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Contributed by Monica Soriano Jesse McCartney performing to a full arena, on the Greetings From Your Hometown Tour, Photography by LJ Portnoy The music industry is constantly adapting to technological changes. Social media has become the biggest marketing tool for artists. Cellphones are being held up to record every second of a performance. With the rise of viral sensations becoming stars, not all artists can decide whether they can start in small venues or go straight into being an opening act for the biggest superstar in the world.  There is something to be said about the preparation time those artists have before launching their careers. Many of them have not set foot on a stage before going viral. Ideally, all artists would start at intimate venues, fairs, or festivals where they can build up their confidence, find their performing style, learn how to engage with an audience, and navigate mishaps on a smaller scale. Nowadays, every second of a performance is being filmed at different angles through cell phones. Artists don’t have the luxury of making mistakes without the fear of going viral; therefore, there is more pressure.  Which leads us to our hot take: If all artists started at smaller-scale performances, it would take a lot of weight off the performer and make a better show for the fans as well. Showing up for somebody and rooting for them from the very beginning has a rewarding feeling on a personal level. Watching an artist grow for the fans is exciting. To be able to attend a show and be there before they start doing arenas or stadiums must be one of the most memorable experiences in fan culture. Early career moments become the motivators and memories when the stages grow bigger. Although where one starts does not always depend on the artist but rather labels, management teams or third parties, it is still always noticeable to the fans when the artist has been prematurely thrown into a bigger stage than they were ready for.  Fame Arrives Fast; Readiness Doesn’t Always Keep Up Let’s take a recent performance by Ejae, the singing voice of Rumi in K-pop Demon Hunters . Ejae spent many years training to debut in the K-pop scene, but when that didn’t happen, she worked hard and built a career for herself as a songwriter.  When K-pop Demon Hunters  exploded in popularity, she became a superstar almost overnight in the eyes of the media. Before her debut with the other Huntrix singing voices (Audrey Nuna and Rei Ami) at the Jimmy Fallon Show, she had a panic attack.  Her success is very much deserved, and she pulled off the performance beautifully, but this is a clear example of how suddenly being thrown into stardom can affect an artist not just in their performance but also in other areas of their life. It is possible to adapt to big productions, after all, some people just have it ( a strong work ethic, a background in show business, a superstar relative, or a very well-rounded team).  Many artists have at least one of those, but many have none. Especially right now, when people are being discovered on TikTok and are quickly launching their careers. From Tiny Rooms to Towering Arenas For fans, getting to witness intimate concerts before stadiums and arenas is a core memory. Going to a fair or a festival and seeing a band or an artist start off their set with minimal stage production but still delivering a wonderfully crafted set. Attending a local venue to watch an up-and-coming artist and seeing them nervous or excited about their show, regardless of the amount of people attending. It’s all an experience for both parties, making it something invaluable.  Yung Gravy performing to a smaller-sized crowd (for comparison to above photo of Jesse), shot by Madison Cozzens Small venues are a great learning experience for an artist's development. They start learning works in their sets, what to talk about in between songs, and how to carry themselves. Making a mistake seems trivial in this environment; it is something to laugh at with the crowd. Juxtapose that to being in a full production with in-ears, monitors, and a very large crew around. Things that need to be learned go beyond the technical stuff. For example:  What does an artist do during an emergency?  How do they handle the pressure?  Learning how to remain calm with errors, looking at the crowd, and making sure things are going smoothly. The large number of people can be overwhelming for someone thrown into it too soon.  Additionally, performers have to make sure that they have the stamina necessary for choreography, live vocals, wardrobe changes, and be able to communicate with the public as well as listen to the staff in their ears. All eyes are on the artist, and if something happens, they are expected to remain poised and handle the situation to the best of their abilities. Grant Knoche performing (photo from the crowd), Photographed by Fernando Flores  While no one can 100% predict what is going to happen, the next best thing is being able to improvise and communicate effectively.  This could be for something as simple as mic issues, unexpected rain in an arena, or an emergency within the facilities. It is only through building the experience as an artist that things won’t feel so overwhelming. The more shows, the more confidence is built.  It is like a regular job; the more experience, the easier it gets. Many of today’s superstars have the extensive resume that is required to headline their own shows, and most of them have been called an overnight success. In reality, those big names have had to work on their craft for years.  Sabrina Carpenter was a Disney Channel star with many albums under her name before becoming the Sabrina Carpenter the world knows today, and before even being nominated in the Grammy’s Best New Artist category. She first started touring in late 2016 in venues with a capacity of 500-600 people. She eventually went on to open for Taylor Swift and then her own arena tour.  Our Hot Take: We Don’t Want to Lose the Intimacy With the current prices of concert tickets, many people have been fondly looking back at their old memories from when seeing an artist was more accessible. Fans can reminisce about those small shows they attended and be happy they saw their favorite artist before they blew up.  There’s someone out there telling a story about seeing Paramore perform their first-ever Warped tour set in 2005 before becoming big enough to headline in 2009 or even the massive success they are to this day. Someone somewhere has an album full of pictures from when Nick Jonas would wear full suits to perform in the summer heat during Jonas Brothers' fair performances. The accessibility to an artist that comes with a show at a small venue is priceless to some fans. — The music industry is changing, but something that shouldn’t change is starting off at small venues.  Not only for the person on the stage but for those off it. The artists deserve a safe place to grow, and the fans deserve the experience of an intimate show. It is a privilege to start small, be anonymous enough to make mistakes, and just enjoy the ride.  For those who don’t have the privilege, those artists who are thrown into the big stages quickly, one can only hope they have a strong foundation for everything that is coming their way.  When they start on a smaller stage, the concertgoers are also allowed to enjoy the journey just as much as the artists who get to make mistakes, grow, and evolve onstage.  Cheers to the fans who show up early, stand shoulder to shoulder, and walk away with core memories built to last a lifetime.

There’s a different kind of energy when a band is playing their last run of shows. It’s louder. Softer. Heavier. Lighter. Everything all at once. And Young Culture’s stop in Philly carried that exact emotional whiplash in the most beautiful way. Young Culture performing at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) Ukie Club was already hyped before the first note of the first band. The openers Bike Routes & Wakelee had the crowd ready and prepped for the night. You could just feel the energy in the room; fans pressed close, arms wrapped around each other, eyes shining like they knew this wasn’t just another show. This was goodbye. Or at least, the kind of goodbye that leaves a permanent mark. Bike Routes and Wakelee opening for Young Culture at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) The minute Young Culture stepped onstage, the room just… let go. Crowd surfers immediately took flight. Friends lifted friends. Strangers caught strangers. The kind of trust only Philly shows could create. Fan on stage with Young Culture performing at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) And the band gave it right back. Every frame catches sweat, movement and those raw little moments where the guys looked out at the crowd like they were trying to memorize every face for the last time. At one point, the lead singer, Alex Magnan, crowd surfed, and the crowd held him like it was an honor — and honestly, in that moment, it was. It felt like a celebration and a sendoff wrapped into one. Lead singer Alex Magnan of Young Culture crowd surfing at Ukie Club in Philadelphia, PA on their farewell tour . Photo by Kayleena Ayusa(IG: @ayusa_media ) The energy was the kind that only happens when everyone knows they’re part of something that won’t exist in the same way again. Fans were chanting. Screaming. Crying a little. Laughing a lot. Dancing like their hearts needed it. By the end of the night, the room looked like an emotional afterglow — sweaty, messy, and overflowing with love. The kind of final show memory people will talk about for years. Fans at Young Culture's show at Ukie Club in Philadelphia, PA on their farewell tour. Photo by Kayleena Ayusa (IG: @ayusa_media ) Philly was so lucky that Young Culture chose this city to help them close a chapter with them on their farewell tour. And the fans showed up with everything they had. Stream Young Culture’s latest EP “All Weapons Formed Against Me Have Prospered” and catch them on their final farewell tour before its too late!

