview with The Fader that he was introduced to music through friends and that the first genre he developed a love for was hip-hop. He lived in Halifax during his teen years, then relocated to Toronto after graduating high school for more opportunities before making the big move to Los Angeles, California. Walter spent time learning from his surroundings and several people including Skratch Bastid and Mstrkrft. Cirkut’s first big placement was Britney Spears’ “Mmm Papi” from her album ‘Circus.’ The Producer Behind Some Of The Most Beloved Pop Hits It takes true love for music to be so in tune, not just with Pop but the entire music industry. Cirkut is to be a magnet for success when it comes to music. The amount for thriving projects he has co-written or produced is above ordinary. He took part in Miley Cyrus’ career defining song “Wrecking Ball”, Usher’s “I Don’t Mind” and Lady Gaga’s recent hit “Abracadabra.” He has also produced for some of the biggest K-Pop artists including Rose, for her biggest song to date “APT.” featuring Bruno Mars and “Seven” by Jungkook featuring Latto. The amount of successful eras this talented producer has helped create is worthy of praise. The beloved Teenage Dream Era from Katy Perry wouldn’t have been the same without his contribution to “Wide Awake” and “Part Of Me.” Charlie XCX’s Brat era took over the social media feeds for an entire summer, the tracks Henry Walter contributed to are “360”, “Rewind” and “365.” Lady Gaga’s current ‘Mayhem’ era earned her several Grammy nominations and Cirkut co-wrote and produced most of the album. Another notable project is The Weeknd’s ‘Starboy’ which was not only Grammy award winning but also beloved by fans. Grammy Winner, What’s Next? Not just a few Grammy nominations but 7 for this year's 2026 Awards. During the 2026 Grammy Awards Cirkut left with a few Grammys including the one for Producer of the Year, Non-Classical. This specific one is a grand accomplishment since he was nominated not just for a project but for himself as a producer. His ability to continue to explore music with new artists while maintaining some of the old relationships with artists he’s previously worked with seems to be a strength of his. While not much is known about the projects Cirkut is working on for this year, it is certain that he will continue to provide the music industry with his own refreshing perspective and creative input. We look forward to seeing what new eras he contributes to!

Laura Veltz has earned her Grammy nomination in the category Songwriter of the Year through her lengthy career. She has written for artists such as Demi Lovato, Dan + Shay and Maren Morris. Article Contributed by Monica Soriano Photo from @ lauraveltz on Instagram A Family of Musicians Laura Veltz spent over 10 years touring and singing in her and her family’s band Cecilia. The band was composed of Laura and her family including her mother Jeannie, her father Kenneth and her siblings Allison and Drew; as well as non-family member Kevin Jacoby. While being one of the lead vocalists in Cecilia, Laura also partook in the songwriting of the band's songwriting and learned multiple instruments. The band split after several EP’s and one album, This, released under the name of The Veltz Family. Not many people can say they spent a great part of their musical journey actively learning through making music with their family but Laura Veltz can. Branching Into Songwriting After the band parted ways, Laura Veltz set her sights on a songwriting career so she packed her bags and relocated to Nashville. In 2008 she embarked on a songwriting journey that began in the country music scene. Her very first credits as a songwriter were on country music band Edens Edge self titled EP & Album. The tracks she contributed to were “Slow Motion,” "Skinny Dippin’,” “Who Am I Drinking Tonight?,” “Liar” and “Cherry Pie.” In that same year Veltz received a credit in Jana Kramer’s self-titled album, Jana Kramer, for the track “What I Love about Your Love.” While Veltz has achieved great success in country music she also explores other genres including pop, rock and alternative genres. Collaborations and Songwriting Credits Laura Veltz has penned beloved songs such as “Speechless” by Dan + Shay, “The Bones” by Maren Morris and “29” by Demi Lovato. For Demi Lovato’s Holy Fvck album in 2022, Veltz was the primary songwriter with 13 writing credits on the album. She also has credits for artists such as Thomas Rhett, Kelly Clarkson, Lady A, Idina Menzel, Tim McGraw and many more. One of her biggest collaborators to date is Maren Morris, whom she has written with for several of her albums. There is a playlist on Spotify titled “Written By Laura Veltz” that is over 11 hours long - that is the magnitude of her work! Songwriter Soup & Expressing Her Weird As her career continues to grow, the amount of knowledge within the music industry grows simultaneously. Laura Veltz has shared her experience through her podcast Songwriter Soup. As one of the hosts of the podcast, she is able to share her journey, likes, dislikes and advice in regards to being a songwriter. She has often said that she loves allowing herself to express her “weird” while creating music. That sense of whimsy while maintaining a grounded enough sense that connects with others is part of what makes her a special songwriter. Her love and appreciation for the craft of songwriting is infectious. Congratulations to Laura Veltz on her continuous success and for being a guide to future artists.

