The night before the release of his EP, Mr. Right Now, Tiger Lewis played a must-see show at The Moroccan in Los Angeles, CA. Article Contributed by Monica Soriano. Photography Contributed by Monica Soriano. Tiger Lewis performing at The Moroccan Lounge in Los Angeles, CA. | Photography by Monica Soriano The talented musician recently played a show at The Moroccan in Los Angeles, California. Every bit of the audience floor was filled. That night, Tiger Lewis was surrounded by an immense amount of love and support. Before Tiger Lewis took the stage, Marley Bleu presented herself and treated us to her wonderful voice. She was charismatic and only accompanied by a piano player. The simplicity of her set let her connect with the audience and showcase her insane vocal abilities. By the last song on her set, the crowd was snapping in support for her. She serenaded the audience with her talent and got everyone ready for Tiger. Marley Bleu performing at The Moroccan Lounge in Los Angeles, CA | Photography by Monica Soriano While the band set up, the audience slowly moved closer to the stage. Little by little, it became unbelievably packed. Tiger began his set with a band, and he played electric guitar himself. The atmosphere was lively, and his voice echoed throughout The Moroccan. The feeling of rock'n ' roll filled our senses as we realized his true musicality. His live vocals were just as they are in his recorded discography, dare we say even better. Tig3r Lewis was a rockstar. Screams and energized fans filled the room. His setlist had fan favorites, an unreleased song, and even the latest track, “Runaway,” from his EP Mr. Right Now. Lewis wore a simple outfit of jeans, a T-shirt, and glasses that perfectly suited him and his artistic persona. His voice was a shining focus on that stage along with many charming moments and smiles. His set was coming to an end, and the crowd erupted, screaming “one more song, one more song” and asking for an encore. The room was loud; Tiger couldn't say no. He began singing Happy Birthday with the crowd, then continued with his final song, “Mr. Right Now.” Tiger Lewis performing at The Moroccan Lounge in Los Angeles, CA. | Photography by Monica Soriano We enjoyed every song Lewis performed, but hearing “Mrs. Kisses” was one of the highlights for us. Of course, we also really appreciated “Runaway” live since the EP wasn’t out yet and it was the only song not available to the public. To say that “Use Me” and “Too Easy” live were remarkable would be an understatement. Every song was placed perfectly, and Tiger Lewis was and is someone we recommend going to see live. An intimate venue is perfect for future concert stories The Moroccan is relatively small and intimate; there is a bar upon entry, and the ambiance is dim but vibrant. What makes this venue special is how short the stage is. The audience is right there, extremely visible, with no barricade or space between the artist and the concertgoers. This show sold out; when we say there was no room left in there - we mean it. It won’t be long before Tiger Lewis starts taking on bigger stages and a night like this will be one of those stories to tell when his talent reaches greater heights. Tiger Lewis performing at The Moroccan Lounge in Los Angeles, CA. | Photography by Monica Soriano Now that the entirety of Tiger Lewis’ EP is out, we can safely say that it is a wonderful piece of music that is best experienced live.

Surf Rock Meets Coffee Shop on Surfaces' “All The Spaces Between” Press photo of Surfaces | Photo by JT Boehme Article Contributed by Konstantina Buhalis The Road to Hope Surfaces has released their seventh album, All The Spaces Between. Featuring the TikTok viral single, “Call Me When You’re Home,” the album is already garnering attention. Written during these tumultuous times, it chronicles the journey of managing grief, love, gratitude, and loss. Finding Peace All The Spaces Between is a concept album about experiencing grief and finding peace. Padalecki went on to say, “Writing these songs over the past two years helped me find peace in letting go of what I can't hold, and opening my arms for love to find me again. Like most people, I still struggle with polarities in my life, but this album helped me grow so much in the space between them... where life is really lived." Padalecki’s writing is emotionally forward, taking the listener on a journey of acknowledging hardships without letting them rule your life. Padalecki’s vocals float softly over mellow contemporary arrangements, creating a calm, meditative atmosphere. Throughout the album, the arrangements blend seamlessly to create a multi-genre narrative of life's ebbs and flows. All The Spaces Between also features the single that went viral on TikTok, “Call Me When You’re Home,” with 16k posts showcasing the band’s cultural impact. Growing Through It Surfaces’ transformative album is a breath of fresh air in a rushed lifestyle, letting listeners slow down for a moment and embrace the space they're in. The opening track, “Blame It All On Me,” features a collaboration with Mike Posner, adding vocal depth and a throwback 2010s adult contemporary vibe. As the album continues, “Guess We’ll Never Know” uses gang vocals throughout the chorus, acting as a choir to create a dynamic sound and make it perfect for a sing-along. All the Spaces Between maintains a beach-inspired vibe, taking cues from surf rock throughout the sonic landscape to build a strong foundation for the lyrical content, directly mentioning the coastline and the beach. The waves on the beach perfectly encapsulate this album: there is tranquility in watching the waves roll in, and even when storms gather on the horizon, the water eventually calms and peace returns; we just have to be brave and weather the storm. Soundcheck Rating: 6/10 Artwork for All the Spaces Between Overall, we must be brave, and All the Spaces Between reminds us that we can survive and that slowing down is a chance to grow. Standout tracks: Blame It All On Me Truman’s Show Snake Eyes Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