Contributed by LJ Portnoy, Editor-in-Chief Photo of Lila Holler, Photographed by Tashi Dema Lila Holler writes like she’s slowly unfastening something fragile inside herself. Her sound shifts between indie pop glow and alt-folk vulnerability, shaped by a life spanning coasts, climates, and now continents. That constant motion shows up in her music as shifting light and quiet self-redefinition, the kind that comes from picking yourself up and starting again in new places until you learn what feels like home. A core part of her artistic framework formed at Interlochen, where she studied songwriting among filmmakers, dancers, visual artists, and musicians of every style. “Being surrounded by so many creatives changed everything,” she says. “I played glockenspiel on stage once. I wrote for other people. I collaborated with film students. It showed me what art can be.” Interlochen also gave her a grounding philosophy. “It’s not a competition. Uplifting each other makes everything better. There’s space for everyone.” A Writing Style Fueled by Instinct: This is Lila Holler Most of Lila’s songs arrive fast and fully emotional. The Way I Am Now,  her upcoming single, appeared in about thirty minutes on her bed with a guitar in a strange tuning. “That’s when I know it’s going to be a good one,” she says. “When the whole thing spills out at once.” She writes alone first, when she can “unzip her skin,” as she describes it, and let the emotion take shape before overthinking it. Then she sends a demo to her collaborator Jessica Taylor in North Carolina. Virtual collaboration brings unexpected ideas she might have rejected too early in person. Studio sessions bring control and clarity. She thrives on both. “I’m still experimenting. I want to be hands-on, but I also love being surprised.” Her writing is evolving as her life stabilizes. “I’ve been in a long-term relationship, and everything feels secure. There isn’t chaos to write about, which is great for life but not always great for material.” So she is stretching outward, drawing from friends’ experiences, films, overheard moments, and imagined scenarios. Her songs now feel wider and more cinematic, with a narrative scope that goes beyond her own heartache. Letting go of pressure is part of the growth too. When her first EP gained traction, she tried to keep fueling the momentum. “I wasn’t creating for myself anymore. I was scrapping ideas immediately because I thought, ‘I wouldn’t put this on Spotify, so why finish it?’” She took a step back. She let herself breathe. And in that space, she wrote not just a new single but an entire new project. “My artistry means more than momentum,” she says. “Taking time helped me catch up to myself.” Finding Her Voice in a Changing Industry Being young and ambitious, especially as a woman in pop, comes with its own kind of turbulence. “I get underestimated a lot,” she says. “People don’t take you seriously when you’re a young woman making pop music. But I take it seriously. This matters to me.” She has learned to protect her space, trust carefully, and call things out when she can. “Cautious discretion is rule number one. You can be kind and also selective.” Collaborating with women has become a safe creative ecosystem for her, one that offers understanding, support, and a shared awareness of the dynamics she faces. “There’s a comfort in knowing you’re not the only one who feels it.” Photo of Lila Holler, Photographed by Tashi Dema Her vision extends far beyond music itself. Activism is woven directly into her identity as an artist. “I want to speak out consistently and fundraise for causes I believe in. I’d feel selfish being in a position of power and not doing something with it.” Her first show will support a trans rights organization, and she intends to keep that kind of advocacy embedded in her career from the beginning. At the center of this growth is The Way I Am Now,  a song about self-acceptance, mental health, and the emotional vulnerability of asking someone to love you through every version of yourself. “Be kind to yourself,” she says. “Your self-talk changes your life.” What Comes Next A full visual project is planned for March 2026, complete with a mapped-out rollout that marks her most intentional era yet. “I have an Excel sheet for the first time,” she laughs. “We have a whole plan.” More music is already taking shape in the background. Touring will come when the timing feels right. For now, Lila Holler is building something honest, cinematic, emotionally resonant, and unmistakably her own. And wherever she goes next, it’s clear she’s carrying fire with her.

Written by LJ Portnoy, Editor-in-Chief Charlie Puth, Photographed by Charlotte Rutherford (@charlie__chops) It’s no shocker that, to us, Charlie Puth is one of the greatest artists of our generation. One scroll through TikTok and you’ll find him teaching millions of people about chord progressions, bass voicings, and why certain hooks feel addictive. But those clips barely scratch the surface of what makes him extraordinary. Charlie operates in an entirely different class of musical intelligence. While many of his peers make big waves in their own lanes, Charlie builds the oceans those waves exist in. He is the closest thing pop music has to a modern-day Mozart, and it isn’t because he’s a prodigy (though the evidence is overwhelming), but because he creates with the precision of an architect. Here’s how he does it. 1. Charlie’s hearing is beyond perfect pitch Plenty of musicians have perfect pitch. Charlie’s version is something else entirely. He doesn’t just name notes. He names frequencies. He can recognize the pitch of a microwave beep, build a melody from a doorbell, or identify the harmonic overtone in someone’s speaking voice. Ambient noise is raw material to him: car horns, room hums, footsteps in a hallway. Where others hear clutter, Charlie hears intervals, shapes, and mathematical patterns. His brain processes sound in dimensions the rest of us never access. This ability is more than talent. It is a fundamentally different way of perceiving the world. 2. He approaches pop like a classical composer Charlie approaches songwriting with the mindset of someone painting large-scale musical canvases. He uses melodic motifs that return in new shapes, harmonic callbacks that shift meaning between sections, and counter-melodies that behave like small character arcs inside the arrangement. “Attention” is a perfect example. The bassline alone is a study in tension and release, crafted with the same emotional logic used in classical composition. His vocal stacks are another world entirely. Dozens of layers, all tuned to perfection, become an entire orchestra made from a single voice. Strings, pads, rhythmic accents, and percussive hits aren’t added through instruments — he creates them through his mouth. It’s orchestration disguised as pop production. Charlie also gravitates toward unusual chord progressions. He loves chords that shouldn’t work in commercial music but do, because he resolves them with a composer’s instinct. These choices make his songs feel inevitable, even when they take unexpected turns. He doesn’t just produce tracks. He composes them. 3. Charlie is shaping the sound of a generation What makes Charlie incomparable is how far his influence reaches beyond his own catalog. Consider “Stay” by The Kid Laroi and Justin Bieber. It dominated 2021 and became one of the biggest cross-platform hits of the decade. Charlie co-wrote and co-produced it, including the hook that turned into a global earworm. Or Katy Perry’s “Harleys in Hawaii,” which became a massive TikTok resurgence years after release. Charlie co-wrote and co-produced that too, creating a dreamy, atmospheric palette that simply needed time to catch up to him. He also co-wrote Pitbull’s “Celebrate,” adding melodic warmth typically absent from club-driven pop. And during Zara Larsson’s So Good era, Charlie’s influence seeped into her vocal phrasing, chord choices, and production texture. His own hits tell the same story. “See You Again” held the No. 1 spot for twelve weeks and became a cultural monument. “We Don’t Talk Anymore” remains one of the most elegantly produced pop collaborations of the 2010s. “Left and Right” introduced spatial audio into the mainstream and soared into the Top 25 with a single panning trick. Charlie’s fingerprint lives across pop, R&B, dance, and even global TikTok trends. Most listeners never notice — but they’re hearing him everywhere. 4. He’s teaching the world as he goes Charlie is one of the only chart-topping artists actively educating the public about music. His TikTok breakdowns teach theory in seconds. His videos demystify sampling, interpolation, production choices, and why certain songs resonate more deeply than others. He pulls back the curtain on how hits are built, and millions have learned from him. He also developed a full music production course that gives aspiring artists the tools to understand sound at its structural level. This makes him not only a creator, but a translator of musical language. This is a hill we’re gladly dying on Charlie Puth isn’t just a great pop artist. He is a once-in-a-generation composer working inside the modern machine of digital music. His work spans his own catalog, the catalogs of global stars, the soundtracks of viral moments, and the education of millions. Charlie Puth is a modern-day Mozart. And we’re lucky to be here while he writes the future.

Article Contributed by Fernando Flores Photos contributed by UMG 1824 SoundCheck was lucky enough to catch up with the artist known as no other than Diana Silvers. With grace like Anne Hathaway, she clearly shows her excitement to detour away from her filmography and deep dive into her first full-length musical project, “From Another Room.”  Known for her work in Booksmart, Ma, and Space Force, Silvers has built a reputation and has shown her strengths in conveying emotions. Now she’s taking on a new challenge, channeling her creative intellect into her music. Silvers began by reflecting on how music has quietly shaped her life long before acting took center stage. She explained that songwriting became a way to express her raw emotions. Something that really shapes the way her music appeals to fans and newcomers alike. Diana told Soundcheck, “I like to go inward to figure out how I’m feeling. Through being in my alone time, just have clarity on how I’m feeling and what I’m thinking” Silvers described the album, “From Another Room, ” as a piece of work that isn’t just for herself anymore but it’s something that she is releasing to the masses. To hear that her collection of songs that grew from moments of transition, introspection, and subtle shifts in perspective have become someone else’s muse and inspiration is something that really devotes Silvers in a creative way. Musically, the album weaves together understated indie pop and soft, atmospheric folk influences. Deep-diving into Silvers music you can feel the warmth it carries, textured quality marked by delicate vocals, layered guitars, and an unhurried sense of space. She emphasized the collaborative nature of the project, noting that she worked with a trusted group of musicians and producers. Musicians such as Paul Spring who has recently released his album, “Dumb and Free.” This album uniquely uses the perspectives of different strangers and wonderfully sets their world as they explore their identity and the unknown. According to Silvers, people like Paul help create a intimate creative environment that allows the songs to develop organically, free from outside pressure or expectations. "Him [Paul Spring] and Jon Nellen they’re just great musicians and they just knew when to let me figure something out too. They knew if I hear a line I’m not going to be a spaz…I’ll just dictate what that part will be." As questions circulated, Silvers spoke candidly about the themes that anchor the record. Many songs, she explained, trace the evolving contours of adulthood. How we go through changes like friendships, personal boundaries, the tension between visibility and privacy. As one feels while hearing her music, you can tell the ways small emotional moments can leave lasting impressions. Throughout the interview, Silvers made clear that " From Another Room" is not just another project to participate in but a genuine extension of her creative identity. Her approach to the album mirrors what audiences appreciate about her on screen: quiet sincerity, attention to detail, and a willingness to embrace vulnerability. With " From Another Room" , Silvers steps confidently into a new artistic chapter. A chapter that feels both deliberate and deeply personal, signaling a multidimensional future. Listen into this new chapter and really resonate with Diana Silvers new album, “From Another Room.”