Article Contributed By Monica Soriano Photos Provided by UMG / Nick Walker Recently, SoundCheck had the opportunity to attend Iris Copperman’s showcase in which sang a few of her songs live. We were pleasantly surprised by her ability to convey strong emotion while telling a story. With the release of “Struggle Bus” earlier this year and at just 14 years old, Iris became one of our artists to watch. Today, we are so happy to follow her as she embarks on this journey. We had the opportunity to get our questions answered by the singer-songwriter. Iris’ song “Struggle Bus” is a song about comparisons, self criticism and inner conflict while her song “Bully” is about empathy towards those who hurt. When asked about the relatability factor of the topics she touches in those songs and the message she hopes people take from them she said “I hope that when they listen to my music, they can understand what makes them unique and learn to embrace their differences. I hope they know that it’s okay to feel lost, but that you are always worth finding.” Empathy Leads The Way “Bully” being her latest release, we asked her to expand on her process when creating the song. Since this track has a heavy focus on a bully’s possible hurting or home struggles, we had to know how she came to write from this specific point of view. Iris stated that for as long as she can remember her mom told her “to be kind to everyone, no matter what”. She goes on to say “I have grown up with that mindset and have learned to understand what may be behind the bully’s feelings.” Something powerful Iris said about “Bully” was “empathy has always allowed me to step in their shoes for a moment”, a very powerful sentiment. Iris Copperman is able to create songs from different perspectives, she is involved in the writing process and is a multi-instrumentalist herself. During the showcase we attended, she created a space to demonstrate her musicality. Because she is a songwriter, we had to ask what her favorite lyric or lyric sequence is from her song “Bully”. Her answer? “Hurt people hurt people, so who hurt you?” A simple lyric that can universally resonate with listeners. She elaborated that the line stands out to her because “it shows the two different points of view that I had during middle school. It allowed me to reflect on my own life and speak my mind while also emphasizing the understanding of what others can go through.” Her Inspirations Since Iris writes about her life and her own Middle School experiences we wanted to know if there was a song that she found comfort in. Sometimes listening to a good song can be soothing when dealing with hardships, her song of choice was “This Is Me Trying” by Taylor Swift. Iris said that the song “has gotten me through some tough moments. I love that it captures the emotions of feeling lost or unsure and I felt that a lot during my middle school days.” We were also curious about who inspires this young singer-songwriter to reach for the stars in the world of music. Her list of artists include Gracie Abrams, Olivia Rodrigo, Taylor Swift, Phoebe Bridgers, boygenius, Djo, Billie Eilish, Charlie XCX. For Charlie XCX she stated “specifically her new album”. NEW EP: Middle School Dropout On March 12, 2026 Iris announced that she would be releasing a new EP titled Middle School Dropout set to be released on April 3, 2026. The EP will feature 6 tracks including “Struggle Bus” and “Bully”. The remaining tracks are titled as follows: “Awkward”, “Middle School Dropout”, “Roses” and “Kinder”. The last words she left us with are “I’m always working on new music!!” which only made us more excited to see what the future holds for this talented Middle School Dropout. Pre-Save the EP below!

Article Contributed by Monica Soriano Photos Provided by Perk Agency The world of music is ever changing, no one would imagine 30 years ago that artists would become easily accessible through a hand held device. That is where we are today, we live in a time where artists can open doors for themselves and engage with potential fans on social media. The internet is powerful, we have seen labels and performers shift their marketing to become more appealing to their target audiences. Kira Lise is an artist that is keeping up with current methods of self promotion. Her efforts have earned her a large following and over 1 million streams. She is able to connect and reach new people with her live-streams on TikTok. “Ignorance Is Bliss” Is Window Into Kira’s World Kira was lovely enough to answer some of our questions regarding “Ignorance Is Bliss”, her journey with anxiety and what excited her about the future. Her recently released single “Ignorance Is Bliss” is an emotional track outpouring feelings of anxiety, loneliness and a call for help that is ultimately ignored by her own awareness. We asked her about the process of putting her feelings of anxiety in her music so openly. She explained her approach to us stating that “writing a song like this just happens on its own,” she elaborates “I was in the middle of a panic attack and the words I chose as lyrics came naturally. Sometimes writing in the middle of these emotional outbursts produces the best songs”. Due to the topic of her song, we had to ask how she is able to manage anxiety while speaking candidly about it. Her answer was something that those who are dealing with anxiety can take note on or agree on. Kira said “something that helps manage my anxiety is working out regularly. Exuding my stress through exercise often eliminates these thoughts from coming back.” She also talked about her frame of mind “I also believe in an optimistic mindset, or manifesting the best in life. These two things really help with lowering my stress levels”. What Influenced Her Alternative Sound? Kira’s sound is alternative leaning and powerful which made us curious about her musical inspirations. When asked who she looked up to musically she said “I grew up with artists like Radiohead and Muse, two British rock bands that altered my perspective in music. I would often listen to chord structures and melodies that I thought were cool, so they’ve inspired the musical landscape I live in.” She continued sharing with us “another big influence in my music is the band Grizzly Bear. My first EP “Missing Piece” has sprinkles of their influence as well. I love psychedelic rock bands, that’s all I listen to, so I aspire to be the female version of all these alternative groups.” With her responses we were able to grasp more of who she is as an artist. Big Social Media Numbers, Grounded Mentality We were thoroughly impressed by her embrace of social media, she was nominated for LIVE Creator of the Year at the first-ever U.S. TikTok Awards and was a guest speaker at VidCon 2024. She shared some advice to new artists that may be thinking of following in her footsteps “Keep trying and don’t get discouraged by the numbers.” Kira provided real grounded advice and continued “While I have a big following, a smaller percent of that actually makes the effort to listen to my music. It’s the core that propels you forward, so if you have even one or two people that make an effort to hear you, that should be enough to keep you going. I owe all of my success to my core audience who have been there since the beginning and will be there to see my rise eventually.” It is still early in the year and we wanted to know what Kira was looking forward to accomplishing in 2026. With excitement she said she wants to “create more music that is true to myself and my art.” Kira also wants to work on her first album and simply stated “this is only the beginning and I’m looking forward to the world hearing more of what I have to offer.” Her blend of social media savviness and ingrained love for music makes her someone who can soon be played in radios everywhere. Her journey is hers to tell and we were so happy to have had the opportunity to share her words and talent with the world.

