Search Results

Hoboken’s Pier 13  was the place to be this Labor Day Weekend , as DJ Deleasa  took over the waterfront venue for an electrifying night of music, energy, and celebration. With the iconic Manhattan skyline as a backdrop, partygoers soaked up the last moments of summer with an unforgettable performance that kept the crowd moving from sunset to late into the night. Photo by Rebecca McDevitt - RJL Photography Known for his seamless blend of house, hip-hop, and dance anthems, DJ Deleasa  delivered a high-energy set that had the crowd dancing non-stop. From remixed summer hits to deep bass drops that shook the pier, his setlist was crafted perfectly for an end-of-summer bash. As the sun dipped below the Hudson, the music only got louder, and the atmosphere transformed into a full-fledged party under the stars. Photo by Rebecca McDevitt - RJL Photography Pier 13, famous for its scenic waterfront views, food trucks, and vibrant nightlife, provided the perfect setting for a Labor Day Weekend  celebration. The open-air venue was packed with locals and visitors looking to make the most of the holiday weekend. Drinks flowed, the cool river breeze balanced the heat from the dance floor, and the crowd fed off DJ Deleasa’s infectious energy. Photo by Rebecca McDevitt - RJL Photography With an undeniable stage presence and a talent for reading the crowd, DJ Deleasa  created an atmosphere that perfectly captured the spirit of summer’s final party. Whether it was hands in the air for an EDM drop or a nostalgic throwback remix that had everyone singing along, his performance was a masterclass in keeping the energy high and the good vibes rolling. Photo by Rebecca McDevitt - RJL Photography As Labor Day Weekend  came to a close, one thing was certain—those who spent it at Pier 13 with DJ Deleasa  got the ultimate summer send-off. With music, city views, and an unbeatable party atmosphere, the night was a perfect farewell to the season.

The Illinois State Fair was packed with anticipation on August 15 as fans lined up outside the grandstand gates for hours—some arriving early in the morning—just to secure the perfect spot for the Jonas Brothers' highly awaited performance. The dedication was real: as soon as the gates opened, a sea of fans sprinted to claim their spots close to the stage, setting the tone for an electric evening. Photo by Rebecca McDevitt - RJL Photography The show kicked off in true celebratory fashion with "Celebrate!," an opener that had the entire crowd on their feet. Nick, Joe, and Kevin wasted no time diving into a mix of career-spanning hits, including "What a Man Gotta Do" and the ever-nostalgic "S.O.S." The energy was palpable, and with it being Joe Jonas’s 35th birthday, the night carried an extra layer of excitement. At one point, the crowd erupted into an impromptu "Happy Birthday" singalong, making the moment even more special. Photo by Rebecca McDevitt - RJL Photography The setlist was a well-balanced blend of nostalgia and recent hits, with standouts like Nick’s "Jealous," DNCE’s "Cake by the Ocean," and a powerful cover of Coldplay’s "Fix You," which hadn’t been played live since 2008. The moment the opening chords rang out, fans swayed, sang along, and lit up the night with phone flashlights, creating an intimate atmosphere amidst the grandstand setting. Photo by Rebecca McDevitt - RJL Photography Closing out the show with high-energy bangers like "Burnin’ Up," "Sucker," and "Leave Before You Love Me," the brothers left the Illinois State Fair crowd buzzing. Their ability to seamlessly mix old favorites with new chart-toppers, all while keeping the energy high and the connection with fans strong, made this a night to remember. Photo by Rebecca McDevitt - RJL Photography For those who camped outside all day, sprinted through the gates, and sang their hearts out, the wait was more than worth it. The Jonas Brothers proved once again why they remain one of the most beloved acts in pop music today. Photo by Rebecca McDevitt - RJL Photography

Cassadee Pope delivered an unforgettable performance at the Twilight Concert Series held at Jack Curtis Stadium in Cooper River Park on June 27, 2024. As the evening sun set, fans gathered to witness the multi-talented artist, known for her dynamic blend of pop-punk and country influences. Photo by Rebecca McDevitt - RJL Photography Pope's setlist was a testament to her versatile career, featuring a mix of her solo hits and fan-favorite tracks from her early days with Hey Monday. Opening with the energetic "Same Old Brand New Me," she immediately captivated the audience, setting the tone for an unforgettable night. Her powerful vocals and engaging stage presence were evident throughout the performance, especially during heartfelt renditions of songs from her latest album, "Hereditary." Photo by Rebecca McDevitt - RJL Photography A standout moment was Pope's acoustic medley of tracks from her self-titled EP, offering a nostalgic experience for longtime fans. The intimate atmosphere during this segment highlighted her songwriting prowess and emotional depth. Photo by Rebecca McDevitt - RJL Photography The concert was part of Camden County's expanded 2024 Summer Parks Concert Series, which aimed to provide free, high-quality entertainment to the community. The well-organized event, set against the scenic backdrop of Cooper River Park, offered a family-friendly environment that attendees of all ages could enjoy. Photo by Rebecca McDevitt - RJL Photography In summary, Cassadee Pope's performance at the Twilight Concert Series was a memorable evening that showcased her exceptional talent and connection with the audience. Her ability to seamlessly blend genres and deliver a captivating live show reaffirms her status as a compelling entertainer.

Photo by Rebecca McDevitt - RJL Photography At Witch Bitch Thrift, the venue transformed into the ultimate indie music hotspot as Milahroy took the stage. Known for its quirky charm and dedication to supporting local talent, the space provided the perfect setting for a performance that felt as personal as it was powerful. Milahroy, a rising voice in the indie-alternative world, delivered a set that hit all the right notes—blending soulful melodies, heartfelt lyrics, and a sound that just pulls you in. Standout moments included performances of fan-favorite tracks like "2 DAMN GR8FUL," which radiated pure gratitude and high-energy vibes, and "Living by Comparison," a song that deeply resonated with the audience through its introspective lyrics. Photo by Rebecca McDevitt - RJL Photography Four nights later, on May 28, Milahroy brought the same energy to C’Mon Everybody in Brooklyn, elevating the My Oh Mini Tour to new heights. The intimate yet dynamic venue allowed for an even deeper connection between artist and audience. With a setlist full of emotion and groove, the Brooklyn crowd was completely immersed in the experience, proving that Milahroy’s reach extends far beyond a single city. Photo by Rebecca McDevitt - RJL Photography Whether you were a longtime fan or just discovering his music for the first time, you couldn’t help but be drawn into the moment. Both Witch Bitch Thrift and C’Mon Everybody continue to prove themselves as cultural hubs where music, art, and community collide. Hosting Milahroy only reinforced their roles as go-to spaces for creative expression and emerging talent. As the final chords rang out, Milahroy isn’t just making music; he’s creating moments. If these shows were any indication, he’s an artist to keep on your radar in the indie scene.

A 20-year Chroma celebration, sung loud and heart-first in Detroit. Article Contributed by LJ Portnoy, Editor-in-Chief Photography by LJ Portnoy (@ ljportnoy on IG) Cartel in Detroit, Photographed by LJ Portnoy (@ ljportnoy on IG) At St. Andrew’s Hall in Detroit, the night buzzed with anticipation as fans packed shoulder to shoulder for a lineup that blended fresh talent with seasoned pop-rock veterans. Landon Conrath Opens with Spark Landon Conrath in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) The evening kicked off with Landon Conrath, who immediately won the crowd with his infectious energy and jangly guitar-pop sound. His set mixed playful melodies with heartfelt lyrics, setting a vibrant tone for the night. Conrath’s knack for making even the most intimate moments feel electric proved he’s an opener worth watching closely. Landon Conrath in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Hunny Brings the Groove Hunny in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Hunny followed, leaning into their signature blend of indie-pop sheen and retro grooves. Despite a few minor technical hiccups, the band’s chemistry never faltered. Fans danced along as synth-driven beats and slick guitar lines turned St. Andrew’s into a retro dance hall. Cartel Brings Chroma Back to Life Cartel in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Marking the 20th anniversary of their seminal debut Chroma , Cartel took Detroit back to 2005 with a front-to-back play through that had fans hanging on every note. From the opening chords of “Say Anything (Else)” to fan-favorite deep cuts like “A” and “If I Fail,” the night felt like stepping inside a time capsule, only louder, brighter, and more alive. Cartel's Will Pugh, in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) The energy inside St. Andrew’s Hall was electric. Longtime fans sang with the same conviction they had as teenagers, while newer listeners discovered why Chroma  became a touchstone of the 2000s pop-punk/alt-rock era. Will Pugh’s vocals carried the same urgency as they did two decades ago, while the band leaned into each riff and chorus like they’d been saving it for this moment. For many in the room, it was a reminder of why these songs still matter. Cartel's Joseph Pepper, in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) A Band That Defined a Scene For fans of 2000s pop-punk and alternative rock, Cartel has always been a staple. Their mix of high-energy hooks, soaring melodies, and emotionally charged lyrics helped carve out a lane that set them apart from their peers. With Chroma , they created a record that became both a soundtrack to youth and a timeless reminder of the era’s best qualities. Cartel's Nic Hudson, in Detroit, Photographed by LJ Portnoy (@ ljportnoy  on IG) Two decades later, Cartel’s influence is undeniable. Bands across the genre cite them as inspiration, and their songs continue to find new life with younger fans through streaming platforms and anniversary tours like this one. Watching them deliver Chroma  in full proved they aren’t just a nostalgic act—they’re a band whose music still connects, still energizes, and still matters.

