Article Contributed by Rebecca McDevitt Fourteen years ago, Mike Schiavo was performing in a small pizza shop in New Jersey, the kind of venue where the stage feels temporary but the ambition does not. Backed by members of Aaron Carter’s former touring band, the show carried an odd duality: hyper-local grit paired with a glimpse of something bigger. Even then, Schiavo sang like someone already imagining Los Angeles. Mike Schiavo performing at Luna's pizza in 2012 with a local band. Photo by Rebecca McDevitt. IG ( @rebeccajeanlimitedphotography ) Now, Los Angeles is home. His latest single, “binging”, deliberately styled in lowercase, strips away everything but the essentials. Just acoustic guitar and vocals. No layered production. No studio gloss. The sparseness feels intentional. There’s nowhere to hide. Artwork pulled from Spotify At its core, “binging” is a meditation on self-perception, on the long shadow cast by insecurity and the ways we learn to cope before we learn to understand. Throughout the track, Schiavo repeats the refrain, “if I knew then what I know now,” turning hindsight into a quiet ache. It doesn’t feel like tidy wisdom earned with age. It feels like someone replaying old moments, searching for the point where they might have been gentler with themselves. One of the song’s most vivid memories reaches back to when he was thirteen, catching his reflection at a strange angle and convincing himself he looked bigger than the April before. It’s a fleeting image, but that’s how insecurity often embeds itself: in offhand glances and distorted reflections that linger long after the mirror is gone. Later, he sings about bringing his demons to Los Angeles with him. The cross-country move, the industry gamble, even an appearance on The Voice — none of it left those demons behind. Public rejection and private doubt collided. Geography changed. The struggle did not. But the song’s emotional turning point arrives when Schiavo reflects on turning twenty-five and finally recognizing that he was hurting. “Yeah Mike, you deserve it,” he sings; not as a declaration of ego, but as an acknowledgment of humanity. Within that same passage, he admits: “maybe I wouldn’t have withheld all of my grace, maybe I’d be nicer to myself to start my days, maybe I’d have found some better ways to deal with pain.” It is a striking confession. The regret isn’t about missed industry milestones. It’s about the kindness he didn’t extend to himself. The grace he withheld. The coping mechanisms he adopted before he had the language for healing. The acoustic minimalism makes every word land heavier. His voice carries restraint, tension, and something close to release. There’s no dramatic swell to cue emotion. Just an artist narrating his internal battle in real time. There is something uniquely brutal about being “almost.” Almost the breakout story. Almost the industry success. The music world celebrates winners and reinventions, but rarely lingers on the long middle, the years spent trying to untangle self-worth from public validation. “binging” lives in that middle. It is not a triumphant comeback. It is not a neatly packaged redemption arc. It is an artist confronting the younger version of himself and wishing he had been softer. And in a culture that often rewards self-criticism more than self-compassion, that confrontation feels radical. Mike Schiavo is still in Los Angeles. Still writing. Still wrestling with the same inner voice he’s finally learning to quiet. This time, with a little more grace.

Concert photographer, film obsessive, and certified “yacht rock at 9 PM on a Monday” icon Nikki Cardiello, self-portrait Article Contributed by LJ Portnoy Some photographers fall into the pit and never climb out. Nikki Cardiello is one of them. She started as an artist in the classic sense, drawing and illustrating, always orbiting creativity. But the real spark hit the first time music and a camera collided. At 14, she brought a $20 HP digital camera to see the Jonas Brothers from the nosebleeds at Nassau Coliseum, snapped a bunch of blurry little ghost-figures, and still walked away thinking, No, this feels extremely right. That feeling didn’t fade, even when the industry tried its hardest to sand it down. The moment it became real Charli XCX, @nikkimarie.jpg A few years later, Nikki brought her camera to Terminal 5 for a small band. The photos were, in her words, “atrocious,” but the band was kind, encouraging, and one member went a step further. He handed Nikki her first press pass, a gateway into Warped Tour, and into the place she now describes like a home address. “As soon as I got in that photo pit, I was like, ‘Yeah, this is what you’re supposed to be doing.’” For Nikki, concert photography wasn’t just a hobby. It was a way to belong in the music industry when being a musician wasn’t her lane. A bridge between worlds. The fight, the pause, the return Louis Tomlinson , @nikkimarie.jpg Nikki is brutally honest about the part nobody puts on the Instagram carousel: the burnout, the comparison spiral, and the months when she couldn’t even touch her camera. “This could not be a promising career sometimes. You really, really have to fight for it.” She talks about how, early on, concert photography felt intensely male-dominated, especially touring, where bringing a woman along was treated like a “taboo” inconvenience. That pressure, plus constant comparison to others getting opportunities, made her question everything. But then the pandemic happened, and oddly, it clarified her relationship to the craft. With live music gone, she returned to her roots and realized the drive didn’t disappear when the stages did. “That reflection period helped me settle. Since then, I have not wanted to ever give it up.” Style, rule-breaking, and the myth of numbers Sabrina Carpenter, @nikkimarie.jpg Ask Nikki what makes a photo “successful,” and she does not worship the algorithm. Numbers matter, she gets it. Likes, reposts, “flopping,” all of it can mess with your head. But her measure of success is simpler and way more difficult: do you feel it’s finished? Do you feel proud? “Your validation should come from you, not from the outside world.” She’s also a champion of rule-breaking. Cropping experiments. Flash. Grain. Chaos with intention. Nikki’s editing has evolved from early internet-era sepia sins to a full-circle love of raw aesthetics, including a deep obsession with film photography. Film forces commitment: limited shots, unpredictable light, and no instant replay. She loves it because it demands presence. The soundtrack in her head If Nikki’s work had a playlist, it starts with oldies. Motown. Yacht rock. The music she grew up on, thanks to her grandparents. Then, somewhere around the second hour of editing, it mutates into punk, EDM, house, dubstep, and whatever else keeps her hands moving at 3AM. The genre shift is not a contradiction. It’s a rhythm. Dream shoots and the legacy Nikki Cardiello wants Harry Styles, @nikkimarie.jpg Her bucket list is a beautiful blend of icons and personal meaning: Harry Styles, My Chemical Romance, Paul McCartney, Oasis, Stevie Nicks. But the legacy she wants is bigger than a resume line. Nikki wants to make images that outlive the moment, the kind that become memory artifacts. “I want people to look back when they’re old and remember the show, remember they were there.” She cites a historic photo as her north star: the sailor and nurse kiss, that lightning-bolt slice of candid history. Not because it’s perfect, but because it’s real, unplanned, and still talking decades later. And maybe that’s the best way to describe Nikki’s work: it doesn’t just document concerts. It preserves proof that the moment happened, and that it mattered. Nikki Cardiello is chasing the kind of photo that becomes a time capsule. Honestly? We hope she catches it.

Article Contributed by Fernando Flores Photo: Spotify Charlie’s Natural Gift Charlie Puth has a way of drawing listeners in without relying on big moments and “Beat Yourself Up” is an example of that confidence. As the second single from his upcoming album Whatever’s Clever, the track doesn’t rush to make an impression. Instead, it eases in self-assured allowing the mood to settle before the message fully lands. The song rides a smooth, steady groove that feels almost conversational. It’s not flashy or demanding, but it’s tightly constructed. The melody moves with ease, and the production stays clean and intentional, leaving space for the vocal to carry the emotional weight. It’s the kind of pop song that sounds effortless on first listen, even though every layer feels carefully placed. Nothing is competing for attention, and nothing feels like filler. Lyrically, “Beat Yourself Up” turns inward in a way that feels personal without being heavy. Rather than focusing on heartbreak or big emotional fallout, Puth zeroes in on self-criticism and the habit of replaying mistakes long after they matter. The song doesn’t dramatize those feelings; it gently acknowledges them. That approach makes the message land more like reassurance than confession. A (Voice)note to The Listeners One of the most striking moments comes when Puth sings, “You’ve got a voice. It belongs in the world. So hear me out, hear me out. How do you feel now?” In that moment, it sounds less like he’s pre-recorded and more like he’s sitting across from the listener offering encouragement without judgment. The repetition of “hear me out” feels intentional, as if he’s asking for patience both from the listener and from himself. That sense of intimacy is what sets “Beat Yourself Up” apart from the rest. The upbeat melody keeps things light but the lyrics carry real emotional clarity. Even as the song addresses insecurity and self-doubt it never feels weighed down by them. Instead, it offers a gentle push forward. As if Puth’s telling us that optimism doesn’t come from pretending things are fine; it comes from acknowledging the struggle and choosing not to dwell on it. Photo: Hunter Moreno An Album for Growth and About It Within the context of Whatever’s Clever the track just works. If the first single hinted at growth, “Beat Yourself Up” explores what happens after that realization. It’s about learning how to live with your choices instead of constantly punishing yourself for them. That perspective suggests an album focused more on reflection and self-awareness than reinvention for the sake of change. There’s a noticeable restraint throughout the song. There’s no dramatic drop or explosive build designed to chase attention. The production supports the vocal rather than overpowering it, and the arrangement stays consistent trusting the listener to stay engaged. Puth shows confidence in this restraint and in his fans that frankly works. “Beat Yourself Up” may not be the loudest track in Charlie Puth’s catalog but it’s one of his most grounded. It’s catchy without being overwhelming, thoughtful without feeling heavy, and warm in a way that lingers after it ends. If this is the direction Whatever’s Clever is headed the album is shaping up to be a clear, calm, and confident addition to Puth’s evolving body of work. Tune In “Beat Yourself Up” is out now on all streaming platforms. Be sure to check it out alongside “Change” if you haven’t already, as Whatever’s Clever continues to take shape as one of his most reflective projects yet.