Article Contributed by Madison Cozzens Yung Gravy performing at The House of Blues, Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) If Zebra Cakes and a Microsoft PowerPoint are not on your concert bingo card, you’ve never seen Yung Gravy live. The House of Blues in Cleveland had “sold-out” flyers taped to the doors on Saturday night, proclaiming Yung Gravy's appearance. If you didn’t get your tickets early, you were sadly out of luck. The crowd was prepped with a “How to Have the Most Fun at Yung Gravy Concert” PowerPoint, and they really took it to heart. The venue was packed with people letting loose and having fun... and of course, hot moms. TIIIIIIIIIIP and Pertinence  Gravy’s DJ, TIIIIIIIIIIP (Tip with 10 I’s), was the first to take the stage. His goofy and fun demeanor set the tone for what to expect for the night. He threw Zebra Cakes into the crowd and prepped everyone on what to expect. His first set included songs like Party in the USA  transitioning into The Kahoot Theme  and Mario Kart Songs . Before that, he showed off a PowerPoint, with Cleveland icons, Do’s and Don’ts, and general silliness. TIIIIIIIIIIP prepping the crowd at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.) The up-and-coming rapper, Pertinence (Collin Stedman), was next. The Arizona artist gained a following on TikTok with his ambitious release schedule of one new song a week. While he may be a new face to many, he still took to the stage like he owned it. Pertinence was all over the place, utilizing every inch of the stage to provide a dynamic and enticing performance. His long-time best friend was behind the DJ booth, the two of them obviously having a great time on stage together. You may recognize some of his songs from social media, like UPS/DOWNS  or BOBBY BOUCHER (ADAM SANDLER) . You can easily see Pertinence’s passion and depth through his performance.  Pertinence performing at The House of Blues Cleveland. Photography by Madison Cozzens (@ coz_artphoto on IG.)  It’s Time for Yung Gravy Yung Gravy took the stage at 9 pm to a roaring eruption from the crowd. His entrance was filled with swagger, and you could tell he was soaking in the applause. His charisma complemented the fun and humor of his music, creating a persona that’s larger than life. He is often seen wearing larger fur jackets, vintage sunglasses, and a popped collar, only enhancing his image. While the comedy is fun, the songs themselves are very catchy and pull from a variety of genres and eras. Yung Gravy brings a refreshing take to the rap industry, so it’s no surprise he was headlining a sold-out show. The crowd gave Gravy a large amount of energy to feed off of. They were excited at any interaction; Gravy was shouting out to the fans in the balcony, reaching out to the barricade, and joking around with everyone. Yung Gravy performing at The House of Blues, Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Gravy (Matthew Hauri), began his music career on SoundCloud in 2017 after he graduated from college. “Mr.Clean” was one of the first big hits that pulled him into the mainstream. The song samples “Mr.Sandman” and utilizes many nods to that era of music. Gravy samples songs from all over the spectrum, including “Never Gonna Give You Up”, “Right Back Where We Started From”. The contrast in the vintage and recognizable melodies and the often times fun yet vulgar lyrics make for an attention-grabbing niche.  Pastor Gravy Yung Gravy performed a number of is hits including, “Mr.Clean”, “Gravy Train”,and  “1 Thot 2 Thot Red Thot Blue Thot”. A section of the evening was dedicated to Yung Gravy’s collaborations with bbno$ (baby no money). The duo are good friends and collaborated on two albums together, their fans often overlap and the crowd was excited to hear some BABY GRAVY  songs. The sea of people sang the bbno$ lines while Gravy rapped his verses. The show came to a halt while a catholic organ noise played from the speakers and Yung Gravy pulled his hands together in prayer. Fans copied his movements and buzzed with excitement as they knew what was coming. “You Need Jesus” was next on the setlist, a decidedly not very church appropriate song. This was a different kind of sermon at the House of Blues on, but this gathering of strangers and friends still produced something special. Yung Gravy performing at The House of Blues, Cleveland. Photography by Madison Cozzens (@ coz_artphoto  on IG.) Gravy is on the tail end of his Voluptuous Voyage Tour, and it may be the last one for a little while. According to a interview with Melodic Mag , Gravy doesn’t have any plans for 2026 other than work on some music and take time to himself (rightfully deserved). We will wait in anticipation for any new music, but until then we have plenty of bops to keep us happy.

Article Contributed by Konstantina Buhalis Set It Off has been a major player in the rock and alternative scene since 2008, when they gained notoriety through their YouTube channel, eventually signing to Equal Vision Records and then Fearless Records. In the last year, Set It Off went independent and released their latest self-titled album on November 7, featuring Rock and Nu-Metal influences. Dopamine Era In 2023, Set It Off left Fearless Records and began what they called the Dopamine era with a tour and a single to support their new move to independence, including the release of “Win Win” with Scene Queen. In 2024, Set It Off re-released “A Wolf in Sheep’s Clothing [Reborn]” to reference their relationship with Equal Vision Records, leading to their self-titled release on November 7th, which received critical acclaim and renewed excitement for the band. In addition, they are currently on tour through December, supporting their new album, and their podcast, “Talk it Off,” features the band discussing the new album, the tour, and behind-the-scenes details. Self-Titled Tunes From the jump, Set It Off’s latest is an exciting gauntlet-throwing effort that blends elements of rap, nu-metal, hardcore, and pop-punk. With the multi-genre sound, SIO is untethered and free from the constraints of label desires. The album opens with “Pathological,” a rap track featuring a hard trap beat mixed with nu-metal riffs, drawing on Korn and Insane Clown Posse. Lyrically, the song takes the anger and frustration from the last few years and brings it to the forefront through jabs and quips, with lines like “Go and take another Ritalin, can you tell me who the villain is?” Further into the album is “Creating Monsters,” a fun, heart-pounding track that feels right at home in an anime and features vocal stylings reminiscent of early Panic!, with a quick interpolation of “It Don’t Mean a Thing if You Ain’t Got That Swing.” It maintains a dark cabaret aesthetic and gives itself the room to be invitingly chaotic. Through the album, the writing maintains consistent themes and shows artistic growth through the lyrics and the incredible arrangements. Final Thoughts Overall, the album is varied and serves as an amalgamation of the last 20 years of alternative rock and emo, paying tribute to their history, contemporaries, and the modern soundscape. Set It Off’s self-titled is their little black revenge dress of an album. Soundcheck Rating: 7/10 Featured Tracks: "What’s In It For Me?" "Parasite" "Wolf In Sheep’s Clothing (Reborn)" Catch Set It Off on tour until December 10th. Tickets at setitoffband.com

