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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Article Contributed by Rebecca McDevitt Photo Provided by Spotify Die To Fall is The Maine’s first release off their upcoming record Joy Next Door, and it already feels like a song made to be shared. It has that indie alternative glow to it, but with a beat you can still move to. The kind of song that turns into a group scream at a summer show, arms thrown over each other’s shoulders, yelling “I feel alive” like you mean it. There’s something really freeing about it. It feels like letting yourself go a little, dancing even when things feel heavy, choosing joy even if it’s messy. Lyrically, it brings up that late night feeling of wanting to fall asleep and just… disappear for a moment. Not because you want to give up, but because you’re tired. Because letting go sounds nice. Almost hoping no one catches you, but also hoping someone’s falling right next to you. “If I could let go, this loss of control” hits right in the chest. It’s one of those lines that feels way too relatable, especially if you’ve been holding everything together for a little too long. That’s what Die To Fall does best. It lets you sit in that feeling without making it scary. It reminds you that falling doesn’t have to be lonely, and that sometimes feeling alive comes from letting yourself feel everything at once. This song feels like summer, community, and vulnerability all wrapped up in one track. One you’ll dance to, scream to, and probably overthink later. Exactly how The Maine does it best.

Bryce Vine dawns the stage in Detroit, MI | Photography by @ljportnoy (on IG) Article Contributed by LJ Portnoy & Mark Portnoy | Photography by LJ Portnoy. There is always something in the air when we find ourselves at El Club. Maybe it is the intimacy of the space. Maybe it is the way Detroit weather insists on being theatrical. On Saturday, February 28, 2026, winter decided to put on a show of its own, whipping up a full blizzard with icy rain slicing through the city. It did not matter. Bryce Vine brought his Let’s Do Something Stupid Tour to town, and Detroit showed up hungry. The line wrapped around the block, fans bundled in layers and stamping their boots against the cold. The cold that bites your cheeks and makes your eyes water. But there was no hesitation. Everyone in that line knew exactly why they were there. Inside, the temperature shifted instantly. Bodies pressed shoulder to shoulder created their own furnace. El Club thrives in these moments. Low ceilings. Tight floor. No escape from the energy. By the time the first note rang out, the room was already alive. Brake Sets the Tone Brake performs in Detroit, MI | Photography by @ljportnoy (on IG) The night kicked off just before 8PM with opener Brake, yes like the car. He wasted no time owning the stage. Dancing from side to side with a brightly colored mullet flying behind him, Brake delivered a set that felt nostalgic in the best way. His sound leaned into a kind of modern hippie core revival. Soulful vocals. Warm melodies. A carefree but intentional stage presence. There was a familiarity to it, but it never felt derivative. It felt lived in. Honest. By the end of his set, the crowd was swaying and fully locked in. Out In Front Turns Up the Heat Out in Front performs in Detroit, MI | Photography by @ljportnoy (on IG) Up next was Out In Front, bringing a sharp pop punk edge that immediately shifted the room’s pulse. Led by Madie Renner on lead vocals and lyrics, alongside Isaiah Volk on drums and Ryen Wagner on bass, the band leaned confidently into their alternative aesthetic. Out in Front performs in Detroit, MI | Photography by @ljportnoy (on IG) Madie, dressed in a long tee layered over fishnet tights with pigtail braids framing her face, struck a balance between polished and effortlessly cool. Her vocals were glossy and punchy, cutting cleanly through driving guitars and a rhythm section that kept the crowd bouncing. Out in Front performs in Detroit, MI | Photography by @ljportnoy (on IG) Their set felt big. Bigger than the room, honestly. By the time they closed, El Club was no longer just warm. It was electric. Bryce Vine Takes the Stage Bryce Vine dawns the stage in Detroit, MI | Photography by @ljportnoy (on IG) Then the lights dropped. A collective inhale swept through the room. And just like that, Bryce Vine stepped onto the stage, guitar in hand. The screams were immediate. Not just loud, but emotional. The kind of reaction that comes from fans who feel personally connected to the music. Bryce Vine dawns the stage in Detroit, MI | Photography by @ljportnoy (on IG) His latest album, Let’s Do Something Stupid, leans heavily into a pop punk revival sound. The punk undertones have always existed in his catalog, but now they are front and center. Earlier projects blended hip hop and pop influences. This new era feels sharper, more guitar driven, and intentionally chaotic in the best way. Halfway through the set, he brought out Madie of Out In Front to perform their new track together. The chemistry was effortless. Playful exchanges on stage translated seamlessly to the