Surf-rock soul meets goofy charm: Peach Pit lights up Cleveland with friendship, fun, and fan-favorite singalongs. Article Contributed by Madison Cozzens. Revisions by LJ Portnoy, Editor-in-Chief Photography by Madison Cozzens. Peach Pit Photographed by Madison Cozzens (@ coz_artphoto on IG) Categories: Concert Review, Indie Rock, Alternative/Surf Rock, Live Music Coverage Tags:   A Night of Heavy Riffs, Warm Harmonies, and Sing-Alongs A cover of Black Sabbath’s “War Pigs,” headbanging, and soaring guitar solos might sound like a heavy metal show—but that’s where you’d be mistaken. This was Peach Pit’s Fall Quest Tour  stop at Cleveland’s House of Blues, where strangers became friends in a packed room celebrating life, love, heartbreak, and everything in between. Miya Folick’s Dreamlike Opening Photography by Madison Cozzens (@ coz_artphoto on IG) Los Angeles singer-songwriter Miya Folick  opened the night with a seated, stripped-down set. Her voice—equal parts raw and ethereal—floated across the sold-out venue like a late-night conversation. Between songs, Folick connected with the crowd in a way that felt personal, almost like a living-room show, drawing everyone into her world of self-reflection and lyrical honesty. War Pigs to Magpie Peach Pit Photographed by Madison Cozzens (@ coz_artphoto  on IG) Peach Pit wasted no time in making their entrance unforgettable. They launched with a tongue-in-cheek cover of “War Pigs” before blending seamlessly into “Magpie,”  the title track from their latest album. Frontman Neil Smith  stood center stage, flashing peace signs as the crowd roared, setting the tone for a night where the sing-alongs never stopped. From early favorites like “Alrighty Aphrodite”  to fan-beloved cuts like “Shampoo Bottles,”  the setlist felt like a greatest-hits reel. They closed with “Tommy’s Party,”  leaving the audience swaying, shouting, and already wishing for more.   Friendship on Stage Peach Pit Photographed by Madison Cozzens (@ coz_artphoto  on IG) Peach Pit— Neil Smith  (vocals, guitar), Christopher Vanderkooy  (lead guitar), Peter Wilton  (bass), Mikey Pascuzzi  (drums), and longtime touring member Dougal McLean  (guitar, synth, violin)—bring a chemistry to the stage that’s hard to fake. McLean may not be an official member, but his presence and instrumental versatility make him feel inseparable from the band’s live identity. Their camaraderie fuels the show, reminding fans that at its core, Peach Pit is about friendship. Goofy Meets Melancholy Scroll through Peach Pit’s socials and you’ll find them dressed in medieval costumes in Times Square or hamming it up in eccentric promo shoots. That same silliness carries into their live shows, balancing perfectly against their lyrics, which often lean toward bittersweet and reflective. Peach Pit Photographed by Madison Cozzens (@ coz_artphoto  on IG) The magic happens in the contrast: heartfelt words paired with grooves that demand dancing. Vanderkooy’s guitar solos often steal the spotlight, his body moving with reckless abandon—spinning, stomping, and letting every riff pulse through him. Watching him step to the front of the stage feels like witnessing someone lost in the joy of music, and the crowd can’t help but mirror that energy. Still Rising Since their 2018 debut Being So Normal,  Peach Pit have been steadily carving their lane in indie surf-rock pop. This year alone, they’ve tackled three tours— The Magpie Tour, The Long Hair Long Life Tour  with Briston Maroney, and now the Fall Quest Tour. Through it all, their mission hasn’t changed: keep the friendship strong, keep the music honest, and keep it fun. Judging by the Cleveland crowd that sang every word, Peach Pit’s story is still only beginning.

The Final Chapter of the Blurryface Saga Review contributed by Rebecca McDevitt Image credit: Fabien Kruszelnicki (@ FabienKrszelnicki  on IG) Twenty One Pilots have never just released albums, but they’ve ALWAYS built worlds. With Breach , the duo officially closes the book on the Blurryface saga, giving fans a powerful final chapter that feels both nostalgic and brand new. Back in May, the band teased the record with a cryptic post: “hello Clancy. hello Blurryface. let’s finish this.” Tyler Joseph later confirmed this tour cycle will be their last for an unknown stretch of time. For a band that’s always lived on the road, that hit hard. A Journey Through Time Listening to Breach  is like stepping into a time machine. The opening track, City Walls , throws it back to Vessel -era intensity, echoing the punch of Migraine  and the lyrical heartbeat of Holding Onto You . On the other side, the closing song Intention  gives the same kind of catharsis Truce  once did, a reminder that even endings can feel like safe places. This album carries the weight of a decade of growth. You can hear it in Joseph’s writing, and you can feel it in Josh Dun’s drumming. Drum Show  doesn’t just spotlight Dun’s insane talent behind the kit, it lets his voice shine too, something fans loved on their recent tour. Soundtrack of Contrasts What makes Breach  hit so hard is its range. From piano-driven warmth in Robot Voices  and Cottonwood  to the explosive guitar riffs of The Contract , the album never loses balance. The transitions are seamless, each track flowing like a new page in the same story. For longtime fans, it’s the lyrical details that sting the sweetest. Joseph’s words have always been mirrors, sometimes cracked, sometimes crystal clear, and Breach  is no exception. Lines  like “my tattoos only hurt when meaning fades, I think my skin got worse with good intentions”  remind us why the clique has held on through every era. Closing the Chapter The easter eggs are there for those who’ve been along for the ride,  RAWFEAR  feels like a callback to Stressed Out ’s anxieties, while Tally  nods to the idea that this is album number five, and the final piece of the Blurryface puzzle. Image credit: Fabien Kruszelnicki (@ FabienKrszelnicki on IG) In the end, Breach  doesn’t just close a chapter, it ties threads together in a way only Twenty One Pilots could. It’s a love letter to the fans who have grown up with them, a reminder that even when the music pauses, the connection doesn’t. Whatever comes next, the clique has this moment to hold onto. And what a send-off it is. Final Verdict: 9.8/10

Intimacy over anthems defines her most personal solo record yet. By Konstantina Buhalis Revisions by LJ Portnoy, Editor-in-Chief Photography by Zachary Gray ( @Zachary Gray  on IG) Categories:  Album Review, Alternative / Emo, Pop Rock / Indie Pop, Nashville Scene, 2025 Releases Tags:  Hayley Williams, Paramore, Ego Death at a Bachelorette Party, Parachute, Discovery Channel, Daniel James, All We Know Is Falling, Bloodhound Gang, The Bad Touch, Emo Nostalgia, DIY Ethos, Nashville, TikTok Buzz, Love Me Different A Season Made for Hayley As fall creeps in and emos lace up their Vans and pull on their flannels, Hayley Williams has delivered the soundtrack of the season. Ego Death at a Bachelorette Party  (Post Atlantic) isn’t Paramore redux—it’s something more introspective. The album unpacks the last year of Williams’ personal life, from leaving LA to returning home to Nashville. What emerges is a glimpse into a more grown-up, vulnerable version of one of alternative’s most enduring voices. A Slight Departure Hayley Williams has been adored in the scene for nearly two decades—fronting Paramore, touring relentlessly, and shaping the sound of a generation. Ego Death  marks another solo step, not a band breakup. Paramore is still intact, but Williams has stripped things down to the raw bones of her writing. Nashville clearly seeped into this record—its minimalism feels lived-in. Even the revamped Hayley Williams website leans into nostalgia with a throwback design. For this promo cycle, she invited fans into the process. Streaming the album on her site, she asked listeners to weigh in on the track listing—a collaborative move that resurrects the DIY ethos that once fueled Paramore’s rise. The Sounds of Ego Death Photography by Zachary Gray ( @Zachary Gray  on IG) Co-written by Williams and produced by Daniel James, the record weaves indie folk, dance pop, and shoegaze into an emotional arc. While marketed as alternative pop, it leans intimate, never losing its edge. There’s playfulness too—on Discovery Channel, Williams interpolates the Bloodhound Gang’s The Bad Touch with tongue-in-cheek lyrics and a bouncing beat. On the flip side, Parachute has already carved out a life on TikTok, fans latching onto its gut-punch second verse. Sonically, it spirals with fuzzy shoegaze textures and layered vocals, mirroring its title. The music video throws back to All We Know Is Falling —2006 Paramore for the diehards—yet through a lens of maturity. Underneath it all, Williams can’t escape her roots. Emo and pop-punk fingerprints surface in the grit of her delivery, grounding the growth in something familiar. Williams in the Present Williams has always been more than a voice—she’s a force. This rollout leaned anti-capitalist, offering free streaming and collaborative creation. She’s also been vocal locally, calling out Nashville’s lack of gay bars and taking swipes at Morgan Wallen’s bar for what it represents. Longtime fans know her activism isn’t new; she’s consistently lent her platform to charities and campaigns for communities in need. Through it all, she maintains that rare bond with fans—authentic, approachable, and deeply embedded in the alternative scene’s DNA. Ego Death at a Bachelorette Party  isn’t just another record; it’s a mirror, reflecting where we are and where we’re going. And as always, Hayley Williams makes sure we don’t look away. A Record of Reflection What makes Ego Death  stand out is its refusal to be a straightforward “pop star solo project.” It doesn’t chase radio; it builds atmosphere. It feels like a late-night drive album, one you sit with more than sing along to. Williams balances raw confession with flashes of humor and nostalgia, making it one of her most human projects to date. For longtime Paramore fans, this isn’t about filling arenas—it’s about intimacy. The record feels like an invitation into Williams’ inner circle, complete with the awkwardness, beauty, and contradictions of real life. And that honesty, more than any sonic experiment, is what keeps her at the heart of the alternative conversation. SoundCheck Rating: 8.5/10 A bold, introspective, and layered record that shows Williams still has new ways to surprise us. It’s not without its uneven moments, but its heart and honesty outweigh everything else. Standout Tracks: Discovery Channel Ego Death at a Bachelorette Party Love Me Different