A retro home studio packed with analog gear, reel-to-reel machines, vintage keyboards, and band posters covering the wood-paneled walls. Article Contributed by LJ Portnoy, Editor-in-Chief Music has never stayed still for long. Every generation has believed that their version of the art was the final, purest draft. And every generation has watched that certainty crumble the moment the next invention arrived. From the earliest recording machines to today’s AI debates, the story of music has always been shaped by the same tension: fear and fascination, resistance and reinvention. This isn’t a pitch for or against anything. It’s simply a look at how often music has evolved right on schedule, even when the world swore it shouldn’t. The First Shock: When Sound Became Permanent Edward Elgar and Beatrice Harrison during recording sessions for his Cello Concerto in 1920. In the early 1900s, recording technology felt almost supernatural. The idea that a voice could be captured, pressed into wax, and replayed on command unsettled musicians who believed art should exist only in the moment. Some performers refused to be recorded at all, worried it would cheapen their craft or replace live music entirely. Instead, recordings became a permanent archive of human expression. They preserved what would have vanished, introduced new genres, and transformed local performers into global icons. What felt threatening at first became the very foundation of modern music culture. Owning Music: Vinyl, Cassettes, and CDs A vintage portable cassette player rests beside a tall stack of tapes, paired with foam-covered retro headphones on a worn wooden surface. As technology advanced, so did our relationship with music ownership. Vinyl records made albums into collectible artifacts. Cassettes made music portable and personal. And when CDs arrived, the clarity felt revolutionary. For the first time, listeners believed they were holding the purest possible version of a song. Every technological jump was met with resistance. Vinyl purists distrusted cassettes, cassette lovers mistrusted CDs, but each shift deepened access. Music wasn’t just heard. It was held, displayed, traded, borrowed, gifted, and saved like treasure. The First Digital Shock: MP3s and the iTunes Revolution A classic iTunes window from the early digital-music era, showcasing the old music store layout against a simple yellow background. Then came the digital wave. MP3s shattered everything people understood about value. Suddenly, songs weren’t physical objects anymore. They were files. People shared them freely, legally or otherwise, and the industry panicked. The fear wasn’t subtle: Piracy, collapsing profits, disappearing stores. But out of the chaos came the next transformation: Apple’s iTunes Store. iTunes did something radical. It made digital music feel like a product again. A single track cost 99 cents. An album lived on your hard drive forever. For a moment, it seemed like the perfect bridge between the physical past and a digital future. And yet it was only the beginning of a much bigger shift no one saw coming. The Moment Everything Flipped: Streaming A smartphone lies on a smooth surface, with a folder of music apps displayed on the screen, including Spotify, Apple Music, YouTube Music, TIDAL, Shazam, Pandora, and others. A pair of white earbuds is placed beside it. Spotify, Apple Music, and the streaming boom of the 2010s rewrote the rules again. Music went from something you bought to something you accessed. Instead of owning albums, listeners moved through an endless library. Genres blended, algorithms guided discovery, and artists reached global audiences in ways that had been impossible through physical sales alone. Streaming sparked a massive culture shift. Some argued it devalued music, turning songs into disposable moments. Others saw it as democratizing, transforming bedroom musicians into viral sensations overnight. No matter the argument, streaming changed not only how we listen, but how artists break, how careers grow, and how fans discover sounds they never would have found otherwise. The Multitrack and Machine Era A vintage reel-to-reel tape machine stands beneath a towering rack of classic studio preamps and meters, capturing the look of old-school analog recording. Long before streaming, though, musicians wrestled with equally seismic changes behind the studio door. In the 1950s and 60s, multitrack tape let artists layer recordings in ways that felt borderline magical. Purists criticized the technique as artificial. Yet it soon became the beating heart of modern production. In the 70s and 80s, synthesizers and drum machines triggered another wave of panic. Machines were seen as threats to “real” musicianship. Instead, they sparked entire genres, hip-hop, techno, house, synth-pop, and completely reshaped the sonic landscape. What was once controversial became classic. Digital Studios and the Rise of Auto-Tune By the early 2000s, digital audio workstations like Pro Tools, Logic, and Ableton Live turned laptops into studios. Suddenly, anyone could produce music from a bedroom. Critics called it cheap, artificial, “too easy.” Yet it gave a generation of artists access they never would have had. T-Pain sits beneath a towering “EPIPHANY” sign, dressed in all white with bold sunglasses and his signature oversized chain. Auto-Tune pushed the conversation even further. Cher’s “Believe” shocked listeners when it debuted. T-Pain was mocked for using it creatively until people realized he was pushing the tool into an entirely new art form. Today, vocal processing is as normal as reverb or EQ. What was once seen as a distortion of authenticity eventually became its own cultural language. The AI Moment, Placed in Context A tablet screen displays the SUNO music-creation interface, showing a song prompt, generated tracks, and playback controls against a colorful gradient background. Which brings us to today. Artificial intelligence has entered the music ecosystem, and reactions range from excitement to dread. Some musicians feel threatened. Others feel curious. Many don’t know what to think yet. AI is new, but the pattern isn’t. Every major technological shift in music has triggered the same emotional cycle. Confusion, resistance, experimentation, and eventual integration in some form. Whether AI becomes a genre, a tool, a controversy, or a footnote isn’t something anyone can call yet. History suggests only one consistent truth. Music doesn’t die when technology arrives. It evolves. A Pattern That Never Breaks: The Future of Music A glowing cosmic timeline winds through space, surrounded by music players from every era, gramophones, cassette tapes, iPods, laptops, headphones, and AI symbols, showcasing the evolution of music technology. Across every era in music, the same story repeats itself. New tools emerge. People panic. The art form reshapes anyway. Musicians adapt, reinvent, and find new ways to express something deeply human through whatever technology exists at the time. If the past century has shown anything, it’s that music has no interest in standing still. Whether AI becomes part of the next chapter or fades into the background, evolution in the future of music is inevitable. Every time fear tries to stop it, creativity finds another route forward.

Article Contributed by Rebecca McDevitt Franklin Jonas and the Byzantines' newest single “Break The Levee” feels like gratitude in motion. In announcing the track he shared that it is a song about loving no matter what the outcome, and that intention pours through every second of it. There is warmth in the message and light in the delivery. It feels like someone finally letting the sun hit their skin after years spent in the shade. The song opens with gentle country leaning guitar and a soft banjo line that wraps the listener in an easy kind of hope. As the instruments settle in, Franklin introduces the emotional heart of the song through its first lyrics. “Heart like stone, my homes got good strong bones. You better use them on me baby, use 'em up before they're gone. When we're back, we can laugh 'bout all the drowning.” The production and the lyrics work together to create a picture of someone who has survived the hard parts and rebuilt with stronger foundations. The drowning he once feared becomes something he can look back on, because he is no longer afraid of letting the emotional flood in. He is choosing to love fully, even if it hurts, even if it gets messy, even if it does not work out. Compared to the introspective heaviness of “Road Soda” and “Village Liquors,” this track carries a completely different energy. It leans into optimism, clarity, and the ability to open up instead of shutting down. Then the chorus arrives, bold and unfiltered. “If you love me, love me all the way If you hate me, baby that's okay Just don’t forget me, don’t forget me darling Cause I’m riding on your every wave You won’t break me with an old heartbreak Just break the levee, break the levee on me” This is the heart of the message. Loving without expectation. Loving without guarantees. Showing up fully and letting the emotional flood rush in anyway. It is vulnerable and confident at the same time. It is the sound of someone who has grown into themselves. And the chant that follows drives it home. “Break it, break it, break it, break it on me.” It feels like surrender. It feels like trust. It feels like choosing love even when the outcome is unknown. It is the moment he stops resisting and lets everything in. “Break The Levee” makes you want to dance in the sunlight with someone who really sees you. It feels like realizing your purpose or your person for the first time and being grateful you made it to this moment. It shows Franklin stepping into a more hopeful version of himself while staying true to his indie country sound. This is Franklin choosing love. This is Franklin choosing openness. This is Franklin choosing life even when he cannot predict where it goes. And it might be his most heartfelt release yet.

Article contributed by LJ Portnoy, Editor-in-Chief Photos by various contributors of SoundCheck Mag. Photo credit: Ernesto Raul Aguilar Hot Take: Encores Just Aren't What They Used To Be There was a time when encores felt like actual miracles. The lights went down, the crowd begged for just one more song, and the air buzzed with the kind of hope usually reserved for lottery tickets and marriage proposals. For a few glorious minutes, we had no idea if the band would return. It was a negotiation between us and them. A shared secret. A spark of live music magic. Now we all know the truth. The encore is already planned. The lights dim on cue. The band disappears for a carefully timed minute. And then everyone returns exactly when we expect them to, pretending the moment is spontaneous. We still love it. The thrill is still real. The cheering still strikes something primal in us. Yet the surprise is gone. Which means the moment needs reinvention. If artists want encores to feel special again, they need to treat them like part of the show’s architecture, not a setlist formality. The good news is that the blueprint for a spectacular encore already exists. We simply need artists to commit to making these moments matter again. Below is the full playbook for how they can do it. Encore Ideas That Bring Back the Sparkle 1. Make It Unique These encore choices are all about creating a moment that belongs only to the crowd in the room. City Exclusive Song Swap Choosing a different song for each city immediately transforms the encore into a collectible. A deep cut that fits the region. A B side tied to the local mood. A nostalgic track that local fans love. When we get a song no other tour stop receives, the encore becomes a signature from the artist to the city. Think Sabrina Carpenter, Nonsense . Photo credit: LJ Portnoy The Chaotic Custom Bridge Moment We love when artists improvise. A surprise verse. A playful rhyme about the venue. A line about someone in the front row. These small lyrical gifts feel alive. They remind us that the performance is happening in real time rather than following a rigid script. 2. Celebrate the Tour Family Encores do not need to center only the headliner. They can honor the entire ecosystem that makes the night possible. Spotlighting the Openers One More Time Bringing the opening act back out turns the encore into a curtain call. It celebrates the full tour family. It feels wholesome, communal, and joyful. It lets us see the dynamic among the artists, which always deepens the emotional impact of the night. Full Circle Opener Callback We love symmetry. When an encore loops back to something from the opening set, the entire night gains structure. A shared duet. A call back to an earlier lyric. A cover performed together. It ties the evening together and makes the experience feel cohesive. 3. Keep It Unpredictable Encores become exciting again when we cannot guess what is coming next. Special Guest Roulette A surprise guest instantly electrifies a room. The cheering becomes louder and the energy spikes. Even a single unexpected appearance on a tour can keep fans guessing about future shows and make the encore a space of possibility. The Fan Choice Moment Let the crowd decide the last song. A cheer off. A quick poll. A playful gesture from the stage inviting us to choose. When we help shape the final moment, the encore becomes a collaboration rather than a presentation. The Tour Specific Mashup Mashups built just for the tour turn familiar songs into new creations. A blend of old melodies. A nod to fan favorites. A reimagined chorus. These moments feel like secret tracks that only exist live. They give the finale a creative spark. 4. Go Softer, Go Deeper Some encores do not need to be loud. Some are strongest when they are stripped back and emotional. Acoustic Reset A single guitar or piano can change the atmosphere instantly. The noise fades. The lights soften. We are left with a raw, unfiltered voice that fills the room. It is intimate, vulnerable, and deeply human. Photo credit: Rachel Catherine The Everything Falls Apart Moment Production fades. Screens go dark. Spotlights dim to a warm glow. The encore becomes a quiet, honest moment between artist and audience. This stripped ending has a way of sticking with us long after the last note fades. The Epilogue Track Some artists understand how to close a night like a book. The final encore becomes an emotional epilogue. A cinematic message. A musical thesis. We have seen how powerful this can be. When the encore ties the night together, we leave the venue feeling like we witnessed a complete story. 5. Give Us Something to Look Forward To The best encores point toward the future. The Mini Unreleased Teaser A short preview of a new song can make an entire arena lose its mind. A single chorus. A soft melody. A thirty-second tease of what is coming next. Fans replay these moments endlessly and walk out buzzing with anticipation. The Fan Spotlight Moment Acknowledging the people who filled the room is more powerful than most artists realize, such as a sign being held up. A fan who traveled far. A moment of connection with someone in the crowd. It reminds everyone that live music is a shared experience between the artist and the audience. These moments turn the encore into something deeply personal. Photo credit: LJ Portnoy Why We Care This Much About Encores We love live music. We love community. We love that last rush of energy when the artist returns to the stage. We love the feeling that this moment, this night, this crowd, meant something to everyone in the room. We simply want the encore to feel intentional again. Hot Take: Encores do not need to shock us to matter. They just need to feel crafted. They need thought. They need personality. They need artists who treat the final minutes of the show as the emotional highlight rather than the expected formality. When artists do that, we walk out of the venue with a sense of connection that lasts. We leave feeling like we were part of a moment that was truly ours. We replay the night on the drive home, talk about it with friends, and scroll through photos and videos because the ending meant something deeper than just “one more song.” Photo Credit: Rebecca McDevitt A great encore stays with us long after the lights come on. It anchors the experience. It becomes the memory we carry forward. That is why it deserves the glow-up we are asking for.