Article & Photos Contributed by Rebecca McDevitt On February 21st at MilkBoy in Philadelphia, Pennsylvania, about fifty people gathered to watch Modern Culture, Sleep Cycles, and June Divided share a stage. Fifty people. Not sold out. Not empty. Just enough to feel real. Sleep Cycles performing at Milkboy in Philadelphia, PA. Photo Provided by Rebecca McDevitt IG: (@ rebeccajealimitedphotography ) The room was warm, loud, relaxed, and there was not a single phone in sight. You could hear every lyric clearly. You could see every expression onstage. You could feel the effort. And that’s the point. There’s a strange habit in music culture right now. People wait for proof before they participate. A viral moment. A festival slot. A co-sign from someone bigger. Something that says this artist is officially worth your time. But by the time a band headlines a thousand-cap venue, the foundation was built in rooms like this. In front of fifty people. Local artists are not stepping stones. They are actively building careers in real time. They are rehearsing after work. Funding their own tours. Writing through doubt. Loading their own gear. Showing up whether the room is packed or not. Modern Culture posing in Philadelphia, PA. Photo Provided by Rebecca McDevitt. IG: (@ rebeccajealimitedphotography ) Streaming alone does not sustain emerging artists. Algorithms do not create scenes. People do. When you buy a ticket to a small show, you’re not just filling space. You’re investing in the ecosystem that keeps music culture alive in your city. Modern Culture performing at Milkboy in Philadelphia, PA. Photo Provided by Rebecca McDevitt. IG:  (@ rebeccajealimitedphotography ) Modern Culture continues to carve out their space in the Philly scene with intention. Sleep Cycles built atmosphere without spectacle. June Divided brought polish and chemistry to an intimate room. None of them performed like attendance determined their worth. They performed like the room mattered. And it did. Because small shows are where identity is shaped. Where fans become supporters. Where scenes either survive or disappear. If you want to support your local music community, start here: Go to the show. Stay for the openers. Buy the shirt. Bring a friend. Post about it. Sleep Cycles performing at Milkboy in Philadelphia, PA. Photo Provided by Rebecca McDevitt . IG: (@ rebeccajealimitedphotography ) And if you’re not in Philly, that doesn’t exempt you. Every city has its own version of MilkBoy. Every town has artists grinding without a safety net. Here are a few smaller artists and local bands we believe are worth showing up for: Former Critics Mike Schiavo Alex Ray Lila Holler Sdoku Sophie Swanson Milahroy Scenes don’t grow by accident. They grow because people decide they care before the rest of the world does. Your favorite artist once played to fifty people. The only reason they don’t anymore is because enough people chose to be part of the beginning.

Songs that were almost Number 1 on the charts but couldn’t get there… why? Article Contributed by Monica Soriano Screenshot of the Billboard Hot 100 week of March 5, 2005, with Green Day in the number 2 position. The list of songs that could've gone number one but didn’t could be endless, but here are a few songs that were so close to being number one that they peaked at number one. They each have a reason as to why they didn’t reach the top spot.  Boulevard of Broken Dreams  The rock single that couldn’t beat out the hip hop club hit This   incredibly popular song almost peaked at number one on the US Billboard Hot 100 Chart, but didn’t. Yes, Green Day’s “Boulevard of Broken Dreams,” released in 2004, was the second single from their highly successful album American Idiot , and it peaked at the #2 spot. Although the song was highly praised and even became a fan favorite, it unfortunately couldn’t reach the top spot. This happenstance was due to a massive hit by the title of “Candy Shop” by 50 Cent featuring Olivia. “Candy Shop” remained in the number one spot for nine consecutive weeks, and it became a club/party hit. Bohemian Rhapsody   Charting unexpectedly over 15 years after its release, but still not number one Queen’s “Bohemian Rhapsody," written by band member Freddie Mercury, was first released in 1975 as part of the band's album A Night at the Opera . Back when it was first released, the song peaked at number nine on the US Billboard Hot 100. It wasn’t until it was featured in the film Wayne’s World in 1992 that the song gained momentum once again. Over 15 years after its original release, “Bohemian Rhapsody” peaked at number two on the US Hot 100 Chart. It was only because of the song “Jump” by Kriss Kross (produced by Jermaine Dupri) that it was unable to reach the number one spot. It is still a surprising accomplishment to have charted higher the second time around.  We Can’t Stop Miley leaves her mark regardless of the blurred lines Miley Cyrus had “Wrecking Ball” and “Flowers” reach number one in the US Billboard Hot 100, and she came close to that same success with her song “We Can’t Stop”. There was just a major hit single that took over the radio back in 2013. The song “Blurred Lines” by Robin Thicke ft. T.I. and Pharrell Williams attained the coveted spot. It is a great achievement for Miley Cyrus to reach the number 2 spot, especially since she was the only female artist to be in the top 5 that week.  There are many more well-known songs that almost reached number one, but because of timing or the popular genres at the time, they didn’t. But there are also those instances where success comes back around years later. It is always a treat to see artists and songs get a second chance. The artists listed above have had long-lasting careers, with Miley Cyrus still at the height of her success, and it is only through their continuous output of music, regardless of perception or numbers, that they are able to be considered legends today. It is important to remember the hard work and creativity that makes up these singles and albums. Some details are meticulously placed by the artists, and they deserve their time in the spotlight.

Blackbear has created his space within the music industry by diving into different genres, collaborating with diverse artists, and musically expressing his journey through life. blackbear album artwork for, "misery lake" Article Contributed by Monica Soriano. Blackbear’s Beginnings: Polaroid, Mat Musto and Early Music He started his journey as a member of an emo band (Polaroid) during his high school years, then eventually transitioned to making solo music. At one point he sent out demos of his music and thus began to work with Ne-Yo and his team. He attributes a lot of his growth as a producer/ artist to the 3 years he spent in Atlanta with them. To the early fans he was known as Mat Musto, short for Matthew Tyler Musto. He started releasing projects under this name and creating a buzz through his alternative sound. He later transitioned into the artist he is today - Blackbear.  He continued to grow as an artist by consistently releasing projects, some of which included The Afterglow EP, Dead  EP & the deadroses  album. Producing, Creative Vision & More Many popular songs were written, produced, or remixed by blackbear. A notable track is Billie Eilish’s “Ocean Eyes,” which he remixed with Garage Band, at the time, Billie was not the superstar she is today, and Bear came across her music on SoundCloud. Other mainstream songs are “Boyfriend,” by Justin Bieber, and “Numb,” by Nick Jonas, both of which he co-wrote. Blackbear’s true strength as a producer lies in the way he crafts his sound and world. He partakes in the writing, and the majority of his tracks are produced by him. Some of his most successful songs that are self-produced and written include “do re mi,"“hot girl bummer," and “idfc”.  From the artwork of his music to the stories he chooses to tell, most are accompanied by his artistic and musical input. Bear is often known for his ever changing hair color, his tattoo-covered body and his use of clothing to express himself. Whether he’s rocking the skater style, covered head to toe in pink or mixing high end brands, he is always bold and creative. Using his creativity in music and fashion, blackbear formed a duo with Mike Posner, a longtime friend and collaborator. This duo is known for their alternative style, the use of bright green for their marketing, and, of course, their memorable music. The music they released together had varying influences of Hip-Hop, Pop, and R&B, as well as the alternative, emo sounds. They have released two albums, Mansionz  and Mansionz 2 , both of which were written and produced by Blackbear and Mike Posner.  Living Through Music As Bear continues his career for over a decade, there are many things in his personal life that make fans wonder what the future will look like. In 2016, he was diagnosed with necrotizing pancreatitis, which required him to be hospitalized for extended periods of time and undergo many surgeries. From that time in his life came his album Digital Druglord, a beloved project by fans. blackbear album artwork for, "everything means nothing" After taking time off from performing, blackbear returned to the stage in the summer of 2025. Recently, he released the track “Britney in '07” and has been teasing his upcoming album analogue dream  set to be released April 1, 2026. We hope this year brings more health, many live performances, and music that fully aligns with Bear.