A masterclass in confidence: how HAYLA turned Williamsburg's spotlight into her moment. HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Article and Photos by Fernando Flores Lizzy Jane: An Opening Set with a Power of Its Own Lizzy Jane performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Music Hall of Williamsburg was already buzzing before HAYLA ever stepped onto the stage, and Lizzy Jane made sure that energy had somewhere to go. Lizzy Jane, who is usually known for DJing, brings something different to her sets by putting her own voice directly into her mixes. Instead of simply standing behind the decks, she sang throughout her opening set, really showing the power she has in both creating and performing her music. Lizzy Jane performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Her movement was just as powerful. She stirred the crowd into a bundle of excitement, constantly moving across the stage and warming everyone up for HAYLA. Lizzy Jane mastered the balance between bringing energy onstage and actually engaging with the crowd, making for a fun and memorable introduction, especially for the people in the room who may have been hearing her for the first time. Then HAYLA arrived HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) There was no slow build or lengthy introduction. HAYLA abruptly captured everyone’s attention with an eye catching spectacle of lights and smoke. Through the mist, she appeared and began walking toward center stage, and almost immediately the crowd became completely unhinged. The excitement in the room made it very clear that they had been waiting for this moment. From there, HAYLA never really let the energy come back down. Power in Every Detail HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) Her powerful vocals carried a hint of elegance while energetic tracks pulsed underneath her voice. She moved left and right across the stage, saying hi to fans, throwing hand hearts into the crowd, and showing power in nearly every little detail. From her stance to her presence, there was a confidence about her that made her difficult to look away from. Chest held high, vocals consistently on point, and complete control of the stage. Most artists eventually take a moment to pause, breathe, or bring the show down for a while. HAYLA barely gave the crowd that opportunity. Even during the more mesmerizing spotlight moments where the attention was entirely on her voice, the room remained electrified. That may have been one of the biggest strengths of the entire performance. HAYLA did not need constant spectacle to hold everyone’s attention. The production was beautiful, but when the lights settled and her voice became the focal point, she was just as captivating. The Reviews Are In Throughout the night, HAYLA gave fans a taste of new material before eventually ending with “DARK,” from her new album. But the crowd was not forgiving enough to simply let her walk away. They wanted an encore. HAYLA performs at the Music Hall of Williamsburg in Brooklyn, NY on August 14, 2026 | Photography by Fernando Flores (IG: @fernandofloresphotography) And with seemingly just as much energy left as the people standing in front of her, HAYLA came back and gave everything she had to one final song. It left the room buzzing, and you could hear the reviews beginning before fans even made it out of the venue. “She has great vocals.” “She’s my favorite.” “I love HAYLA.” “Thank you for taking me, she was incredible.” Those little conversations happening throughout the crowd might have been the best review of the night. People were not simply leaving satisfied. They were left impressed. The night goes DARK If you have not heard of HAYLA yet, give her new album a listen. And if she is playing anywhere near you, take the opportunity to see her live. Because as strong as HAYLA may sound in the studio, the recordings simply do not do justice to what happens when that voice is standing directly in front of you. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Press photo of Lily Lane | Photo by Quinn Hawking Article Contributed by Monica Soriano We had the opportunity to interview talented singer-songwriter Lily Lane, who recently moved from California back to her home state of New York. With this shift in life, she released a song titled “So Long, California,” in which she closes a meaningful chapter in her book. She greeted us warmly and was an absolute delight to talk with. “So Long, California” Is Her Way of Saying Goodbye One of the first things we asked her was how her new life back in New York was going, and then we dove into “So Long, California.” In the interview, she told us that “the years in California were actually wonderful” and went on to say that this song is “kind of a breakup song, and I just loved my time in California. I loved all my friends that still live there - I just went and did a show there last weekend. So I’ve been back, but it was also kind of my way of explaining to all of my friends and community there like ‘Hey I’m leaving.’” She elaborated that she moved during the pandemic with an idealized version of California. She described her experience as a 6-foot-tall woman living in the City of Angels, and how the city she fantasized about became real once she got there, but she also gushed about finding love in LA. She said “‘So Long, California’ is my love letter to the city but also my explanation why I had to go” and “just because it’s good, didn’t mean it was right for me.” “That EP Is How I Found My New Sound” We continued our chat about her life in New York, then moved on to discuss her ‘Domesticasted’ EP, which she released last year. She mentioned “that EP is how I found my new sound” and continued to say that it was “a more mature evolution of my original sound.” Lily Lane has a soulful voice and a strong talent for projecting her emotions through her music; we were curious which artists she looked up to and hoped to collaborate with in the future. For artists she looks up to, she named the one and only Kelly Clarkson, and for artists she would love to collaborate with, she said she would like to write for Beyoncé as well as collaborate with John Legend and Olivia Dean. A Day In The Studio with Lily Lane A day in the studio can look different for every artist; we had to know what Lily Lane’s days were like when she hit the studio. Lily told us about her most recent studio visit, which was when she had her show in Los Angeles. She explained, "I just had kind of a wild one in LA” and continued “I woke up, walked the dogs, went to the studio. Was in the studio for maybe 8 hours, then I left, went to soundcheck for my show…went back to the studio. Finished doing all the harmonies and then went back and did my show.” She explained that not all days are like this, but the pressure from such a long day, and working with her producer Taylor, created something she loved. We continued the conversation by talking about how she decides which songs to keep for herself and which to save or pass off to other artists. She shared many details, including an artist she’s currently writing for and a song she wished Demi would have released. Press photo of Lily Lane | Photo by Quinn Hawking There were many more things we discussed with Lily Lane, including how she knew she was going to pursue a music career. She also had wise words to say to new artists: “Something that looks like overnight success is often something that was preceded by 10 years of really hard work……you never know when that moment is gonna come; it doesn’t mean you should stop.” It was such a wonderful time getting to know Lily Lane as an artist and person; she gave us the details on her upcoming single "Georgia"! To hear Lily Lane express herself and get to listen to a more detailed discussion, watch/listen to the full interview! Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Singles are supposed to build anticipation for an album or EP. But when nearly every song arrives little by little, are we actually creating excitement for a project or giving fans less to discover when release day finally comes? Photo by Brett Jordan | https://www.pexels.com/photo/close-up-of-piles-of-cd-records-5553301/ Article Contributed by Rebecca McDevitt There was a time when an album release felt like an actual event. You knew the date, you knew the artwork, you probably knew the lead single, and you formed completely irrational attachments to song titles you had never even heard yet. Then release night arrived, you pressed play on track one, and suddenly an entire body of work was sitting in front of you. That feels increasingly rare in an industry obsessed with releasing music little by little. A song drops, a few weeks pass, another drops, and eventually an EP gets announced and you realize you have already heard four of its six tracks. At that point, what exactly are we waiting for? This isn't an argument against singles. A great single should make you curious and open the door just enough that you desperately want to know what is behind it. But if you keep opening that door a little wider every few weeks, eventually there is nothing left to discover. We Miss Discovering an Album Together There is something uniquely communal about the first few hours of an album existing in the world. Everyone hears the same songs at once but finds something different inside them. One person falls in love with track three, someone else cannot understand why nobody is talking about track eight, and by the end of the day fans are ranking songs, quoting lyrics, and deciding which supposedly insignificant deep cut deserves its own national holiday. That gets harder when we already know half the tracklist before the project arrives, and it costs us the best kind of surprise: the album drops, everyone latches onto a song nobody expected, and there is your next single, chosen by fans instead of a marketing plan. We want to press play without already knowing which songs were designated the important ones, and we want to stumble onto the weird little track buried in the middle that we somehow end up playing 400 times. Singles Should Make Us Want More Photo by Ivett M | https://www.pexels.com/photo/person-browsing-records-in-brazilian-music-store-38969086/ A great single should accomplish something simple: make us want the album. Give us the song that introduces the era, the video that establishes its visual identity, the interviews and behind-the-scenes footage, and, sure, a second single if there is a reason to show another side of the project. The problem isn't singles, but the proportion. If you are releasing a five-song EP, do fans really need four of them first? A rollout should leave fans hungry for the project, not feeling like they have been eating it one bite at a time for four months. Release Day Shouldn't Be the Finish Line Artists need content, and that reality isn't going away. But why does all of that marketing have to happen before the album even arrives? A release should be the beginning of another phase of promotion, not the moment everyone packs up the campaign. Drop the album, then give another track a music video, put out a live version, break down the lyrics, show us the first demo. A twelve-song album is not one piece of content. It’s twelve opportunities to keep people invested in an era, and those don't disappear just because the songs are already streamable. Anticipation is part of that too. Give us photos, interviews, studio footage, artwork, snippets if you really want to torture everyone. Let fans speculate, wonder, and wait because anticipation isn't the absence of engagement. Anticipation is engagement. Give Us the Damn Album None of this means recreating the release strategies of twenty years ago. Streaming and algorithms aren't going anywhere, and singles will always be part of introducing new music. But there is a middle ground: release the lead single and give it a real moment, release another if you want to reveal another piece of the puzzle, then stop. Leave some of the puzzle in the box. Trust that fans can handle ten songs at once, and trust us to find our own favorites. Photo by Ron Lach | https://www.pexels.com/photo/close-up-of-couple-sharing-headphones-9654036/ Because the best moments in music fandom happen when nobody tells you which song you're supposed to love. You press play, get halfway through, a song you knew nothing about comes on, and suddenly you're texting your friend in all caps. "TRACK SEVEN. NOW." Five minutes later, they're screaming too. So release the singles, tease the era, feed the algorithm, but leave us something to discover when we finally get there. Bring back the full album drop. And please, if you're releasing a five-song EP, don't make us hear four of them first. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

In our sit-down with Australian-Filipino artist VITA, we dive into her upcoming album OPIA and her creative intent. "PLEASER" single art Article Contributed by Monica Soriano The remarkably talented artist known as VITA recently released her single “PLEASER” as a taste of her upcoming album OPIA. We had the opportunity to hear her talk about her music, her life right now, and her creative vision. First off, VITA looked incredible sporting a wardrobe for an upcoming project she is currently working on. She told us she loves fashion and even took part in making and dyeing the fabric she was wearing. VITA shared that she is not only filming in Mexico City, but she's also fallen in love with the atmosphere and now lives there. Her excitement about what was happening around her was a breath of fresh air. “The sky is the limit” In a recent social media post, VITA mentioned finally having a budget for her music video. We had to ask if this newfound freedom to go bigger made her excited for all the creative planning she can now do. She said, “The sky is the limit...my team at Interscope is so amazing…I have a joke with my team that there’s probably somebody in Interscope that rolls their eyes every time they get a text from me because my ideas are so absolutely nutcase.” She continued to say that it “feels really expansive now … you know when I first started I had these massive ideas and I just didn’t have the funds to do them….I’m looking out at them setting up a set right now, and I’m just like getting emotional thinking about, you know, 5 years ago. This was not the case for me. So, I’m deeply grateful every day.” Her enthusiasm for this new phase of life was bright, and it made us truly appreciate this first single, “PLEASER,” and the visual video released for it. It felt like part of a short film or a series of videos that would tell a bigger story. The colors are bright with a cinematic feel, and her fashion is dramatic and avant-garde in the best way possible. We look forward to the release of OPIA and to seeing VITA continue to share her vision with the world. Showing Her Inner World Promotional image for "PLEASER" | Image provided by VITA's team Since VITA is a true world builder and her artistic expressions are personal, we asked her how the title of her upcoming album, OPIA, fits her narrative creatively or personally. She elaborated by saying, “ OPIA means the vulnerability and intensity of looking someone in the eye, and I think that kind of encapsulates the whole project of like looking at yourself rather than looking at other people.” She went on to say that before, her music was very outward, whereas now it is more inward. She spoke about introspection and the lack of eye contact within society nowadays. Something that stayed with us was when she stated: “When anybody made too much eye contact with me, I would get really uncomfortable and then I had to ask myself why I was so afraid to be seen.” Well, she certainly isn’t afraid to be seen anymore. Her art is being poured into the ears and eyes of people everywhere! Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Both Jenevieve and Lous and The Yakuza created a perfect artistic balance with the release of their song “Fleur-De-Lis,” and they recently followed it up with a beautiful visualizer. Jenevieve and Lous and The Yakuza (screen grab from visualizer provided by Jenevieve's team) Article Contributed by Monica Soriano On May 8, 2026, the R&B artist Jenevieve released her album CRYSALIS (CODA); within the project was a song that captured many. The last track on disc 2 of the album is none other than “Fleur-De-Lis” featuring Lous and The Yakuza—a perfect end to her album but also the beginning of our curiosity. This song is filled with soft vocals that are soothing to the ear, but the subject matter behind the French and English lyrics is that of fear and uncertainty. It’s a beautiful arrangement of feelings; the use of both English and French works in harmony, and the overall appeal of the song truly comes from how well Jenevieve and Lous and The Yakuza’s voices complement one another. Lyrics Full of Misfortune and a Rich History “Fleur-De-Lis” translates to "flower of the lily/iris.” The words fleur de lis have a rich history and different meanings, as they are typically associated with religion and the French hierarchy. Something that we found interesting while reading up on the meaning was this quote on britannica.com: “The lily was said to have sprung from the tears shed by Eve as she left Eden.” We found that fitting within the song's misfortune-filled lyrics. We are sure there are many layers to dig into, and we thoroughly enjoyed both exploring it and simply listening to the immaculate vocals. A Visualizer In Which They Look Effortlessly Cool Visualizer for "Fleur-De-Lis" The visualizer for “Fleur-De-Lis” was released on July 29, 2026. It’s a perfect, eye-grabbing video with a cinematic appeal and vibe that aligns perfectly with the song itself. The video starts with a split screen, initially making us believe that the singers are in two different places. Eventually, Lous and The Yakuza walked to Jenevieve, and they stroll together as Jenevieve is about to start her part of the chorus. The colors are beautiful throughout the entire video. The video includes clips of the city and other random shots that add to the entire aesthetic. The best part was seeing both of the singers together. Visually, they looked effortlessly cool. Everything contributed to that coolness - from their outfits to the editing, which used split-screen in multiple ways and captured our attention. This makes us realize why visualizers are important: they not only put a face to the voice but also give us a good sense of the artists' chemistry. Overall, the song “Fleur-De-Lis” is a brilliant collaboration by Jenevieve and Lous and The Yakuza. The song truly does shine on its own, but the visualizer, even though it wasn’t a full music video, was the cherry on top. We are excited to keep up with both Jenevieve and Lous and The Yakuza and can only hope they collaborate again in the future.