crowd, who shouted every lyric like it had already been etched into memory. A Show Built on Connection Bryce Vine dawns the stage in Detroit, MI | Photography by @ljportnoy (on IG) One thing about a Bryce Vine show is stage presence. He does not perform at the audience. He performs with them. When fans reached for him, he reached back. When hands stretched over the barricade, he grabbed them without hesitation. At one point, he let himself fall into the crowd, trusting them completely as they carried him across the room in a wave of motion and laughter. There is a science to that kind of connection. It is built on reciprocity. Energy exchanged, not consumed. Bryce Vine dawns the stage in Detroit, MI | Photography by @ljportnoy (on IG) Earlier in the night, Bryce asked how many people were attending their first show. A handful of cheers echoed back. Then he asked who had seen him before, and the room erupted. That was the moment. This was not a casual audience. This was community. Bryce Vine dawns the stage in Detroit, MI | Photography by @ljportnoy (on IG) As the final notes rang out and the lights came up, one thing was clear. The night was bigger than the snowstorm outside. Bigger than the stage he stepped onto. Even in the middle of a Detroit blizzard, warmth won. Fans walked back out into the icy air flushed, smiling, and already planning the next time they would see him again.

Article & Photography Contributed by Rachel Catherine Alex Sampson live in Concert in Detroit, MI | Photography by @rachsgalleryy on IG El Club in Detroit, MI, welcomed Alex Sampson and the ‘Thank You For Loving Me’ Tour for a night that felt incredibly special, despite the illness that was sweeping its way through the lineup for the evening. But none of them let it dampen the night, and it was proven time and time again that the show really can go on even when you're feeling under the weather. The Opening Acts: Maryjo, The Ultimate Hype Woman Maryjo live in concert, in Detroit, MI | Photography by @rachsgalleryy on IG Maryjo Young, one of the openers for this tour, took the stage with full transparency that she unfortunately had to cut her set from the night’s performance due to losing her voice. But she didn’t let the audience down; she kept everyone entertained in the gaps between Rikki and Alex’s set with her fun, unmatched energy, livening up the room. Her ability to liven up the crowd without a voice and using the fans as her voice to help her entertain the audience is top-tier, and the buzz never faded once.  Rikki Lumi, Breathless and Brilliant Rikki Lumi, Live in concert, in Detroit, MI | Photography by @rachsgalleryy on IG Rikki Lumi opened up the show with her stellar set, rocking a gorgeous little party dress and moon boots. Her performance, barring the fight through losing her voice as well, was iconic. Rikki’s bubbly personality shone through with her beautiful, airy vocals that carried a beautiful tone with a touch of rasp that itches the brain in the right spot sometimes, along with her cute choreography as she worked the small stage, like she owned it. And she did!   Alex Sampson, Thank You For Loving Us / Small Room, Big Heart Alex Sampson live in concert, in Detroit, MI | Photography by @rachsgalleryy on IG When Alex finally hit the stage, the room completely shifted into a kinetic type of energy that felt electric. The environment and the space he has created not only with but for fans feels so intimate, it almost feels like you’re experiencing a private show in your own home. It was up-close and personal in the best way possible. That’s such a rare feeling to experience nowadays with artists. Alex Sampson is one of the very few artists left who have made live music feel so connected, intimate, and accessible. He just has that connection with his fans that feels so lighthearted and genuine, as if they’re close friends.  Alex Sampson live in concert, in Detroit, MI | Photography by @rachsgalleryy on IG A few fans put together a fan project for Alex to put a small pink card over their phone flash while he performed his song Play Pretend. I wish I remembered to capture it, but watching it in the moment and seeing fans come together to do something special for an artist who does so much for their fanbase, creating amazing connections and music that they love, is such a cool thing to not only experience but to witness. One fan asked to come on stage to sing one of his most recently gone-viral songs, Pretty Baby  with him. Alex Sampson live in concert, in Detroit, MI | Photography by @rachsgalleryy on IG During the set, Alex played a couple of fan favorites as well as a new song or two from his upcoming EP, which he teased would be coming out in May of this year. The night altogether felt like it was such a safe space, something I haven’t felt in live music in quite a while, and as someone who is also a part of the fangirl world, it was so nice to feel that again. He was so interactive with the crowd, and I always love that during shows when artists interact with their fans throughout the show. I could see that this night would be very unforgettable for so many fans; this was a night that I will never forget as well.