The trio discuss friendship, folk influences, and the collaboration behind their new album. Article contributed by Vaneza Gutiérrez Wyckoff Photos contributed by UMG 1824 Nathan Evans and the Glasgow brother duo SAINT PHNX — Stevie and Alan Jukes — have joined forces for Angels’ Share, a collaborative album that blends Scottish folk tradition with modern, hook-driven energy. When we spoke with the trio, their chemistry was unmistakable — the kind that comes from deep friendship and shared storytelling, creating a creative partnership that feels less like a calculated collaboration and more like something that simply fell into place. That sense of connection runs throughout Angels’ Share, a record rooted in friendship, storytelling, and shared heritage. “I think being together… there is a sort of magic that happens, that every time we’ve done something together, [from] the early days to now, it’s just been growing and growing,” Stevie said. “The fact that you’re in a room together, writing an album, and you’re sharing these experiences, and then getting to take that across the world is something really, really special, being brothers and best friends. And that’s the true amazing part of making this album.” For Evans, the emotional foundation of folk music was set early, long before viral Tiktok fame and worldwide touring. When asked where that pull toward folk tradition comes from, he went straight back to childhood drives across Scotland. “When I was a little boy, I had a gran and granddad that used to live on the Isle of Skye, and we used to drive up there… like a seven hour drive,” Evans said. “On the drive up there, we would have a tape cassette in the car of a Scottish folk band called The Corries… I would have my mum and dad literally just flipping the cassette back to front to back to front, all the way there.” He added, “Growing up with Scottish folk music, I think it’s just embedded in me somehow. All folk music all around the world all kind of relates. Folk music is just like a universal thing.” The trio lights up when talking about the songs that define the album, each choosing a track that reveals a different side of the project. Evans chose the title track without hesitation: “My answer is obviously going to be “Angels’ Share”. I think it kind of sums up the album completely… we knew instantly there was something in that song that people were going to love.” Alan went with “Milarrochy Bay,” describing it as “upbeat and fun, [we] don’t take ourselves too seriously, and people seem to dance to it.” Stevie picked “Islay,” explaining, “It’s a slower song, it’s a love story, but the secret meaning behind it is… Al and I and Nathan have been across to the island of Islay, we fell in love with Islay, and we fell in love with whiskey.” That whiskey thread is more than aesthetic. It’s baked into the album’s title and emotional core. Evans explained the meaning behind Angels’ Share — the tiny bit that evaporates from a whiskey barrel during production, said to be an offering to angels of loved ones we’ve lost — and continued, “we’ve all lost someone… but even though you’ve lost them, they’re not entirely gone, because part of them still live on in you.” The band’s vision extends beyond sound. Stevie described building a world around the music rooted in Scottish imagery and lived-in warmth. “We wanted to celebrate Scottish culture of heather, the hills, the glens and whiskey, things like that.” On the stage, complete with a traditional pub background, he explained they aimed to make it feel as if, “you went walking in the highlands and stumbled into an old Highland pub, and you came across this band playing.” For photographers documenting their live shows, Stevie highlighted moments that capture the energy: “Nathan’s on top of the speakers, getting everybody jumping… there’s bits where we all come together in “Milarrochy Bay”, there’s a bit where Alan does a speech and toast to the audience and recites a lovely Scottish poem.” Evans added, “it’s not just, ‘oh, that’s the music done!’ It’s like… ‘how do we dress, how do we look? How is it going to look on stage? What’s the action points? How do we interact with the crowd?’” That “full blown thing” approach carried in the recording process. Evans described a key stretch in the studio: “we jumped into the studio for three, four days, getting in all our musician friends - banjo players, mandolin players, bagpipes, fiddles, everything. Those four days were really, really special to see those ideas truly come to life.” Stevie reflected on how embracing their roots ultimately changed everything. “When Al and I started SAINT PHNX, we were heavily influenced on U.S. music like Imagine Dragons and Twenty One Pilots.” But eventually, “the coin dropped. It was like, ‘Well, why are we not embracing what we are?’ All that Scottish folk stuff, embracing that over the last couple of years has been a massive, massive thing for us, and it’s helped shape the sound and just made it more natural.” If Evans’ career began with a viral tidal wave, he still talks about it with disbelief. “Mind blown. That is the only word… I had no idea it was going to go that big…” And yet what stuck with him most was the joy it created: “to see kids and families and everyone making videos with smiles on their faces; everyone coming together.” Evans reflected on how quickly the journey has unfolded — from writing together in the studio to bringing the songs around the world. “I have made some of the greatest memories in the last two, three years… writing this album and touring the world. It’s just… it’s been incredible.” With Angels’ Share now available across streaming platforms and the worldwide tour continuing to bring their blend of Scottish folk and modern energy to audiences far beyond home, the trio are proving that the most powerful collaborations often grow from something simple: friendship, shared stories, and embracing a sound unmistakably their own.

The multi-talented singer-songwriter is known in the music industry for writing with some of the biggest names including Justin Bieber, Dua Lipa and Niall Horan. Article Contributed by Monica Soriano Photo from https://tobiasjessojr.com/ His Journey In Music From a non musical family to bringing music to many households. The Canadian-born musician unknowingly planted seeds for his successful career early on in his teens. It was in his 20s that his career started to sprout. Some people have a direct path to their artistry, but Tobias Jesso Jr. took a few side quests. While many people with his success grow up in musically inclined households, he didn’t. In an interview with Drowned in Sound, he stated he grew up in a tone deaf home and that “there was never music playing in my house”. He taught himself how to play guitar in high school, as music was always an interest. It was in a period of stillness in his hometown of North Vancouver where he created the songs that would eventually lead him to the path to be a 2x Grammy award-winning songwriter. He released his first solo project ‘Goon’ which gained attention from the right people. He also co-wrote for Adele and Sia in the same year as a new songwriter - that’s not something anyone can accomplish easily! Co-Writer, Producer and Collaborator Jesso’s unexpected list of collaborators. Tobias has an almost endless list of artists he has worked with. His ability to work across genres from indie rock band Florence and the Machine to the eccentric FKA Twigs, speaks volumes for his capabilities as a collaborator. Recently, Jesso joined forces with fellow Canadian Justin Bieber to co-write ‘SWAG’ and ‘SWAG II’. Bieber earned 4 Grammy nominations for ‘SWAG’ including Best Pop Solo Performance for “Daisies” which Jesso helped pen. Other notable tracks he co-wrote are “La Yugular” by Rosalía, “Wildcard” by Miley Cyrus and several tracks on Dua Lipa’s ‘Radical Optimism’ including “Houdini” and “Training Season”. Jesso also co-wrote Japanese singer Fuji Kaze’s “Hachikō” for his first full English album ‘Prema’. Songs in which he has both co-writing and co-producing credits include “Dotted Lines” by King Princess, “No Good Reason” by Omar Apollo, “You Get My Love” by Pink and “Overdrive” by Conan Gray. These are only a few, his talent expands through many more songs. More of Tobias Jesso Jr. Songs only he can share himself. In late 2025 he released an album by the title ‘shine’, his first piece of work as himself in 10 years since the release of ‘Goon’. ‘Shine’ is an 8 track project full of emotion and his own grounded lyricism. It is always great to see songwriters release their own projects. If they want to let others sing their experiences that’s wonderful and if they wish to be the ones behind the mic, that’s just as amazing. Every writer is different and chooses to tell stories differently. For Tobias Jesso Jr. to release a personal project after 10 years, it must be a story he wishes to tell for himself. We look forward to seeing more projects he works on as a songwriter, producer or artist.