"Rock Steady/Heavymetal" by Emma Ogier Reminds Us That Friendship Can Heal Our Wounds. “Rocksteady/HeavyMetal” cover art | Artwork by Will Shaw Article Contributed by Konstantina Buhalis Emma Ogier is Making Friends Ogier is on her way to becoming one of the biggest indie stars of the moment, with her new single, “Rock Steady/Heavymetal”, a song about what she calls PFB, a post-breakup friendship, with “Rock Steady/Heavymetal” focused on the different types of relationships we experience and the importance of having good friends during life changes. David Baron (The Lumineers, The Felice Brothers) produced the single, but before that, it was Ogier’s demo. Bringing Eden Joel on as a collaborator was an easy choice, Ogier explains in an interview, saying, “Our relationship is special and complicated and has always possessed a serious feeling of depth. What started as an undeniable connection and incessant belief in each other, in terms of us both being two young songwriters – vulnerable, on the internet and trying to make real careers of it – turned romantic, yes, but also taught us something about the weight of love – how even when its median shifts, real love is when you still hope for the others success and joy.” Photo of Eden Joel and Emma Ogier | Photo by Mason Georgeson Rock Steady/Heavymetal is a joyous anthem about love, not in the romantic sense, but the euphoria of finding someone who “gets you”. The track is bright and bouncy, with crisp vocals from Ogier and Joel that balance each other, plus a fun group chant that elevates the song and ties the communal themes to the line “I don’t want to leave you behind”. The guitar-forward sound pushes the single and draws on 2010s “stomp-clap” indie, with a catchy rhythm, while the pop-punk-style drums keep it modern and give the song bite. The accompanying music video is fun and fresh, with scenes of Ogier and Joel playing together and separately in different environments that suggest a nod to their influences and eras of their lives. Ogier on Tour Emma Ogier has been at the center of conversations surrounding the indie scene, playing with Bright Eyes at three shows celebrating the 21st anniversary of their back-to-back albums I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn. Ogier filled in for Emmylou Harris' vocals on “Land Locked Blues,” giving her the It Girl factor and leading to her tour, including the first weekend of Austin City Limits and support for Hovvdy. Brooklyn Vegan, Americana Highways, and The Spotlight have commented on Ogier’s star power. Ogier’s new single is available to stream on all platforms, and the music video is now on YouTube.

The Portland duo, foamboy transforms climate anxiety, loneliness, and the exhausting pursuit of self-improvement into an electro-disco escape. foamboys “Stupid Hot” Album Cover Article Contributed by Shyanne Vaden On “STUPID HOT,” foamboy invites listeners to dance at the end of the world, cause at a time like this, it sure feels like it is. The third album from Portland duo Katy Ohsiek and Wil Bakula is bright and irresistibly funky, even as it wrestles with heartbreak, loneliness, aging and the anxiety of living on an increasingly overheated planet. Released on July 10, the 11 track album marks a more house direction, combining synths and jittery rhythms with Ohsiek’s lyricism. The result is an album that feels equally suited for an overcrowded dance floor and an anxious night drive after a day at work. Immediately, this album reminded us of Disclosure's early days, and we really fell in love with that, especially since Disclosure has taken on a new direction. That is established on the opening track “FAR AWAY.” Beneath the song’s electronic production is a desire to escape, not only from a relationship or former version of self, but from the unsettling conditions of the world outside. Foamboy understands that personal crises don't stop just because larger ones are unfolding; unfortunately, at times like these in 2026, many things can be true at once. Heartbreak still hurts during a heat wave. Loneliness still follows you on crowded, lively rooftop bars. Sometimes, dancing becomes less of a celebration than a survival instinct, as the famous saying right now is “joy is an act of resistance.” “SUMMERING” continues that unease, pairing synths with lyrics on isolation, identity and wildfire smoke, going back to their main theme of climate instability. Ohsiek’s vocals possess a haunting softness that makes the song feel intimate. It does not compete with Bakula’s production, their voice slips between its layers, grounding the textures in something recognizably beautiful. The track captures the peculiar sadness of summer, especially in the world we live in, and the pressure to be carefree while quietly feeling anything but. The album’s sharpest writing to us appears on “SELF IMPROVEMENT,” a clever examination of the endless pressure to become prettier, healthier, happier and easier to love, the optimization of being a human if you will. Ohsiek approaches the subject with humor, but the exhaustion underneath it is unmasked. The song recognizes how quickly personal growth can become another impossible performance. To us, it’s relatable in how we try to heal so much or optimize our productivity; we forget to live. In foamboy’s world, changing your appearance or perfecting your habits cannot guarantee peace. Sometimes, the constant pursuit of a “better” self only reinforces the belief that the current one is not enough and takes away from the present moment. That same dry humor makes “SOUL SEARCH” one of the album’s most memorable songs. What initially sounds like encouraging advice is exposed as a convenient way for others to avoid engaging with someone else’s problems. The production carries the song forward with the momentum of a nighttime drive, gradually swelling into something heavier and more consuming. It is a perfect example of what foamboy does best, disguising uncomfortable emotional truths inside disco grooves that are almost impossible not to dance to. foamboys Instagram promos of their new album “STUPID HOT” | Photo by Nat Schmidlin (@gnat.jpeg) The closing track, and our favorite track, “WASTE OF TIME” gives the album room to breathe. After so much motion, foamboy ends the album in what feels more reflective than resolved, because how do you solve some of these modern-day problems? The record doesn’t pretend that heartbreak, self-doubt, or climate anxiety can be conquered through a good beat. Instead, it suggests that movement can make the weight momentarily easier to carry. With STUPID HOT, foamboy creates music for anyone attempting to improve themselves while privately wondering whether all that effort is working. The album is funny without being flippant, vulnerable without becoming overly sentimental, especially at a time when we are all experiencing burnout in different multitudes, and danceable without sacrificing emotional pain. It captures what it feels like to be lonely in public, anxious during summer, and painfully self-aware at the party. The world may be getting hotter, relationships may continue to fall apart and self-improvement may remain an impossible assignment, but foamboy reminds us that we can still find a rhythm inside all of the uncertainty. If everything is getting hotter, STUPID HOT makes a compelling case for dancing through the heat.

Canadian artist Myles Lloyd has amassed competitive numbers on his social media and streaming platforms.“One Sided” is a perfect example of why those numbers are well deserved. Myles Lloyd Press Photo | Photo by Brandon Mosquera Article Contributed by Monica Soriano This is a song about one sided love and usually that subject is met with a somber musical execution but what happens when the story of unreciprocated feelings becomes an addicting track that makes us want to blast it 24/7? Myles Lloyd certainly figured out a secret formula to making a modern song feel nostalgic. There is something magical that happens to our brain as soon as we hear “When it’s cold outside put my jacket on your back for you When i know you’re tired turn you over rub your back for you When i pull up dimes you know imma roll the pack for you But when i call you mine i don’t ever hear that back from you” Unreciprocated feelings never felt better It’s almost inexplicable but listening to the intro melody gave us endorphins. It isn’t just the intro that is an attention grabber, but the order in which the song is written makes this all the more appealing. We almost immediately get dropped into the chorus. Rather, the entire song feels like it was made of multiple chorus’ and we are not complaining. Having the ability to talk about a relationship that isn't in alignment or equal while providing some of the best melodies is pure talent. Myles Lloyd’s voice is pleasant and easy to submerge ourselves in. It truly is one of those songs that can be on repeat non stop while on a drive and not get tired of it. A visualizer that embodied the nostalgic feel of early 2000’s music videos The official visualizer for “One Sided” is a treat, both Myles and the ballerina are enjoyable to watch. The ballerina wears an all white ensemble moving fluidly while Lloyd sports a more casual wardrobe featuring primarily darker colors. Something to be noted is the way in which the two characters are out of alignment within the shots and don’t necessarily face each other. We had many favorite scenes from the video, some included the ones in the stairway. Others included the one in which Myles was laying on the floor outside singing while the shadow of the ballerina dancing was visible and of course, all the scenes that played with the depth perception of the two video leads which ultimately made it visually interesting. This really is a visualizer that made us reminisce on the old MTV music video days, we are sure this would have been part of the rotation. Official Cover Artwork for "One Sided" by Myles Lloyd | Photo by Brandon Mosquera We are looking forward to more infectious melodies from Myles Lloyd. We especially anticipate seeing more ways in which Myles Lloyd can transform difficult subject matters into songs that will make us both sink into those feelings and at the same time never want to stop listening to them.