Written by LJ Portnoy, Editor-in-Chief Cover album artwork: Petros Studio. Packaging credits not publicly listed as of publication; physical booklet includes full credits. Pressing Play Ed Sheeran’s Play  is the first in his new “media control” series ( Play, Pause, Rewind, Fast Forward, Stop ), and it’s the most sonically adventurous he’s been in years. Recorded partly in Goa, the album fuses Ed’s classic singer-songwriter core with Indian percussion, Punjabi and Persian influences, and a heavy dose of dance-floor energy. The result is an album that swings between the confessional troubadour and the global pop experimentalist. Sometimes the jump thrills, sometimes it jars. Opening The album begins with Ed at his most recognizable: warm guitar strums, conversational lyrics, and that half-sung, half-rapped delivery that hasn’t appeared much since Don’t . It feels like a deliberate handshake with fans—this is still Ed, before he pulls us into new territory. Draw a Line Here he experiments with structure. The first chorus lands as expected, but when it returns, it swells into something bigger, almost cinematic. Just as the momentum builds, the track ends abruptly, unresolved, like the tape cut mid-thought. It’s both frustrating and intriguing. Sapphire This is where Play  bursts wide open. Featuring Arijit Singh and incorporating Punjabi lyrics , Sapphire  folds tabla-like percussion and Hindi-Punjabi vocal textures into Sheeran’s glossy pop production. The fusion feels joyous, celebratory, and the final refrain—“The lights, your face, your eyes, exploding like fireworks in the sky”—lands like a firework finale. It’s the album’s crown jewel, proof that cross-cultural collaboration can elevate his sound. Azizam If Sapphire  is dazzling, Azizam (a Persian term of endearment)  is pure dance-floor bliss. The chant-like hook and elongated “I wannnaaaas” turn the track into a club-ready anthem. The word “Azizam” is never defined in the song, which leaves its meaning hanging in the air, but that mystery adds to the charm. It’s a track that’s meant to be felt, not over-explained. Old Phone Just as the dance party peaks, Sheeran pulls us back into pure nostalgia. Old Phone  recalls the raw storytelling of Castle on the Hill  and his debut album—full of memory, regret, and warmth. It’s gorgeous on its own, but sequencing it directly after two high-energy tracks makes the shift feel jarring. Still, the dip in the final chorus, followed by a swelling rebuild, gives it a satisfying emotional arc. Symmetry Looped vocals and traditional Indian percussion  return here, weaving Sheeran’s voice into a hypnotic beat. It’s one of the most dance-driven songs on the record, though the hook—“Push up the ceiling”—is almost comically literal, a cousin to “raise the roof.” Still, the groove is irresistible, and you can imagine it shaking a festival crowd. Placed earlier next to Sapphire , it could have formed a seamless mini-suite of global pop. Camera A breath of fresh air after the heavy beats. Camera  is light, sweet, and lyrically charming, showing Sheeran in classic form. The whiplash between genres is still there, but the song itself is a reminder of his knack for crafting intimate love songs that feel made for weddings and first dates. In Other Words Sheeran doubles down on romance here. “In other words, give me all of you,” he sings simply, and it works. There’s nothing ornate about the lyric, but his delivery gives it weight. This stretch of the album finally settles into one mode, letting listeners breathe into the sound. A Little More A delightful curveball: piano and horns drive a retro, slightly jazzy track. Sheeran drops the biting lyric “Everyday, I hate you just a little more” with a wink, before slipping back into rap verses that fans of his early work will love. It’s playful and sharp, showing how he can still surprise us inside his comfort zone. Slowly One of the record’s most stripped-down and affecting songs. Just Ed and his guitar at first, before layers gently rise in the background. His vocals soar without strain, reminding us why, beneath all the genre experiments, he’s still at heart a balladeer. Don’t Look Down The Indian percussion returns again, but this time the fusion feels stuck between gears—too slow to dance to, too beat-heavy to resonate as a ballad. After the elegance of Slowly , it lands as one of the album’s weaker experiments. The Vow Photo credit: Petros Studio (obtained via @teddysphotos on IG) Romantic, stately, and clearly wedding-song material. It’s lovely, though a little safe, the kind of song that plays best in the background of a big life moment rather than through headphones. For Always Stylistically a sibling to The Vow , but softer, sadder, and tinged with grief. Sweet in sentiment, but paired back-to-back with another slow ballad, it risks fading into the wallpaper. Heaven Then, at the very end, Sheeran drops one of the record’s standouts. Heaven  dives headfirst into electronica, layering auto-tuned vocals over pulsing beats and cinematic builds. It’s bold, adventurous, and proof that Sheeran can stretch into contemporary pop textures without losing intimacy. The only misstep? Placement. As a closer, it feels tacked on; sequenced earlier as a bridge between the dance tracks and the ballads, it could have been transformative. Verdict Photo credit: Petros Studio (obtained via @teddysphotos on IG) Play  is an ambitious record. When it works— Sapphire , Azizam , Old Phone , Slowly , and Heaven —it soars. But the sequencing undercuts its power, bouncing listeners between genres without a clear arc. Instead of a story, the album feels like a playlist: brilliant moments shuffled out of order. Ed Sheeran has always excelled at cohesion, at threading personal stories into full-album narratives. Here, he delivers flashes of brilliance, but they shine brighter than the whole. Rating: 6.5/10.   Play  is full of songs you’ll want to return to, but the album as a journey never quite finds its rhythm. From a cohesion standpoint, it falters. From a song standpoint, there's definitely ones that shine. Recommended Listening Order Because sequencing is what holds Play  back, here’s a reordered tracklist that unlocks the album’s full potential: Act I – The Dancefloor & The World Opening Sapphire Symmetry Azizam Heaven Act II – The Heart & The Confessional In Other Words A Little More Slowly Don’t Look Down The Vow For Always Old Phone Camera This version gives Play  a real arc: it rises from classic Ed into global celebration, pivots through Heaven  as an electronic bridge, and then descends into intimacy and reflection—ending with the nostalgic glow of Old Phone  and the sweetness of Camera . The result feels cohesive, not scattered.

Contributed by Fernando Flores Photography by Shayla Loewen SoundCheck Mag sat down with Leith Ross, and we couldn’t be more excited. With new projects on the horizon and their upcoming album, “I Can See The Future,” they gave us a glimpse into a future fans will want to be part of. Who is Leith Ross?  Leith Ross is a Canadian singer-songwriter, born in Manitoba, best known for their breakout single, "We'll Never Have Sex.” The song truly connected with people due to its vulnerability, jumpstarting a following that continues to grow to this day. Ross’s well-orchestrated use of acoustic arrangements and well-thought-out lyrics creates a sense of storytelling that captivates the listener, allowing them to live through the eyes of the characters. Allowing the listener to analyze their own experiences as they connect with the music. As Ross continues to grow, they continue to push boundaries with their music and advocate for inclusivity that not only is authentic to them but also connects deeply with their fans. The same remains true with their new album, “I Can See The Future,” as their music evolves and lyrics mature. I Can See The Future This brand new album is set to come out September 19, 2025, with an array of new songs that will compel old and new fans of Leith Ross. This project is going to be one for the books since Leith is not one to write a song just to create a new hit. They looks to take their experiences, good or bad, and put them into lyrics for a raw connection to their music and ultimately to their fans. If there was one thing they'd want their music to do, is to leave a lasting impact on their listeners. As they told SoundCheck Mag: “It’s bigger than me and it is beyond me.” Even after Ross has passed, they hope that the album continues to connect with fans throughout the ages. A Sneak Peek: “Point of View” Photography by Shayla Loewen SoundCheck Mag was able to get a preview of one of Leith’s new songs from the album, “I Can See The Future,” called “Point of View.” Right away, the first aspect we were able to connect with was the lyrics, as they paint a vivid picture of the hardship expressed in the song. As a listener, understanding that we’re not alone in a world where we're always scared is reassuring. In the context of “Point of View”, most can say they’ve experienced a moment where they feel like they're taking up too much of the spotlight. Maybe the other person isn't telling you everything you want to know. In the end, you want to really have another perspective and view the relationship through their point of view. Final Thoughts With “I Can See The Future,” Ross invites listeners into an immersive, start-to-finish journey of storytelling. The album continues to meet the listener with vulnerability and emotion that brings an intimate one-on-one reaction to whoever plays the album. As release day approaches, fans can expect an album that challenges, comforts, and connects. An album that's meant to be listened to in order. Be ready to press play on September 19, 2025, and let Leith Ross take you on a journey into the future.

An intimate night of synths, singalongs, and Cincinnati pride Article contributed by Madison Cozzens Revisions by LJ Portnoy, Editor-in-Chief Photography by Madison Cozzens Photography by Madison Cozzens (@Coz_artphoto on IG) A Venue Frozen in Time Going to a show at Mahall’s in Lakewood, OH, feels like stepping back into a basement gig in the best possible way. The neon lights, exposed ceilings, patterned paint, and low-lit stage created a nostalgic backdrop for a night where fans stood shoulder-to-shoulder with the artists. Motherfolk turned the cozy room into something bigger—raw emotion, pure joy, and plenty of dancing. Moonbeau Sets the Tone Opening the evening was Moonbeau, a Cincinnati husband-wife duo blending synth-pop and new wave with effortless nostalgia. Their dreamy instrumentals, rhythmic guitars, and bright beats had the Cleveland crowd moving instantly. Photography by Madison Cozzens (@Coz_artphoto  on IG) Even with a few technical hiccups, Christian Gough and Callie Budrick-Gough kept spirits high with jokes, silly dance moves, and chemistry that radiated beyond the stage. With multiple Cincinnati Entertainment Awards under their belt, Moonbeau’s harmonies felt both playful and magnetic—a perfect start to the night. Motherfolk’s Midwest Connection Photography by Madison Cozzens (@Coz_artphoto  on IG) The headliner, Motherfolk, carried that Cincinnati energy forward. Made up of Nathan Dickerson (lead vocals, guitar), Joel Borton (lead guitar, vocals), Queenie—aka Karlie Dickerson (keys), Clayton Alexander (bass, vocals), and Ethan Wescott (drums, vocals), the band grew out of a college friendship and has evolved into a tight-knit crew that thrives on honesty and connection. That closeness showed on stage. In the intimate space, the band’s interactions—between themselves and with the audience—felt like friends hanging out in the living room. After the show, they proved it wasn’t just performance: signing vinyl, chatting with fans, and making Mahall’s feel like home. More Than a Band, a Community Photography by Madison Cozzens (@Coz_artphoto  on IG) While Motherfolk’s catalog spans seven records, their heartbeat has always been honesty. They’ve never been a band chasing trends; instead, their songs carry the kind of Midwestern sincerity that feels both unpolished and timeless. Whether it’s the anthemic drive of Family Ghodst or the introspective corners of Eternal Joy , they write like they’re letting listeners thumb through their journals. That vulnerability is what’s earned them not just fans, but a community. The Joy of Playing Together What sets Motherfolk apart live is how much joy they visibly take in the act of playing together. There’s no rockstar distance—just friends sharing their craft and cracking smiles at each other mid-song. It’s that combination of grit, playfulness, and reflection that makes their shows feel less like performances and more like gatherings. In an industry often built on polish, Motherfolk thrives by being undeniably human. Eternal Joy, Eternal Growth Musically, Motherfolk blends new-wave textures with heartfelt Midwestern grit. Across seven studio albums, their sound shapeshifts but always stays rooted in authenticity. Their latest release, Eternal Joy  (June 2025), explores “the rabbit holes of self-help and spiritualism, and sifting through each one to filter the bullshit from the truth,” as Dickerson shared on Instagram. The live set mirrored that duality—catchy rhythms paired with lyrics that dig deeper. “Kill the Sun” brought the room into a full singalong, while “Money Up” closed the night in pure celebration. What’s Next for Motherfolk Photography by Madison Cozzens (@Coz_artphoto  on IG) Motherfolk’s name is spreading fast, with festival slots at Bonnaroo, Lollapalooza, Wicker Park Fest, and more. Their dedicated fanbase is growing right alongside their sound, and the Eternal Joy Tour  continues through December 2025, wrapping with “A Very Motherfolk Xmas” in their Cincinnati hometown. For fans seeking music that makes you dance, think, and feel at once, Motherfolk is exactly where to start.