Article contributed by Rebecca McDevitt The cover art for Broadside’s EP Blissed Out  shows a retro TV glowing with static while a silhouetted figure leans back, their face exploding with bright light in a dark, surreal room. Broadside has been teasing us with pieces of Blissed Out  for months and now that the full EP is here, it feels like the complete picture finally arrived. It is emotional. It is catchy.  It is honest in that way Broadside fans love. They kicked things off back in April with “I Think They Know,”  a song that puts every overthinker right in their feelings. Lyrics like “I don’t belong here, everyone’s starin I swear” hits like that moment when your brain is doing way too much and you swear everyone can see it. If you have ever spiraled in public, welcome to the club. Then there was “Warning Signs,”  which is honestly one of the most fun tracks they have put out in a minute. It is dance rock with an edge and the lyrics hit way harder than you expect. “The same high that gets me off will probably put me in my grave” is one of those lines fans will be yelling live with too much passion. We have all been there. No judgment. Last month they gave us “Someone You Need,”  which slows things down and gets a little more vulnerable. If you have ever wished you could be the right person for someone and knew you were not, this one is going to take you out in the best way. The title track “Blissed Out”  ties it all together. With lines like “A stranger in the mirror didn’t come with some integrity” and “Shit gets overwhelming baby,” Broadside leans into real life exhaustion and still makes it feel comforting. It is relatable without trying too hard and feels like the emotional core of the EP. Blissed Out  is a short project, but it says a lot without overthinking it. It feels made for fans who want honesty, big feelings, and songs that will hit different live. Broadside keeps leveling up and this EP is another reminder of why so many of us connect with them.

Article Contributed by Rebecca McDevitt Franklin Jonas is currently touring with his brothers, playing massive rooms night after night. But before the doors even open, he’s outside the venue with his band hosting intimate pop-up sets that feel like community gatherings. These aren’t secret, random moments either. He posts on Instagram ahead of time so fans know exactly where to find him. It’s intentional. It’s thoughtful. And it’s rare. Franklin Jonas performing outside of Prudential Center in Newark, NJ - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) We saw it firsthand at the Prudential Center in Newark, NJ. Before the show, Franklin came out with nothing but his band and a smile, and within minutes there was a small circle of fans completely locked in. Someone requested “New Girl,” one of his older songs, and without missing a beat, he was locked in, and singing with her. No hesitation. No “I don’t play that anymore.” Just genuine connection and pure love for the people who showed up. That’s the thing about Franklin: he doesn’t treat these moments like obligations or content opportunities. He treats them like conversations. He listens. He interacts. He shares stories. He makes everyone feel like they’re part of something instead of standing behind a barricade watching it from a distance. Franklin Jonas performing outside of Prudential Center in Newark, NJ - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) While most artists on major tours are tucked backstage until stage time, Franklin is building a second, smaller stage outside the venue — one built on community, not production. It’s scrappy, sweet and human as hell. And honestly? It’s something we wish we saw more of from rising artists. Not because it’s trendy, but because it’s the kind of connection that fuels long-term artistry. Fans remember moments like that forever. Franklin Jonas performing outside of Prudential Center in Newark, NJ - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) What we love about this, is that Franklin is opening a space for people to feel seen. And that’s the rise we want to root for. Franklin Jonas’ new song “Break The Levee” is out November 26th on all streaming platforms. Stream “Road Soda” & “Village Liquors” now on all streaming platforms!

Contributed by Rebecca McDevitt & Ilana Bornstein Photo Provided by Ken Phillips Publicity Group David Archuleta is entering his jolly pop era and honestly, we’re obsessed. My Only Wish doesn’t follow the cookie-cutter “holiday album” formula. Instead, it feels like David took festive energy, sprinkled it with pure joy, and built a sound that could genuinely be its own genre. It’s warm, upbeat, and unmistakably holiday, but in a way that makes you want to dance around your living room rather than sip cocoa by a fireplace. It’s the kind of December soundtrack you turn on when you want the season to feel brighter, not quieter. “Sleigh Ride” captures that energy perfectly. It’s fun, flirty, and has that cinematic sparkle without ever slipping into that “forgettable background track” space. Instead, it makes you the main character in a Christmas movie. Think bold colors, cozy sweaters, and that playful wink when David sings “Let’s take Santa’s sleigh for a ride.” Then there’s “Christmas In California,” which David released last month, and it fits perfectly into this new jolly pop universe. It feels like starring in your own West Coast holiday rom-com on the Santa Monica Pier, surrounded by blurred Christmas lights and twinkly-wrapped palm trees. The song is sun-soaked holiday magic. It captures that feeling of having the time of your life with the love of your life, all with a holiday breeze instead of a winter chill. “Wish At The Top Of My List” with Jordin Sparks is exactly what David told us it would be. Soulful, rich, and full of heart. It feels like that big emotional moment in a festive movie where the two leads finally realize their feelings are mutual. Their vocals blend so naturally that it’s impossible not to smile while listening. The EP also includes remastered versions of “Winter in the Air” and “Christmas Every Day,” which add a fresh flair to the project. In rediscovering the holiday spirit and choosing not to take things too seriously, David rebuilt these songs to fit who he is now. It feels like he’s inviting listeners to grow with him, celebrating nostalgia while letting his current artistry shine through. My Only Wish proves David can make holiday music feel exciting again. It’s festive, it’s fun, and it’s everything we love about him in one place. Check out our featured interview with David Archuleta: Catch David Archuleta at Joe's Pub in NYC for a limited run of holiday shows as well as the Peppermint Club in LA. Tickets on sale at davidarchuleta.com

Leyla Ebrahimi explodes on the scene with new track, "i don't like being left behind" A sound that pulls you under “i don’t like being left behind” opens in swirls and spirals, an ambient wash of synths that feel almost video game–esque. It is dreamy and atmospheric, yet it carries a pulse that instantly catches your attention. Leyla Ebrahimi’s voice enters with a softness that glows against the production. Even in these early moments, the track makes its intentions clear. This is indie alternative at its core, but it welcomes pop influences with open arms. Where indie meets something bigger: Leyla Ebrahimi shows us something new After the first chorus, the whole song shifts. Bursting guitars erupt through the mix and the track leans confidently into an alternative rock energy. Leyla anchors the moment with a hypnotic refrain of “I don’t like being left behind,” letting the line loop until it becomes almost trance-like. It is one of those passages that hits you on both a musical and emotional frequency, the kind that lingers long after it fades. Her songwriter voice steps into view The second verse brings everything back down. Leyla’s singer-songwriter sweetness rises to the surface and her vocal tone settles into something more vulnerable, more exposed. But the alternative edge returns quickly in the pre-chorus and chorus, reminding you that the softness is only one part of her palette. She moves between these worlds with a fluidity that feels natural and fully intentional. A bridge that drifts into the surreal The bridge transports the track into a completely new space. It feels dreamlike, almost otherworldly. The mix thins out and opens into something weightless, as if you’re slipping into another room inside the song. It is a moment that shows just how much range Leyla has as an artist. She is not afraid to experiment with mood and texture, and it pays off in a way that makes the track feel expansive. A genre-blender with intention This song is rich and layered. It blends indie pop, alternative rock, ambient textures, and singer-songwriter lyricism without ever feeling disjointed. Leyla’s tone ties everything together. Her voice is warm, honest, and expressive, and the production seems built to elevate that emotional center. There are so many unique touches in this track that listeners from almost any genre can find something to admire. A promising glimpse into the future “i don’t like being left behind” feels like a glimpse into what Leyla Ebrahimi is capable of. She has vision, range, and a creative instinct that bends genre lines rather than following them. If this is the direction she is moving in, the future looks incredibly bright. Leyla is an artist worth keeping close.