Article Contributed by Rebecca McDevitt Photo by Tima Miroshnichenko: https://www.pexels.com/photo/piles-on-money-on-the-table-6266639/ You know the feeling. You set an alarm, you had the tab open ten minutes early, water nearby, fingers hovering, that specific flavor of nervous you only get on an on-sale morning. The clock hit ten, you refreshed, and the tickets were already gone, sold out, before you even got a seat map. Here is our hot take, and we are ready to defend it: that heartbreak you felt was not a supply problem. A lot of the time, it was the plan. Concert marketing has quietly turned "sold out" into a marketing strategy instead of a milestone. The phrase used to be a finish line. Now it is a starting gun, and we are the ones getting run over by it. What "sold out" used to mean to us Photo by Maurício Mascaro: https://www.pexels.com/photo/crowd-dancing-on-concert-15987495/ There was a time when "sold out" was kind of beautiful. It meant an artist put tickets on sale, real people like us bought all of them, and the room was going to be full of humans who wanted to be there as badly as you did. It was proof that the thing you loved, other people loved too. It was the receipt for a feeling. When your favorite band said they sold out the room, you understood something had been earned, and that being inside it was going to feel like being part of something. That is the version of "sold out" we fell in love with. That is the version worth protecting. The part they are hoping you do not notice Here is what nobody hands you in the presale email. The building does not have to sell you all the seats at once. Holds, presale tiers, VIP bundles, platinum seats priced off to the side, artist and promoter allocations, and the giant resale layer sitting on top of everything mean that the number of tickets actually available to a regular fan on a regular on-sale or even pre-sale is a sliver of the room. Sell that sliver and you get to run the headline. "Sold out in minutes." Of course it sold out in minutes. Only a few minutes of tickets ever went up. Then, funny thing, more inventory quietly reappears. Then a second night gets "added by popular demand," which is a polite way of saying the demand was always known and the scarcity was on a schedule. You refreshing at 10:00:04 and getting nothing was not bad luck, there was a point to it. Why it works on us Photo by cottonbro studio: https://www.pexels.com/photo/a-ticket-on-the-lap-of-a-person-5801647/ We are not going to pretend we are immune. Scarcity is one of the oldest tricks there is, and it works because we are human. When something feels like it is running out, we want it more, we decide faster, and we pay more. "Sold out" is scarcity wearing its Sunday best. It tells the fans who missed out that they missed out, so next time they show up earlier, more anxious, and ready to overpay so it does not happen again. The tactic is effective. That is exactly why it deserves a hot take instead of a shrug. We have let the most exciting two words in live music get pulled loose from the thing they used to describe, and we barely noticed it happen. Who actually pays for the illusion Two groups get stuck with the bill, and both of them are us. The first is fans, obviously. When "sold out" is a staged event instead of a real one, you get funneled straight to resale and dynamic pricing, where the "unavailable" ticket magically reappears at three times face value. The scarcity that was manufactured on the front end becomes the gouge on the back end. You are not paying more because demand beat supply. You are paying more because the supply was rationed to make it look that way, and then handed back to you with a markup. The second group is the artists we love, especially the smaller ones. This is the part that also gets us. When every single tour brags about selling out, the phrase stops telling you anything. The independent act that genuinely packed a 300 capacity room through nothing but word of mouth and a set that wrecked everyone in it now sounds exactly like the arena tour that dropped 400 tickets on a Tuesday and called it a phenomenon. A real, hard-won, honest sellout gets flattened into the same press template as a scheduled one. The artists who earned it the real way get no extra credit, because the word does not carry weight anymore. What we want "sold out" to be again Photo by Teddy Yang: https://www.pexels.com/photo/blue-lights-on-stage-2167381/ We are not naive, and we are not asking the industry to become a charity. Some structure exists for real reasons, including keeping tickets out of the hands of bots and getting them to actual fans. That’s fine and we agree with that. What we are asking is simple. Stop selling us a manufactured "sold out" as if it were a milestone when it’s a campaign. Say "first night sold out, second added." Be straight about presale versus general. Let a genuine sellout stand apart from a scheduled one, so the band that did it the hard way gets the moment they deserve. Because we can feel the difference even when we can’t name it. And the artists who packed the room the honest way, and the fans who would have given anything to be standing in it, both deserve a phrase that still means what it says. "Sold out" should be a receipt again. Right now it’s just an ad, and we are the audience it was written for.

The Eastern European electro-pop artist Lex Viscera's new record Anachronism lives right where the club meets a spaceship, and it’s stranger and better for it. Lex Viscera's promotional image for Anachronism | Photo by Emilija Terzic Article Contributed by Devin McDevitt & Rebecca McDevitt Some records make you pick a lane. Anachronism refuses to let you. You can put this thing on and hear two completely different albums at the same time. One second it’s like club music, all body, heat and eyes on you. The next it’s like a spaceship, cold, cinematic and pulling you somewhere far away. Both reads are correct. That’s the entire point. Lex Viscera has spent the last few years carving out a dark, distinctly his own corner of electro-pop, but Anachronism feels like the moment that world fully comes alive. The record pulls together the sensuality, darkness, atmosphere, and futuristic edge that have been showing up throughout his work, turning them into something that feels less like a collection of songs and more like a place you can actually step into. He has described the album as being about time, vulnerability, and the urgency of holding onto something right before it slips away, and the title says it out loud. An anachronism is something out of its proper moment, and that is exactly how the album feels. Sensuality and futurism exist in the same breath, while a memory and a premonition seem to play out at once. "Fixation" is where he lays his cards on the table. "I can be the fixation" is a come-on, sure, but a knowing one, delivered like he is watching you watch him. It is hot and a little unsettling and you cannot look away, which, yeah, that is the idea. The interludes are the secret weapon here. Short passages, a minute to ninety seconds each, guiding you from one full track into the next. They work like scene changes, or maybe wormholes, and they are the reason the album plays as one continuous world instead of a stack of singles. It’s like a film you’re moving through in real time. Then there is "waveslikedejavu," one word, no spaces, and the beating heart of the whole thing. It’s genuine dance music, it wants your body, but it plays like you got dropped into the middle of a movie. Think the eerie science-fiction side of Stranger Things crashing straight into a club at 2 a.m. When the hook lands, "waves like deja vu, wash all over you," the déjà vu is the thesis. Déjà vu is time folding over on itself, the past showing up somewhere it does not belong. Picture the Stranger Things kids in the year 2550, running from something with far too many teeth, and this is what plays over the chase. Terror and euphoria on the same beat. Lex Viscera's promotional image for Anachronism | Photo by Emilija Terzic "Summoning" is where the underbelly shows. It opens sounding almost like someone going under water, that muffled panic of drowning, before it surfaces into a creepy, crawling synth. And that is where the other half of this record clicks into focus. Underneath all the future-club sheen, something ritual is happening. Something witchy. Long stretches of Anachronism stop feeling like verses and choruses and start feeling like chanting, like an incantation you’re not totally sure you should be repeating out loud. That is the magic trick. Desire and time, and Lex will not hand you either one clean. The body and the machine. The club and the cosmos. The séance and the dance floor. It should not hold together, and it absolutely does. You can play it twice and hear two different albums, and both times you were paying attention.

Simple Plan Celebrates their 25th Anniversary with an Electric North American Tour Simple Plan lead singer, Pierre Bouvier, performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Article Contributed by Madison Cozzens. Photography by Madison Cozzens. Simple Plan has been pure pop-punk since they formed in 2001, since then they have enthralled fans with energetic performances and meaningful lyrics. The band’s Bigger Than You Think! Tour – The Sequel! is a celebration of 25 years of the band. The venue was sold out, the fans were giddy, the stage was set, and Simple Plan delivered. Double the Openers, Double the Fun 3oh!3 performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Simple Plan had two iconic 2000s and 90s bands perform as their opening acts. 3oh!3 was the first to perform and started the night with a bang. Their upbeat electronic sound has been a staple of party music, and Cleveland showed up for the party. The venue was filled with jumping bodies and people singing along to the tongue-in-cheek lyrics. 3oh!3 gained popularity in 2008 with the release of their hit single “Don’t Trust Me”. The song has stayed one of their most popular through the years and continues to get people out on the dance floor. The duo had everyone who arrived early at the venue pumped up and ready for the rest of the night. At the end of their set, the band’s hand signal went up throughout the venue as cheers roared through the crowd. 3oh3! hasn't released a full album since 2021, but that didn’t stop Cleveland from showing up for a fun and energetic performance. Bowling for Soup performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Disney Channel and Music Still on MTV Bowling for Soup was up next, and they kept the not-so-serious tone going. The group is well-known for their silly lyrics, upbeat instrumentals, and funny live performances. During the show, they paused their set to give fans “an authentic Bowling for Soup photo opportunity,” with the three band members strutting around the stage and posing for the cameras. While you may know the band for their hits like “1985”, “Almost”, or “Punk Rock 101”, there is one that is arguably their most popular. Bowling For Soup is the band behind the theme song from the Disney Channel show Phineas and Ferb. When they sang the opening line, “There’s 104 days of summer vacation…” the crowd jumped in excitement. While the song lasted a minute, kids and adults alike were jamming along to the theme song and inserting the character lines throughout. Bowling for Soup is an iconic band for a reason; their humor and catchy songs make them “easily the 9th greatest pop-punk band in history” (according to their website). Simple Plan Kicks the Door Down Simple Plan fans at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) At 9:15 pm, Simple Plan took the stage. The venue went dark as the giant LED screen played clips across the band’s history commemorating their 25 years of making music. The group started their set with “I’d Do Anything”, with smoke cannons and confetti raining down on the crowd at the end. It felt more like a grand finale than an opening, but it sent the tone for the final performance of the night. Frontman Pierre Bouvier was bringing the energy, running around the stage and jumping off platforms. The entire venue was headbanging to the beat and screaming the lyrics. It was everything you could want from a pop-punk show, and there was still an hour and a half left. Simple Plan drummer, Chuck Comeau, performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Simple Plan is a staple in any Y2K pop-punk playlist. The group played all of their hits, including “Addicted”, Perfect”, and “Welcome to My Life”. Thanks to a popular TikTok trend, one of the group’s most well-known songs is “I’m Just a Kid”. 20 years after the song was released, Simple Plan went viral and exposed their music to a whole new generation. During their performance of the song, drummer Chuck Comeau swapped spots with singer Pierre Bouvier. Corneau threw himself into the crowd, and Cleveland carried him around the pavilion. The drummer crowd-surfed as Jaret Reddick of Bowling for Soup took the mic and finished the song. It was an electric and memorable moment for everyone in the venue, especially those who held Corneau over their heads. The camaraderie felt between the bands and the fans made for a joyous experience. Switching it Up Simple Plan performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) About halfway through the set, the band took a moment to slow things down, performing “Astronaut”. Phone flashlights popped up across the venue, turning the darkness into a sea of lights. Pierre then made his way over to a small B-stage, set up with a piano at the back of the pit. The rest of the band got a break, as his voice and the piano were the only sounds playing through the speakers. Emotions ran high through the performance, with fans holding each other and swaying to the music. Before Pierre made his way back to the stage, he took a detour during the song “Promise”. He made his way high into the bleachers, stopping to interact with the crowd. While it is often those who arrive early to get barricade who get band interactions, Simple Plan made sure that everyone felt included. Many of the fans who got close to the singer had excitement and shock on their faces, making for an unforgettable experience. What’s New Scooby Doo? Fans dressed up for the Simple Plan show at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Simple Plan is not only a band for the emo kids and the punk rockers, but for the Scooby Doo fans as well. The band sings the theme song for What’s New Scooby Doo, a popular cartoon that aired in the early 2000s. Plenty of fans showed up in Scooby Doo merch, onesies, costumes, and outfits. Simple Plan really embraces the fandom, selling merchandise and playing the theme at every show. They gathered everyone who was dressed up and brought them on stage while they played “What’s New Scooby Doo”. The stage was filled with Scooby-Doos and Mystery Gang members singing along while clips of the band's cameo on the show played on the screen (S2E9). It was another way for Simple Plan to show their appreciation and love for their fans. Nothing Lasts Forever Simple Plan lead singer, Pierre Bouvier, performing at Jacob’s Pavillion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) “Perfect” was the final song of the night, a poignant way to end the night. The song speaks to anyone who’s ever felt like they aren’t enough or haven’t felt supported in their choices. Despite the somber subject, it really brought everyone together. The crowd once again got out their phone flashlights, swaying side to side, singing along from a place deep within. The acoustic beginning crescendoed into a bombastic finish, coming full circle with confetti once again raining on the crowd. Like the song states, “nothing lasts forever...”, but everyone was grateful for the time they had together in that venue. It was a perfect way to end the night.