A candid night of music, memory, and choosing how to live the one life we get on this spinning rock. Article & Photos by Vaneza Gutiérrez Wyckoff I walked into the Neptune Theatre chasing something familiar — the kind of catharsis only the lyrics of your youth, long buried in the recesses of your mind, can unlock. Little did I know that I would walk out with something far more personal. What unfolded onstage wasn’t just a two-hour rock performance, rather a revealing conversation that traced the long, complicated road of Justin Furstenfeld’s life — from marriage and divorce to sobriety, fatherhood, loss, and the quiet reckoning that comes with surviving it all. Justin Furstenfeld performing at Neptune Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps on IG). Under the Neptune’s navy blue curtain and the quiet glow of its iconic green stained-glass windows, Furstenfeld stripped everything back. No elaborate production. No full band. Just an acoustic guitar or two, a microphone, and one of the funniest musicians to grace the stage offering the kind of candor that can only come from someone who has survived their very own tumultuous life. With a lone seat, a guitar, and two spotlights, the intimacy of the stage pulled every member of the audience in close as he weaved pieces of wisdom, life advice, and incredible musical performance into a perfect tapestry. He opened with self-deprecative humor sharp enough to cut any potential tension in the room. He joked about insecurity, about feeling like the soundtrack to someone’s ill-advised first date, about writing songs so deep and emo that they might make you reconsider your date night plans. The crowd roared; he was, unmistakably, a natural comedian. But beneath the punchlines was something steadier — a man aware of his past and unafraid to glance back and laugh at it. Justin Furstenfeld performing at Neptune Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps  on IG). As the stories deepened, the humor became a bridge rather than a shield. Furstenfeld spoke about addiction not as spectacle, but as a series of small decisions that slowly reshaped his life. He described the turning point not as a dramatic moment in time, but as a simple challenge to himself — thirty days of choosing differently. Thirty days that led to something unexpected: for the first time, he liked the person looking back at him. That realization fueled poses and quips that sent laughter rippling through the room while reminding the audience of the quiet truth. Sobriety wasn’t framed as sainthood, but as clarity and, as we would later find out, a gift-giving opportunity. Songs like “Fear,” which opened the evening, and Blue October staples such as “Into the Ocean” and “Ugly Side” felt newly weathered in their acoustic form. Stripped of studio layers and instruments, they sounded less like relics of teenage angst and more like chapters in an ongoing memoir. The lyrics that once felt dramatic now carried the weight of experience and context. The night shifted again when Furstenfeld began speaking about his father — the undercover DEA officer who had once seemed invincible, a larger-than-life, Al Pacino-like figure in childhood memory. He shared the regret of never making time for him, of brushing him off to experience his own life as a musician, father, and entrepreneur instead of spending time with the man he thought was indestructible. By the time Furstenfeld finally showed up, it was almost too late, and the man he had known as unshakeable was fading — physically, then mentally. As his father repeated how proud of Justin he was, it became clear that the moral of the story was about showing up before time runs out. Justin Furstenfeld performing at Neptune Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps  on IG). Beyond that lesson, the evening wove through stories of failed marriages, the guilt that once drove him toward self-destruction, and the unexpected call that changed his life and gave him what he felt was another chance at living a life worthwhile. What once felt like personal failure transformed into purpose. Fatherhood reframed everything. “This isn’t about me,” he realized at one point — and that sentiment echoed through the rest of the night. When he performed songs inspired by his parents, including the tender “1222 Bay Oak Street,” the room seemed to collectively hold its breath. Later, closing with “I Hope You’re Happy,” the energy shifted again — not into melancholy, but into something lighter. Gratitude, maybe? Letting go of the pain, the sadness, the angst, the loss. Throughout the evening, Furstenfeld returned to a simple thesis: we get one life on this spinning rock. The choice is whether to shrink into shame or step fully into it — flawed, sober, and embracing growth. He delivered that message with profanity-laced candor and unexpected grace, seamlessly melding comedy with confession, punctuated by soaring guitar strums. Justin Furstenfeld performing at Neptune Theatre in Seattle, WA. Photography by Vaneza Gutiérrez Wyckoff (@ vanezasnaps  on IG). I came searching for catharsis in the songs that carried me through my own turbulent teenage years. I left reminded that those songs — and the person who wrote them — have continued to evolve. What unfolded at Neptune Theatre wasn’t just nostalgia. Sure, hearing the songs live was intense and fulfilling, as always. But beyond that, it was proof that growth is messy, that regret can coexist with gratitude, and that even the soundtrack of your past can deepen with time.