Article contributed and photography by LJ Portnoy Badflower performs live in Detroit, MI at St. Andrew's Hall - Photography by @ljportnoy The Line That Said Everything On the evening of February 17, 2026, just after 6:30 PM, a line of fans stretched far beyond the entrance of St. Andrew’s Hall in Detroit, waiting for performances from Badflower, Point North, and Olive Vox. The line spilled across the parking lot, wrapped around the block, and disappeared toward the far sidewalk. The February air was cold, fog hanging low across the city, but no one moved. No one left. The anticipation alone was enough to keep everyone rooted in place, waiting for the doors to open. Detroit does not line up in the cold unless it means something. By the time doors opened, it was clear this was not just another show. This was a sold-out night at one of Detroit’s most iconic venues. Fans lining the front row of the barricade for Badflower - Photography by @ljportnoy After a brisk wait and a quick stop at will call to collect press credentials, we moved swiftly toward the stage as Olive Vox had already begun their set. We entered the pit just in time to capture the final moments of their early songs, and immediately, it was clear this was a band that understood momentum. Olive Vox performs live at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy Olive Vox Sets the Emotional Tone Olive Vox performs live at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy Olive Vox is the Dallas-based alternative rock project led by brothers Parker James and Caden Shea, joined onstage by musicians Ben Reid on bass and Dayton Phillips on drums. Olive Vox performs live at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy Together, the expanded lineup gave the band’s sound a physical depth that elevated their atmospheric recordings into something far more immediate and immersive. Reid’s basslines grounded the performance, while Phillips’ drumming provided both precision and explosive momentum. Despite arriving partway through their set, their ability to command attention was immediately clear. Their movement across the stage was fluid and confident, and the crowd responded in kind, leaning into each moment. Even in those early moments, they demonstrated a strong command of both atmosphere and presence. Olive Vox performs live at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy The timing of the performance also marked an exciting moment for the band. Their newest single, “BABYDOLL,” released on February 13, 2026, with the official music video premiering on February 19, 2026, placed Detroit squarely in the middle of a pivotal release window. The momentum surrounding the release was evident both in their performance and in the audience’s response. Point North Raises the Temperature North Point performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy When Point North took the stage, the temperature in the room rose instantly. For many in attendance, ourselves included, this was a first introduction to the Los Angeles-based alternative rock band. Frontman Jon Lundin established himself as a magnetic presence, effortlessly commanding attention across the venue. North Point performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy His movements were intentional, frequently engaging with photographers and fans alike. North Point performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy Alongside guitarist Andy Hershey and drummer Sage Weeber, Point North delivered a set defined by precision and emotional intensity. Their sound blends alternative rock urgency with modern melodic sensibility, and it translates powerfully live. Each track landed with weight, and the crowd fed off the band’s energy. By the end of their set, they had firmly established themselves as one of the most compelling supporting acts of the night. North Point performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy Badflower Transforms St. Andrew’s Hall Badflower performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy As the lights fell and the room held its breath inside a completely sold-out St. Andrew’s Hall, the moment everyone had been waiting for finally arrived. When Badflower stepped onto the stage, the venue transformed completely. Badflower performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy Bathed in deep blues and fierce reds, frontman Josh Katz stood at the center of the stage, silhouetted in color and tension. From the opening notes, the performance was explosive and emotionally precise. Known for their raw lyricism and emotional honesty, the Los Angeles rock band translated that vulnerability directly into their live presence. Badflower performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy One of the night’s most unforgettable moments came midway through the set, when Katz suddenly left the stage and moved toward the balcony. Racing past stunned fans, he reappeared along the exposed railing at the back right of the venue. Carefully balancing himself along the edge, he turned to the crowd and asked which side was stronger. The answer came instantly. Moments later, he leapt. Badflower performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy The crowd caught him without hesitation, lifting him above their heads and carrying him back toward the stage. The moment revealed something deeper than spectacle. It showed the trust between artist and audience. Comprised of Josh Katz, Joey Morrow, Alex Espiritu, and Anthony Sonetti, Badflower has built its reputation on emotional honesty and fearless performance. That connection was fully realized in Detroit. Badflower performs at St. Andrew's Hall in Detroit, MI - Photography by @ljportnoy A Sold-Out Night That Filled Every Inch of the Room St. Andrew’s Hall is not the largest venue in Detroit, but on February 17, it held the weight of something much bigger. The show was completely sold out, and from the floor to the balcony, every inch of space was filled with movement, noise, and anticipation. Badflower crowd in Detroit, MI - Photography by @ljportnoy It was the kind of crowd that showed up early, stayed loud, and gave everything back. Crowd surfers moved across the room. Fans sang along. No one stood still for long. It was a reminder that scale is not defined by the size of the building, but by the energy inside it. Even in a city with larger venues like The Fillmore or The Majestic, nights like this prove that Detroit’s music scene is not only alive, but deeply present. The fans show up. They stay engaged. And they make rooms like St. Andrew’s Hall feel larger than they are. This was one of those nights.

He’s back! Harry Styles releases the first single from his new album ‘Kiss All The Time. Disco, Occasionally.’ along with tour dates and a music video! Still from Harry Styles, Aperture Music Video, Written and Directed by Aube Perrie Article Contributed by Monica Soriano Stepping into a different sound, Harry Styles’ release of “Aperture” leaves many stunned. While it is very clear from the title of the album that it would involve some sort of disco, dance, house, or EDM influences, it still left many puzzled. Not necessarily in a bad way, but rather, people are left curious about this new direction.  Aperture Lets Light In “Aperture” is just over 5 minutes long and gives the listeners a generous amount of time to settle into what this song is. It is a very international track that contrasts a dance beat with Styles’ slow melodies. Upon first listen, it is just a good dance pop track, but the more it replays, the more it evolves into a mesmerizing single. The meaning of aperture in photography is essentially the amount of light being let in through the camera lens. Depending on how open or closed it is, how much light is let in. When applying that to Harry Styles’ new song, it could potentially be a self-reflection of how being emotionally closed or open to the world can affect the amount of good things entering their life. Of course, it’s speculative, and this is only the first song of the 12-track album. Overall, the song serves as a good idea of what the remainder of the album will sound like. Muted Colors and Back Bending Choreography Harry’s New Music Video is composed of muted colors, film-like direction, and a back-and-forth fight turned dance choreography. It goes full circle from leaving his hotel room to returning. Something that was noticeable was the way in which the interactions between Harry and the person trailing him turned from an altercation into a charismatic action and dance piece. Visually interesting to watch and kept in alignment with Harry’s eccentricity.  Tour Dates & Album Updates The song “Aperture” features many artists in the background, including the House Gospel Choir and Yaffra on the piano. The track list for the album has been revealed as follows: Aperture American Girls Ready, Set, Go! Are You Listening Yet? Taste Back The Waiting Game Season 2 Weight Loss Coming Up Roses Pop Dance No More Paint By Numbers Carla’s Song Along with the official song names, Harry has released performance dates! There were rumors about a residency or a tour. Well, both are right. Harry Styles is set to play 30 shows at Madison Square Garden in New York City while also releasing tour dates for the Netherlands, the UK, Mexico, Australia, and Brazil.  Tour Poster for Harry Styles Together, together tour For this tour, Styles is partnering with UK non-profit Choose Love , which provides support and aid to displaced communities. This new era of Harry Styles is bold and purposeful. The message behind his song, the lightness of a dance track, the musicians he worked with, and the non-profit he chose to align with are all, in a way, a message of love and unity to the world. We are ecstatic about this new tour/residency, and we can’t wait to hear the remaining 11 tracks of the album! More info on tour dates here: https://www.hstyles.co.uk/tour/

Article & Photos by Rachel Catherine SZN4 performing at El Club in Detroit. Photos by Rachel Catherine (@ rachsgalleryy on IG) A Valentine’s Day Evening to Remember February 14th, I spent my Valentine’s Day evening on a Saturday night with SZN4 and it was quite the spirit lifter. On a “holiday” that’s particularly not my favorite, you could feel the love emulating off of the group from the love they have for each other as well as the people supporting them in the crowd. A Hometown Hero - Local Opener The Detroit show went off without a hitch as the night started with a very fun, electric, and nostalgic DJ set put together and produced by Detroit-based, local DJ, Kid McFly with iconic remixes of songs including Tipsy by Shaboozey, Umbrella by Rihanna, We Can’t Stop & Party in the USA both by Miley Cyrus, Complicated by Avril Lavigne, Apple Bottom Jeans, and more iconic tunes, even getting to dance to the Cupid Shuffle, it really got the crowd going and excited for the show. DJ Kid McFly playing at El Club in Detroit, MI before SZN4. Photo by Rachel Cahterine ((@ rachsgalleryy  on IG) Small Venue, Big Stakes SZN4 came out and they did not come to play. They didn’t just show up, they showed out . Dressed in matching navy pinstriped sets, the group wore their pinstripes in what felt like was custom to their fitted styles. SZN4’s performance left the crowd buzzing as we all left the venue at the end of the night. The live performance felt very much like a blend of Little Mix and Pentatonix. SZN4 performing at El Club in Detroit, MI. Photos by Rachel Catherine (@ rachsgalleryy  on IG) There was that sense of belonging that made you feel like you were a part of the show, whether the band was interacting with the crowd or having everyone in the audience learn the lyrics to sing back to them. It was so comforting that they could create an environment with music that feels like a place you could maybe call home. They truly have a community that feels safe and welcoming. SZN4 brought the energy to the stage with their impeccable stage presence that was bigger than the stage/venue and brighter than the lighting. They really turned up the vibes and raised the stakes for small venue performances, small choreography, amazing vocals, and all. The energy felt palpably from the front of the room, all the way to the back, creating an intimate yet arena-level experience. The Verdict If there’s ever a chance that SZN4 comes to Detroit again, there wouldn’t be a doubt that I would see their show again, even through my camera lens and post editing photos, you can feel their energy beaming through the screen.

Article & Photos by Madison Cozzens The Wombats have been around since the early 2000’s providing listeners with the quintessential feel-good indie rock. Spanning from 2007 to 2025 their discography transports you back to the feeling of the 2010’s, making you feel like the star of your own coming of age movie. The group packed The House of Blues on a Thursday night in Cleveland, OH as they take their “Oh the Ocean Tour” across North America. The Wombats performing at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) The American Marsupials Take the Stage The opening band Cigarettes @ Sunset describes their music as “Appalachian Possum Rock”, which feels quite accurate. The group hails from Boone, North Carolina and you can feel the Appalachia roots in all of their songs thanks to the gritty vocals and violin that carry throughout. Their music doesn’t conform to any genres taking from rock, bluegrass pop and more; digging into the raw feelings of being human (that is of course unless they’re singing about having sex with vampires). The band’s motto is, “It doesn’t have to be perfect, it just has to feel perfect.” and they delivered on that Thursday evening. The group made the House of Blues venue feel like an intimate small-town show when lead singer Garrett Dellinger got into the crowd and interacted with their new fans. Cigarettes @ Sunset has a bright future ahead, and you can take solace in the fact they are certified rabies free. “We love The Wombats, they are incredibly generous for giving a band our size this shot. We grew up on them and are honored to play with them”. - Cigarettes @ Sunset Cigarettes @ Sunset performing at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) Time for The Wombats The trio consisting of Matthew Murphy (lead vocals, guitar, keyboards), Tord Øverland Knudsen (bass, backing vocals, keyboards), and Dan Haggis (drums, backing vocals, keyboards), took the stage just after 9pm. The Wombats kicked off the evening with “Moving To New York”, an upbeat song that became part of their flagship sound. The 2010’s techno, pop, rock vibes that The Wombats bring is certain to get you into a good mood. It helps that the bassist, Øverland Knudsen, looks like he’s having the time of his life every second he’s on stage. The smile never leaves his face as he races and jumps around the stage engaging the crowd throughout the show. The positive energy flowed through the evening until the band performed their last song “Let’s Dance to Joy Division. The chorus stated, “everything is going wrong but we’re so happy”, paralleling the outside world and the group within the House of Blues that evening forgetting their troubles and being happy in the moment. The Wombats performing at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) The Wombats formed in 2003 when the friends met at The Liverpool Institute for Performing Arts. While the group released their self-titled EP in the U.S. in 2008, the band didn’t reach the U.S. charts until Glitterbug in 2014. The album included songs like “Greek Tragedy” and “Pink Lemonade”, two of their top songs on Spotify to this day. Their music often appears in playlists with artists like Phoenix, Modest Mouse, Vampire Weekend, and Two Door Cinema Club. While their 2025 album “Oh! The Ocean”, keeps the 2000s indie pop at its core, the group explores complex themes and incorporates other genre elements. Are You Ready for the High? Off of their 2022 album, the song “Ready for the High”, may not be one of The Wombats’ most popular songs, but it is one of the most memorable. During the song, a giant wombat that played the trombone took the stage and goofed around with the band. The crowd loved it, grooving along with the trombone and the surprise guest. The song sets itself apart from their other songs, embracing the bombastic sound of horns, with a rock beat drop while keeping their techno roots. The Wombats performing at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) The Wombats have been releasing songs for many years and they continue to produce songs that their fanbase loves. The group’s music will be a staple in the indie-rock community, inspiring others and bringing people together. The marsupial take over in Cleveland was a success with The Wombats and the possum rockers, making a lasting impression on all that attended.