A night of harmonies, heartbreaks, wrapped in a love letter sealed to Michigan with love, from Quinn. Contributed by Mark Portnoy & LJ Portnoy, Editor-in-Chief Photography by LJ Portnoy ( @LJPortnoy on IG) Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy on IG) Hometown Anticipation There’s nothing quite like watching an artist step onto a stage in their own backyard. On September 12, 2025, Quinn XCII turned the Michigan Lottery Amphitheater into a hometown celebration, with a crowd that felt less like strangers and more like family invited to the biggest backyard party in Sterling Heights. From the second he appeared, you could sense it: this wasn’t just another stop on tour—it was a night written with Michigan pride. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) Setting the Stage with Wild Rivers Wild Rivers, Khalid Yassein, during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) Wild Rivers, the Toronto folk-rock outfit, stepped in first with a kind of quiet confidence. Dual leads Devan Glover and Khalid Yassein wove their voices together, trading harmonies that felt instantly intimate. The first song was acoustic and tender, but by the second, electric guitars lit up the night and the crowd began to sway. Wild Rivers, Devan Glover, during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) Breakup songs filled their setlist, and with a wink, they joked about needing to “stop getting broken up with.” Their humor landed, and their music hit even harder. Their third track started with an acoustic hush and built into a belting crescendo, while their fourth had the entire amphitheater jamming along. With bluesy edges, country undertones, and harmonies layered like honey, Wild Rivers didn’t just warm up the stage—they made it their own. A Personal Soundtrack Turned Full Circle For this editor, Quinn XCII isn’t just another artist. His music has been stitched into milestones—late-night car rides, belted duets with the person who would become my husband, and even the first dance at our wedding. A year later, to have Quinn as both our first amphitheater photo pass and the first show my husband and I attended together in far too long felt like a full-circle moment. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) That’s the kind of resonance Quinn’s music holds. It doesn’t just play in the background—it becomes the soundtrack to life itself. Phones Down, Voices Up When Quinn finally stepped onto the hometown stage, magic rippled across the amphitheater. He blended new tracks with classics, heartbreaks with hits, and the entire crowd leaned in. But one moment stood out: during one of his biggest songs, we looked around and saw something almost unheard of in 2025. Out of nearly 2,000 fans, only a handful had their phones out. No endless filming. No glowing screens. Just living, breathing presence. It was a collective decision to exist inside the music together, and it felt sacred. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) The Artist and the Audience Quinn’s seven-album catalog gave plenty of fuel for a career-spanning set, but what stood out most wasn’t just the songs—it was his connection. Between tracks, he slowed down to talk with the audience like we were his closest friends. He told stories about growing up here, about the friends and siblings cheering from the stands. At one point, he even brought his sister on stage to play the harmonica, turning the amphitheater into a family gathering more than a concert. Quinn XCII fans during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy IG) It didn’t matter whether you’d been following him for years or just discovered him last week—by the end of the night, everyone felt like family. Crowning Our Hometown Hero For SoundCheck Mag, this night was as personal as it was professional. We danced, we sang, we shouted every word until our voices cracked. It was a reminder of why Quinn’s music matters—not just as catchy hooks, but as lived-in memories shared between artist and fans. Quinn XCII during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  on IG) By the final encore, one truth was undeniable: this wasn’t just another hometown show. It was like crowning our hometown hero. From Harmonics to Heartbeats Quinn XCII fans during the Look! I'm Alive Tour stop in Detroit, MI photographed by LJ Portnoy ( @LJPortnoy  IG) Wild Rivers gave us space to sway; Quinn XCII gave us reason to celebrate. Together, they built a night that wasn’t just about listening, but about belonging. When the last notes dissolved into the Sterling Heights night, it felt less like a concert and more like a story—one we were all written into, note by note.

Photography by Madison Cozzens (@ Coz_artphoto IG) Contributed by Madison Cozzens Revisions by LJ Portnoy, Editor-in-Chief If you closed your eyes at the House of Blues on August 5th, you could almost believe you’d time-traveled to the golden era of rock — the flashlights were up, the riffs were loud, and the crowd sang every word like their lives depended on it. Dirty Honey and The Struts weren’t just playing a show; they were leading a revival. Rock is Alive and Well at the House of Blues The Fans of Dirty Honey and The Struts, photography by Madison Cozzens (@ Coz_artphoto  IG) On August 5th, the House of Blues was packed wall-to-wall with fans ready for a night of pure rock and roll. Dirty Honey hit the stage as special guests on The Struts’ 10-year anniversary tour, delivering a set that blurred genre lines and reignited the spirit of classic rock for a modern crowd. From LA Bars to Rock Chart History Photography by Madison Cozzens (@ Coz_artphoto  IG) Formed in Los Angeles in 2017, Dirty Honey — Marc LaBelle (vocals), John Notto (guitar), Justin Smolian (bass), and Jaydon Bean (drums) — skyrocketed onto the scene with their debut single “When I’m Gone” , becoming the first unsigned band to ever top Billboard’s Mainstream Rock Songs chart. Since then, they’ve shared stages with legends like Guns N’ Roses, Slash & The Conspirators, and The Who. Old-School Swagger with a Modern Edge Photography by Madison Cozzens (@ Coz_artphoto  IG) Dirty Honey delivers the grit, riffs, and raw energy of a classic rock band, but with a fresh, no-frills punch. LaBelle’s raspy, expressive vocals and impressive range electrify the room, while Notto’s guitar work — equal parts precision and attitude — keeps the crowd locked in. Their set had the hundreds of phone flashlights shining. Crowd Connection and Setlist Highlights Photography by Madison Cozzens (@ Coz_artphoto  IG) LaBelle thrives on fan interaction, tossing his mic stand toward the audience to catch their voices mid-song and striding across the stage with rock star flair. The setlist packed in fan favorites like “Heartbreaker” , “Rollin’ 7s” , and “When I’m Gone” , priming the room for The Struts’ glam-rock spectacle. The Struts Bring the Glam Celebrating a decade since their debut Everybody Wants , The Struts, fronted by the charismatic Luke Spiller, brought their Freddie Mercury-esque showmanship to the stage. Together, the two bands make for a high-energy, style-clashing double bill that’s as dynamic as it is fun. The tour runs through the end of September, delivering pure rock adrenaline to cities across the U.S. Riding the Momentum Photography by Madison Cozzens (@ Coz_artphoto  IG) The tour comes on the heels of Dirty Honey’s first live album, Mayhem and Revelry Live , with signed copies flying off merch tables night after night. For longtime fans and newcomers alike, the band is proving that rock isn’t just alive — it’s thriving. SoundCheck Spotlight Quote: “It’s a really good musical mash-up with The Struts. They’re both rock and roll bands, but it’s two different styles of rock. And so far, it’s only been two shows but it’s been fun, and they’re great guys obviously. Honestly we’ve been to Detroit and Cleveland — they’re like the two quintessential rock towns in the country, so kind of expecting both to be good. But they didn’t let us down.”  — Marc LaBelle, Dirty Honey