Article Contributed by Konstantina Buhalis J. Cole's the Fall Off album cover J. Cole has released what he says is his final album, The Fall Off,  after years of success. The double album debuted first on the Billboard 200 and is the follow-up to his 2021 album, The Off-Season . Debuting to positive critical reception, The Fall Off may be J. Cole’s magnum opus.  Emotional Intimacy at the Forefront J. Cole has been known throughout his career as an emotionally vulnerable artist, from his “No Role Model” days to now, with his final record. While his work can be challenging, The Fall-Off  is an accessible story of growth, change, and aging. Cole was the primary photographer for the album artwork, including pictures of his old bedroom, taken when he was 15. In an interview with Vice , Cole said his passion was reignited during the Kendrick and Drake feud, leading him to use a self-portrait as an additional cover, writing, “Something just as strong as the first, with my face on it, so when I look back in 20 years, I can see an image of who I was at the time I released the project I worked on for so long.” Cole has shared his internal monologue and thought process with fans, giving audiences a chance to return to the start and understand the vision not only of this record but also of Cole’s career.   J. Cole's the Fall Off, alternative album cover A Lifetime of Work The Fall-Off  starts with James Taylor’s “In My Mind I’m Going to Carolina.” Lulling the listener into a dream-like state, with the gentle folk music mixed with distant sounds reminiscent of falling asleep in the car. Gunshots end the introduction and throw us into the thick of the album with “Safety.” Cole’s flow is tight and features some of his best writing. TFO’s soundscapes are more downtempo, focusing on Cole’s writing and lyricism. “Run a Train,” featuring Future, is the story of Cole returning to Fayetteville at 29 years old, knowing that he is a different man and developing a new relationship with the neighborhood, saying, “Goin' backwards like a penalty to see a younger me, but that day's gone” with the track mirroring the sentiments of “Safety”. On the second half of the album, “The Fall Off is Inevitable” introduces Cole’s understanding of the fleeting nature of fame and the choices he wants to make moving forward, a life outside of making music.  The Legacy Left Behind : J. Cole's Possible Fairwell? For over a decade, J. Cole has been one of the most prolific rappers in the scene, with benchmarks across the Billboard charts, XXL, and Spotify playlists dating back to the Tumblr era. With the decision to step away from music looming as the tour dates are released, fans can walk away from the shows knowing J. Cole has retired on a high note and that there will be a legacy that continues to define a moment in music.  Final Thoughts A standout double LP that sets J. Cole in the pantheon of best rap and hip-hop artists, with stellar storytelling and atmospheric arrangements to build an incredible finale for fans.  Standout Tracks: Safety Life Sentence Bunce Road Blues Final Verdict - 8.5/10

After the release of KPop Demon Hunters, Ejae became internationally known as a songwriter and singer but there are many years of hard work and dedication behind her success. Photo by Michelle Watt Article Contributed by Monica Soriano Step One: Training These days Ejae is seen walking red carpets and attending talk shows, a completely different life than she had even a year ago. For those who are unaware of her journey, it may seem as though she propelled to stardom overnight. In reality, her journey is one of many years of hard work, perseverance and redirections. Ejae has been exceptionally open about her journey within the music industry thus increasing her charisma with every interview she does. Her journey in music began at just 11 years old when she became a KPop trainee with SM Entertainment. Something to note is that the Idol training system is known to be extremely demanding and competitive. She spent almost 10 years working towards a debut but was ultimately dropped. Luckily Ejae had taken a step to further her knowledge and studied music in New York University Tisch School of the Arts. She had a strong foundation to create music - so she did. A KPop Resume Filled With Hits Ejae directed all of her talents and feelings towards producing and writing songs. She has created many beloved KPop tracks, some of which include “Drama” and “Armageddon” by Aespa, “Psycho” by Red Velvet and “Daisy” by Kep1er. Other artists she has penned for include girl groups Twice, Fifty Fifty and Nmixx as well as co-ed KPop group Kard. Many fans were surprised to learn that Ejae was the person behind some of their favorite songs and thus making her journey even more endearing to follow. Enter Rumi from KPop Demon Hunters KPop Demon Hunters was an unexpected phenomenon that took over the world last year. An animated film about a KPop girl group that fights demons can sound crazy at first, but in reality, the heart that went into this movie, the perfectly crafted songs and the story of Rumi created fans everywhere. Suddenly non KPop listeners were singing along to the sound track and many were in search of a purple braid for their halloween costume. This film was years in the making before its release. Ejae was brought on as a songwriter but through the many Demos for the film, she was asked to stay as the singing voice of Rumi, the lead character. The success of the film was something no one predicted, there were no costumes ready to be sold for Halloween, no toys produced in time for Christmas and no theatrical release. Eventually, the film received a special theatrical release for the sing-along but only after the many viral videos of kids and adults appreciating the film. It was through the love from the audiences that Ejae gained her mainstream popularity. “Golden” was and still is everywhere. Ejae along with Rae Ami and Audrey Nuna were suddenly performing on talk shows, parades and walking red carpets. Ejae not only wrote the mega hit “Golden”, she wrote several other tracks for KPop Demon Hunters including “How It’s Done” “Your Idol” and “What It Sounds Like”. In an interview with WIRED, Ejae explained that “Your Idol” was inspired by the dark side of the KPop industry. Ejae’s Voice Reaches Hearts Internationally It’s painful to imagine the feeling of not being good enough or not being picked over and over at such a young age but it does happen daily to many people. This is part of what makes Ejae such an easy person to root for. Her ability to share her journey and continuous perseverance in a down to earth and mature way creates a relatability factor that resonates with many. Her voice, along with the songs she wrote and Rumi’s own self acceptance journey in the film is pure gold. Ejae has reached many people of all ages and backgrounds through her music, her story and her voice. All the training and accumulation of failures and wins has led to this moment. Photo from EJAE on IG ( @ejae_k ) The year is just beginning but Ejae continues to show up for her well deserved nominations. “Golden” recently won a Golden Globe for Best Original Song - Motion Picture and is also nominated for Song of the Year at the upcoming Grammys and Best Original Song at the 2026 Oscars. Her voice truly reaches far and wide. With her new found visibility, Ejae released “In Another World” last year as her introduction to the world. It’s a beautiful track and we can only hope she continues to release solo music. There are also many fans wanting her, Audrey Nuna and Rae Ami to go on tour together. We’ll keep an eye out for all the exciting things happening for Ejae and we will continue to root for her as an artist, songwriter and person!