A reflection on impermanence, cinematic pop, and the new chapter ahead. Article Contributed by Vaneza Gutiérrez Wyckoff Sarah Kinsley shot by Florence Sullivan Sarah Kinsley has built a career around capturing fleeting moments — and with nearly one million monthly Spotify listeners, she’s clearly not the only one listening closely. During our recent chat, she spoke about time the way some people speak about weather: ever-present, uncontrollable, and quietly shaping everything in its path. It’s a fitting entry point for Fleeting, her latest cinematic release and the first glimpse into a new chapter of music arriving in 2026. “I think this EP in particular is about impermanence, you can still feel euphoria or catharsis even knowing something isn’t going to last.” That idea of impermanence runs through “Fleeting” not as loss, but as motion. The track carries subtle ‘80s textures, shimmering and atmospheric without tipping into nostalgia. It feels suspended between urgency and softness, allowing emotion to pass through rather than settle permanently. Kinsley was clear that she resists prescribing meaning, preferring instead to leave space for listeners to bring their own experiences into the song. “I want people to take whatever they want to take from my music, I don't want to prescribe a specific experience,” she explained. That openness extends into the influences shaping the upcoming EP. Kinsley cited listening heavily to The Blue Nile’s Hats, especially “Let’s Go Out Tonight,” alongside New Order’s Substance and the work of Blood Orange. These weren’t references she approached analytically, but sounds that lingered in the background as the songs took shape, contributing to the EP’s emotional palette. For Kinsley, process was just as important as inspiration. This project marks the longest stretch of time she’s allowed between writing, producing, and releasing music, a pace that encouraged patience, an open mind, and deeper listening. That slower rhythm gave her room to examine not just the songs themselves, but her relationship to making them. Her background in classical music remains part of that equation, though she described it as something she’s constantly negotiating with rather than following blindly. The discipline and theory sharpen her instincts, but they can also challenge her trust in intuition. She explained how, “It becomes this real wolf inside you that you are fighting,” stating that “the rules around music-making are the most intense thing ever.” Film has long served as a bridge between those worlds. Kinsley has embraced the idea of “cinematic pop” as a natural meeting point between her classical roots and her evolution as an alternative pop artist. With this EP, she leaned further into texture and sonic world-building, describing herself as a maximalist who has learned to be more intentional with every layer. As she put it, “I’m a maximalist producer, I love to fill the song with a lot of elements,” but now, intention guides inclusion. “Making music that scores your life is such a big dream and goal for me.” Emotionally, the EP reflects a period of personal reckoning and clarity. Kinsley spoke about reaching a new level of honesty, one rooted in saying what she wants to say plainly, without sanding down the edges. That directness feels embedded in “Fleeting,” where vulnerability and restraint coexist. “The music on this EP…feels like a newer level of understanding of myself of just being honest about what I want to say and being honest with myself and just saying it, point blank.” That same honesty carries into her live shows, which have become known for their dreamy intimacy. While Kinsley brings intention to the stage, she emphasized that the atmosphere is a shared creation. The crowd’s willingness to lean into both energetic and quiet moments shapes the experience just as much as the performance itself. “There are moments where I feel that people really dig in…and are really energetic, and then there are moments that feel so intimate and peaceful… I feel like the people that are coming are choosing to do that.” Production-wise, Kinsley highlighted “Lonely Touch” as a defining moment on the EP. The song’s outro builds into a dense wall of sound, packed with instruments and full-volume feeling, meant to mirror the emotional weight of unrelenting desire. She also pointed to “Reverie,” a ballad on the upcoming EP whose production stands among her favorites on the project. “I love being drowned out by sound, and the outro is just packed with so much… so many instruments, so many sounds that are ‘full-volume’...” Threaded through all of Kinsley’s work is an ongoing meditation on time. Rather than resisting impermanence, this new chapter seems to sit with it, allowing the future to unfold without force. When asked what “Fleeting” might say to Escaper, her answer felt less like instruction and more like permission. “Let the future reveal itself to you, let people reveal themselves to you.” With “Fleeting” out now and her biggest tour to date kicking off this March in Seattle before running through the spring, Kinsley’s next era doesn’t ask listeners to hold onto anything too tightly. Instead, it invites them to stay present — and trust what remains after the moment passes.

The Riviera Theatre was electric long before the night’s headliners took the stage, it was the kind of restless buzz that signals a crowd ready to fully commit to the night. Photos and Article Contributed by Ernesto Raul Aguilar Fans waiting in anticipation for the Runarounds and The Back Alley at The Riviera Theatre in Chicago, IL. Photo by Ernesto Raul Aguilar ( @blacksheepimagery ) By the end of the evening, both The Back Alley and The Runarounds had justified that anticipation with a show that felt expansive, immersive, and undeniably real. The Back Alley opened the evening with purpose, launching into “ Brand New ” and immediately establishing a confident, guitar-forward sound that carried across the ornate Uptown venue. The Back Alley performing at the Riviera Theatre in Chicago, IL. Photo by Ernesto Raul Aguilar ( @blacksheepimagery ) Rather than treating their set as a brief introduction, they approached it like a statement. “ Always Alright ” followed with buoyant energy, its hooks landing cleanly, while “ Gump ” leaned into grit, highlighting tight rhythmic interplay and sharp transitions. “ Grey Skies ” brought a dynamic shift, building gradually and allowing the band to stretch emotionally without losing control of the room. The textured arrangement filled the theatre without overpowering it, revealing a group comfortable balancing volume with restraint. Their take on “American Girl” turned into a shared moment, drawing singalongs from both the floor and balcony. Closing with “ What You Want ” and the unreleased “ Is It Me? ” The Back Alley left the stage on a high note. The latter, still exclusive to their live performances, felt polished and anthemic, hinting at material already resonating beyond the studio catalog. The Back Alley performing at the Riviera Theatre in Chicago, IL. Photo by Ernesto Raul Aguilar ( @blacksheepimagery ) When the lights dropped again, the opening riff of Metallica’s “ Enter Sandman ” thundered through the speakers, sending a surge through the crowd as The Runarounds took the stage. It was theatrical without feeling forced, a dramatic entrance that immediately ignited the room. The Runarounds performing at the Riviera Theatre in Chicago, IL. Photo by Ernesto Raul Aguilar ( @blacksheepimagery ) They opened with “ Ghosts ,” and from the first chorus it was clear the audience wasn’t just curious, they were invested. “ Cellophane ” and “ Sophia ” followed, each tightening the bond between band and crowd as voices rose in unison. Whatever the band’s origin story, the performances carried confidence and polish that translated effortlessly to a live setting. “ 15 Root Beers ” offered a tonal shift mid-set, that pulled the energy inward and gave the audience space to sway. It added a welcome texture before the momentum surged again. The unreleased “ Crossroad s,” another tour staple, suggested continued growth and a willingness to expand the catalog in real time. The Runarounds performing at the Riviera Theatre in Chicago, IL. Photo by Ernesto Raul Aguilar ( @blacksheepimagery ) From there, the set accelerated through “ Beautiful Stranger ,” “ Arrhythmia ,” and “ Bleachers ,” each building on the last. “ Minivan ” and “ Hypocrites ” added bite, while “ Shoelaces ” had the floor moving in unison. A spirited cover of Jet’s “ Are You Gonna Be My Girl ” injected raw energy and fed seamlessly into “ Killed My Youth ” and “ Chasing The Good Times .” The main set closed with “ It’s a Wash ,” “ Funny How the Universe Works, ” and “ Senior Year ,” leaning into nostalgia without losing urgency. For the encore, a lively rendition of Amy Winehouse’s “ Valerie ” set up the final moment: “ Downtown ,” delivered as a triumphant, full-room release. The Runarounds performing at the Riviera Theatre in Chicago, IL. Photo by Ernesto Raul Aguilar ( @blacksheepimagery ) Any distinction between scripted beginnings and lived experience had completely dissolved. What remained was a palpable bond between band and audience, and inside the Riviera’s historic walls, both bands showed they had fully earned their place on that stage.

