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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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!