Inside Hilary Duff’s first record deal in 10 years and the docuseries that could define her comeback By LJ Portnoy, Editor-In-Chief Photos obtained via Instagram - various sources include: (@HilaryDuff) , (@hilaryduffdiary) , ( @MaddieDeutch ), and ( @LJPortnoy ) Hilary Duff captured by Madelyn Deutch ( @MaddieDeutch on IG) The Return Hilary Duff has officially signed with Atlantic Records, marking her first major label deal in a decade. The announcement comes with the promise of a docuseries directed by The Eras Tour ’s Sam Wrench, which will document her creative rebirth. After nearly ten years of musical silence, she’s stepping back into the spotlight with a rollout designed to surprise rather than over-explain. Hilary Duff, poses with her album, Metamorphosis (Photo obtained through her Instagram, ( @HilaryDuff) Echoes of Nostalgia Duff isn’t just a pop star returning; she’s a cultural memory being reactivated. For the generation that grew up with Lizzie McGuire  and Metamorphosis , her voice carries a rare kind of resonance. This isn’t the sheen of teen-pop revival: it’s the invitation to revisit a voice that once scored our sleepovers, car rides, and heartbreaks, now reframed through adulthood. Parallels and Patterns Pop history loves a comeback. Justin Bieber had his SWAG  and SWAG II  era, a myth-building interlude designed to signal a new chapter. His message was clear: Here I am, take me as I am.  Duff’s Instagram tease ( “new music… or something ✨” ) and her docuseries announcement echo that same energy. Yet the tone is different. Bieber’s was bold and declarative, while Duff’s feels more cinematic, reflective, and almost secretive, less about demanding attention and more about quietly opening the door. Duff’s comeback plays less like a firestorm and more like a time capsule opening, dusting off something preserved and letting it breathe in the present. Young Justin Bieber captured by LJ Portnoy (@ ljportnoy on IG) Aging in Real Time The comparison extends to Adele, who famously stamps her albums with her age: 19 , 21 , 25 , 30 . Each is a snapshot of her life at that moment, a diary entry etched in song. Adele has said she never meant to make it a pattern, yet it became her signature. Albums arrive when she has something to say, not because the industry expects it. Duff’s return operates on a similar wavelength. Instead of chasing trends, she seems to be revisiting a chapter of herself that only now is ready to emerge. If Adele names her time capsules with numbers, Duff may define hers through genre, featuring ballads, indie folk, and Americana textures that reflect her lived experiences over the last decade, from motherhood to heartbreak and reinvention. Photo of Hilary Duff in the recording studio. (shared by Hilary Duff on IG) Roots and Routes Though she now resides in Los Angeles, the sound of Texas still lingers. Born in Houston and raised partly in San Antonio, she first stepped on stage through dance and theater in the Lone Star State. Those early performances sparked the path that led her family west to California, where she would break into television and music. On visits, such as her recent trip to Austin’s Barton Springs and La Barbecue, Duff continues to embrace the landscapes and flavors of her first home. That connection makes it easy to imagine her leaning into folk or Americana influences, weaving her roots into her next musical chapter. Hilary Duff: a Career Timeline 1998–2002 – Early Roles Breakthrough on Lizzie McGuire  (Disney Channel). 2002–2004 – Pop Stardom Santa Claus Lane  (2002), debut holiday album. Metamorphosis  (2003), 3× Platinum with “So Yesterday” and “Come Clean.” Hilary Duff  (2004), Platinum with a pop-rock edge. Photo sourced from @HilaryDuffDiary on IG 2005–2007 – Experimentation Most Wanted  (2005), compilation with new singles like “Wake Up.” Dignity  (2007), a dance-pop pivot praised for maturity. 2008–2014 – Hollywood Focus Steps back from music, focuses on acting, fashion, and family. Becomes a mom (2012). 2015 – Musical Return Breathe In. Breathe Out.  (2015), RCA Records. Folk-pop touches blended with dance-pop gloss. 2016–2024 – Time Away Stars in Younger  (2015–2021) and How I Met Your Father  (2022–2023). Nearly a decade of musical silence. 2025 – The Time Capsule Opens Signs with Atlantic Records. Announcement of new album and docuseries. Teases fans with “new music… or something ✨.” on Instagram. Atlantic’s Stylistic DNA Atlantic Records thrives on range. A few touchstones from their roster: Pop Megastars : Bruno Mars, Ed Sheeran, Charlie Puth, Lizzo Alt/Indie Energy : Paramore, Portugal. The Man, Death Cab for Cutie Story-Driven Voices : Janelle Monáe, Birdy, Paolo Nutini Country/Roots Crossovers : Brett Eldredge, Hunter Hayes The common thread isn’t genre; it’s scale. Atlantic takes artists with strong identities and amplifies them without sanding off the edges. What That Could Mean for Duff For Hilary Duff, that opens up multiple creative lanes: Indie-Folk Ballads : Acoustic storytelling, warm textures, intimate vocals Americana Touches : A shimmer of pedal steel or country-adjacent lyricism Nostalgia Pop : A few polished radio-ready singles to re-establish her mainstream presence Hybrid Sound : A record that feels like grown-up pop with Texas dust in its bones A Shared Revival Duff’s comeback resonates beyond her. For many fans who grew up with her, it mirrors their own rediscovery of creativity, dusting off journals, instruments, and unfinished songs from a decade ago. Her return doesn’t just mark a new album; it signals an invitation for her generation to reawaken long-paused passions and to create with the wisdom of years in between. Keep up to date with Hilary on her instagram, below! The Waiting Game At the moment, we only have fragments: a signing, a tease, a promise of cameras rolling. Yet those fragments already carry the thrill of mythology. What will Hilary Duff sound like in 2025? Where will her voice land in a landscape now ruled by Billie Eilish, Olivia Rodrigo, and Sabrina Carpenter? More importantly, what happens when a whole generation opens its own creative time capsules alongside hers? One thing's for sure: Only time will tell.

Yungblud captured by Rachel Catherine (@ Rachsgalleryy on IG) Contributed by Rachel Catherine and LJ Portnoy, Editor-in-Chief Photography by Rachel Catherine ( Rachsgalleryy on IG) Anticipation in the Air Before the lights even dimmed, the Fillmore was alive with tension. The music blasting over the PA was fuel, a soundtrack to the mounting excitement. Fans of all ages buzzed with anticipation, knowing they were about to see Yungblud  in the flesh. The energy was palpable, a steady hum running through the room. When the crew moved a lone mic stand to the center of the stage, the roar made it clear: Detroit was ready for their favorite artist to arrive. Setting the Stage Sawyer Hill captured by Rachel Catherine ( @Rachsgalleryy on IG) The night kicked off with opener Sawyer Hill , who immediately grabbed attention with a sound that felt both polished and raw. Whether backed by a band or flying solo, Hill showed real stage presence, enough to spark curiosity and keep the room buzzing. But it was the silence in between acts that really charged the atmosphere. Fans of all ages, backgrounds, and identities filled the Fillmore, humming with anticipation. Some wanted to be  Yungblud. Others wanted to be with  Yungblud. Everyone just wanted to feel the release that only his shows promise. When the crew moved a mic stand to center stage, the eruption made it clear: Detroit was ready. An Entrance Full of Fire Yungblud captured by Rachel Catherine (@ Rachsgalleryy  on IG) This set was nothing short of electric. From the moment Yungblud stormed the stage, his presence was larger than life—wild, unapologetic, and brimming with heart. His energy just shines through with that “I don’t give a f*ck, I’m going to be who I am” personality that you can’t help but admire, even envy. It’s contagious, the kind of authenticity you wish you could bottle for yourself.   A Tribute That Stopped the Room Yungblud captured by Rachel Catherine (@ Rachsgalleryy  on IG) One of the night’s most unforgettable moments came when he paid tribute to the late Ozzy Osbourne  with a powerful rendition of Black Sabbath’s Changes . Halfway through, he brought a little girl from the crowd on stage to share that moment with him. It was emotional, vulnerable, and still somehow pure rock-and-roll. The entire Fillmore sang along, grief and gratitude woven together into one voice. It was the kind of performance that reminds you just how much heart and soul Yungblud puts into everything he does. Chaos and Wholesome Mayhem Yungblud captured by Rachel Catherine (@ Rachsgalleryy  on IG) And then there was the chaos; the beautiful, reckless chaos that makes his shows so special. At one point he pulled a female fan on stage and handed her a guitar, letting her shred like she’d always been part of the band. It turned the night into a room full of friends letting loose together, no separation between audience and performer. A Crowd as Diverse as the Setlist Yungblud fans captured by Rachel Catherine (@ Rachsgalleryy  on IG) The crowd itself mirrored that spirit. The demographic was a mix of everyone and everything—kids as young as five pressed against the barricade, longtime fans still rocking into their fifties and sixties, and every identity in between. Some people wanted to be him, others wanted to be on him, but all of us were drawn together by the energy he created. The whole night felt like a safe space to be exactly who you are, without judgment. Playing Like It’s the Last Show What makes Yungblud’s performance so unforgettable is that it never feels forced. He performs as if it’s his last show. It’s authentic, genuine, and overflowing with gratitude. Even if he doesn’t say it out loud, you can feel it in the way he matches the crowd’s intensity, giving everything right back. An Encore in Tears By the time he closed with “Zombie,”  it was impossible to hold back tears. Voices cracked, arms wrapped around strangers, and for a few minutes, chaos and catharsis blurred into one. it was a release, a sanctuary, a reminder of how powerful music can be when it’s built on connection and care. The High That Stays With You Walking out into the Detroit night, that post-concert high was impossible to shake. It was the kind of show that leaves you buzzing, desperate to relive it again, carrying the glitter of that chaos and love long after the lights came up.

Inside the lore, the spectacle, and the screams of My Chemical Romance’s anniversary tour stop in Chicago Article contributed by Konstantina Buhalis Revisions by LJ Portnoy, Editor-in-Chief The Return of an Era My Chemical Romance’s Long Live the Black Parade  was the anniversary tour of the summer. The band embarked on a brief run, playing The Black Parade  in its entirety, following their full album performance at last year's When We Were Young Festival . MCR’s Lasting Legacy MCR has been one of the most well-known and influential bands of the mid-2000s emo era, with their 2006 record The Black Parade  celebrating its anniversary a year early this summer. Their legacy spans decades, with lore surrounding the in-album “band” growing popular again as this new stage show gave fans plenty to dissect. This time around, the band introduced fresh theatrical elements and mythos: the Immortal Dictator, a mysterious totalitarian figure who looms over the performance, and the Nation of   Draag, the fictional people caught under his rule. These additions have sparked fan theories online, with many interpreting them as a continuation of The Black Parade’s  themes of life, death, control, and resistance reframed for a new era of MCR storytelling. Part of what makes My Chemical Romance so enduring is how they transcended the “emo” label to become something theatrical, operatic, and larger than life. The Black Parade  wasn’t just an album, it was a concept, a rock opera that stitched together loss, defiance, and spectacle. For many fans, this record was the soundtrack to survival, and hearing it in full again carries an emotional weight that goes beyond nostalgia. A Chicago Show for the Ages Between the new lore and the incredible stage show, My Chemical Romance has been the band of the summer, and their Chicago show at Soldier Field (home of “da bears”) was an almost unreal experience. The first half of the show on the A-Stage consisted of The Black Parade  cover to cover, starting with “The End,” filling the stadium with screams as Gerard Way sang, “When I grow up I want to be nothing at all!” As the show continued, the air picked up for a moment when it briefly drizzled, giving the crowd a perfectly melodramatic moment to sing in the rain with MCR. Theatrical Spectacle and Crowd Energy As the show went on, the crowd met each song with enthusiasm, and the stage design was both captivating and interactive, including a mock execution. During this sequence, the audience was meant to take part in a vote using Yea and Nay signs. However, distribution issues meant only a small fraction of the Chicago audience received the props, leaving many fans to improvise and still engage with the moment. Iconic Moments While the entire show was full of screaming fans, “Welcome to the Black Parade” was met with nearly earth-shattering noise when the G note was played. It was a reminder that Way has worked hard on re-training his voice and that he remains as passionate about the album as he was almost 20 years ago. The biggest surprise came in the encore, when Billy Corgan of Smashing Pumpkins was introduced to sing “Bullet with Butterfly Wings.” It was an unexpected collaboration that stunned the audience and felt like the perfect final note to the night. A Summer to Remember It is hard not to overstate the importance of this tour. As the Black Parade  anniversary shows wrap up and the internet fills with pictures, videos, and bracelet trading, one thing is clear: this was the summer of My Chemical Romance. Did You Know? My Chemical Romance formed in Newark, New Jersey, just days after the September 11 attacks. Gerard Way has said the band was his response to witnessing the tragedy. The Black Parade  debuted at number two on the Billboard 200 in 2006, but has since become one of the most iconic records of the decade, cementing MCR’s place in music history. Before becoming a rock frontman, Gerard Way interned at DC Comics and later created the award-winning comic series The Umbrella Academy . The band’s name was inspired by an Irvine Welsh novel titled Ecstasy: Three Tales of Chemical Romance , suggested by bassist Mikey Way. MCR officially announced their breakup in 2013, only to reunite in 2019 to overwhelming demand, proving their influence has only grown over time.