The Wishbone Tour transformed Prudential Center into a haven for Sad Internet Teens and the stories that shaped them. Article & Photography Contributed by Miranda Wyman On February 27, Conan Gray brought the Wishbone Tour to the Prudential Center in Newark and from the moment the doors opened, it was clear this would not be just another pop concert. Before the show even started, the “Conehead” community inside the arena was impossible to ignore. Fans gathered in front of the stage, posing for selfies in their themed outfits, many using digital cameras to capture the night in a nostalgic vibe. Others walked around trading friendship bracelets, small colorful tokens symbolizing connection and shared heartbreak. It did not feel like strangers filling seats in an arena. It felt like a reunion of people who had spent the last year screaming the same lyrics alone in their bedrooms and were now finally doing it together. The stage itself was a visual centerpiece, designed in the shape of a wishbone to tie directly into the album’s theme. The general admission pit sat in the middle of the split stage, allowing Gray to move along both arms of the stage and get closer to fans throughout the night. Conan Gray performing at Prudential Center in Newark, NJ. Photography by Miranda Wyman IG:@ shotbymiranda.jpg The setlist was divided into four theatrical acts:/ act i: a wishbone never breaks even act ii: i got the short end of the stick act iii: i took the long way to realization act iv: i wished for love, and i found it Each act felt like a chapter in a coming-of-age story filled with heartbreak, confusion, self discovery, and hope. Conan Gray performing at Prudential Center in Newark, NJ. Photography by Miranda Wyman IG:@ shotbymiranda.jpg act i: a wishbone never breaks even Conan appeared in his iconic navy blue sailor outfit, similar to the look from his newest album, Wishbone. His band, made up of two string players, a keyboardist, acoustic and electric guitarists, a drummer, and a bass player, matched him in coordinating sailor inspired outfits, making the stage feel cohesive and theatrical. It immediately tied the visual world of the album into the live show. He opened with “My World,” and within seconds the entire arena was on its feet. “Never Ending Song” followed, keeping the energy high, and after greeting the audience, he moved into “Care.” act i closed with “Wish You Were Sober,” with the arena singing so loudly it almost overpowered the speakers. act ii: i got the short end of the stick act ii began with Conan lying on a bed center stage, wearing a sparkly baby blue flannel over a tank top with his sailor hat still on. “Class Clown” opened up the act before transitioning into “People Watching,” where he jumped into the crowd, sending fans into chaos. He followed with “The Cut That Always Bleeds” from his 2020 album Kid Krow. The lights turned red while he stood in the middle of the stage. The crowd’s vocals turned the performance into a shared emotional release. Gray brought out his acoustic guitar for “Eleven Eleven”. “Nauseous” closed act ii and was easily one of the strongest vocal moments of the night. Standing center stage with just his mic stand, he let the crowd carry the performance. Conan’s Campfire Between act ii and act iii, Conan appeared at the end of one side of the wishbone stage next to a small campfire setup, introducing “Conan’s Campfire,” the acoustic surprise song of the night. Newark received “Footnote” from Superache, sparking excitement from inside the arena and major FOMO online from fans who were not there. Conan Gray performing at Prudential Center in Newark, NJ. Photography by Miranda Wyman IG:@ shotbymiranda.jpg act iii: i took the long way to realization act iii opened with a boat set, wearing an outfit that made him look like a real-life Prince Eric, complete with a swampy backdrop lined with cattails. He began with “Romeo,” which fit the aesthetic perfectly. He then performed the unreleased track “The Best,” and even though it hasn’t officially come out, the crowd sang every word like it was one of Gray’s number one hits. The connection between Conan and his audience was undeniable. The fan-interactive wishbone moment followed, with “Lookalike” and “Astronomy” appearing on screen. After playful banter with Ethan, a fan dressed as