Pop-Punkers' hot mess gets Tattooed in their Latest Music Video for “Take Me Home.” hot mess' Promotional Photo for "Take Me Home" | Photo by Ariel Kassulke Article Contributed by Konstantina Buhalis Hot in Milwaukee The latest in Midwestern Pop-Punk is here with hot mess delivering the goods on their new single and music video, “Take Me Home.” With only six songs under their belt, they’re climbing the ladder to stardom, and “Take Me Home” has the makings of a breakout hit. With high energy and heavy hooks, hot mess is taking listeners on a journey. Taking Us Home Hot mess has released their latest single and music video, “Take Me Home,” and it’s all about grungy fun, including watching members getting tattooed with the band name. Featuring a synth-laden beat, heavy riffs, and sexy lyrics, it's a treat for listeners. With visuals reminiscent of the Tumblr era, it’s a throwback with a modern edge that many listeners will appreciate. The track is a masterclass in yearning, with a romantic notion that keeps it slightly sweet. Overall, “Take Me Home” is visually fun and nostalgic, with a distinctly Midwestern flair and modernized retro instrumentation. “Take Me Home” is available to stream on all platforms, and the music video is on YouTube.

The pop singer Maya Kuriel released a project made to unravel and explore our inner changes. ‘A Quiet Collapse’ digs into the depths of both hurting and healing. Promotional Image for 'A Quiet Collapse' EP | Photo by Justin Chee Article Contributed by Monica Soriano On July 10, 2026 Maya Kuriel stunned listeners with a 7 track EP, A Quiet Collapse, featuring her previously released single “Heavenly". The songstress created a beautifully crafted project that left us in awe by her vocals and creative direction. A Heavenly Voice Suited For Pop Lovers The EP is composed of 6 full songs and 1 interlude. Something that grabbed our attention was how perfect the length was, it’s ideal to catapult her towards new playlists and larger audiences overall. The Korean-American singer enchanted us and lured us into her music, not only with a voice that can endlessly be listened to on replay but also with topics that are rooted in human experiences. Each song is able to transmit the exact feelings of the words written within the lyrics. The tracks for A Quiet Collapse are as follows: “Heavenly”, “WORLD SPINNING”, “Static”, “Interlude”, “Forget My Name”, “Backwards” and “Silent Treatment.” When listening to “Heavenly”, we ultimately feel the cinematic and greater than life explosion of emotions that we tend to feel when we are drawn to someone. During “WORLD SPINNING” we continue to feel the high throughout most of the song until the bridge appears, then she begins singing “Lately, I'm falling to pieces”. This was a wonderful and subtle lead into the slower and more outwardly emotional “Static”. Then, the interlude breaks the sadness with a snippet of Maya speaking about a betrayal that left her broken. “Forget My Name” which, contrary to the name, is about making sure the person never forgets her name - epic. The vulnerability showcased during “backwards” made it so that we could sit in sadness with Kuriel and feel the heartache with her. Lastly, “Silent Treatment” felt as though Maya Kuriel was able to release any bubbling emotions through the simple yet impactful chorus. Promotional Image of Maya Kuriel | Photo by Peyton Incollingo Because this is a compact project, it was difficult to pick favorites. Ultimately, we found that “Heavenly” and “Backwards” were the two we replayed the most. We are excited to follow Maya’s journey with this EP and beyond!

"Seven Seas" by Kiara Skyler is a delicate voyage through Filipino folklore, quiet fears, and the courage to keep moving forward. Kiara Skyler’s “Seven Seas” promotional photo | Photo by Emily Tath (@emagine.__) Article Contributed by Shyanne Vaden “Seven Seas,” by Kiara Skyler does not try to overpower fear, instead, she studies it and gives it a shape. Released July 10, the singer-songwriter’s latest single is an indie-folk meditation on anxiety, resilience, uncertainty and the stories we inherit from our lineage. At under three minutes, it carries the emotional weight of a longer journey, which we all must go on eventually. The song draws inspiration from the legend of Mangkukulam, a figure associated with witchcraft in Filipino folklore. Throughout the song, Skyler uses the legend to explore the way fear can begin as a thought and grow into something that is supernatural. It is an imaginative approach to the familiar human emotional experience, the mind’s ability to turn uncertainty into danger before anything has actually happened. Overthinking about negative outcomes and making up stories before life can just unravel to give us the answer ourselves. By connecting that struggle to her Filipino heritage, Skyler makes the song personal and widely relatable. We deeply appreciate the introduction into Filipino folklore, the song serves as a beautiful melody and also a learning moment. Musically, “Seven Seas” is built with warm strings and restrained acoustic instrumentation. The arrangement always allows Skyler’s voice to shine through, allowing every shift in tone to hit. Her delivery is soft without sounding too fragile, there is a steadiness beneath it, as though she is singing from the moment after panic has passed and perspective has finally returned. The track’s production, handled by Jenny Fan, understands that its strength lies in amplifying her voice. Each element moves patiently and that sense of motion is essential to the song. Even its title suggests distance, uncertainty, and the bravery required to cross what cannot be fully mapped. The “seven seas” become more than an image we thought about when we were younger but they represent everything separating a person from peace, confidence, or the life waiting beyond fear. Skyler does not pretend courage means feeling unafraid. Her version of courage is quieter and more convincing, the decision to continue while fear is still speaking because that is courage. Kiara Skyler’s “Seven Seas” promotional image | Photo by Emily Tath (@emagine.__) The cultural foundation of “Seven Seas” gives Skyler a perspective entirely her own that differentiates herself from other artists. She treats folklore not as decoration, but as living material that can help explain present-day emotions, which is what folklore has been used for since the dawn of time. It is so refreshing to see someone use it in a modern song, telling their own story through the tale. There is always a deep message in folklore, in the journey or in the lesson. That choice adds depth to a track that could otherwise have been a simple song about overthinking. The most impressive quality of “Seven Seas” is not just its songwriting but its restraint. A lesser song might build toward a huge vocal climax or an overly polished declaration of triumph. Skyler allows it all to remain subtle. The strings swell gently, the guitar maintains its calm, and her voice stays close to the listener, making the song feel like a private realization we must all come across eventually....and do. Through acoustic warmth, mythology, and reflection, Kiara Skyler transforms fear into something that can be named. Or finally crossed like the actual seven seas. The result is an enchanting single that honors where she comes from while pointing toward wherever she has the audacity to go to next. If you are a massive mythology fan, and you love music, this track is definitely for you to not just indulge in but to study. It gives two beautiful lessons on life and culture.

My Chemical Romance | Photography by Jesse DeFlorio My Chemical Romance did not wait for the first note to start the show. The second fans entered Citi Field, they were no longer simply concertgoers. They were prisoners. Article Contributed by Fernando Flores Photographs by Bryce Hall and Jesse DeFlorio A prisoner summons took over the stadium screens, directing “prisoners” to different gates before they could enter. Once inside, guards moved through the floor during My Chemical Romance’s set, making it feel as if the world on stage had already escaped into the crowd. The band had not even appeared yet, and the story had already begun. Franz Ferdinand Gets Citi Field Moving Before My Chemical Romance could unleash any of that chaos, Franz Ferdinand had the job of waking up Citi Field. They did more than that. The band brought a fun, confident energy that got the crowd moving almost immediately. Their set continued to build momentum with each song, and the stadium gave that energy right back. Opening for a band with a fanbase as devoted as My Chemical Romance’s is not an easy assignment, but Franz Ferdinand never felt like background music while everyone waited for the headliner. They gave the night its first real jolt of adrenaline, and by the time they left the stage, Citi Field was fully primed for what was coming next. This was not just a warm up. It was a launch. Welcome to the Prison The moment My Chemical Romance appeared, Citi Field went from an energetic rock show to a full cinematic nightmare. My Chemical Romance | Photography by Jesse DeFlorio At the center of the first half was a prisoner who was also presented as a psychiatric patient. His story unfolded throughout the set, with every song pushing him deeper into the dark world the band had created. Nothing was explained outright. It did not need to be. The visuals, characters, and production carried the narrative, allowing the audience to piece the story together as it happened. One moment felt like a prison. The next felt like a psychiatric hospital. Somehow, the entire stadium became part of both. They’ll Give You Blood The staging never stopped moving. At one point, a man sprinted from stage left to stage right completely engulfed in flames. Yes, he was actually on fire. My Chemical Romance | Photography by Jesse DeFlorio Later, the prisoner was placed on a hospital bed, violently ripped open, and gutted as blood poured across the set. That image alone could have been pulled straight from a horror film, but My Chemical Romance was far from finished. Explosions erupted, fire lit up the stage, and shifting set pieces kept the entire first half in constant motion. None of it felt like spectacle added just for the sake of being bigger. Every effect pulled the audience further into the story, and every new scene made it harder to look away. It was graphic, unsettling, and completely thrilling. More importantly, it was a whole lot of fun. Bringing the Pit to Everyone After a brief intermission, the tone shifted completely. If the first half was about pulling the audience into My Chemical Romance’s story, the second was about bringing the band directly to the audience. My Chemical Romance | Photography by Bryce Hall My Chemical Romance began performing from within the crowd, closing the distance between themselves and fans across the stadium. For those sitting in the upper and lower levels, this changed the entire experience. The pit was no longer just a section on the floor. It felt like it had expanded across Citi Field. Fans who would normally watch a stadium performance from far away suddenly got their own version of a pit experience. They could see the band up close, feel included in the performance, and share a connection that is usually reserved for the people closest to the barricade. Only My Chemical Romance could make a stadium show feel bigger by making it more intimate. A Crowd Actually Watching The energy never dropped. Fans sang at full volume, participated in coordinated fan projects, and gave the band everything they had throughout the night. My Chemical Romance sent that energy into the stadium, and the crowd threw it right back. Then, something even more surprising happened. People put their phones down. My Chemical Romance | Photography by Bryce Hall Of course, fans still recorded their favorite moments. This is a concert in 2026. However, the phones never became the main act. It was one of the first shows I have attended in a while where I could look around and see so many people watching the performance with their own eyes instead of through a screen. They were singing, reacting, and fully living in the moment. It is a little sad that this now feels rare, but that presence made the experience feel even more immediate and shared. My Chemical Romance built this show out of blood, fire, storytelling, and chaos, but its biggest success was the connection it created. Franz Ferdinand set the pulse for the night. The first act invited us into a nightmare. The second brought the band close enough to make an entire stadium feel like one massive pit. By the end, Citi Field no longer felt like a baseball stadium rented for a concert. It felt like the entire crowd had stepped into My Chemical Romance’s universe, and none of us wanted out.