The duo delivered chaos, catharsis, and a light spectacle that left The Fillmore buzzing long after the final note. Photography by LJ Portnoy ( @ljportnoy on IG) Photos and review contributed by LJ Portnoy, Editor-in-Chief A Night of Immersion Detroit got a full dose of dream-pop intensity when Phantogram brought their tour to The Fillmore on Sunday night. The ornate theater became a swirling storm of bass, synths, and flashing lights, and by the end of the night, it felt less like a concert and more like being pulled into the band’s own universe. Photography by LJ Portnoy ( @ljportnoy on IG) Phantogram’s Sonic Identity For more than a decade, Phantogram has carved out a distinct space in alternative and electronic music. Known for their seamless fusion of trip-hop beats, sharp guitar lines, and cinematic synth layers, the duo has a knack for balancing the dark with the euphoric. Sarah Barthel’s voice has long been the band’s emotional anchor—airy and haunting in one song, fierce and commanding in the next—while Josh Carter’s instrumentals bring texture and grit. Together, they’ve created a catalog that feels equally suited for headphones in solitude or a packed theater of thousands. The Set Comes Alive That dynamic was on full display in Detroit. From the opening track, Barthel and Carter reminded the audience why their sound is so addictive: heavy beats, layered textures, and vocals that cut sharp and clean through the mix. You Don’t Get Me High Anymore  and Fall in Love  had the theater buzzing, building anticipation for the night’s high point. “Black Out Days” Steals the Show Released in 2013 on their album Voices , Black Out Days  has become Phantogram’s defining hit and a song that continues to resonate with fans more than a decade later. It’s a track built on tension—Barthel’s vocals raw with emotion, layered over pounding percussion and hypnotic synths. Live, that intensity multiplies. As soon as the first notes hit in Detroit, the crowd surged forward, voices rising in unison, the room completely alive. Sarah delivered the track with urgency and defiance, and paired with the light show, it was pure chaos in the best way. It was the song everyone seemed to be waiting for, and the payoff was unforgettable. Photography by LJ Portnoy ( @ljportnoy on IG) Lighting: A Challenge and a Spectacle And about those lights. Wild doesn’t even begin to describe them. For photographers in the pit, the rapid strobes, thick fog, and shifting color palettes made it a near-impossible challenge to capture. But stepping back, it was obvious how spectacular it looked from the floor. The lighting design turned the Fillmore into its own living, breathing canvas, amplifying every rise and drop in the music. What felt overwhelming up close was breathtaking from a distance, a visual spectacle that perfectly matched the intensity of the sound. Photography by LJ Portnoy ( @ljportnoy on IG) A Lasting Impression Phantogram doesn’t rely on much stage banter—they let the music speak, and it did. The crowd stayed locked in from start to finish, pulled between moments of dark, hypnotic tension and euphoric release. By the time the last notes faded, the Fillmore was vibrating with energy, proof that Phantogram knows exactly how to turn a performance into a full-body experience.

From bedroom-pop heartbreak to bold confessionals, Conan Gray proves he’s grown into one of pop’s most daring storytellers. Contributed by: LJ Portnoy, Editor-in-Chief Photography by: Dillon Matthew ( @dillonmatthewc on instagram) A Leap Beyond Kid Krow Conan Gray has always written like someone with nothing to hide. His debut, Kid Krow , was a scrapbook of teenage heartbreak—raw, diaristic, and messy in a way that made it instantly relatable. Superache  leveled up the emotional stakes, with tighter pop craft and sweeping ballads that hinted at the artist he was becoming. But Wishbone ? This is where Conan stops hinting and steps fully into his artistry. It’s not just lyrical honesty anymore—it’s musical ambition. It’s him pushing his own boundaries—sonically, thematically, and personally. Pulling Off the Mask The opener, Actor , feels like a thesis statement. “You’re a much better actor than me”  isn’t just a jab at an ex—it’s a dismantling of performance itself. The track’s cinematic rise and carefully layered production instantly feel different from Kid Krow’s  bedroom-pop beginnings. It’s bigger, bolder, and unapologetically theatrical. Photography by: Dillon Matthew ( @dillonmatthewc  on instagram) When the Ghost Has a Name That directness reaches its peak on Connell , where Gray does the thing pop stars almost never do: he names names. “Kissing your ghost was my own damn fault”  isn’t just about personal heartbreak. It’s about loving someone who couldn’t stand in the light with him. What could have been a diary entry becomes a refusal to let queerness be erased or disguised. A Sonic Glow-Up But Wishbone  isn’t just lyrically daring—it’s musically adventurous in ways Conan hasn’t attempted before. Class Clown  bends into Beatles-esque psychedelia, a sad confession dressed up in kaleidoscopic sound. Cornell  starts delicate before dissolving into a swirling outro that shifts keys and feels like falling into another dimension. These choices aren’t just flourishes—they’re Conan expanding his vocabulary. He’s not just telling stories anymore; he’s painting with sound. Bridges That Bleed If there’s one place Gray has grown the most, it’s in his bridges. He’s always known how to twist a knife lyrically, but here, the bridges detonate. Nauseous  rips into Olivia Rodrigo–like fury, a jagged meltdown that feels destined for arena screams. Romeo  flips from glossy pop to blunt declaration— “You’ve got to figure out your shit with someone else, man. I can’t fix you, I’m sorry.”  It’s bratty, liberating, and unforgettable. The Ache That Stays Even in its quietest moments, Gray won’t let you off easy. On Care , he admits, “Though I won’t miss being your lover, I’m still losing a friend.”  It’s the kind of line that burrows under your skin because it’s so simple and so true. That balance of bold experimentation with devastating intimacy is what makes Wishbone  feel like a turning point. Final Word: Growth Without Apology Wishbone  doesn’t feel cautious—it feels fearless. Conan stretches his sound into new shapes, experiments with psychedelia and key shifts, and writes bridges that demand to be screamed back at him on tour. The growth from Kid Krow  to Wishbone  is staggering. The diarist has become a craftsman. The bedroom-pop kid has become a performer unafraid of theatrics, soundscapes, and scale. And the queer kid whispering secrets into a mic has become a queer artist refusing to whisper at all. This is Conan Gray at his boldest—messy, specific, ambitious, and entirely unafraid. Exactly the kind of growth fans have been waiting for. SoundCheck Rating: 8/10  — A daring leap forward that cements Conan Gray as one of pop’s most fearless young voices.

SoundCheck Mag kicks off their first fan-fueled event in Brooklyn with an unforgettable night of memories, music, and magic. Written by LJ Portnoy, Editor-in-Chief Reel created by Ilana Bornstein (@i lana.rachel IG ) ; Photography by Fernando Flores (@ fernandofloresphotography IG ) An Unforgettable Night in Brooklyn Fans lining up outside the venue before doors opened Photography by Fernando Flores (@ fernandofloresphotography IG ) SoundCheck Mag pulled off our first-ever full-fledged fan event — Greetings From Your Hometown: A Jonas Brothers Fan Celebration  — and it was nothing short of magical. Over 50 fans came together for an evening of connection, music, and nostalgia. The room buzzed with energy as guests joined in disco dance-offs 🪩, made friendship bracelets 📿, scribbled locker notes 🗒️, and left their “Burning Up” hot takes on a secret phone line 📱. Fan crafting a friendship bracelet - Photography by Fernando Flores (@ fernandofloresphotography IG ) Fans at the Heart of the Experience Interactive stations, live music, and fan-led moments turned the night into a celebration not just of the Jonas Brothers, but of the incredible community that surrounds them. Came to Dance, No Time to Talk Disco Station! Reel created by Ilana Bornstein (@i lana.rachel IG ) ; Photography by Fernando Flores (@ fernandofloresphotography IG ) From trivia games and raffle prizes (including signed memorabilia) to goodie bags, food, and drinks, every detail was designed with fans in mind. Trivia finalists compete to answer the final challenging question to reveal the winner. Photography by Fernando Flores (@ fernandofloresphotography IG ) This event proved why hiring fans for your marketing matters — they know exactly what the community wants. We brought that vision to life with vendors like Jonas Bestie and the Jonas Junkies fan site, making sure JB fandom voices were front and center. Kevin Jonas autographed guitar was among collectibles available for raffle - Photography by Fernando Flores (@ fernandofloresphotography IG ) Behind the Magic None of this would have been possible without our team. Left to Right: Rebecca McDevitt, Fernando Flores, Devin McDevitt, Ilana Bornstein, LJ Portnoy (SoundCheck Mag Event Team) A huge shoutout to Rebecca McDevitt, who spent countless hours printing, crafting, wrapping, and building every last detail — pulling this event together in under two months. Devin McDevitt greeted guests at the door, acting as security for the event and ensuring all those who entered were approved guests. LJ Portnoy was the emcee for the night, hosting Trivia and announcing the raffle winners. Ilana Bornstein captured the night’s energy on video, while SoundCheck photographer Fernando Flores caught every moment in photos. What’s Next Fans seen celebrating Greeting From Your Hometown album release Photography by Fernando Flores (@ fernandofloresphotography IG ) Brooklyn, you set the bar high for what’s to come. This was only the beginning — and we can’t wait to do it again. Here’s to many more nights like this. 🥂✨