In November of 2025 the R&B singer released a much anticipated album filled with collaborations, charming songs and the full Summer Walker appeal. Article Contributed by Monica Soriano Photographed by Prince A Williams (@altpics) R&B Inspired by Anna Nicole Smith? The Grammy Award nominated singer Summer Walker released her album Finally Over It. This project follows previously released albums Over It and Still Over It making it the end of the trilogy. Finally Over It is split into 2 discs and consists of 18 tracks. The cover is of Walker wearing a wedding dress standing next to an elderly caucasian man in a wheelchair. This was inspired directly by the late Anna Nicole Smith’s 1994 wedding with a much older J. Howard Marshall. 18 Songs, What Stood Out? There were so many memorable moments and lyrics throughout the album. The first thing that stands out is Summer Walker’s beautiful vocals. It becomes mesmerizing to follow her voice from one track to the next. Second, Summer is exploring her sound further with this project, allowing her to continue cementing her name not only in the R&B space but the music industry in general. “Heart Of A Woman” stands tall with its nostalgic 90’s vibe. Something just as nostalgic is her track “No” which samples Beyonce’s 2003 song “Yes”. “Finally Over” was a beautiful soft track which made the perfect conclusion to her album. Album Collaborations That Make Sense A noteworthy collaboration in Finally Over It would be “1-800 Heartbreak” featuring Anderson .Paak, the song has a catchy chorus and Anderson adds a surprising last verse that aligns perfectly with the song. While Bryson Tiller felt underused in “Give Me A Reason” only jumping in for a short third verse at the end, it is overall a great R&B song and his voice is always a good addition. A song that was initially difficult to grasp was “Go Girl” featuring Latto and Doja Cat but as soon as Doja came in verse 3, it immediately changed the track's direction. “Allegedly” featuring Teddy Swims was without a doubt the best collaboration on this album, it was beautiful and harmonious. Other artists she featured were Brent Faiyaz, 21 Savage, GloRilla, Sexyy Red, Monaleo, SAILORR, Chris Brown and Mariah the Scientist. ‘Finally Over It’ Extended Version and…..Tour? Days later after the release of Finally Over it, Summer Walker dropped an extended version of the album titled Finally Over It (The Afterparty) which includes a third disc containing 3 more tracks. One of those tracks is a solo version of “1-800 Heartbreak”. The other two tracks are “Take Me Out This Club” and “Drown In My Love” featuring Froggieraw. Walker has also since announced her Still Finally Over It arena tour in which she will celebrate the entirety of her Over It trilogy. She has tour dates in the United States, Canada and the United Kingdom. Overall Finally Over It is worth a listen for fans and non fans. It is a good follow up to the previous two albums from the same trilogy. This latest project is a big step for Summer Walker as she explores music in a deeper and more creative way. We are excited to continue this journey with her and see as she proceeds to create music from various inspirations!