the Grinch (which is an inside joke between Gray and his fans), Conan allowed him to choose the song after breaking the wishbone. Ethan selected “Lookalike,” and the arena erupted. Conan gifted him the wishbone as a souvenir for his one-of-a-kind night. act iii continued with “Heather,” arguably one of his most well-known songs. Conan brought his guitar back out and performed it alongside the crowd. At this point in the night, it genuinely felt like the audience had taken control of the song. Their voices overpowered the arena. You could hear them louder than Conan at times. It was not just a sing-along. It was thousands of people reliving the same heartbreak at the same time. After “Heather,” Gray moved to the opposite end of the wishbone stage and performed “Family Line” from Superache. The soft ballad highlighted his more vulnerable side, detailing his childhood and complicated family relationships. The arena, once roaring, grew undeniably softer. Following “Family Line,” his bed returned to the stage. Conan laid back on it as he performed “Connell,” closing act III in a soft, reflective way. Conan Gray performing at Prudential Center in Newark, NJ. Photography by Miranda Wyman IG:@ shotbymiranda.jpg act iv: i wished for love, and i found it act iv consisted of three songs: “Actor,” “Maniac,” and “Vodka Cranberry.” For “Actor,” the background transformed into a countryside scene complete with tall wheat plants and a red barn in the distance, creating a cinematic ending to the emotional trip of the show. After “Actor,” Conan paused to introduce his all female band: Remy, Grace, Emily, Tiana, Eliza, Lily, and Hayley. They had been electric all night, dancing, singing, and feeding off one another’s energy in a way that felt genuine and joyful. He then launched into “Maniac,” another fan favorite from Kid Krow. The entire arena was back on its feet, jumping in sync and screaming every word. “Vodka Cranberry” followed, seemingly closing out the night in celebratory fashion. Conan thanked the crowd briefly and ran off stage, but the cheering never stopped. Moments later, he returned for an encore, performing “Memories” from Superache and “Caramel” from Wishbone. The choice felt intentional. “Memories” brought back that aching nostalgia his fans know so well, and “Caramel” ended the night on a note that was both emotional and triumphant. What a way to close out the night. More than just a concert, the Wishbone Tour stop in Newark felt like stepping inside the heart of Sad Internet Teens everywhere. Theatrical, vulnerable, dramatic, and completely unforgettable. This was such a great show in so many ways, from the production and storytelling to the raw connection between Conan and his fans. It was a night that didn’t just entertain, it made you feel every lyric, every heartbreak, and every moment alongside thousands of people who have experienced the same emotions that Conan Gray has experienced in his life. Conan Gray performing at Prudential Center in Newark, NJ. Photography by Miranda Wyman IG:@ shotbymiranda.jpg

On the first warm night in months, Philadelphia showed up loud for a lineup that proved the local scene is thriving. Article Contributed by Rebecca McDevitt & Devin McDevitt Moonroof performing at Underground Arts in Philadelphia, PA. Photo by Rebecca McDevitt. IG: @ rebeccajeanlimitedphotography There is something about the first warm night in Philadelphia that feels like permission to breathe again. The snow was melting into the sidewalks. People lingered outside instead of rushing home. The air felt softer. The city felt awake. Walking toward Underground Arts, you could feel that shift. That energy followed everyone inside. Local shows already carry weight. Add the first real taste of spring and a packed room full of people who genuinely care about the artists on stage, and the atmosphere becomes electric. This was not just another night out. It felt like a collective exhale. Anthony Winters Lit the Spark When Anthony Winters stepped on stage, the room locked in immediately. His energy was infectious from the first note. The saxophones cut through the venue with this bright urgency that demanded attention. He moved with ease, feeding off the crowd and giving it right back. Anthony Winters performing at Underground Arts in Philadelphia, PA. Photo by Rebecca