Flipturn wowed crowds in Cleveland following the release of album Burnout Days. Contributed by Madison Cozzens Revisions by LJ Portnoy, Editor-in-Chief Flipturn, captured by Madison Cozzens (@ coz_artphoto IG) The Burnout Days Tour lit up The Agora with emotion, energy, and unforgettable connection. While many of the songs on Flipturn’s discography can be described as “chill-indie,” their live performance is anything but. The Agora Theater in Cleveland was a place of connection, dancing, good vibes, and burnout days on the evening of July 30th. The crowd, captured by Madison Cozzens (@ coz_artphoto  IG) Joe P Sets the Tone The night began with Joe P , a singer/songwriter from Asbury Park, NJ, who brought raw authenticity to the stage. He captured the audience's attention performing Leaves  and Off My Mind  — his most-streamed track to date. Joe’s charismatic presence and gritty energy left the crowd buzzing and ready for Flipturn. Joe P., captured by Madison Cozzens (@ coz_artphoto  IG) Flipturn Takes the Stage Around 9:00 PM, the lights dimmed and synths echoed through the theater. At 9:05, the band — Dillon Basse  (lead vocals, guitar), Tristan Duncan  (lead guitar), Madeline Jarman  (bass), Mitch Fountain  (guitar, synth), and Devon VonBalson  (drums) — took control of the stage with Churches , off their 2018 EP Citrona . The flow and energy didn’t stop the entire night as they moved through a career-spanning set, including Juno , Sad Disco , Nickel , and Chicago . Basse bounced across the stage, feeding the crowd his rhythm and energy. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG) A Moment with “August” Flipturn’s most well-known song, August , wasn’t played until over halfway through the night — but when it came, the room shifted. From the first notes, the crowd hung on every word. At the end of each chorus, Basse pointed the mic outward, and the room roared back: “August, honey, you were mine.” It was the kind of moment you remember — where sound, space, and strangers blur into something bigger. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG) Drums at the Barricade Another standout moment came when VonBalson moved to the front of the crowd. A compact drum kit was brought to the barricade for fans to hold as he played a solo, face-to-face with the front row. It was raw, unfiltered, and unforgettable. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG) Burnout Never Sounded So Good Flipturn made their mark with 2022’s Shadowglow  and returned in 2024 with Burnout Days , a project shaped by exhaustion and emotional depth. The current tour — which shares the album’s name — brings those themes to life with unrelenting energy and honest connection. With the U.S. leg of the tour wrapping in August 2025, Flipturn proved in Cleveland that they’re just getting started. If this is burnout, we’ll gladly burn a little longer. Flipturn, captured by Madison Cozzens (@ coz_artphoto  IG)

SoundCheck Session - Volume 1, Issue 5: Livingston Featured Cover Story Coverage by LJ Portnoy, Editor-in-Chief Photography by LJ Portnoy Livingston is the July/August Feature for SoundCheck Mag! Issue 5, OUT NOW! If you’ve ever heard a song that felt like it was written just for you , chances are, it was by Livingston. We sat down with Livingston, the alt-pop artist for our July/August Artist Feature, during his A Hometown Odyssey  tour to talk about his deluxe album, emotional evolution, and the stories behind songs like “Reverse,” “Gravedigger,” and “Nightlight.” Livingston opened up about everything from navigating grief and identity to the wildest moments on tour—and let’s just say, you’re going to want to watch this one all the way through. Check out our exclusive video interview below, and keep scrolling for the full conversation. A Hometown Odyssey: Livingston’s Story Is Just Beginning “I didn’t make this album in the last two years. I made it over the last eight. So in some way, I’m paying homage to the version of myself that had the idea for this album and was actively experiencing the things inside of it. But that was a sixteen-year-old version of me. I’m almost twenty-three now.” There’s something remarkable about watching an artist trace the outlines of their own life in real time. Even more so when the timeline stretches across the better part of a decade. Livingston’s latest release, A   Hometown Odyssey: The Story Continues , isn’t just a deluxe album. It’s a living archive. A map of emotional memory stitched together by grief, growth, and moments of quiet transformation. It’s the sound of someone evolving—and letting us hear the process. Livingston, Shot by LJ Portnoy (@ ljportnoy IG) What began in a childhood bedroom in Denton, Texas has grown into something far bigger than he could have predicted: 600 million streams, a global fan base, and sold-out shows across the U.S., Europe, and beyond. But Livingston isn’t preoccupied with the scale. For him, it always comes back to intention—and connection. “I think identity is a lot of this album,” he reflects. “It’s one thing to create freely. But it’s another to see your creation reflected back at you by other people—and then have them form an opinion about who you are. And then you have to ask yourself: do I like this version of myself? Do I stand by this? Or do I evolve?” If A Hometown Odyssey  was a love letter to the person he used to be, then The Story Continues  is an open question. A gentle, aching inquiry into what happens after the dust settles—after childhood fades, and after you’ve lived long enough to revisit your pain with a different kind of empathy. “Seventeen was rough,” he says simply. “It was this strange crossroads where my career was finally happening, and I was doing what I loved—but I still felt so lost. I thought that would solve everything. But I didn’t know where to take the next step.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) That season, he says, left a mark. But it also became a benchmark for growth—something he still reflects on when new struggles surface. “I felt isolated and thought that it wouldn’t end. But then it did end. So whenever I feel like I’m running in place again, I remind myself that it felt like that then, too—and something beautiful came next.” The Sound of Reflection Livingston doesn’t write songs in a vacuum. He writes them in motion—while on the road, while looking back, while navigating the strange spaces between memory and meaning. And over the last year, that’s exactly what he’s done. “I’ve basically been on the road nonstop,” he says. “This is the fifth tour I’ve done for A Hometown Odyssey in the last year.” he shows, he adds, have only deepened his relationship with the music. “They’ve gotten progressively more emotional, more powerful. And I think even more wide-reaching on a demographic level than I ever could’ve imagined.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) With The Story Continues , Livingston wanted to approach the same universe with new eyes. Not a reset—more like a second glance. A chance to revisit the emotional groundwork of the original album and ask: What more is there to say now? “The original album had just kind of crystallized for me after playing it live and seeing it reflected back at me,” he explains. “So I thought, What if I went a hundred percent into those feelings? What would that sound like?  That’s what I did.” The result is a collection of songs that feel both expansive and intimate—tracks that hold contradictions in their hands and don’t flinch. Take “Reverse,” for example: a sonic uppercut full of swirling optimism and aching nostalgia. “Take me back to where we were / I could try to break the curse / And if we’re out of time / I’ll find a way to love you in reverse,” he sings. It’s one of his favorite lines on the record. “I wanted a song that felt both futuristic and nostalgic at the same time,” he says. “It has this retro-future kind of production, but it’s also talking about going back in time, which I think is interesting.” There’s a kind of emotional duality threaded throughout the record—hope and heaviness, wonder and weariness, beauty and violence. That contrast isn’t just a stylistic choice. It’s the heartbeat of the entire project. Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) He returns to this theme in “The Game,” a track that started a year before he finished it. One line in particular hits with the force of revelation: “I was a child till I found love and pain and bygones.”  wonder and weariness, beauty and violence. That contrast isn’t just a stylistic choice. It’s the heartbeat of the entire project. “That’s one of the core things for this album—putting really heavy things against very light things. And putting very big things against very small things. That kind of contrast has always been compelling to me.” “That second verse was like writing to the version of myself who wrote the first verse a year earlier,” he says. “Almost like, What would I say to him now, knowing what I know? ” Grief, Glory, and Growing Pains Some songs on The Story Continues arrive like gut punches—soft in delivery, sharp in meaning. “Gravedigger” is one of them. “I grew up to be the gravedigger / My own gravedigger,” he sings—an arresting image of self-inflicted pain and personal reckoning. “It’s just a memory of all the times in my life where I felt like I’m my own worst enemy,” Livingston says. “Where I’m causing myself more grief than I need to. It’s not the world putting it on me—it’s me putting it on me. And I think a lot of people feel that way, too.” That emotional honesty courses through much of the deluxe project. It’s present in the frustration of “Millionaire,” a song originally written for Christina Aguilera that eventually found its way back to him—and hit closer to home than he expected. “I was kind of channeling a couple different periods of my life where I felt like my trust had been taken for granted,” he explains. “And I am more than the check in your pocket”—a lyric that lands with quiet defiance—“that was definitely me reclaiming emotional worth.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) But for every track that delves into grief or betrayal, there’s another that reminds him—and his listeners—what it means to hope. “Nightlight” is one of the most personal examples. “When ‘Nightlight’ got finished,” he says, “it felt like, this is that Fireflies (Owl City) kind of feeling. All-in wonder. I didn’t dance the line with it—I just went all in.” “What are the sounds that bring that emotion out? What are the images? The colors? That song is the statement.” “Look Mom, I Can Fly” builds on that same childlike wonder—glitter and gravity, playing with lions and chasing castles in the silence. “That one was just fun. Like… Fun the band,” he says, grinning. ‘We Are Young’ was such a big song for me growing up. So it felt kind of in that world—just big and joyful and alive.” Even in joy, though, there’s always a tether to something deeper. One lyric— “Don’t you leave before me, I just want to feel alive” —hints at the emotional pendulum Livingston is constantly navigating: between light and dark, fear and glory, movement and memory. “Flying just means moving in a positive direction with agency,” he says. “Not being promised a reward or a carrot at the end of the stick. Just knowing that what I’m doing today is what I’m supposed to be doing. And that’s enough.” Crowd, Shot by LJ Portnoy (@ ljportnoy  IG) What Comes Next? Livingston doesn’t just write songs—he builds emotional worlds. Each lyric, each chorus, a breadcrumb trail through identity, grief, and the kind of fragile hope that keeps us alive. And now, standing at the edge of everything he’s created, he’s ready to burn it all down—and build again. “I wrote most of this album when I was sixteen,” he says. “I’m almost twenty-three now. I’m about to get married. My life has changed.” That change isn’t the ending. It’s the ignition point. “I want to come back and tell a different story—with a different message, and a different point. Something really meaningful. But also probably really different sounding. That sounds like the most fun thing in the world to me.” Livingston, Shot by LJ Portnoy (@ ljportnoy  IG) And to the fans who have shown up—who’ve streamed every song, stood in every crowd, and seen themselves in every lyric—he offers this: “Thank you for being a part of this. I want to make something next that’s just as powerful. Maybe even more.” He called this chapter The Story Continues , but make no mistake—the spark has caught. The next chapter is already burning. So turn it up. Lose yourself. And hold on—because Livingston’s just getting louder. And the world is about to listen. Livingston, Shot by LJ Portnoy (@ ljportnoy  IG)