Motion City Soundtrack performing in Detroit, MI - Photography by @ljportnoy Article contributed by Mark Portnoy & LJ Portnoy, Photography by LJ Portnoy Arrival at the Fillmore The Fillmore Detroit has a way of making every show feel larger than itself, and on February 10, it became the gathering place for fans of Motion City Soundtrack, many of whom had carried these songs with them for years. Its towering ceilings and ornate gold detailing framed the room with a sense of permanence, a reminder that countless performances had lived and ended within those same walls. When we arrived around 6:30PM, a midsized line still lingered outside, slowly feeding into the venue. Doors had opened at 6, and people continued filtering in from the cold, drawn to the warmth waiting inside, like moths to a flame. Inside, the coat check line curled in on itself, a slow-moving ritual of winter survival. Heavy coats, scarves, and gloves were handed over in exchange for numbered tickets and the quiet understanding that the night ahead would require freedom of movement. Around us, anticipation filled the room. Conversations overlapped as people compared past shows, speculated about set lists, and settled into place. For many, this wasn’t just another Tuesday night. It was a return. Sincere Engineer's Deanna Belos in concert - Photography by @ljportnoy Sincere Engineer Sets the Foundation By the time Sincere Engineer stepped on stage just before 7 PM, the crowd was attentive but restrained, easing into the night rather than rushing it. The Chicago punk band brought a sound that was both gritty and precise, anchored by front-woman Deanna Belos’ raw, textured vocals. Her delivery carried weight, balancing emotional intensity with sharp lyrical clarity. Their performance felt restless in the best way, intricate and unpolished by design. The audience responded with quiet engagement, nodding along, absorbing the energy without fully releasing it yet. It was the kind of opening set that didn’t demand attention so much as earn it. Say Anything live in Detroit - Photography by @ljportnoy Say Anything Ignites the Room Say Anything shifted that dynamic almost immediately. As the band took the stage beneath saturated washes of deep blues, purples, and bursts of red and orange, the crowd responded with recognition rather than hesitation. Frontman Max Bemis moved with the ease of someone who had spent decades living inside these songs. Formed in 2000, Say Anything carved their place in indie and emo rock through deeply personal songwriting and emotionally charged performances, with Bemis serving as the band’s creative and emotional center. Their sound has always blurred the line between chaos and control, and that balance was evident throughout the set. Say Anything live in Detroit - Photography by @ljportnoy The performance felt polished, confident, and fully realized. Every vocal landed cleanly. Every instrumental layer felt intentional. Around the room, the crowd loosened, voices growing louder as people sang along without hesitation. What began as observation had turned into participation. The emotional distance between stage and audience was beginning to dissolve. Say Anything, live in Detroit - photography by @ljportnoy Motion City Soundtrack live in Detroit - Photography by @ljportnoy Motion City Soundtrack Brings It Home Then Motion City Soundtrack arrived, and whatever restraint remained vanished instantly. The moment they stepped into view, the room erupted, cheers echoing upward toward the Fillmore’s high ceilings. Purple and blue light washed over the band, familiar and fitting, casting their silhouettes in colors that felt inseparable from their sound. Formed in Minneapolis in 1997, Motion City Soundtrack has spent nearly three decades shaping a voice defined by vulnerability, urgency, and emotional precision. Frontman Justin Pierre, alongside guitarist Joshua Cain, bassist Matt Taylor, keyboardist Jesse Johnson, and drummer Tony Thaxton, brought that voice to life with a presence that felt both grounded and electric. Motion City Soundtrack fans excitedly cheer for their band, in Detroit, MI - Photography @ljportnoy What has always set Motion City Soundtrack apart is their ability to transform internal chaos into something melodic and communal. Pierre’s vocals carried the same anxious honesty that defined the band’s earliest releases, while Johnson’s synthesizer threaded through each song, adding texture and movement that elevated the sound beyond genre conventions. Their music didn’t just fill the space. It moved through it. Motion City Soundtrack live in Detroit - Photography by @ljportnoy The crowd responded instinctively. People sang toward the stage as much as along with it, their voices overlapping, uneven but unified. Each song felt less like a performance and more like a shared memory being reactivated in real time. The energy built steadily, feeding off itself, amplifying with every chorus. A Night Suspended in Memory Motion City Soundtrack live in Concert - Photography by @ljportnoy By the end of the night, the Fillmore felt transformed. The anticipation that had defined the early evening had given way to something more complete. Release. Connection. Recognition. Three bands had taken the stage, each adding their own voice to the night’s progression, but Motion City Soundtrack carried the emotional center. Their performance wasn’t just heard. It was felt, fully and collectively. For a few hours, inside those historic walls, the past and present existed in the same place, carried forward on sound, memory, and the quiet understanding that some songs never really leave us.

The sibling duo lean into restraint, vulnerability, and unexpected sonic turns on their most exploratory project yet Nat and Alex Wolff self-titled album artwork Article Contributed by LJ Portnoy There’s something quietly disarming about the way Nat & Alex Wolff  approach this album. It doesn’t rush to impress, doesn’t clean itself up for easy consumption, and doesn’t pretend to be anything other than what it is: emotionally lived-in, occasionally messy, and deeply honest. This is not a record that begs for perfection. It asks for patience. First Impressions: Letting the Record Unfold From the first listen, it’s clear this project exists slightly off the expected path. Vocals drift in and out of focus, sometimes intentionally muddied, as if clarity itself is something to be earned rather than handed over. In early moments like Tough , that haziness initially feels disorienting, but a second listen reveals the point: the emotional weight lands harder once you stop resisting the blur. Lines like “I tell jokes, and you tell jokes / But the joke’s on me”  cut sharper precisely because they aren’t over-polished. Lyrical Intimacy Without Over-Explanation Throughout the album, the Wolff brothers lean into restraint, both musically and lyrically. Softer tracks open up space for intimacy, letting lyrics sit front and center without theatrics. There’s a subtle humor woven into the heartbreak, too, small human moments that feel overheard rather than performed. A lyric about rolling eyes at a movie appearance lands with an unexpected grin, raising questions without demanding answers. It’s that balance, between specificity and mystery, that keeps the album engaging. As the record unfolds, the emotional stakes quietly rise. Songs swell unexpectedly, choruses open up into something almost desperate, and recurring themes of power, blame, tenderness, and resignation begin to surface. There’s a sense that relationships here are not cleanly resolved; instead, they’re examined from multiple angles, often contradicting themselves. Lines about not being able to hurt someone anymore carry both relief and grief at once, a duality the album seems deeply comfortable sitting in. Sound & Experimentation: Where Nat & Alex Wolff Take Risks Musically, the project takes subtle but meaningful risks. Psychedelic textures creep in where you don’t expect them, particularly in moments like Midnight Song , where humming chants and swirling effects push the record into more experimental territory. Elsewhere, hints of country shimmer, classic rock flourishes, and layered harmonies give the album a shape-shifting quality. It never fully commits to one genre, but it doesn’t feel lost either, more like a band allowing curiosity to guide the process. An Album That Values Feeling Over Perfection Photography by Charlotte Giddings What ultimately makes this album work is its refusal to smooth over emotional rough edges. Lyrically, it can feel scattered at times, but that scatter reads less like a lack of direction and more like emotional honesty. This is what real processing sounds like. There’s no concealer here, no attempt to package pain neatly. Instead, the record plays like an intimate jam session between people who trust each other enough to be unguarded. By the end, the album feels cohesive not because it follows a strict narrative arc, but because it commits fully to its emotional truth. It’s familiar enough to be recognizable, yet strange enough to feel refreshing in a pop landscape that often prioritizes precision over feeling. Final Verdict 8.3/10 Unpolished in places, bold in others, and refreshingly unconcerned with playing it safe, this album feels less like a performance and more like an honest conversation you weren’t meant to overhear, but are grateful you did.

This hot take starts at the merch table. Article Contributed by LJ Portnoy Merch Table - photo sourced from Pinterest - k4l14 There used to be a time when buying merch felt simple. You grabbed a tour tee, wore it like a badge of honor, and let it mean exactly what it was supposed to mean: I was there . It was about fandom and a souvenir rolled into one, no second thoughts required. Now, merch comes with baggage. Hot Take: Merch has become the backbone of an artist’s paycheck, and as that pressure has grown, so have the prices. Artists make slivers of what they once did through streaming platforms. What used to pay bills now barely registers. Standing at the Merch Table We all have stood in front of a merch table and paused. Seen the price. Maybe even did a double take. Maybe tried to do the internal math to see if there is enough room in the bank account to justify the tee, this time. But now there is more to consider. The tip screen. Suddenly, it is not just about what you want. It is about what kind of fan you are. And that is a new problem. Merch used to say, I was there . Now it says, I supported enough . It feels charged. Heavier than it used to be. There was a time when you could grab a shirt for twenty dollars. Same with concert tickets. Now tickets regularly cost over $300 - $400. $75 - $115 for the merch is not far behind. Why Merch Prices Are So High Photo sourced from pinterest: RAP Marketing So what is actually driving the prices so high? Streaming pays artists literal pennies. Radio does not hold the same power it once did and that loss trickles down. Touring costs are through the roof, with larger productions, more elaborate lighting, bigger sets, and constant pressure to outdo the last artist who played that room. Labels cannot front the money forever. At some point, there has to be a green light. And now, that green light is coming from fans’ pockets. Merch is not overpriced. It is overburdened. It is no longer just a souvenir. It is helping cover tour costs, crew pay, transportation, and the basic reality of staying on the road. A single hoodie is carrying the weight of a system that no longer works. Hot Take: Fans as the Safety Net Photo sourced from Pinterest: Say I do to Details - Party Rentals & Decor Fans are now being asked, quietly and politely, to subsidize an industry that refuses to restructure itself. No one wants to say it out loud. No one wants to murmur it. But everyone can feel it. This shift has turned something joyful into something complicated. Supporting your favorite artist no longer feels optional. It feels like a test you are being graded on. The Tip Screen Problem Then there is the tip screen. Is the tip going to the artist or the merch handler? Is it there because merch workers are not being paid enough? And if that is the case, why has that responsibility shifted to the fan? It is not that tipping is wrong. It’s that, it’s strange . Tipping used to be reserved for service work. Now it appears everywhere, every interaction reduced to a prompt. A moment that should feel human flattened into a transaction, measured by percentages instead of connection. The Actual Take Fans do not need to be more generous. Artists do not need to be more grateful. Workers do not need to hustle harder. The industry needs to stop turning love, admiration, and souvenirs into leverage. Because concerts used to be about yelling to your friends, look, I was there . Now they are about how many zeros are in your account and whether you can even get there in the first place.