Article and Photography Contributed by Fernando Flores Grant Knoche performing at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) So good it's on AUTOPILOT Grant Knoche’s rise from kid-friendly pop prodigy to a fully realized alt-pop force has been nothing short of electric. His latest tour stop in Brooklyn proved exactly why audiences are so drawn to his world, kicking the night off with a burst of warmth and charisma from Taylor Felt, whose soulful vocals and easy command of the stage set the tone. Her performance glowed with confidence that invited the crowd to experience the strength that her vocals had. She was bright, inviting, and emotionally grounded which left the crowd buzzing. Taylor Felt opening for Grant Knoche at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) Handing off to Jades Goudreault who brought a different but equally compelling flavor to the room. With razor-sharp pop instincts and a dynamic presence that controlled the stage, Jades dialed up the momentum, layering vulnerability and power in a way that had the audience fully locked in. Hitting us with a surprise guest star on stage, she had nothing but tricks up her sleeves. After these two amazing performances, the room felt primed for Grant Knoche’s arrival. Jades Goudreault opening for Grant Knoche at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) The room where Taylor Felt and Jades Goudreault delivered fire, Grant brought something darker, sleeker, and undeniably magnetic. His performance was sexy, yes, but never in a simple nor surface-level way. It carried complexity, intention, and emotional intelligence, the kind that makes every movement feel like part of a larger story. A performer that’ll make you say, “WOOHOO” With the room already thrumming from the openers’ energy, the moment Grant stepped onto the stage the atmosphere transformed. Grant didn’t just dance, he performed! Weaving sharp choreography with spontaneous moments that made the crowd go insane. Every glance, every breath, every flick of his hand seemed engineered to make the audience feel something. And judging by the collective swoon that rippled through the room whenever his eyes scanned the crowd, it worked. Grant Knoche performing at the Meadows in Brooklyn, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) Yet the confidence he radiates isn’t detached; it’s connective. As he moved from one song to the next, he built an emotional arc that made the performance feel intimate even in a packed venue. The vulnerability added depth to the heat, making his artistry feel rich, textured, and impossible to look away from. Grant shaped the night, leaving the crowd buzzing long after the final note faded. Grant has Brooklyn saying, “I MISS YOUR LOVE” Grant’s Brooklyn show captured the essence of his new album, Good Luck Getting Over Me —a project already promising to blend sharp emotional honesty with the bold, kinetic energy that has become his signature. Even before it was out, the album had generated a palpable buzz, and seeing Grant perform only confirms why. The same pulse that runs through his new tracks such as Friction with its tension, longing, confidence, and the shimmer of vulnerability all is amplified tenfold on stage. Knoche turns every lyric into motion and every beat into a moment. If the recorded versions capture his artistry, the live versions capture his soul. With Good Luck Getting Over Me on the horizon and the tour still rolling, now is the moment to lock in a pre-order, grab a ticket, and experience Grant Knoche while he’s carving out this new era.

Article contributed by Madison Cozzens Photography by Madison Cozzens Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) November 14th was a jam-packed day at The House of Blues in Cleveland, OH. The Academy Is… was playing in the main room, and Mac Saturn packed the smaller Cambridge Room at the venue. The house was buzzing with fans excited to see their show of choice that evening. The intimate Cambridge Room was filled with people of all ages, ready to have a 70s rock-inspired evening.  Mike Moody of Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) Akron Locals Bring The Energy The Sweet Spot performing at The House of Blues Cleveland. Photography by Madison Cozzens (IG: coz_artphoto ) The opener for the evening was the local Akron band, The Sweet Spot. The moment the group came out on stage, they grabbed the attention of the room. The lead singer, Maddie Indre, was the standout of the group. Her energy was infectious, jumping, kicking, and moving around the stage like she owned it. The group played a majority of their original songs and included a cover of Barracuda by the band Heart. It is always something special to see a local band perform for a group that they look up to. They really bring their A-game and perform like their life depends on it because sometimes it’s one of the biggest ways to make new fans.  If you need any more convincing that The Sweet Spot or any other small band should be openers, go read Rebecca’s piece, Hot Take: Big Artists Need To Stop Booking Big Artists As Openers  (after this). The Sweet Spot definitely deserves the recognition they received in the Cambridge Room, and if you’re local to the Cleveland/Akron area, go check them out.  Mac Saturn Takes the Stage Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) Mac Saturn hails from Detroit and bring a soulful mo-town groove wherever they go. Many fans were dressed for the occasion with leather jackets, platform heels, and bellbottoms. Mac Saturn had a late start to the evening, but that didn’t stop the band or the crowd from having a great time unil the money ran out. The group started with Plain Clothes Gentlemen  off of their 2022 EP “Until the Money Runs Out”. Frontman, Carson Macc, brings the energy and charisma that every 70s rock band needs. He has been compared to a young Mick Jagger, with his hair, outfits and general  stage presence it’s easy to see the similarities. His vibe along with the guitar riffs, bass lines, and harmonies transport you to a different time. Those elements make it so that you can’t help but get out on the dance floor and groove with the strangers around you.  Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) The crowd weren’t the only ones dancing and grooving, the band fed off the crowd’s energy and captivated everyone from beginning to end. Groups of friends young and old were dancing the night away. Mac Saturn’s discography is full of songs to keep the vibes high like “Ain’t Like You”, “Get on the Phone”, and “Mint Julep”. The groups most popular song is “Mr.Cadillac” with over 5 millions streams on Spotify. It is a great representation of the group and their music. The catchy chorus, the 70’s inspired instrumentals, and the bouncy bass line make for a lively performance.  Mac Saturn performs in Cleveland, OH at the Cambridge Room. Photography by Madison Cozzens (IG: coz_artphoto ) The Detroit-based band consists of Carson Macc (lead singer), Mike Moody (lead guitar), Angelo Coppola (drums), Nick Barone (guitar), and Ian Lukas (bass). Mac Saturn was on a high during the summer of 2024, headlining a tour across the US with their debut album “Hard to Sell”. The group was brought to a halt when their ex-piano player was arrested and overshadowed the tour and album release. Mac Saturn took time to regroup and come back stronger, after a year and a half the group released their newest single “Takes Time” in October. The played a variety of unreleased songs, that keep their signature sound but bring something new to the table.  The band is donating a portion of the proceeds of this tour to Darkness to Light , and provides fans with the ability to donate and learn more at every show. This first tour back from the scandal was relatively small but the group had a great turnout in Cleveland and fans were excited for their comeback. With a new album on the way and renewed sense of purpose, the group is ready to pave a new path forward that empowers not only themselves but anyone who will listen.

Article contributed by Rebecca McDevitt Album artwork for Milahroy's new EP, "Give In To Let Go - The Falling" If you have not listened to Milahroy yet, we suggest adding him to your playlist right now.  His new album, Give In To Let Go (The Falling),  is the perfect introduction to an artist who’s stepping into his most honest, intentional, and emotionally charged era yet. What began as a tight and intimate EP has now evolved into a complete story with three new tracks that deepen the world he built back in June when we first featured him. Hearing the full album feels like catching up with an old friend who is finally saying everything they were too afraid to admit the first time around. From the original EP, two songs still serve as the emotional anchors. “ 2DAMNGR8FUL”  is a playlist essential. It is a manifestation mantra that reminds you to find gratitude even when life feels heavy or negativity tries to pull you off center. It holds this glow of hope that feels uniquely Milahroy. “ Living By Comparison”  takes a different approach, digging into the pressure artists face in an industry-obsessed world with constant comparison. It’s a reminder that your worth is not determined by how you stack up against the person next to you. It’s reflective, raw, and painfully relatable. The new additions bring even more color and honesty into the picture, but SINNER SZN  shines the brightest in our eyes. It bursts into the album with a fun, dancey spark that feels so authentically him. The track captures that complicated mix of heartbreak, insecurity, and dissociation in the aftermath of being left by someone you cared for while still making you want to move your body. It is an emotional release disguised as a pop moment. It is Milahroy transforming hurt into something you can dance through, which is exactly why it hits so hard. The other new tracks, “Sleep In”  and “H e a d l i g h t s” ,  help round out the journey, adding softness, self-reflection, and a sense of closure. Together, they elevate the album from a collection of songs into a full emotional arc. You can hear Milahroy settling into himself, trusting his instincts, and embracing his voice with more confidence than ever before. Give In To Let Go (The Falling)  is tender, vulnerable, and full of heart. It captures the growing pains, the healing, and the messy in-between moments in a way that feels both personal and universal. This project is proof that Milahroy is carving out a space that is entirely his own. And if you have not added him to your playlist yet, now is the time. Catch our exclusive interview with Milahroy available in our PRIDE Edition of SoundCheck Mag - Exclusive, Limited Edition print copies of this mag are now available!