McDevitt. IG: @ rebeccajeanlimitedphotography At one point, he was fully in the audience, blurring the line between performer and fan. The connection felt natural. When “MID JULY” started, the sing-along was instant. The crowd did not hesitate. Voices rose from every corner of the room, already loud, already committed, already sweating. By the time he wrapped, the tone for the night had been set. The room was warm in every sense of the word. Saint Friday and the Power of Community Then Saint Friday took over, and the energy continued to climb. The indie atmosphere felt effortless. A female-led band commanding a Philly stage carries its own kind of power, and the confidence radiated through the set. Saint Friday performing at Underground Arts in Philadelphia, PA. Photo by Rebecca McDevitt. IG: @ rebeccajeanlimitedphotography The band felt completely in sync. The crowd matched that confidence with constant cheers, shouted lyrics, and applause that lingered between songs. A female drummer anchoring the set brought another layer of presence that did not go unnoticed. There was a shared understanding in the room that this was homegrown talent, and the support was real. This was community in motion. Loud. Proud. Fully engaged. Static Screens and a Hometown Stage Before Moonroof even stepped out, the stage felt different. Two small vintage televisions were stacked directly in front of the drum kit, centered at the base of the kick drum. Static flickered across their screens, casting a nostalgic glow across the floor. The light reflected off the glass and shimmered across the polished stage. It was subtle but striking. A tiny detail that made the setup feel immersive and intentional. Small static TV's sit in front of the drum kit for Moonroof's set at Underground Arts in Philadelphia, PA. Photo by Rebecca McDevitt. IG: @ rebeccajeanlimitedphotography When the band walked into that glow, the anticipation in the room tightened. Moonroof has been on a focused run of shows since February 20th, wrapping on March 13th. That kind of stretch sharpens a band. You could hear it. You could see it. Bringing that momentum back to Philadelphia gave the night an added sense of pride. They opened with “Bottle It Up” from their self-titled album released in July 2025, a track that first found listeners as a single in March 2024. The reaction was immediate. A group pressed against the stage sang every word at full volume, their voices blending into the mix as if they were part of the band. Moonroof performing at Underground Arts in Philadelphia, PA. Photo by Rebecca McDevitt. IG: @ rebeccajeanlimitedphotography Throughout the set, they leaned into album favorites like “Again,” “Forget Someone,” and “Running In Place.” Each chorus felt shared. Each lyric felt claimed by the room. This is what happens when a band grows in the same city that raised its audience. When “Massachusetts,” their latest single released February 18th, kicked in, the energy surged once more. The song already felt woven into the set, embraced by fans who clearly had it on repeat. Moonroof performing at Underground Arts in Philadelphia, PA. Photo by Rebecca McDevitt. IG: @ rebeccajeanlimitedphotography To close the night, they launched into a cover of “The Great Escape” by Boys Like Girls. The entire room knew every word. That chorus lives somewhere deep in all of us. Hearing it shouted back in unison felt like the perfect send-off into the warm Philadelphia night. Why This Night Mattered What made this show unforgettable was not just the performances. It was the collective energy. It was the way the city showed up for its own. Local scenes thrive because people care enough to pack out venues, scream lyrics, and treat every hometown stop like a milestone. This night felt like momentum meeting community at exactly the right time. Fans at Underground Arts in Philadelphia, PA. Photo by Rebecca McDevitt. IG: @ rebeccajeanlimitedphotography The snow is melting. The city is alive again. And if this show proved anything, it is that Philadelphia’s local scene is not just alive. It is building something louder. If you have the chance to catch one of the remaining dates on this run before March 13th, take it. Moments like this deserve to be witnessed in real time. For more information, go to https://moonroofmusik.com/tour .