Article contributed by LJ Portnoy Album artwork for Madison Beer's Locket Madison Beer’s new album Locket  feels like being let into something private. The album moves gently, almost carefully, through heartbreak and loss, never forcing big moments but letting emotion build naturally. There’s a softness to it that makes the heavier moments hit harder, and a sense that every track belongs exactly where it is. This is Madison Beer at her most vulnerable and most confident, all at once. locket theme — opening the door Very pretty. No chorus. Short, intentional, and quietly powerful. It immediately sets the tone for the entire album: soft, ethereal, big harmonies, huge vocal layers stacked on top of each other. It almost floats. It gives subtle bad enough  vibes, which already feels like foreshadowing. This track sets up the story Locket  paints: heartbreak, loss, and losing someone we care deeply about. It doesn’t overstay its welcome. It just opens the door. yes baby — the beginning (before it breaks) This one kicks things off in a totally different way, space-y, vibe-y, club-adjacent. It feels like the pre-relationship  song, right at the beginning, when everything feels exciting and endless. The trance-like “yes baby” repeats throughout the chorus, building and building, until it suddenly simplifies.  A really nice backbeat gets added in the second verse, grounding the track just enough. It’s hypnotic, almost trance-adjacent, and pulls us right into that early-love haze. angel wings — early-2000s heartbreak, reimagined This track brings it back down softly. The vocaloids immediately feel very early-2000s-coded, like a heartbreaking ballad that would’ve lived on repeat in a bedroom. The pre-chorus and chorus have a vibe, and the lyrics hit hard.  “How I’m supposed to answer when they check on me?”  Near-rhyming tragedy  and angel wings  is literal icon status. The mix is beautifully arranged. It never explodes sonically, but it doesn’t need to. Then the ending flips the tone completely—a full 180 that keeps us actively listening through the entire track. for the night — knowing better, going back anyway One of the top tracks on the album. The chord progression is gorgeous. This one leans more Adele or Amy Winehouse than pop, and it really earns Madison her R&B lane instead of boxing her into a straight pop category. Vocally, there are so many interesting moments here. Lyrically, it’s about going back to a love we already know isn’t good for us, but still not being able to stay away. bad enough — the crown jewel The number one song on the album. The entire reason this album review exists. Because more people need to know this song exists. This track sounds like the opening of a movie. Sonically, it’s one of those favorite feelings. It’s pure ear candy and something we desperately need more of in 2026. The harmonies and ethereal layers are unreal.  “It’s not bad enough to let my baby go—go.”  Those “go”s hit every single time. It feels like transcending into another land of music magic. This is the best song on the album, no debate. The richness, the levels, the swirling layers, it’s an ear-candy symphonic dream. healthy habit — repeating the cycle Another vibe switch, but in the best way. Still part of the same story, still about the person that broke her heart, but framed differently. “And I wonder if it’s worth doing it again”  absolutely rips at the chest. “Kissing random boys and pretending they’re you”  lands with that shared realization of,  yeah… she’s been there with us.  There’s also a moment that sounds almost like a fight recording layered in, subtly hinting at how turbulent this relationship really was. you’re still everything — loving someone who’s gone The second favorite track on the album. The chorus alone is still everything . It’s devastating and pure and somehow feels good in the worst way. This tells the truest story for anyone who’s loved and lost and never fully let go. It operates on a different emotional wavelength.  An insane track that deserves to be streamed loudly and endlessly, hit play, it won’t disappoint. bittersweet — pop heartbreak, front and center This one lives right in the immediate breakup moment. It feels fresh, raw, and fully inside the pain. Since it was released as a single before the album, that timing checks out, it feels like it was written earlier than some of the deeper cuts. It’s a bop, but the lyrics still carry the weight of real heartbreak. This pulls Madison back into a pop-centric sound where she shines, though the bigger R&B risks across the album tend to hit harder. complexity — where it stumbles (just a little) The intro feels almost video-game-adjacent, nostalgic, swirly, and playful. The beat falters a bit here, making this the weakest track on the album, but it’s still a decent listen overall. Nothing bad, just overshadowed by stronger moments elsewhere. make you mine — the hit everyone knows This one is everywhere. The opening bars hook instantly. It is dance-y, almost EDM, with R&B-inflected vocals. No argument here, this is the most popular track on the album, and it’s easy to see why. nothing at all — the quiet aftermath A soft, vulnerable closer. Madison bares it all, love, loss, and everything in between. Her vocals really shine, especially as the second chorus builds into something almost dance/EDM-adjacent. It feels like the quiet aftermath of everything we’ve just experienced. Final Thoughts: Madison Beer's Locket photo by Morgan Maher Locket  has major artistic highs and only a few moments that fall flat (really just one track). The growth, vulnerability, and risks Madison takes here are undeniable. Vocally, she’s spot on as always. This album feels like a knockout and a diary entry we were allowed to read. Final Verdict: 9.3/10

Article Contributed by LJ Portnoy The Grammy Awards logo card for 2026 ( Grammy.com ) For years, the Grammys struggled to hold attention beyond highlight clips and post-show discourse. Performances blurred together, categories felt preordained, and the experience increasingly asked audiences to endure rather than engage. This year’s Grammy Awards  marked a noticeable shift. Not through spectacle alone, but through sustained intention. The show operated less like a checklist of obligations and more like a curated conversation about where music is right now and why that matters. From the opening moments, that difference was clear. Bruno Mars  set the pace early, opening the broadcast with a performance rooted in familiarity and showmanship, then later returning for a secondary set. That alone signaled a departure from recent years: artists weren’t being rushed through single appearances. They were being given room to exist. Sabrina Carpenter with a dove during her 2026 Grammy performance. That sense of space carried through the night. When Sabrina Carpenter  took the stage with one of the evening’s major early performances, it felt confident, playful, and fully formed—less a moment to prove something and more a moment to command attention. The sequencing mattered. The Grammys weren’t stacking chaos; they were building momentum. When “Best” Became a Real Question Again When the Best New Artist segment arrived, it landed not as an introduction, but as confirmation. Addison Rae , The Marías , Olivia Dean , Alex Warren , Sombr , and Lola Young  appeared not as prospects, but as arrivals. Addison Rae shows skin during her performance at the 2026 Grammy's. These were not distant breakout stories. These were artists whose songs already circulate through daily life—tracks people write about, sing along to, and actively seek out live. The Grammys weren’t declaring relevance; they were reflecting it. Sombr dons disco-ball attire during his 12 to 12 set at the 2026 Grammys. That alignment carried through the awards themselves. When Olivia Dean won Best New Artist, the result felt measured rather than safe. Her work suggests longevity, restraint, and a confidence that doesn’t rush toward immediacy. In a category defined by abundance, durability emerged as a compelling differentiator. Across the board, categories felt genuinely contested rather than contentious. That distinction mattered. The night wasn’t defined by snubs or outrage, but by difficult decisions made in strong fields. Best Pop Solo Performance exemplified that tension. Daisies  represented quiet vocal control and emotional precision, while Messy  delivered rawness and unfiltered presence. When Lola Young won, the outcome clarified what the category chose to reward: vulnerability, personality, and risk over polish. The result wasn’t frustrating. It was persuasive. Lola Young plays a heartfelt rendition of Messy on the 2026 Grammy's stage. Risk, Process, and the Value of Imperfection That same philosophy shaped one of the night’s most discussed performances. Justin Bieber , returning to televised performance after nearly four years, avoided the expected route. Live looping, minimal staging, and exposed phrasing made the set feel human. Choosing Yukon  over Daisies  emphasized that risk. The song offered less cushion and more exposure, and moments of loose timing made the recalibration visible in real time. Rather than hiding the process, the performance revealed it. Justin Bieber bares it all during his performance of Yukon on the 2026 Grammy's stage. Justin Bieber’s recent albums feel less like definitive statements and more like explorations. The album showed us his ability to test his identity, sound, and restraint without fully locking them into place. The Grammys, historically inclined to reward stabilized craft, did not crown this phase. But the performance itself argued for the value of experimentation, not as failure, but as groundwork. When Performance Became Narrative If the night fully broke from tradition at any point, it happened with Tyler, the Creator . His set unfolded less like a performance and more like a short film. The transition from black and white to color, from stage to car, reframed the song as movement through identity. Tyler the Creator during his 2026 Grammy's performance. The staged collision with an earlier self, followed by an explosion and a visibly marked return, rendered metaphorical physical. Growth was shown not as triumph, but as a consequence. The music never stopped. The narrative kept moving. It was a reminder that awards-show stages can still be sites of conceptual ambition, not just presentation. A Pause That Slowed the Momentum One moment where the show briefly lost its pacing came during the in-memoriam segment. Honoring artists and industry figures we’ve lost is essential, and the weight of those absences deserves space. Still, the segment stretched long enough that it began to feel less like a reflection and more like a prolonged funeral service, slowing a broadcast that had otherwise been carefully structured. In a year defined by living artists pushing boundaries and reshaping the present tense of music, the balance tipped a little too far toward mourning. A more focused tribute, or pairing remembrance with celebration through posthumous recognition, might have preserved the gravity without stalling the night’s forward momentum. The story this year’s Grammys told so well was about music still being made, still evolving, still alive. That throughline briefly blurred before the show regained its rhythm. Big Wins That Reflected the Moment By the time Luther  won Record of the Year, the choice felt coherent. The song integrates lineage, production, performance, and intention into a fully realized whole. Kendrick Lamar’s win reflected completeness rather than dominance. Album of the Year going to Bad Bunny  carried even greater symbolic weight. A Spanish-language album taking the top honor without qualification or translation signaled an industry acknowledging the world as it exists now, not the one awards shows once imagined. Why This Year Worked What ultimately distinguished this year’s Grammys was not a single shock or sweep, but sustained trust. Artists were given time. Performances were allowed to unfold. Newcomers were treated as contemporaries rather than as auditions. Legacy acts were present without dominating the narrative. The show assumed attention rather than begging for it, and, in doing so, earned it. For the first time in years, the Grammys didn’t feel like a scoreboard. They felt like a conversation about craft, risk, genre, and timing. And that conversation was worth staying for.