Contributed by Annie Gallo Revisions by LJ Portnoy, Editor-in-Chief A night of glitter, grit, and pop redemption across generations Photography by Annie Gallo (@ Anniegdatsme  IG) A New Era: Freedom, Power, and a Tour to Match On March 6, 2024, Kesha posted a message that would echo through her fandom: “First day I’ve owned my voice in 19 years. Welcome.” With that simple but powerful statement, she set the tone for a new chapter—one marked by creative control, emotional truth, and a fearless return to the spotlight. Fast forward to 2025, and fans now have a new album titled “.” and a live experience to match: the Tits Out Tour , the biggest and boldest tour of her career to date. SoundCheck Mag caught the show in Virginia Beach and Raleigh—two unforgettable nights filled with tears, triumph, and dancefloor catharsis. Photography by Annie Gallo (@ Anniegdatsme  IG) Opening Acts Set the Stage for Liberation Before Kesha took the stage, the energy was already electric. UK artist Rose Gray, best known for her collab on “Attention,” kicked things off with tracks like “Everything Changes (But I Won’t),” “Party People,” and of course, “Attention.” Her dreamy yet fierce set warmed up the crowd with ease. Photography by Annie Gallo (@ Anniegdatsme  IG) Next up: Scissor Sisters, whose flamboyant, dance-pop magic lit up the venue with hits like “Let’s Have a Kiki,” “I Don’t Feel Like Dancin’,” and “Filthy/Gorgeous.” The crowd was all in—dancing, cheering, and glittering in full glam tribute. Photography by Annie Gallo (@ Anniegdatsme  IG) A Setlist of Healing, Rage, and Reclamation From the pit to the lawn, fans of all ages screamed every word as Kesha launched her set with the song that started it all: “TiK ToK.” “We do not stand abuse in my house—so put your middle fingers up,” Kesha told the crowd, unapologetically reclaiming her voice and past. “Wake up in the morning like fck P Diddy,” the audience shouted back. Photography by Annie Gallo (@ Anniegdatsme  IG) She shared that she hadn’t performed many of her early hits in over a decade. Now, she was taking them back—reproducing every song she’d written pre-2014 with new arrangements and fresh energy. The crowd roared as she dove into Warrior -era anthems like “Crazy Kids,” “C’mon,” “Thinking of You,” and the title track. “I had these songs taken from me,” she said. “I wrote them for you. Will you help me take them back?” And take them back, she did. Photography by Annie Gallo (@ Anniegdatsme IG) Pop Star, People’s Champion In a moment that fans won’t soon forget, Kesha left the stage during “C’mon” to climb onto her dancer’s shoulders and weave through the venue, hugging fans and high-fiving outstretched hands. Then came the emotional gut-punch of the night: “Fine Line.” Wearing a straitjacket, surrounded by dancers dressed in black uniforms, Kesha embodied the trauma, pain, and power behind the lyrics. “All the doctors and lawyers cut the tongue out of my mouth.” “I’m at the top of the mountain with a gun to my head.” The choreography—a haunting visual of being dragged, silenced, and gaslit—left a heavy hush over the crowd before erupting into cheers of support. Photography by Annie Gallo (@ Anniegdatsme  IG) The Verdict: This Is a Tour You Feel Between the laser beams, confetti blasts, raw monologues, and career-spanning setlist, Kesha’s Tits Out Tour  is more than a concert—it’s a live reclamation of identity. For longtime fans and Gen Z newcomers alike, this is a show that bridges eras and burns bright with catharsis. Whether you’ve been riding with Ke$ha since glitter and Jack Daniel’s, or you’re new via a TikTok trend, this tour proves one thing: Kesha never lost her voice—it was stolen. And now she’s taking it back. Photography by Annie Gallo (@ Anniegdatsme  IG) Want In? 🎟️  Tickets 👚 VIP Packages VIP options include a live soundcheck experience, early venue entry, exclusive merch (like a disposable camera and signature nipple pasties), and more. Photography by Annie Gallo (@ Anniegdatsme  IG)

Still Got That SWAG Article contributed by: LJ Portnoy, Editor-in-Chief Justin Bieber - SWAG, album artwork Justin Bieber reclaims confidence, chaos, and control on his most self-assured album yet. The Word That Wouldn’t Die Let’s be honest—“SWAG” should’ve been retired with shutter shades and Tumblr quotes. But Justin Bieber’s latest album doesn’t just revive the word—it redefines it. SWAG isn’t about dated catchphrases or forced cool. It’s about control. It’s about stepping into a space where confidence meets chaos, and making it sound smooth. On this sprawling, genre-hopping record, Bieber isn't chasing trends or redemption—he's reminding us he can still set the tempo, even when we didn’t ask him to. Justin Bieber, shot by LJ Portnoy A Silent Drop, A Loud Statement There was no rollout. No teaser campaign. No clamor for attention. SWAG arrived almost unannounced—quietly but unmistakably. That move alone says everything. Bieber isn’t performing for the algorithm anymore. This album isn’t curated for mass approval—it’s a portrait. A personal one. These songs unfold like pages from a journal: reflections on mental health, family, faith, love, and legacy. The Sound of Self Even in its uneven moments—yes, there are a few—SWAG doesn’t lose its pulse. Every track feels like it belongs here, even when it doesn’t fully land. This isn’t Bieber trying to be everything for everyone. It’s him being exactly who he is, right now. And when it works, it really works. “All I Can Take” is a late-night stunner—vulnerable but controlled. “Daisies” blends precision with poignancy. “Things You Do” flirts with R&B intimacy, while “Go Baby” delivers pure dopamine. (Someone call a TikTok producer to mash it with 2010’s “Baby,” stat.) The above video is a fan-made music video, with no direct affiliation to Justin Bieber. Not Reinvention—Reclamation I f Justice was Bieber’s public apology and Changes his vulnerable reset, SWAG is the afterparty—and he’s already in the VIP booth. It doesn’t beg for validation. It shrugs. It winks. It leaves the door open. This isn’t reinvention—it’s reclamation. Because swag, for all its cringe-coded history, was always about confidence. And for the first time in a long time, Bieber sounds like he has it. Final Take SWAG may not be perfect, but that’s the point. It’s a snapshot of Justin Bieber in 2025: raw, reflective, and fully in control of his voice. Final Rating 8.3/10

Article Contributed by Konstantina Buhalis. Edited by LJ Portnoy, Editor-in-Chief. Album Artwork by Gerard Way My Chemical Romance has never been just a band. Since the early 2000s, they’ve served as the pulse of a generation that found catharsis in eyeliner, distortion, and unfiltered emotion. Their legacy has only expanded with time, especially after their full Welcome to the Black Parade  performance at When We Were Young Fest. It was a moment that reminded the world just how deeply this band still matters. Now, as they prepare for their Black Parade tour, MCR has reissued Three Cheers for Sweet Revenge  in a deluxe anniversary edition. The remastered version breathes new life into the band’s beloved sophomore album, offering both longtime fans and new listeners a rare gift: the chance to hear Three Cheers  again for the first time. A Rebirth in Red and Black Released in 2004 on Reprise Records, Three Cheers for Sweet Revenge  was an immediate standout, eventually going platinum with over three million copies sold in the U.S. It wasn’t just a success. It was a statement. The album is framed as a pseudo-concept record, following a doomed couple reminiscent of Orpheus and Eurydice. It cemented Gerard Way’s reputation as a master of myth-making and drama, fusing narrative and noise into something unforgettable. At the time, the “wall of sound” was still the dominant production trend. Emo bands were pushing for volume over precision, often burying vocal intricacies and lyrical detail beneath layers of static and fuzz. That was part of the appeal. The chaos matched the emotion. But the 2025 remaster pulls back the curtain. It reveals what was always there beneath the noise. The result is a more dimensional version of the record without compromising its urgency. Scene Staples, Reimagined From the first seconds of “Helena,” it’s clear how much space has been restored. Way’s voice rises above the storm this time, still desperate, still theatrical, but now isolated in a way that feels intimate rather than buried. The track hits just as hard, but lands with a sharper edge. “Ghost of You” may be the standout of the remaster. There’s a subtle shift in vocal phrasing, as if alternate takes or layered recordings were blended in to highlight Way’s range and expression. The final minute introduces what sounds like a droning scream, a chilling addition that nods to the song’s infamous music video and its wartime imagery. It’s a small detail, but one that adds cinematic weight. Throughout the album, the remaster doesn’t soften the rawness. It refines it. The guitars still slash, the drums still race, but everything is more deliberate. The cleaner soundscape invites closer listening: to the lyrics, to the transitions, to the little moments that once got swallowed whole. A Legacy Reclaimed, A Future Echoed Album Artwork by Gerard Way Three Cheers for Sweet Revenge  was already a defining record for the genre. The 2025 edition imagines a different timeline. One where this album debuted with modern production standards and wider sonic palettes. It asks what would have happened if emo never had to choose between polish and power. This release doesn’t rewrite the past. It reframes it. MCR’s influence continues to stretch into the present, and the Three Cheers  remaster only strengthens their grip on the cultural pulse. It serves as both a preservation and an evolution, proof that even in high definition, heartbreak still howls. So whether you were there in 2004 with a side part and a burnt CD or you’re discovering it now through TikTok edits and festival lineups, this version of Three Cheers  welcomes you in. Turn it up. Scream it out. Let it be loud, let it be messy, let it be yours.