Landon Conrath captivates the sold-out crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG Article and Photography contributed by Rebecca McDevitt. Philadelphia hosted the first sold-out show of Landon Conrath’s current tour Friday night at MilkBoy, and the city absolutely showed up for it. The second you walked into the room, you could tell it was going to be one of those nights. MilkBoy was packed. No photo pit, photographers wedged into the crowd with everyone else, and within minutes the whole place felt warm and shoulder-to-shoulder. It was the kind of room where you could barely move your arms, but nobody seemed to care because everyone was just excited to be there. Abby Holiday wins over the crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG Before Conrath took the stage, opener Abby Holliday set the tone in the best way. Between her vocals and her sense of humor, the crowd seemed intrigued almost immediately. At one point she started using a microphone with a built-in voice changer, layering effects over her vocals in a way that felt playful and unexpected. It was one of those small moments that had people looking at each other like, “Okay wait… this is really cool.” Abby Holiday wins over the crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG Landon Conrath captivates the sold-out crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG By the time Landon Conrath stepped out, the room was fully locked in. Conrath has this natural, easygoing presence that makes a show feel less like a performance and more like hanging out with a room full of people who already know the words. He bounced between songs with a huge smile, clearly feeding off the crowd just as much as they were feeding off him. Landon Conrath captivates the sold-out crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG Songs like “Telluride” and “Trader Joe’s” had fans singing along almost immediately, but one of the most memorable moments came when Conrath let the crowd pick a song for the set. The room quickly rallied behind “Boulevards,” and the reaction when it started felt like the entire audience moved at once. Landon Conrath captivates the sold-out crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG Conrath also kept things fun visually throughout the set. Behind him, screens flashed different clips and graphics that matched the playful tone of the show. At one point, a scene from 22 Jump Street  popped up featuring the infamous slam poetry moment, which had people in the crowd laughing and pointing it out to their friends. It felt perfectly on brand for the lighthearted energy he carried all night. Landon Conrath fans sing along at the sold-out crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG What really stood out about the night wasn’t just the music, though. It was the crowd. Everyone seemed completely in it. People were dancing, singing, laughing between songs, and honestly just having a really good time together. Honestly, we’ve been to a lot of shows in Philadelphia, and we can’t remember the last time we saw a room this sweaty, packed, and fully locked into a set. Landon Conrath captivates the sold-out crowd in Philly at Milkboy | Photography by @ rebeccajeanlimitedphotography on IG By the end of the night, it was easy to see why Philadelphia became the first sold-out stop of the tour. From the stage to the back of the room, everyone felt part of the moment.

Teen pop fans pack The Fillmore Detroit as rising artists Freya Skye and Adrian deliver a night of high-energy performances. Freya Skye lights up the night at the Fillmore, Detroit, MI | Photography by @ljportnoy on IG. Article and Photography Contributed by LJ Portnoy A Crowd Ready Before the Music Began On February 24, the excitement surrounding Freya Skye’s Stars Align Tour  was already impossible to miss long before the doors opened at The Fillmore Detroit. A massive line stretched down the block outside the historic venue as families, groups of friends, and excited young fans waited eagerly to get inside. Freya Skye lights up the night at the Fillmore, Detroit, MI | Photography by @ljportnoy on IG. Once the doors opened, the energy only intensified. The Fillmore’s floor quickly filled wall to wall, packed so tightly that moving through the crowd became nearly impossible. Parents stood shoulder to shoulder with their teenage daughters, many already clutching their phones and merch, the anticipation building with every passing minute as the lights dimmed and music echoed through the room. Adrian Sets the Stage Connection Adrian Lyles kicks off the show at the Fillmore, Detroit, MI | Photography by @ljportnoy on IG. Before Skye took the stage, Adrian opened the night with a performance that quickly proved he was far more than a typical warm-up act. Adrian delivered a confident and polished set that immediately captured the crowd’s attention. With smooth vocals, strong musicality, and an easy stage presence, he moved comfortably across the stage while the audience quickly warmed to his sound. His performance carried a level of confidence that hinted at something bigger ahead, leaving a strong impression as an artist worth watching closely as his career continues to grow. A Pop Princess Takes the Stage Freya Skye lights up the night at the Fillmore, Detroit, MI | Photography by @ljportnoy on IG. When Freya Skye finally appeared, the venue erupted in cheers. Dressed in a sparkling hot pink dress paired with glittering black boots, Skye stepped into a wash of pink, purple, and blue lighting that instantly transformed the room into a pop dreamscape. Though just sixteen years old, Skye performed with the confidence and polish of a seasoned pop act. From the moment she appeared, phones filled the air as fans sang along and danced throughout the venue, many discovering her through her Disney appearances in projects like Zombies . Freya Skye Encapsulates the Room Freya Skye lights up the night at the Fillmore, Detroit, MI | Photography by @ljportnoy on IG. Skye balanced playful choreography with strong vocals and constant movement across the stage, shifting between energetic dance moments and interactions with the crowd. At one point, she encouraged fans to join in on a playful claw-like hand motion, which quickly spread through the audience as friends mirrored the gesture and laughed together. Backed by a full band, the set featured upbeat pop tracks including Can't Fake It , Walk Over , Bad Taste , and Silent Treatment . One particularly fun moment came when Skye turned toward her guitarist mid-song and burst into laughter before jumping right back into the performance, a spontaneous moment that perfectly captured the celebratory energy of the night. A Star in the Making Freya Skye lights up the night at the Fillmore, Detroit, MI | Photography by @ljportnoy on IG. What stood out most was the scale of the turnout. Fans had traveled from across the region to see Skye perform, including families making the trip from neighboring states. One parent shared that their daughters had convinced them to drive all the way from Ohio just to be there for the show. For an artist still early in her touring career, Freya Skye’s Detroit stop felt like a glimpse of something bigger on the horizon. Between Skye’s growing stage presence and Adrian’s standout opening performance, the night offered a look at two young artists whose careers are clearly just beginning to unfold.