Article Contributed by Rebecca McDevitt The Used at their 25th Anniversary tour, (photography by @ljportnoy - IG) Loving something for twenty years gives you perspective you can’t rush. When fandom spans decades, it stops being about moments and becomes about seasons. There are years when music is everything. Years where it’s background noise. Years where it disappears entirely, only to return when you least expect it. That kind of longevity teaches you something important early on: intensity and depth are not the same thing. That distinction is the hot take. When Connection Becomes a Conversation "Parasocial" as defined by the Cambridge dictionary Parasocial relationships have become a buzzy phrase lately, often framed as something unhealthy or embarrassing. But the truth is more nuanced than that. Connecting to an artist, a band, or a body of work is not only normal, but it’s the point. Art is designed to reach us emotionally. It’s meant to comfort, challenge, and soundtrack our lives. Feeling understood by music is not a flaw. It’s human. The problem isn’t parasocial relationships themselves. It’s what happens when they stop evolving. The Early Gravity of Fandom In the early stages of fandom, intensity makes sense. You want to know everything. You want to be close to the source. You want community, shared language, inside jokes. For many people, fandom is the first place they feel seen. It becomes a refuge, a mirror, sometimes even a lifeline. There is nothing wrong with that phase. But when you stay there forever, things can get complicated. A Hot Take on Loving Without Clinging   Jonas Brothers celebrate 20 years as a band, Jonas Con (photography by @ljportnoy - IG) Over time, long-term fandom teaches you that love does not need constant proximity to stay real. You don’t have to be everywhere. You don’t have to consume everything. You don’t have to perform devotion to prove it exists. The relationship changes as you change. That doesn’t mean it’s weaker. Often, it means it’s healthier. The Quiet Middle Years One of the least discussed parts of fandom is the phase out. The quiet years. The periods where you feel neutral. Not angry. Not obsessed. Just… fine. That moment can feel confusing, especially in cultures that reward constant engagement. But phasing out is not betrayal. It’s often a sign that the music did what it was meant to do. It carried you through something. And now you’re somewhere else. Integration vs. Stagnation Big Time Rush returns to the stage, nearly 20 years after their first debut on Nickelodeon (photography by @fernandofloresphotography - IG) This is where parasocial relationships either integrate or stagnate. An integrated parasocial relationship understands boundaries. It allows the artist to exist without constant access. It doesn’t confuse recognition with intimacy. It doesn’t collapse when attention is not returned. It leaves room for real life, real relationships, and personal growth. An unintegrated one clings to intensity. It mistakes proximity for meaning. It turns access into currency. It can make stepping back feel like loss, even when nothing has actually been taken away. Neither of these paths start out as right or wrong. They’re developmental. The difference is whether you let yourself move forward. When the Relationship Settles In Longevity changes how you relate to the art you love. You no longer need it to define you. You stop asking it to hold you up. You let it exist alongside the rest of your life instead of at the center of it. The music becomes something you return to, not something you chase. There’s also a quiet confidence that comes with time. When you’ve loved something long enough, you don’t need to defend it. You don’t need to prove your history. You don’t need permission to step away or come back. The relationship is secure enough to breathe. After the Loud Part Ends Jesse McCartney on the Greetings From Your Hometown Tour, celebrating over 20 years as an artist. (photography by @ljportnoy - IG) What twenty years of fandom teaches you is that growth does not cancel love. Distance does not erase meaning. And being quieter does not make your connection less real. The healthiest parasocial relationships are the ones that allow change. They evolve as we evolve. They don’t demand loyalty at the expense of self. They don’t punish us for becoming fuller people. Loving something for a long time isn’t about staying the same. It’s about letting both you and the art move forward together. And sometimes, the most meaningful phase of fandom isn’t the loudest one. It’s the peaceful one, where appreciation exists without urgency, and connection doesn’t need proof. That’s not the end of fandom. It’s what comes after it grows up.

Photo by Laura Stanley: https://www.pexels.com/photo/people-in-a-concert-2147029/ Contributed by Fernando Flores Music festivals have become some of the most anticipated cultural events of the year. They create moments that launch careers, define summers and bring fans together in unforgettable ways. Heading into 2026, the continuation of these iconic festivals promises even bigger lineups, louder crowds and more moments that will be talked about for years after the fact. If the past few years are any indication, 2026 is shaping up to be nothing short of legendary. Warped Tour - Unannounced Photo by Wendy Wei: https://www.pexels.com/photo/purple-fireworks-effect-1190298/ Known for the legacy it has left on the world, Warped Tour has shaped punk, alternative and emo culture.  Its continuation into 2026 represents both nostalgia and new beginnings. Warped Tour remains a place where fans discover future favorites while celebrating the music that defined generations. Bonnaroo - June 11-14, 2026 All about connection, positivity and unforgettable late-night sets. The farm transforms into a world of music, creativity and community, welcoming fans from everywhere. In 2026, Bonnaroo will once again deliver genre-blending lineups and surprise moments that remind everyone why this festival feels like home to so many.  Lollapalooza - Unannounced Photo by Riccardo Vespa: https://www.pexels.com/photo/back-view-of-men-playing-music-on-stage-and-the-audience-having-fun-at-a-festival-17284331/ The summer staple and a global phenomenon, Lollapalooza is expected to bring headline-worthy performances, viral moments and rising artists who leave the weekend with an entirely new fanbase. With multiple stages and genres colliding all weekend long, the festival turns Chicago into a nonstop celebration.  Governors Ball - June 5-7, 2026 Also known as Gov Ball, it has mastered the art of creating that “it” moment. From breakout performances to surprise announcements, Gov Ball is where artists truly shine and fans witness stars in the making. The 2026 edition is expected to continue that trend, blending chart-topping headliners with rising talent ready to take over playlists everywhere. Beyond the music, Gov Ball’s NYC setting, food vendors, pop-ups and interactive experiences make it one of the most exciting ways to kick off the summer. They continue to raise the bar high for themselves; having fans asking, “who will have their defining moment on Gov Ball stage in 2026?” Outside Lands - Aug 7-9, 2026 This festival offers a perfect balance of music, culture and atmosphere. Outside Lands combines stunning scenery with carefully curated lineups and some of the best food options in the festival world. As it returns in 2026, fans can catch incredible performances, explore art installations and soak in the laid-back yet vibrant San Francisco energy.  Photo by Noland Live: https://www.pexels.com/photo/excited-concert-crowd-enjoying-live-music-32264657/ Coachella - April 10-12 & 17-19, 2026 It continues to set the tone for festival culture worldwide. From headline performances to iconic art installations, it's where trends are born. The 2026 edition promises unforgettable moments, surprise collaborations and performances that dominate conversations long after the desert clears.  Pack Your Bags: Adventure Starts Now! Photo by Ferat Söylemez: https://www.pexels.com/photo/energetic-night-concert-with-crowd-and-performer-31853515/ 2026 is surely to be an eventful one with so many festivals confirmed and many more to come later on! Some of the biggest hits in music are still brewing up so you still have time to save up and get ready to catch stellar lineups this year. Pack your bags, gather your friends and get ready for another unforgettable chapter in festival history.

Article Contributed by Monica Soriano From her deep lyricism, her vintage style, and her appreciation for nature, Meels is a national treasure herself.  MEELS photographed Jim Hughes Recently, we had the opportunity to hear Meels talk about her upbringing, inspirations and new sound. She spoke with such genuine care for her craft that it became clear why she’s continuously growing as an artist. She has built this wonderful folk-country world, as she invites us into it, we can see just how much meaning there is behind her music. Meels and her California Upbringing Although Meels spent years studying in New York, she attributes the source of her creativity to be from her California roots. While hearing Meels speak on her experience growing up surrounded by animals and how it shaped her music and creativity, many questions came to mind about how her career in music began. Luckily, she was more than open to talking about her journey. She told us that her grandmother was a concert pianist for the South African Symphony, and Meels herself started piano lessons at age 5. From then, she began songwriting at age 13/14. She spoke about her closeness with her grandmother and how her favorite song (“Marsha June”) from her upcoming project is about her. Making Music Digestible for All  Meels spoke to us about why her often dark or realistic lyricism is accompanied by a contrasting upbeat sound.  “The Wizard,” a track from her upcoming project, illustrates her experience with OCD. Although the tune is upbeat and catchy, when stripped down, what is left is a genuine experience with a disorder. When asked about her lyricism and her process, she said it’s about “letting the words flow through me”. She also explained that it is about trusting herself, and in order to make the subject matter she talks about digestible for most, she allows her songs to take an upbeat sound. Her Inspirations in Music & More Who and what inspires her? Meels let us know that her musical inspirations are Johnny Cash, John Prine, Paul McCartney, and Dolly Parton, among other legends. When talking about her inspirations for the visuals and videos for this upcoming project, she let us know that her boyfriend, Henry, was the creative director. He then was able to share a few words with us about the creative process for “Willow Song”. They drew inspiration from 70’s tv shows, the muppets and old cameras, which allowed them to create something currently unique to Meels. Looking Forward to More Meels in 2026 The talented singer-songwriter has big plans for 2026 and beyond.  This is the year of Meels. Her name is already making waves in the folk-country world, and with her new EP  Across The Raccoon Strait, releasing January 30, 2026, she is sure to start the year strong. Meels will also be touring this year; specific dates can be found at meelsmusic.com . In 2026, one of her dreams is to meet Paul McCartney; we’re rooting for her!