Following her viral song in The Devils Wears Prada 2, Sienna Spiro's album 'Visitor' turns the fear of being temporary into a timeless portrait of love, longing and letting go. Album cover to Sienna Spiro’s debut album 'Visitor' Article Contributed by Shyanne Vaden When we first heard Sienna Spiro on her song "Material Lover," we were immediately taken aback. We thought immediately this has to be some Adele, Olivia Dean hybrid and we were so excited for yet another expansive, feminine singer to be welcomed onto the scene with force, and at 20 years old no less. On her debut album, Visitor, Sienna Spiro transforms the fear of being temporary into a tender, cinematic experience. The young London singer-songwriter moves through the record like someone lingering, never entirely certain whether she is being invited to stay or quietly preparing to leave. Released July 2, 2026, 'Visitor' consists of ten songs built around Spiro’s vocals, piano melodies and the classic soul arrangements that she is known for. Its sound belongs to another era, recalling the grandeur of Adele (as stated before,) Amy Winehouse and the torch singers who turned devastation into something elegant. Spiro’s anxieties are modern, they are just like our own. She is not simply afraid of losing someone; she is afraid of her place in their life when she sort of intuitively knew it was not going to last long in the first place. The opener, “This Is My House,” presents Spiro as confident and commanding. Backed by an energetic, band arrangement, she establishes ownership over her emotions. “We’re Not in Love” confronts the confusion of a relationship that behaves like love without accepting responsibilities, while “Great Expectation” captures the optimism of building a future around another person’s promise. Spiro has explained that the latter was inspired by imagining an older man visiting her in New York, turning one possibility into an entire fantasy. That tendency to transform an inch of attention into a mile of expectation, as many 20 somethings may know to be true, becomes one of the album’s most painfully relatable themes. Apple Music’s “Die on This Hill,” Spiro’s breakthrough song, remains one of the record’s strongest moments. Her voice begins with restraint before rising into something very desperate. She refuses to apologize for caring, even when the person receiving that devotion cannot meet her there. What could sound melodramatic in another singer’s hands, which can happen a lot, feels convincing with Spiro. Her rasp gives every note a slightly weathered edge, making her sound both young and strangely timeless. The album becomes more complicated with “He’s Not My Baby, I’m His,” which examines an age-gap relationship through a deliberately unsettling imbalance of possession and power. “Pure” turns that scrutiny inward, she questions who she is beneath other people’s expectations and whether she can still recognize herself without their validation and fame. It is one of the album’s quietest songs by far, but also one of its most revealing to the themes on 'Visitor.' In “The Visitor,” Spiro accepts temporary affection because even borrowed intimacy feels preferable to its absence, something many humans know well and fall to. It is easier to be liked than to be lonely. When she describes herself as a visitor in someone’s arms, there isn’t an accusation, only the weight of already knowing how the relationship will end. The strings and piano give the song cinematic weight without burying its vulnerability. Spiro reportedly attempted to write it nine times, determined to articulate her feelings and the album’s feeling correctly. “You Stole the Show” continues the record’s meditation on attachment, memory and how easily another person can become the center of one’s internal world. Our favorite song is the ending song, “Mono No Aware,” which is named after the Japanese concept of recognizing life’s impermanence and loving things more because they will disappear. Its smoky jazz arrangement is so beautiful. Portrait of Sienna Spiro | Photo by PETROS Spiro does not overcome her fear of endings, she learns that an experience does not need to last forever to have mattered. That realization gives 'Visitor' its emotional arc. Spiro begins by fearing she is temporary and finishes by understanding that everything is, that is the point of life. It’s better to experience that than run from it. The album’s beauty lies in the distance between those two truths and in the young artist discovering it.

Sophia Galaté gives our ears a true listening experience as she teams up with Dende for the acoustic and live version of “Just For A Moment.” “Just For A Moment” by Sophia Galaté feat. Dende Acoustic Version Cover Art | Photo by Joseph Baura Article Contributed by Monica Soriano Can a song sound better live than in the recorded version? Well, in some cases, yes. The track “Just For A Moment" by Sophia Galaté and Dende fits this scenario perfectly. The recorded version of the song is buttery and an all around a perfect track; but the live version becomes a reminder of just how moving music can be. The Acoustic Version Is Made For Both Our Eyes & Ears “Just For A Moment” was on the tracklist of Sophia Galaté’s album ‘For My Own Entertainment’ which was released in October of 2025. Both the acoustic and live version bring new life to this track. The acoustic version provides a wonderful sunny outdoor setting that is full of greenery, all while remaining intimate. Both artists together create magic as their musical compatibility and chemistry is seen through the video. There is something very light and natural about this rendition that we really enjoyed. The Live Version Allowed Us to Experience This Song As If We Were There It’s easy to begin the track and comfortably melt into Dende’s vocals; we certainly did. Then, as soon as Sophia’s velvety voice pops up, we automatically sink even deeper into this song. The use of a live band is always a joy to experience, whether it is live or through a screen. Watching the live performance from Sophia’s show in Los Angeles allowed us to be transported into the audience. Sometimes artists move on rather quickly after a project but Sophia has allowed her music to find its way to more people with these variations. The song showcases the best of both Sophia Galaté and Dende; we are truly delighted by all versions of “Just For A Moment.”

Stripped of Colorblind's usual intensity, “The Countdown” creates a cinematic portrait of someone who enters every new relationship expecting it to become another heartbreak. Album artwork for upcoming album Who Sold You This Truth ++ Was It Yours To Hold Article Contributed by Brooke Dougherty Ahead of their upcoming debut record, Who Sold You This Truth ++ Was It Yours To Hold, Colorblind has been giving fans a taste of what is to come. Veering away from their usual metalcore riffs and explosive intensity, Colorblind’s newest single “The Countdown” is a stripped-back modern alt-rock ballad. The Austin-based dreamcore quartet who formed in 2017 is no stranger to emotionally raw lyricism, and "The Countdown" is an immersive and cinematic look at what it’s like to live with hidden heartbreak. Colorblind's Press Image | Photo by Alexander Bemis The Countdown Assumes the Ending Before It’s Begun Opening into a soft ballad with ambient guitar notes, mirroring the vulnerability of the lyrics, "The Countdown" details living life with a broken heart even if it is masked from the surface. “The damage is done. The wounds still open. A severed line stitched up on the surface. I try every time. Don’t want to be hopeless. It’s all on the line. There’s no other option.” The damage has been done. The wounds haven't healed. The narrator has become convinced that every new connection is already headed toward a painful ending. “So don’t break my heart this time around. Because new love starts the countdown. Till this all will fall to pieces and you’ll have nothing to say. And I hurt whenever I hear your name. Because new love starts the countdown.” Unlike the towering guitars and explosive climaxes Colorblind often leans into, "The Countdown" thrives in its restraint. Ambient guitars, spacious production, and an almost weightless arrangement leave nowhere for the emotion to hide. It’s the kind of song you have in your earbuds on a long road trip as you watch the rain falling down the passenger side window. The Countdown is for when you have a hard time seeing a light at the end of the tunnel and every person after is an apparition of the one who broke you. “So who’s gonna let me down. Who’s gonna fail me now. Who’s gonna take a chance on me then rip it away.” Instead of building toward a cathartic release, “The Countdown” sits in its uncertainty. Healing takes time, but for now, the narrator sinks into expecting the worst. No matter how good a person or connection seems, will history repeat itself? Colorblind's Promotional Image | Photo by Lindsey Ruth Final Rating: 9/10 At two minutes and 43 seconds, "The Countdown" is a raw and haunting artistic detour for Colorblind that viscerally documents a human experience that many try to shove away. Bringing listeners into the underbelly of healing, the song depicts someone who carries all of their trauma into their next relationship, assuming every new love is destined to disintegrate. With this new single, Colorblind proves their emotional songwriting is just as powerful in the quieter moments.