Article Contributed by Konstantina Buhalis Michigan metalcore heroes, Of Virtue, hit the ground running with their latest single, “Death Of The Altar”, an intense and emotional look at their innerworlds, and their battles with their demons. Midwestern politeness is nowhere to be found on this track, but Michiganian truth flows through the track. Photo: Alexander Bemis Power in Collaboration “Death Of The Altar” was written in partnership with Lee Albrecht (Bilmuri, The Devil Wears Prada, etc.) and Evan McKeever (Starset, Koe Wetzel), showcasing Of Virtue's intimate storytelling. With their latest release, “Omen,” hitting 65 streams, Of Virtue has built a strong fanbase through neck-breaking riffs, powerful vocals, and melodies, creating a dynamic sound with powerful writing. Of Virtue’s dedication to destigmatizing addiction, mental health, and vulnerability has made them a hit and allowed them to aid in community building and help the metal and alternative scene evolve. In addition, the band's diverse ethnic backgrounds have given them a unique well of inspiration, further proving that the alternative scene is for everyone. Images and Metaphors The music video released for “Death Of The Altar” has been gaining momentum, with 233k views and 1.4k likes. Of Virtue worked with Blackwolf Imaging and Levine Pictures to create a visually stunning music video featuring religious metaphors, pyrotechnics, and shadows that unfold into a journey in which the band members confront themselves, the expectations society places on them, and the catharsis of self-forgiveness. This introduction to their fourth album sets the tone for another installment of their emotional, unique take on metalcore and showcases their growth as artists and individuals. Damon Tate said, “We trade our health, clarity, and connection for things that never truly love us back on a daily basis. More often than not, we don't recognize the consequences of our choices/actions until it's too late. The guilt sets in, and we set out to self-soothe, compounding these negative emotions with even worse decisions, losing more of ourselves in the process. This song is our open admission that we as human beings are both worshipper and offering. DEATH OF THE ALTAR is a stark metaphor for how chasing these ephemeral moments exploits our need for meaning, belonging, and connection in this world.” “Death Of The Altar” is available to watch on YouTube, and Of Virtue’s music is available for streaming on every platform.

Article Contributed by Rebecca McDevitt Let’s say the quiet part out loud. The reason so many artists are living off nostalgia instead of putting out new music isn’t just an industry problem. Fans play a role too. Across the industry, nostalgia has become the safest option. Anniversary tours sell out instantly. Full album playthroughs move merch. Entire festivals are built around who we listened to in high school. It works because nostalgia is powerful and comforting, especially when the world feels chaotic. Fans want to feel safe. Artists want to survive. And the industry is watching. Career-spanning moments like The Eras Tour from Taylor Swift or concepts like Five Albums, One Night from the Jonas Brothers prove how deeply fans crave familiarity. These shows are massive, emotional, and undeniably well done. But their success also highlights something uncomfortable: fans will always show up harder for memory than for risk. The same thing happens at nostalgia-driven festivals like When We Were Young Festival in Las Vegas or the legacy of Warped Tour. Lineups built almost entirely around the past thrive because they ask very little of the audience. You already know the words. You already know how the night will feel. You’re not being asked to meet the artist where they are now, just to remember where you were then. That’s where the cycle starts. A lot of fans say they want artists to evolve, to grow, to be authentic. Until that growth doesn’t sound like the version they fell in love with. Then the comments shift. “This doesn’t sound like them anymore.” “I miss the old era.” “Why did they change?” Unless you’re a super fan, most people don’t actually want evolution. They want reassurance. They want the soundtrack to a specific chapter of their life, not a reflection of the artist’s current one. New music asks listeners to be curious and present. Nostalgia asks nothing at all. Artists feel this in real time. In ticket sales. In which songs get the loudest reaction. In which eras get celebrated and which ones quietly get skipped. So they respond accordingly. Why risk releasing new work that might be ignored or picked apart when leaning into the past guarantees packed rooms and instant praise? That’s how nostalgia stops being a celebration and starts becoming a crutch. This doesn’t mean legacy doesn’t matter. It does. Those songs earned their place. But when the loudest applause is always for what’s already been done, artists quietly learn where it’s safest to stay. Shows begin to feel like reenactments instead of living moments. The relationship between artist and fan stops evolving and starts looping. Fans want authenticity, but often only within very specific boundaries. Artists want freedom, but often retreat to what’s rewarded. It’s a shared responsibility, even if we don’t like admitting that. Nostalgia should be a bridge, not a cage. A way to honor the past without being trapped inside it. The most meaningful moments in music happen when artists are brave enough to move forward and fans are willing to follow. Maybe the real question isn’t why artists keep looking backward. Maybe it’s why so many of us are afraid to move forward with them.

Article Contributed by Fernando Flores Photo Contributed by 1824 / UMG During a press conference with Em Beihold, she opens up about her upcoming debut album, Tales of a Failed Shapeshifter, set for release on February 27, 2026. Throughout the conversation, Beihold offered an honest look into her creative process, the themes behind the album, and the personal growth that shaped the project. Who is Em Beihold? Em Beihold is a Los Angeles-based singer-songwriter who has built her career around honesty, introspection and sharp lyrical storytelling. She first gained widespread attention with “Numb Little Bug” a song that resonates deeply with listeners through its candid portrayal of anxiety and self-awareness. Since then, Beihold has continued to carve out a space that prioritizes meaning over labels, allowing her music to evolve without fitting neatly into a genre box. Her songwriting often uses playful imagery such as bugs, goblins, and unicorns to translate complex emotions into something tangible. Rather than serving as surface-level concepts, these figures help frame conversations around identity, insecurity, and self-perception. By pairing lighthearted visuals with thoughtful lyricism, Em Beihold creates songs that feel approachable while still carrying emotional weight. A balance that remains central to her artistry and her upcoming album. Tales of a Failed Shapeshifter Tales of a Failed Shapeshifter is an album rooted in identity, intuition, and what happens when constantly adapting stops working. During the conference, Beihold shared that following the success of “Numb Little Bug,” she found herself in countless writing sessions surrounded by different voices and perspectives. Over time, that environment showed her that trusting her own instincts mattered more than ever. This album became a way of growing that trust. Beihold explained that once she sits at the piano, any filter disappears, which allows her to process emotions honestly whether that be through humor or vulnerability. Rather than chasing trends she intentionally leaned into the kind of songwriting that first made music feel like home. Drawing inspiration from artists like Sara Bareilles, Regina Spector and Lily Allen, Beihold focused on meaningful storytelling and emotional clarity ensuring each song had something to say. Several tracks on the album track back years. “Hot Goblin” began when Beihold was just 13, while “Brutus,” the first song she wrote after overcoming a period of writer's block, played a major role in shaping the project. Though mythology wasn't an intentional starting point, references to figures like Brutus and Van Gogh emerged naturally, helping her explore themes of comparison, pressure and the challenge of staying true to herself. A Sneak Peek: “Unicorn” and “Van Gogh” SoundCheck Mag was treated to multiple previews during the conference, including “Unicorn”, the third track on the album. Built around a piano-forward sound, the song explored the emotional contradiction of leaving a partner everyone says you're better off without while still finding yourself dreaming about them. The lyrics reflect longing, obsession, and the difficulty of letting go even when you know it's necessary. Photo Provided by 1824 / UMG Later in the conference, Em Beihold shared a preview of “Van Gogh” that begins softly before shifting into a faster, more playful rhythm. Featuring a piano section inspired by a famous classical piece, the song pulls listeners into Beihold’s lyrical world, mirroring the chaos, color, and curiosity that define her perspective. Final Thoughts: With Tales of a Failed Shapeshifter, Em Beihold isn't trying to reinvent herself, but she's intentionally returning to who she is. The album feels like a collection of moments tied together by reflection, growth and learning to trust your own voice. As she prepares to take the album on tour, Em Beihold is stepping into this era with confidence and clarity. When Tales of a Failed Shapeshifter arrives on February 27, 2026, listeners can't expect an album that is thoughtful, playful, and deeply personal. An album that rewards those who take the time to listen all the way through.