A first look into Sylvaner’s musical capabilities after making the transition from studio engineer to artist. Article Contributed by Monica Soriano Photography courtesy of LPR Agency Sylvaner recently released his first single, “Pentimento,” which is notably a creative output of talent. In this ambitious 4-minute and 33-second track, Sylvaner dives into his feelings about heartbreak with a soulful and enchanting sound. Not many artists release such a lengthy track to kickstart their career, but Sylvaner did…. and it works! Why Does “Pentimento” by Sylvaner Work? Writing, singing, engineering, and more - all his talents are being put to good use Photography courtesy of LPR Agency This first track works well as Sylvaner’s first single simply because it is an experience. It doesn’t try to grab the general listener, but rather it begins to set up who Sylvaner the artist is and who he will be moving forward. It is a mixture of sounds, instruments, and genres that work well together and pull you into his own world. The song itself is heartfelt and soulful, which allows us to connect with the lyrics and overall atmosphere. Sylvaner had a clear direction when it came to crafting his sound and used his talents in writing, singing, producing, and engineering to release that vision into the world. Pentimento and Lyrics Sylvaner expresses deep heartbreak through lyrics  The definition in Merriam-Webster for the word pentimento is “a reappearance in a painting of an original drawn or painted element which was eventually painted over by the artist”. The lyrics take us on a heartbreaking journey with him as he reminisces and self-reflects on the beginning and end of a relationship, perfectly encapsulating the multi-layered nature of feelings and the healing process. Sylvaner The Artist, What’s Next? With a solid first single, what is next for Sylvaner?  He is currently signed to Handwritten Records, an independent label based in Las Vegas. While we don’t know the details of future releases, we hope to continue to see Sylvaner evolve as an artist. “Pentimento” is just the beginning of what can be a fulfilling career as an artist.

Article Contributed by Rebecca McDevitt Photo by Zac Osorio: https://www.pexels.com/photo/capturing-live-music-performance-on-smartphone-30397934/ When Missing a Show Meant Missing It There was a time when missing a show meant missing it. You heard about it later through your friends, the blurry photos and videos, and their voices still hoarse from singing along. But the thing is, you didn’t scroll through it in real time. You felt the absence. And that feeling made being there matter. Live music used to live in the room. Between bodies, lights, sweat, and sound. It was fleeting by design. One night. One crowd. One version of the song that would never happen again. Somewhere along the way, livestreaming changed that. Hot Take: When Everything Is Documented, Nothing Feels Rare Livestreaming did not make live music more accessible. It made it feel less rare. When every show on a tour is broadcast in real time, the moment stops belonging to the people who showed up. It becomes something performed for timelines and the algorithm, not shared between strangers who may be trying to escape a feeling.  The magic in the moment of the concert may not disappear, but it sure as hell can leave the room through a screen.  Our hot take is that live music loses its edge when it is constantly flattened into content and likes. The imperfections that make a show unforgettable do not translate through shaky phones and compressed audio. What remains is a version of the night that looks complete but feels hollow. Presence Used to Be the Price of Entry Photo by Jack Gittoes: https://www.pexels.com/photo/crowd-watching-show-inside-the-dark-stadium-761543/ There used to be something sacred about not knowing exactly what you missed. You waited to hear about it. You imagined it. You held onto the idea that being there mattered. Now, presence is optional. You can attend without really attending. You can stand in the crowd while watching the show through someone else’s screen, even when the artist is right in front of you. Live music was never meant to be infinite. It was meant to be felt once and remembered imperfectly. When everything is available all the time, the urgency disappears. And with it, the reverence. Live Music Was Not Built for the Algorithm The problem is not livestreaming itself. The problem is unintentional livestreaming. There is a difference between capturing a moment and replacing it. There are times when livestreaming makes sense. Accessibility matters. Distance is real. Not everyone can be in the room. But when every chorus, every bridge, every encore is instantly uploaded and on our timelines, the show stops being an experience and starts being a broadcast. Live music does not need to compete with the algorithm. It was never supposed to. Why Being in the Room Should Still Matter Photo by Rahul Pandit: https://www.pexels.com/photo/grayscale-photography-of-people-holding-smartphones-while-taking-videos-1680412/ Ask any music photographer. We get three songs. Sometimes less. We wear black. We blend in. We move with intention because the moment is not about us. It is about honoring what is happening, not interrupting it. That rule exists for a reason. Not every moment needs to leave the room. Some things are better when they stay with the people who earned them by showing up. The best shows are not the ones you rewatch. They are the ones you still feel days later. Being there used to mean something. Maybe it still can.

The surprising news of a Harry Styles comeback this year leaves many emptying their bank accounts in hopes of a tour or residency. Article Contributed by Moncia Soriano Harry Styles new album artwork Kiss All The Time. Disco, Occasionally. Out of nowhere, in different cities around the world, Harry Styles promo began popping up. The words WE BELONG TOGETHER are plastered on walls. It could only mean one thing: a comeback. Indeed, Harry Styles announced a surprising new album, Kiss All The Time. Disco, Occasionally. set to be released March 6, 2026. Kiss All The Time. Disco, Occasionally. A new album and possibly a new sound. What can we expect from Harry Styles in 2026? Harry Styles (photography by https://www.instagram.com/lloyddddddddddddddddd/ ) Harry Styles isn’t someone who is consistently online; when his profile picture changed, the excitement for this new era notably grew. The name is Kiss All The Time. Disco, Occasionally.  leaves many wondering if it will be a dance/party album. In the cover art, Harry is looking away, wearing shades or goggles, while a large disco ball illuminates the night. A few details about his new album are known; for example, it will consist of 12 tracks, and Kid Harpoon worked on it. Kid Harpoon has worked on all of Harry’s albums, with major focus on the last two -  Fine Line  and Harry’s House. Since there hasn’t been a single released yet, we don’t know what direction he is heading sonically, but we know we are in good hands with Kid Harpoon as executive producer.  The Excitement Worldwide Spreads Fans around the world share their excitement for this comeback. Many things are happening this year within the world of music; many artists are releasing new albums, touring, or announcing collaborations. While it may feel overwhelming that all the biggest artists decided that 2026 is the year to make a comeback, it also makes it more exciting. There are fans laser-focused on Harry Styles’ new album, with almost half a million having saved his new playlist on Spotify while waiting for the project to drop. Many listeners are taking photos in front of his promo walls around the world and posting them with enthusiasm. As part of his album promo, Harry and the team at Sony Music created the webelongtogether.co  website to be interactive for fans! Many have raved about obtaining a voice note, video, or a message from Harry. What Is Confirmed So Far? Too many rumors about what 2026 will look like for Harry Styles. So what is confirmed? Photo by Anton Belitskiy: https://www.pexels.com/photo/photography-of-people-having-fun-954623/ While there are rumors regarding leaks for a possible tour, a residency at Madison Square Garden, and/or a deluxe album edition, it is still unconfirmed. In fact, there are also rumors surrounding the date February 5, 2026, alluding to an announcement or update, but it has yet to be acknowledged as official. There might be breadcrumbs continuing to drop up until that date or until the album releases on March 6. We are excited for this new stage and are eager to find out what 2026 has in store for Harry Styles… and us, the listeners!

The 22-year-old internet sensation is making her debut as an artist with a pop-focused album. Article Contributed by Monica Soriano Jordi self titled album artwork Releasing a first project can be nerve-wracking to some and a breeze for others. It is the beginning of establishing oneself within the music industry. Finding a sound, collaborating with people, and working out the details are all important steps. Jordi has amassed millions of followers across social media platforms, a huge accomplishment for someone who is only in her early 20’s. She is taking the next step in her career by launching herself as a music artist. While she has released singles sporadically within the past few years, this album is her official debut. Jordi is a predominantly pop album with a mixture of some upbeat and slow heartfelt tracks. Stand Out Tracks: Catchy tunes from Jordi’s new album. Jordi released her debut album, and it is clear that the pop sound suits her well. The first track on the album “U Know I Know” has a lively sound with distorted vocals, and while it is a fun song to listen to, the real standout songs are those in the middle of this project. “Time Zones” is an enjoyable upbeat track, while “Different” is slower and more profound. “Different” is accompanied by a music video with a wonderful dance sequence. When thinking of a solid pop track, “Keep Driving” is just exemplary; her vocals are showcased beautifully, and the overall song is simple yet so dreamy. Another standout was “Pretty Intentions”, the sound was K- Pop leaning and overall a fun listen. While listening to the entirety of the album, there is something for most pop fans, and it truly showcases Jordi’s versatility as an artist. She’s Just Getting Started This being her first project, Jordi has a lot to look forward to in the music industry. Photo Credit: Krissy Saleh Jordi experiments by infusing a variety of sounds and instruments. There is something personal that shines through; this might be due to her involvement in the songwriting aspect of her music. This first album is just the beginning of her career, and she already seems to have a clear pop-driven direction. Overall, the 12-track project is a great first step in establishing her sound and works as an introduction to the type of artist she can evolve into. Jordi is a rising singer-songwriter, and we will continue to watch as she grows into the artist she is striving to be.