The Tampa alternative pop-rock band, Pretty Pity, on leaving Stoned Mary behind, learning to be okay with looking cringe, and why their most vulnerable music is still ahead. Pretty Pity poses for a portrait | Photography by Matt Kraig Contributed by Brooke Dougherty Interviewed by LJ Portnoy & Brooke Dougherty After wrapping up the first leg of their summer tour, Pretty Pity is heating up. The five-piece Tampa alternative pop-rock band is back in the studio, writing before heading out again on tour in mid August. But the version of Pretty Pity we see today did not happen overnight. Vocalist Tani Jade and bassist Alex Gonzalez sat down for an Underground Radar feature to share with us the band’s evolution. The stage banter test Before Pretty Pity, there was Stoned Mary. The band spent years growing that project, but as their songwriting evolved, the name no longer reflected the more pop-centered music they were making. “We started playing with more hooky stuff and Pretty Pity felt like the epitome of this type of stuff where you write really pretty melodies, guitars, and sad lyrics,” Tani said. Practical issues pushed the decision along too. Some media platforms kept flagging due to the front of their previous band's name, making it difficult to reach new listeners. "It was frustrating because on social medias, the word 'stoned' was just shadow banned instantly," vocalist Tani said. "Even though we're referring to…the past tense of stoning someone." The members knew the band had to become something else, but the transition took about a year and a half. Many names were thrown on the table. The band even considered "So Sweet," borrowing a lyric from their 2023 song "Sweet Tooth." But it just felt too generic. Eventually, they landed on Pretty Pity, named after one of their old songs. It became the perfect name to encapsulate their new, elevated, more radio-friendly identity. "We kind of went back and forth with, like, what feels right to say on stage?" Tani said. "'We are Pretty Pity.' It was like, okay, that feels right." It passed what the band jokingly calls the "stage banter test." Once the name stuck, Tani arrived with a vision board. "We have the pretty. We have the pity," she said. "Some of the aesthetics are gonna be really cutesy. And then we're gonna have this dark undertone to everything." Tani and Alex laugh as they remember how seriously Tani pitched the concept, comparing her to Charlie Day frantically connecting strings across a conspiracy board in It's Always Sunny in Philadelphia. “The pretty pity theory,” the band joked. The bottom line of the vision, however, was that Pretty Pity wasn’t going to feel like “a 2.0.” Their first release under the new name, "Whiskey," became the meticulous blueprint for a band determined to present something that felt like an evolution rather than a simple rebrand. More than a year later since the initial rebrand, Pretty Pity’s polished image has become even more relaxed, stripped-back, and personal, leaning into the Y2K influences and early 2000s aesthetics the band grew up with. Pretty Pity is driving the bus What started out as a creative outlet slowly grew into something bigger. It wasn’t until the arrival of bassist Alex that the rest of the band started really taking the project more seriously. Like any young band, they had to learn how to blend. The pandemic made that even harder. Songwriting often happened from separate locations, music videos were filmed apart before being stitched together, and everyone was still figuring out how to be honest without stepping on each other's toes. "I think [at the beginning] there's a lot more hesitancy...to be honest with whether or not you like something versus just wanting to make it work," Tani said. "Now we're able to say, 'I don't really like that,' and nobody takes it personally." From the very beginning, Pretty Pity stood out in Tampa's local music scene. While many bands around them leaned heavily into metalcore, Pretty Pity was the only non-metal, female-fronted act on the bill. “It was so metalcore heavy and we always had a bit more pop to us, even when we were pop punk sounding. It just kind of differentiated us,” Tani said. Those early experiences shaped the band's beginnings just as much as the music itself. Over time, Pretty Pity has found its groove. Despite sharing a love for artists like Fleetwood Mac, Oasis, and The Wonder Years, their influences branch off in completely different directions. Instead of trying to make everyone fit into the same box, Pretty Pity has learned to embrace those differences. Each member brings something different into the room and nobody is interested in winning the argument. The songs often begin with a chord progression or demo before Tani searches for a melody. From there, ideas bounce between all five musicians until everyone feels like they’ve created a story with words, finding the strongest version. "At the end of the day, [we] want the song to be the best it can be," Alex said. “We're all working toward the common goal to make sure that the song is the best.” That level of collaboration didn't happen overnight. It's something the band earned after years of learning how to challenge one another without taking criticism personally. When guitarist and producer David first played the demo for "Fast Love," Tani immediately pictured how it would feel onstage. "When it had that little synth on it, I immediately saw the dance that I wanted to do with it," Tani said. "I was like, if I can see how it's going to look on stage, this is a fucking banger." That same chemistry shows up offstage, too. During our interview, Alex and Tani couldn't help but recreate the little shimmy they do toward each other during live shows. It was a small moment, but one that perfectly captured the playful dynamic that's become part of Pretty Pity's live performances. However you want to define Pretty Pity, one thing is clear: nothing can stop their momentum. The band's 2025 debut EP, Done Waiting, reflects that mindset. Its title was less about impatience and more about deciding to stop waiting for permission. Instead of hoping a label, manager, or marketing team would pave the way, Pretty Pity has taken matters into their own hands. "We ourselves are driving the bus," Alex said. Between touring, rebranding, and releasing a steady stream of singles, every step has reinforced the same lesson they've learned since those early Tampa shows: Pretty Pity plays by their own rules. Re-defining what it means to be a frontwoman In the midst of Pretty Pity’s evolution, Tani has been finding her footing as a lead singer and performer; fighting against the fear of being seen as inauthentic. After spending many years playing bass and singing harmonies, Stoned Mary marked the first time Tani stepped fully into the role of frontwoman. Without an instrument to stand behind, she initially relied on what she thought a rock singer was supposed to be. "There was a lot of jumping around, a lot of kicking," Tani said. "I was trying to be what I think a rock singer should look like." Those ideas came from growing up on 90s skate punk, bands like Letters to Cleo, and Josie and the Pussycats. They were also shaped by an era where women in rock were constantly accused of being "posers." "I hate that I was so guided by that and afraid of that because it's dumb," Tani said. Eventually, she stopped trying to imitate anyone else. These days, she dances the same way she would alone in her bedroom. "It can be Britney Spears. It can be Metallica," Tani said. "I'm sorry, I'm going to shake my butt." “And it's not to say that I don't [headbang, jump around, and kick] anymore, but now I shake my butt,” Tani said. “And that’s like my favorite thing to do on stage.” As Tani grew more comfortable taking up space and being in the moment, audiences responded to that confidence. “I think my theater background [helped.] Taking improv classes and physical comedy stuff. Being okay with looking cringe,” Tani said. Rather than performing her idea of what a frontwoman should be, Tani is finally enjoying bringing the most authentic parts of herself to the stage and the music. "The goal is to get to that feeling of, ‘I'm just here,’" Tani said. "You're going to take that for what it is. You're either going to enjoy it or you're not." That confidence has carried into Pretty Pity's songwriting as well. The freedom to experiment Pretty Pity’s artistic freedom as an indie act extends into the writing room. Free from the shackles of fitting into one genre or aesthetic, the music has started to take on a life of its own. This year alone, the band’s newest singles have bounced between the experimental darker pop textures of "Started With You," the guitar-driven, pop energy of "Fast Love," and the genre-blurring "IDK." "I actually think 'IDK' is like a bread-and-butter Pretty Pity song," Alex said. "If I could show anybody a regular example of what we sound like most of the time, it's this style song." One of the song's defining lyrical ideas happened almost by accident. "I don't know. I don't know what you're talking about," Tani recalled saying while experimenting with melodies before realizing she had accidentally stumbled into the chorus. "Sounds just kind of...come out," she laughed. "It's like stimming until I like it." It seems that this instinctive approach is fairly typical for Pretty Pity. But perhaps the biggest evolution isn’t just how the music sounds. It’s in what the music has to say. The band has largely moved beyond writing about old external relationships, choosing instead to examine their own fears, insecurities, and internal struggles. “The more we all relate to it interpersonally, like the five of us, the more I think everybody else relates to it. I think the goal for us is to be more honest,” Tani said. Writing older songs like "Wasted," which recounts her experience with sexual abuse, showed Tani the power of telling her own story. Now, Pretty Pity continues to ask the hard questions. "'How am I internally? Do I need help? Can I admit that?'" Those questions have become the heart of Pretty Pity's newest material. “The lyrical content for the new stuff is some of the best work we’ve done,” Alex said about Pretty Pity’s growth as a band. And when it comes to brutal honesty and vulnerability in her lyrics, there’s not a line Tani isn’t willing to cross if it means she can heal by talking about it and someone listening realizes they aren’t alone. The Pity Party hits the road With the highs of touring also come the lows. For Tani, the band’s worst tour stop so far was Seattle’s El Corazon. Pretty Pity poses for a portrait | Photography by Matt Kraig “The bathrooms are half stalls,” Tani said. “You go sit down. I’m right here. And I can make eye contact with the person that’s peeing right next to me.” “It’s rock and roll, though, right?” we asked. “It is,” Tani said. “Definitely a rite of passage.” For Alex, one of the best nights happened at The Broadway in Brooklyn. The band sold more than 100 tickets for the upstairs room, packed the floor, and watched the entire thing begin to flex as the crowd jumped. “I just remember feeling the whole entire floor,” he said. “I’m like, please, someone start recording. If this thing goes down, I want to see it.” As Pretty Pity’s momentum grows, so does their fanbase. One fan, in particular, approached Tani after a show, offering a disclaimer. But despite these anecdotal moments on tour, the core truth remains: the members of Pretty Pity just like hanging out and messing around with each other. Unless, of course, someone doesn’t follow the van rules and say “Arby’s” three times before passing gas. The repetition is especially important, Tani tells us. A single mention could reasonably refer to the restaurant. Three means everyone has been warned. The official procedure is as follows: “Arby’s, Arby’s, Arby’s.” Then crack a window. What’s next for Pretty Pity What began as a carefully planned vision board has now taken on life on its own. Pretty Pity heads back on the road this August, but not before squeezing in as much studio time as possible preparing for new music that is coming soon. The band is staying quiet about exactly what's coming next. What they will say is that the songs feel more collaborative, more personal, and more representative of who they are than anything they've written before.