The R&B singer released a 15 track album oozing with attractive melodies and risque lyrics that are easy to gravitate to. Article Contributed by Monica Soriano Photo Provided by Universal Music Group A Strong 3rd Studio Album Ari Lennox’s 3rd studio album ‘Vacancy’ is a real gift to listeners. With only one feature on the entire project, everything relies solely on Lennox’s vocals. This is an album that can be played in the background for ambience or with headphones on to grasp every detail indulging in a full escape. Ari Lennox has proven herself over and over through her various musical projects including mixtapes, EP’s and full-length albums. The entirety of ‘Vacancy’ is full of her lyricism and beautiful vocals. The input she had in the project goes beyond just recording the songs - she spent 3 years crafting this album and co-writing every single song. It is a piece of herself she is sharing with the world and it’s easy to be drawn to her sweet voice. Riveting Songs That Stand Out The 15 songs felt intentional which made the project as a whole cohesive. While the album is worth listening to in its entirety, there were a few songs that stood out more than others but it was rather difficult to pick favorites. “High Key” may be a short track but it’s easy to remember due to the catchy chorus and overall fun appeal. “Soft Girl Era” is equally as lively with an upbeat and relatable context. With these two tracks Ari Lennox demonstrates she can do Pop R&B well. Sitting next to each other on the album “Cool Down”, “Horoscope” and “Wake Up” are deserving of attention. Ari Lennox makes it sound easy, the way her voice glides through the tracks perfectly forming a balance between showing her internalized feelings and her musical abilities. Her only feature on this album is Jamaican musician Buju Banton on the song “Company”, a perfect blend of both artists' styles coming together. He influences the song heavily thus making it stand out, in a good way. Vacancy & Beyond As Ari Lennox continues to release music and experiment with sounds past R&B or rather blending genres with R&B, she grows beyond what she herself may have thought possible. Every single piece of work she releases is proof that she’s here and her name holds more weight in this industry each time. Photo Provided by Universal Music Group She has been releasing lyric videos for her songs as well as a fun mini series titled ‘Vacancy Motel’ with each episode being under 2 minutes. “Under The Moon”, “Vacancy” and “Soft Girl Era” all have music videos released on youtube and “Under The Moon” even has a couple live sessions by Lennox! ‘Vacancy’ marks the first full-length album since parting ways with Dreamville making this an important shift in her career. The album is superb, it is dripping in R&B vocals but delicately blends other genres when it makes sense to do so. Although nothing has been officially announced, there are high hopes for an Ari Lennox tour this year!

Article and Photos Contributed by Rachel Catherine The Kicking My Feet Tour is a celebration of Ruel’s sophomore album, Kicking My Feet, an album that describes through music that feeling of falling in love, when you’re all giddy, giggling and kicking your feet as you start falling hard for someone. A feeling that I know all too well, about a time or two hundred. But it was one fabulous way to end February, a month of love–very fitting for the album and the tour. It was a night of loving and high-energy in Detroit. Arthur Hill: The Opening Act Arthur Hill kicked off the night with his London charm and cheeky stage presence. He had that kind of energy that gets you excited for the main act. Arthur had some long-time fans in the crowd along with new listeners that from what I witnessed, really seemed to enjoy his music as they jumped with him, bopped their heads, and clapped along to the beat. has a way of commanding a room that makes even the newest listeners feel like long-time fans. I think his performance brought something special to the show that added onto the excitement for Ruel’s set to follow. Arthur Hill performing at Masonic Temple in Detroit, MI. Photos by Rachel Catherine (IG: @rachsgalleryy ) Ruel: Kicking His Feet Ruel’s entrance for his set was anything but ordinary. It felt original and creative, entering the stage through a front door. I interpreted it as coming into/entering into that new chapter/era/feeling of falling in love. But as soon as he came through that door, you could feel the room fall into that trance, the second he sang his first note. Something about his vibe that just makes him a completely loveable guy with his laid-back/relaxed stage presence. Ruel performing at Masonic Temple in Detroit, MI. Photos by Rachel Catherine (IG: @rachsgalleryy ) He never let that energy fall, his strong vocals and dancing his way through the set along with the blend and balance between its touches of stripped-back, acoustic vulnerability, gorgeous piano ballads, and electric performances that showed that music really does come from experiences and feeling, this wasn’t something that is quick, it’s a process. Ruel performing at Masonic Temple in Detroit, MI. Photos by Rachel Catherine (IG: @rachsgalleryy ) Ruel didn’t just put on a show, he created a production–an experience where fans and music lovers get to take the night to feel what they want or need to feel through his music. It was a night that definitely left that crowd kicking their feet even after the lights came up. What a night!