Sienna Spiro photographed by Jennifer Cheng By LJ Portnoy, Editor-in-Chief A voice that draws you in Sienna Spiro’s “Die on This Hill” begins with a quiet magnetism that feels instantly inviting. A single piano line opens the door, and her voice steps in with striking richness. It is warm, resonant, and full of a clarity that draws you in immediately. Early artistry, early confidence She moves into her upper range with ease, giving the opening verse a luminous quality. Even as a rising artist still building her catalog, Sienna sings with the self-possession of someone who has spent years refining her craft. That early sense of identity is rare, especially at this stage in her career. Where listeners start to pay attention The chorus widens everything she has set up. Her phrasing opens, her tone gains new texture, and the melody lifts into a space that feels powerful and deeply emotional. She has been gaining quiet traction online, especially through short-form clips that highlight her upper range, and this song feels like the moment where that early attention begins to click into something bigger. Sienna Spiro photographed by Jennifer Cheng Sienna Spiro's sound takes shape As the track continues, more of her artistic fingerprint becomes clear. She layers harmonies with intention and uses her rasp as a natural texture that gives her sound an instantly recognizable edge. Her performance choices feel thoughtful, which speaks to the kind of musician she is becoming. The kind of track you revisit Repeated listens reveal new details each time. A hidden harmony, a soft rise in the piano, a subtle swell in the production. The final refrain brings all of this together and shows how powerfully her voice can anchor a fully produced track. It points toward the kind of dynamic range she is capable of exploring in future releases. An artist worth following now Sienna Spiro is early in her career, but she carries the spark and confidence of someone stepping into her sound with purpose. “Die on This Hill” feels like a breakthrough moment, the kind that makes you want to follow her journey from the start. She is absolutely one to keep on your radar.

Contributed by Rebecca McDevitt There is something magical about stepping into a venue early, grabbing a drink, and discovering an artist you have never heard of. That is the point of an opener. It is the spark before the headliner. It is where so many lifelong fans realize they just stumbled into their next obsession. Crowd at All Time Low in Detroit, MI - Photography by Laura Jean Portnoy (IG: @ljportnoy ) But somewhere along the way, major artists started treating openers like mini co-headliners. Think massive names stacked with massive names. Think tours where everyone is already on your playlist. And honestly, it is killing one of the most important pipelines the music industry has. If the goal of an opener is to plant seeds, then the industry needs to start planting the right ones. Big Names Should Not Always Book Big Names When an arena-level artist books another arena-level artist as an opener, it feels exciting for a moment. But what it really does is eliminate a powerful chance to break new talent. Smaller and mid-sized artists are fighting harder than ever to be seen. Touring is expensive. Social media is unpredictable. Discovery fatigue is real. Give those artists stages. Give them rooms filled with people who want to fall in love with someone new. That is how careers start. Calliope Wren performing at Amityville Music Hall in Amityville, NY - Photography by Fernando Flores (IG: @fernandofloresphotography ) Fans Actually Want To Discover Someone New There is a unique thrill in walking into a venue and realizing you have no idea who is about to step on that stage. Fans love it. They want it. They want to experience that moment where a song hits and they go, “Who is that and why am I suddenly obsessed?” When the opener is already a household name, that discovery magic disappears. It becomes a second headliner instead of a spotlight moment for an artist who is ready to grow. The Industry Grows When Artists Give Back Rachel Bochner opening for David Archuleta in Philadelphia - Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography ) Major artists were once those small names on tiny stages. They were once the openers no one knew. They were the ones hustling for their first break. And the cycle continues only when the biggest names remember where they came from and give those opportunities back. That is what keeps the industry alive. That is what shifts the landscape. And that is exactly where smaller artists bloom into acts that eventually fill their own rooms. Why SoundCheck Is Stepping Into That Gap This is why we champion rising artists. This is why we dig into the stories behind the names you might have only heard in passing. This is why we highlight dreamers who are waiting for someone to believe in them. SoundCheck exists for those who deserve a chance. The ones who make fans feel something real. The ones who would light up an arena if they just had the opportunity to step on the stage first. Lead singer Jess of Former Critics performing in Detroit, MI - Photography by Laura Jean Portnoy (IG: @ljportnoy ) Larger artists have the power to shape the next generation of music. And if they want the industry to thrive, it is time to stop booking only big names and start planting seeds again. Because the opener spot has the power to start a ripple that becomes a wave.

Kelly Reynolds, the rising New Jersey artist signed to Moto Records, opens 2025 with a single that feels like a deep breath and a gut punch all at once. “Ready Now” is her first release of the year, and if you love indie storytellers like Leith Ross or Madison Cunningham, she needs to be on your radar immediately. She has only been releasing music for a little over a year, but “Ready Now” shows an artist who already knows exactly what she wants to say. The track pulls you in gently, opening with soft guitar that feels like the quiet moment right before your emotions spill over. Then Reynolds delivers the first line with such clarity and weight that it stops you in your tracks. “Live my life black and white, through my tv screen” sets the stage for a story shaped by longing, distance, and the ache of reflection. Her delivery is tender but intentional, and it makes you lean in closer. As the song unfolds, “Ready Now” feels like stepping into a heartbreak dream. It is soft but powerful, poetic but grounded in real hurt. The production blooms like a field of flowers you did not see coming, matching her voice as it rises with every verse. There is melancholy woven into every chord, but also a spark of strength that cuts through the sadness. When Reynolds sings “You’ve let me go but you don’t know I’m ready now” it hits with that slow burning sting that only the best indie heartbreak songs can deliver. It feels like a dagger and a release at the same time. She turns the moment of being left behind into a declaration of her own growth, and it is impossible not to root for her. “Ready Now” is the kind of song that stays with you long after it ends. It leaves a feeling in your chest you cannot shake, and it solidifies Kelly Reynolds as someone carving out a real space in the indie world. If this is how she is starting 2025, we cannot wait to see what the rest of the year brings.

Article Contributed by Rebecca McDevitt Pop punk is alive, loud, and definitely moving back into the neighborhood. girlfriends’ new album THERE GOES THE NEIGHBORHOOD is the perfect mix of early 2000s nostalgia and modern-day edge. Think Yellowcard and Blink-182 colliding with MGK’s pop-punk revival. It’s fun, chaotic, and full of emotion in all the right ways. The record kicks off with pure energy. The singles “Landslide,” “Garbage,” and “West Coast” already hinted at what was coming, and hearing them flow together on the album ties it all together perfectly. “Landslide” feels like it belongs at an outdoor festival, the kind of track you scream along to while the sun’s beating down and you’re way too dehydrated to care. “Garbage” delivers exactly what you expect: heartbreak wrapped in distortion and grit. When they shout, “For everything you put me through, throw my heart in the garbage,” it’s pop-punk poetry at its finest. Then there’s “Good Luck” featuring Goldfinger, a collab that’s pure adrenaline. If you’re not starting a mosh pit in your living room during this one, what are you even doing? It’s fast, punchy, and proof that girlfriends know how to craft an anthem. “Sunset Blvd” keeps the momentum going with bright guitars and California energy. It’s upbeat, summery, and infectious. It’s the kind of song that makes you roll your windows down and chase the sunset, even when it’s freezing outside. THERE GOES THE NEIGHBORHOOD is exactly what pop punk needed. It’s unapologetic, catchy, and full of emotion. girlfriends have proven they’re not just part of the scene, they’re helping shape where it’s headed next.