Photo by Sasha Camacho Article Contributed by Fernando Flores Lexa Gates’s “I Am” unfolds like a conversation you don’t rush through. It’s an album that takes its time not because it’s unsure of itself but because it understands that self-definition isn’t something you arrive at all at once. This project moves with patience and purpose; tracing the quiet evolution of someone learning how to live inside their own truth. It doesn’t posture or over-explain. It simply exists confident that honesty will carry the weight. Confidence, Lived-In Honesty, Real Evolution Across the album Lexa balances reflection and resolve in a way that feels deeply human. There’s vulnerability here but it’s never exposed for shock value. Instead, it’s measured, intentional, and grounded. Songs like “It Goes On,” “Latency,” and “Past It” don’t dominate the album so much as anchor it, setting the emotional tone for everything around them. They mirror the album’s core themes: endurance, emotional processing, and the freedom that comes with finally releasing what no longer serves you. These ideas echo throughout the tracklist giving “I Am” a sense of cohesion that feels lived-in rather than manufactured. A Grounded Album About Self-Definition and Growth What stands out most is how comfortable Lexa is with stillness. The production leaves space allowing moments to linger instead of pushing them toward forced climaxes. Beats and melodies feel restrained but purposeful supporting the storytelling without overshadowing it. This creates an atmosphere where every word feels deliberate. The album doesn’t chase trends or rely on excess; it trusts subtlety, and that trust pays off. Photo by Sasha Camacho Lyrically “I Am” reads like a journal that’s been revisited and revised over time. Lexa writes with clarity but she doesn’t pretend clarity came easily. There’s acknowledgment of confusion, emotional delay and personal reckoning woven throughout the project. Yet the album never sinks into self-doubt. Even in its most introspective moments, there’s a steady undercurrent of self-respect. She isn’t asking, “who am I?” She’s deciding. I Am: Ready to Get the Crowd Going As the album progresses a sense of forward motion becomes more apparent. Not dramatic transformation but real sustainable growth. The kind that shows up when you stop narrating your pain and start living beyond it. And while “I Am” thrives in intimate listening it also carries an undeniable live energy. These songs feel built for a room full of people, where quiet verses turn into shared breaths and choruses stretch wider with every voice in the crowd. You can hear the moments that would hit harder under stage lights, the beats that would ripple through a venue, the lyrics that would land differently when sung back to her. By the final tracks “I Am” feels less like a question and more like an answer not because everything is resolved but because Lexa no longer needs permission to stand where she is. It’s the kind of album that would do incredible numbers live feeding off audience energy and giving it right back. Transforming reflection into something communal and electric. “I Am” is an album that rewards close listening. It doesn’t demand attention with volume or spectacle; it earns it through sincerity and restraint. Lexa Gates captures the beauty of becoming without romanticizing the struggle or rushing the outcome. This project is about claiming space, honoring process, and understanding that identity is something you allow yourself to be.

Article Contributed by Konstantina Buhalis MGK has been a poster boy of the alternative and rap scene for the last decade, with 2020 making him a household name after the release of Tickets to My Downfall. Six years later, MGK is back with a single and music video for “Times of My Life,” off the album lost americana, to fan excitement. Photo: Sam Cahill Times of My Life Lore Fans have been patiently waiting for the official release of Times of My Life, which had been locked in the vault for 8 years. Now that it's out, they're thrilled and discussing the changes from the demo. In 2018, MGK collaborated with Travis Barker on a track slated for the TTMD album, but it leaked and became a cult classic among die-hard fans. Originally, the ToML was a pop-punk powerhouse track featuring Travis Barker, SlimXX, BazeXX, Nick Long, and No Love For The Middle Child. Changing Meaning Mimicking the way MGK blacked out his tattoos to express his maturity and spiritual growth, MGK went on record saying Times of My Life had a changed meaning since he originally wrote and recorded the song. The song had become a milestone in MGK's life five years ago, a hallmark of his success, after years as an underground hit. Initially, the track was halted due to a dispute with the Tom Petty estate, which claimed “Times of My Life” was similar to “Learning to Fly.” After deliberation, the song was cleared, and MGK moved forward with the release. Times of My Life was written before MGK started a relationship with Megan Fox. In the wake of their relationship changes, MGK said the song has taken on new meaning, possibly referencing the shifts, including the birth of their daughter, Saga. Fan Response Across Reddit, Facebook, and Twitter, fans have been discussing the release, with a consensus of excitement. At the same time, some prefer the original demo with a bare-bones, minimalist approach, while others appreciate the new, elevated version, which has hit 1.9 million views on YouTube. Fans are excited for the new era of MGK’s life and music, and are supporting him at every turn.