Article Contributed by Rebecca McDevitt & Fernando Flores There’s a calmness to David Archuleta that feels almost luminous. Even over a screen, it radiates a gentle peace that comes from someone who’s done the work of rediscovering themselves. When he smiles, it’s easy to see that the joy he’s singing about isn’t just a theme; it’s a state of being. Photo Provided by Ken Phillips Publicity Group As the holiday season approaches, Archuleta returns with My Only Wish, a festive EP filled with warmth, playfulness, and heart. But this release feels different; freer, lighter, touched by self-renewal. He describes it as a celebration of joy, connection, and the choice to embrace fun again “Christmas used to be really serious for me,” he laughs. “It was sacred, it still is, but now it’s about joy and connection. I’ve lightened up. It’s become fun again.” That balance between reverence and release runs through My Only Wish. The project revisits the familiar holiday roots fans know him for but adds a sparkle of spontaneity, a retro-pop shimmer that mirrors his new chapter of life. Songs like “Christmas in California” sound sunlit and bright, as if joy itself packed its bags and headed west. “I wrote it in Laguna Beach,” he recalls. “It was January, but it was gorgeous. I wanted something playful and fun — something that just felt different.” The result is exactly that; breezy, hopeful, and full of heart. It’s the sound of someone who’s learned that joy doesn’t have to be complicated. When told the song feels like “reindeer on the beach,” he bursts out laughing. “Nice! Global warming!” he jokes, his humor disarming and contagious. Archuleta’s renewed ease carries into his collaborations. On My Only Wish, he finally teams up with longtime friend Jordin Sparks for a soulful, joyful duet that had been years in the making. “We’ve been talking about doing something together for over a decade,” he says. “She killed it. She sounds so good on it. She’s one of my dear friends, and I’m honored she joined me on this.” That same spirit of experimentation and openness colors his Mixes en Español project, which reimagines some of his songs entirely in Spanish. “It just made sense,” he explains. “I was already doing Spanglish versions, so I thought, why not go full Spanish? Working with Esteman was amazing. He’s got this playful quirkiness, and we connected on so many levels. We both know what it’s like to rediscover who you are as artists and as people.” Rediscovery is, fittingly, the heartbeat of this whole era. After years of growth, reflection, and redefining happiness, Archuleta stands himself more than ever. That authenticity shines in his upcoming holiday shows, including a multi-night run at Joe’s Pub in New York and dates in Los Angeles. “Intimate shows are just so much more laid back,” he says. “They’re more interactive, more personal. I’m all for a chill vibe.” It’s that closeness and sense of shared joy that keeps him excited year after year. “It’s the people,” he says simply. “That feeling when everyone sings along. It’s like we all get to remember why we love this time of year.” And maybe that’s what makes My Only Wish resonate so deeply. It’s a holiday record that’s a reflection of growth, gratitude, and the magic that happens when you let light back in. For David Archuleta, joy isn’t something fleeting. It’s a choice that is renewed each day, sung from the heart, and shared freely with the world. Catch David Archuleta in NYC & LA for his holiday shows. Get tickets & VIP at davidarchuleta.com Photo Provided by Ken Phillips Publicity Group

The Nashville indie-folk singer-songwriter delivers a moving, sold-out debut in New York City — blending raw emotion, crowd connection, and musical grace in his first U.S. headlining tour. Article & Photos Contributed by Miranda Wyman Indie-folk singer, songwriter, and producer Hunter Metts delivered an unforgettable performance at New York City’s Mercury Lounge on Friday, November 7, as part of his first U.S. headlining tour. Playing to a sold-out crowd of 250, Metts transformed the intimate Lower East Side venue into something far greater — a space filled with emotion, connection, and musical sincerity that felt deeply personal from start to finish. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman (IG: @shotbymiranda.jpg ) The night opened with Emma Andersen, whose ethereal vocals and poetic songwriting immediately drew the crowd in. Her gentle, introspective set created a calm anticipation in the room, perfectly setting the tone for Metts’ arrival. It was clear she’s already built a loyal following — an entire front row sang her lyrics back to her, a rare and telling sight for an opening act. Andersen’s performance carried both confidence and warmth, leaving a lasting impression that lingered even after she exited the stage. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman   (IG: @shotbymiranda.jpg ) Metts’ 13-song setlist struck a perfect balance between quiet reflection and full-band energy. Some songs were performed solo, allowing his delicate voice and expressive guitar work to take the spotlight. Others featured his full band, adding dynamic layers and subtle textures that gave the performance an organic richness. In two songs, Metts brought his band back out for backup vocals, creating warm, immersive harmonies that showcased his producer’s ear for detail. What made the evening especially captivating was Metts’ genuine connection with the crowd. Between songs, he spoke candidly; cracking jokes, responding to fans, and opening up about his hopes for the tour. He admitted he’s still breaking out of habits from his days as an opener, often having to rush through sets, and even apologized if any of those habits showed, saying he wanted each show on this tour to be perfect for the audience. That humility and self-awareness only deepened the crowd’s appreciation, turning the performance into something that felt collaborative rather than performative. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman   (IG: @shotbymiranda.jpg ) A highlight of the night came when Metts brought Andersen back on stage for a stunning duet of “Across The Great Divide.” Their voices blended seamlessly, evoking the spirit of classic folk duos while retaining a fresh, modern intimacy that held the audience in complete silence. Every song carried the emotional depth that defines Metts’ music. Tracks like “Heavy, Heavy Love” and “Telescope Lovers” showcased his lyrical vulnerability, while newer material hinted at an artist continually refining his craft. His voice, smooth yet raw, carried each lyric with a sincerity that made even the smallest moments feel significant. Metts closed the night with “Weathervane,” a soaring, heartfelt finale that encapsulated the themes of direction, introspection, and change that run through his work. As the final notes faded, the room erupted in applause — a standing ovation of sorts in the tight quarters of Mercury Lounge. Hunter Metts performing at Mercury Lounge, New York City. Photography by Miranda Wyman   (IG: @shotbymiranda.jpg ) For an artist embarking on his first headlining tour, Hunter Metts commanded the stage with both grace and gratitude. His performance at Mercury Lounge was a testament to his evolution — a rare blend of technical precision and emotional authenticity. If this night was any indication, Metts isn’t just finding his voice as a headliner; he’s proving he was meant to be one all along.

Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) Article & Photos Contributed by Ernesto Raul Aguilar Few artists blur the lines between virtuosity and eccentricity like Thundercat. On November 7th, 2025, the Los Angeles bassist, singer, and producer brought his signature blend of jazz, funk, and soul to Chicago’s historic Aragon Ballroom, delivering a performance that was both musically dazzling and emotionally charged. Touring in support of his catalog that’s redefined modern fusion, Thundercat reminded a packed house why he remains one of the most magnetic live acts in contemporary music. From the opening track, “Children of the Baked Potato,” the tone was set, technical mastery, groove-heavy arrangements, and a sense of play that makes Thundercat shows unlike anything else. His six-string bass work was nothing short of jaw-dropping, effortlessly moving between dense chordal runs and rhythmic flourishes that served both as foundation and melody. Behind him, his touring band locked into every twist and tempo shift with precision, creating a soundscape that was both tightly rehearsed and loose enough to feel spontaneous. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) “Candlelight” and “I Love Louis Cole” followed, giving the crowd moments of emotional texture and humor in equal measure. The chemistry between Thundercat and his bandmates radiated throughout the venue, translating complex time signatures and harmonic progressions into something infectious and deeply human. When “Black Qualls” hit, the energy in the ballroom surged, its mix of funk and social commentary resonating loudly with a Chicago audience that knows a good groove when it hears one. Midway through the set, the mood took a more introspective turn. “Overseas” and “I Wish I Didn’t Waste Your Time” showcased the tender, melancholic side of Thundercat’s songwriting. His falsetto, fragile but confident, cut through the mix with disarming sincerity. The swirl of light and visuals added to the dreamlike quality of the performance, enhancing the surreal contrast between heartbreak and humor that defines much of his music. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) The second half of the night leaned into fan favorites. “Lava Lamp,” “A Fan’s Mail (Tron Song Suite II),” and “Tron Song” reminded everyone that Thundercat’s deep-cut catalog is just as strong as his hits. The crowd erupted when he launched into “Dragonball Durag,” his playful ode to romance and self-image, followed by “Funny Thing,” which had nearly the entire room dancing. The collaboration with Tame Impala, “No More Lies,” gave a nod to his continued evolution and crossover appeal, its shimmering groove feeling right at home between the older material. By the time “Lady / Them Changes” hit, the Aragon had transformed into a communal singalong. The signature bassline, instantly recognizable, sent a wave of nostalgia through the audience, a reminder of how far Thundercat’s music has traveled since his Drunk era. The encore was an emotional exhale. “Show You the Way” brought warmth and reflection, while “Friend Zone” reignited the room’s collective energy. He closed with “It Is What It Is,” a fitting emotional coda, equal parts mournful and transcendent. Photo by Ernesto Raul Aguilar (IG: @blacksheepimagery ) For nearly two hours, Thundercat turned the Aragon Ballroom into a cosmic jam session, balancing technical brilliance with soulful vulnerability. His ability to make virtuosity feel accessible and deeply fun remains unmatched. In a music landscape often obsessed with perfection, Thundercat’s Chicago performance was a celebration of imperfection, emotion, and groove in their purest forms.