On asking the hard questions, embracing chaos, and writing in real time. Article Contributed by Vaneza Gutiérrez Wyckoff Asha Banks shot by Louise Browne For Asha Banks, reflection isn’t something that happens neatly after the fact — it’s an active, ongoing state. That instinct sits at the heart of How Real Was It?, her debut EP released last November via Island Records, shaping both the emotional arc of the project and the way she speaks about her creative life overall. Rather than presenting the EP as a finished statement, Banks describes it as a living document — a collection of questions asked honestly and in real time. “I wrote that lyric as the first thing that came out of my mouth when I was writing ‘Done Is Done.’” The title emerged instinctively, almost accidentally, but quickly revealed itself as the emotional spine of the entire project. What began as a single lyric soon expanded into something far larger. “That [lyric] became the ‘everything’ for that song, and then became ‘everything’ for the EP,” she explains. The phrase came to represent not just the music, but the period of her life in which it was written — one filled with extremes, firsts, and constant self-reflection. “I’ve had so many amazing firsts, so many ups and downs… and that sentiment felt so present throughout all of the music and is a question I’m asking myself always.” “As a songwriter, every day I’m trying to be more honest and say the ‘scary’ things.” That openness extends to vulnerability — particularly when it feels uncomfortable. Banks speaks about fear as a kind of creative compass, something she’s learned to trust rather than avoiding it, as she did in the past. Pointing to the song “Delay” as one of the most exposed moments on the EP, she describes the process of sitting with that discomfort and recognizing its value. “Trying to hold on to that feeling [of fear] and realize that means that it’s probably a good one… something I should be brave enough to write down and get out of my brain and out of my mouth and throw it onto paper.” “The more I write, the more I learn about myself — it’s literally the most self soul-searching you could ever do.” In the process of writing How Real Was It?, Banks discovered parts of herself she didn’t fully expect. The act of building not one, but two EPs forced her to confront her instincts, her habits, and her need for control. “These two EPs that I’ve made have made me realize that I’m probably a bit of a control freak,” she admits, before reframing it as a strength rather than a flaw. It’s a realization that’s helped her grow not just as a songwriter, but as a collaborator and storyteller — particularly at the intersection of singer, songwriter, and actress. “I’m so used to dissecting somebody else and trying to figure out their rhyme and reason for everything,” she says, “and now I can use those tools for myself.” “There’s the truth of what needs to be said in the most plain, kind of ‘journal entry’ words.” While her music often feels like an entry in her diary, Banks is intentional about balancing raw honesty with narrative and sound. She describes her songs as a meeting point between confession and craft — where lyrics, production, and emotional instinct all work together. “I find that the most impact comes from having a balance of the storytelling and hard-hitting home truths,” she explains, noting that the goal is always emotional resonance. “I feel like I’m constantly on the hunt for whatever it is in the track that makes my heart ache a bit.” That instinct, she says, often leads her toward the most vulnerable moments. “Often the things that [fans] relate to and connect with the most are the things that I have found the most intimidating to say or the things that are the most truthful to my core.” “I’m like, ‘bring on the chaos!’ I feel like I thrive with chaos.” Looking ahead, Banks acknowledges that stillness or closure aren’t likely to come anytime soon - and she doesn’t mind that. Instead, she’s embracing that momentum. After what she describes as a “mad” year, she hopes what comes next is just as full, just as unpredictable. That sense of movement mirrors the EP itself — a project rooted not in resolution, but in emotional honesty and self-questioning. Wherever that chaos leads, she’s guided by joy and by a deepening connection to the people finding themselves reflected in her songs. How Real Was It? doesn’t offer tidy answers, but that openness is precisely its power: a portrait of an artist caught mid-thought, learning to trust uncertainty and allowing each creative chapter to come as it may. “I’m still learning… and hopefully I will just pick up more as I go along and continue to grow.”