After four years away from touring, Harlow took over Brooklyn Paramount with new music, fan-favorite throwbacks, and a sold-out crowd ready to welcome him back. Article & Photography Contributed by Miranda Wyman. After four years away from touring, Jack Harlow made his long-awaited return to the stage on Tuesday, August 4, kicking off The Monica Tour with a sold-out show at the Brooklyn Paramount in Brooklyn, New York. For an opening night, there was already a feeling in the room that this was more than just another tour stop. Fans packed the venue for the sold out show, ready to see what Harlow would bring to his return on stage after the hiatus. Jack Harlow performing at Brooklyn Paramount, Brooklyn, NY. | Photography by Miranda Wyman (@shotbymiranda on IG.) The night began with Clockwork DJ, an American DJ, producer, and rapper from Cincinnati, Ohio. Clockwork spent around 30 minutes warming up the crowd with a mix of songs meant to keep the energy high. Throughout his set, he made sure to show love to the surrounding areas, shouting out NYC, Brooklyn, Staten Island, Jersey, and Philadelphia. By the end of his 30 minutes onstage, the room was fully warmed up and ready for the rest of the night. Harlow's second opener was James Savage, a rising R&B artist based out of Louisville, Kentucky. With Harlow also coming out of Louisville, having another artist from the city on the opening night lineup made the pairing feel especially fitting. After Savage finished his set and the stage was cleared, anticipation continued to build throughout the Brooklyn Paramount. James Savage performing at Brooklyn Paramount, Brooklyn, NY. Photography by Miranda Wyman (@shotbymiranda on IG.) As the opening notes of "Trade Places" filled the venue, the crowd erupted. After four years without a full tour, there was no hesitation in his return. Jack Harlow stepped back onto the stage like he had never left, immediately settling into the confidence and relaxed stage presence fans have come to expect from him. Jack followed the album's tracklist with "Lonesome" and "Prague." Monica moves away from the hip-hop sound heard throughout his earlier work and instead leans into a slower, more laid-back R&B style. After "Prague," though, he switched directions. The opening notes of "Luv Is Dro" from his 2020 album That's What They All Say instantly brought another wave of excitement through the crowd. He followed it with "Like a Blade of Grass" from 2022's Come Home the Kids Miss You, and the throwbacks quickly became some of the biggest crowd moments of the early part of the night. The songs on Monica slowed things down, while the older tracks brought the energy right back up. Jack Harlow didn't separate the night into different eras of his career. Instead, he moved back and forth between them, keeping longtime fans guessing what they might hear next. Jack Harlow performing at Brooklyn Paramount, Brooklyn, NY. Photography by Miranda Wyman (@shotbymiranda on IG.) Harlow continued with "Already Best Friends," his hit collab with Chris Brown from That's What They All Say, before moving back into Monica with "My Winter" and "Move Along." "Route 66" and "Way Out" brought the show back to 2020, followed by "Nail Tech," one of Harlow's biggest singles from the Come Home the Kids Miss You era. Every time the crowd settled into the slower pace of the Monica songs, another familiar beat would hit and send the energy right back up. Looking out at the sold-out Brooklyn Paramount, he took in the crowd before acknowledging just how long it had been since he had done this. "This is my first tour in four years, and it feels so good to be back," Harlow told the audience. The moment felt especially fitting on opening night. Rather than immediately moving into another song, Harlow spent some time talking to the crowd and reflecting on his previous years on the road. He shared memories from his last tour, explaining how he and his brother would set up microphones inside different hotel rooms while traveling from city to city. After performing each night, new ideas would sometimes come to him, and instead of waiting until he returned home or got back into a proper studio, he wanted to capture them immediately. Those late-night hotel room recording sessions became part of his creative process while touring. Jack Harlow performing at Brooklyn Paramount, Brooklyn, NY. Photography by Miranda Wyman (@shotbymiranda on IG.) The story gave the crowd a small look behind the scenes at what life on the road had been like for Harlow and also helped introduce one of the night's more personal moments. He followed the story with "Denver" from his 2023 album Jackman. The song is more reflective and personal than much of Harlow's earlier work, and hearing it after his story about touring made it feel even more connected to the moment. He stayed with Jackman for the next few songs, performing "No Enhancers," "They Don't Love It," and "Is That Ight." From there, he shifted back into Monica with "All of My Friends," "Living Alone," and "Against the Grain." Throughout the night, Harlow continued to bounce between the different stages of his career instead of sticking with one album for too long, and that became one of the things that made the set work so well. Newer songs were constantly surrounded by tracks longtime fans had grown up listening to, giving both sides of his catalog their moment. And then he really took it back. Harlow reached further into his catalog with songs from his 2018 project Loose and 2019's Confetti. The second "Sundown" began, it became clear just how many longtime Jack Harlow fans were packed into the Brooklyn Paramount. "Warsaw" followed before he moved into "Ghost" and "Thru the Night," and Harlow couldn't help but acknowledge the reaction he was getting from the crowd. He joked about having some "real ones" in the building who knew the songs from well before his mainstream breakthrough. For fans who had been following Harlow before "WHATS POPPIN" turned him into a household name, this part of the set felt like a reward. Songs from Loose and Confetti don't necessarily represent the Jack Harlow casual listeners may know today, but inside the sold-out Brooklyn Paramount, plenty of people knew every word. Before performing "Thru the Night," Harlow also took a moment to shout out fellow Louisville native Bryson Tiller, who is featured on the song. Both artists were born and raised in Louisville, Kentucky, making the collaboration one that has always carried a little hometown pride with it. Jack Harlow performing at Brooklyn Paramount, Brooklyn, NY. Photography by Miranda Wyman (@shotbymiranda on IG.) That connection became even more special that night when Harlow told the audience that "Thru the Night" had officially gone Platinum that very day, August 4. The milestone meant the song had reached the equivalent of one million units sold in the United States. From there, Harlow kept the throwbacks coming, moving into some of the biggest songs from the next chapter of his career. "Churchill Downs" kicked off the run, followed by "Dua Lipa," both from his 2022 album Come Home the Kids Miss You. At this point in the night, the Brooklyn Paramount had turned into one massive sing-along, with fans shouting nearly every word back at him. He followed with "SUVs (Black on Black)," his 2021 collaboration with Pooh Shiesty, before going even further into his catalog for "Movie Star" and "I Wanna See Some Ass." Instead of building a show almost entirely around Monica, he was giving longtime fans songs from every era of his career. The second "INDUSTRY BABY" started, the energy inside the room shot right back up. From the barricade to the balcony, the sold-out Brooklyn Paramount seemed to know every word. With so much of the night's setlist moving between the slower R&B sound of Monica and the rap-heavy songs that built Harlow's career, this stretch was a reminder of just how many different versions of Jack Harlow have existed over the years. There was the hungry Louisville rapper from Loose and Confetti, the breakout star behind songs like "SUVs" and "INDUSTRY BABY," and now the more mature, laid-back artist heard throughout Monica. Jack Harlow performing at Brooklyn Paramount, Brooklyn, NY. Photography by Miranda Wyman (@shotbymiranda on IG.) Jack spoke about the COVID lockdown and how much of his first album was written while he was living in an apartment in Atlanta. With touring put on hold and the world essentially shut down, Harlow said that period gave him the time to sit with his music and create in a different way. He explained that the next song came from that time and that he recorded it in just one take. That song was "Tyler Herro." The track immediately brought the energy back up, but the story behind it gave the performance a little more meaning. After "Tyler Herro," Harlow took another moment to speak directly to the fans. "If you spend money on a ticket, I really don't take it lightly. Thank you so much," he told the crowd. It was a simple comment, but it felt genuine. Throughout the night, Harlow acknowledged how much it meant to him to be touring again, and by the end of the show, it was clear he wasn't taking the return for granted. Jack Harlow performing at Brooklyn Paramount, Brooklyn, NY. Photography by Miranda Wyman (@shotbymiranda on IG.) "WHATS POPPIN" kicked off the final three-song run and instantly sent the room into another frenzy. The song helped launch Harlow into the mainstream and, even years later, still got one of the biggest reactions of the night. He followed with "First Class," another career-defining hit, before closing the night with "Lovin on Me." By then, nearly the entire venue was on its feet, singing along as Harlow brought opening night to a close. For a tour built around an album that shows a softer and more R&B-focused side of Harlow, opening night never forgot where he came from. The set pulled from nearly every stage of his career, from Loose and Confetti to That's What They All Say, Come Home the Kids Miss You, Jackman, and now Monica. The older songs brought some of the loudest reactions of the night, while the new material showed where Harlow is headed next. Together, they made The Monica Tour feel less like a simple album tour and more like a look back at the career that brought him to this point. After four years away from touring, Jack Harlow didn't just return to the stage in Brooklyn. He reminded everyone why they missed him.

With “Silvering Blade,” Jazmin has tapped into something unsettling and delightful, a reminder to never judge a book by its cover because things aren’t always what they seem. Release Date: July 10, 2026 Released via: Interscope Records Article Contributed by Brooke Dougherty Photography provided by Zak Watson | @zak_watson / UMG With the release of their newest single “Silvering Blade,” London-based Jazmin Bean continues to challenge alt pop-star expectations. Since emerging at 16 years old, singer-songwriter, visual creative, and globally acclaimed multimedia artist Jazmin has gained a devoted global following and has collected over 400 million streams across various platforms. The newest single follows in the footsteps of “Darling,” and is a haunting reminder that sometimes the most intoxicatingly beautiful things are the most dangerous. “Silvering Blade” Will Put You Under Its Spell “Silvering Blade” opens with an ethereal piano melody that feels like wandering through a flower-covered forest at dusk. It is the kind of place that seems strangely tempting, but darkness lies within. “I feel so pretty when I dress up. Glass and ribbons, I am never the same. I’m a princess, I’m electric (Shock.) I could cut you like a silvering blade.” The lyrical juxtaposition of shiny, dainty objects with a sharp blade mirrors the instrumentation perfectly. As Jazmin whispers “shock” beneath the vocals, one thing is clear: nothing is quite what it seems. “Spiky, malicious. I’ll cut you, I’m vicious. Once was delicious (Shock.) But now I’m just vicious.” The song itself puts the listener in a trance with its hazy, siren-esque production. The echo of the vocals plays tricks on your mind. “Hedonistic, putting on my lipstick. First I shine bright, then I wither and fade. I’m a princess, I’m electric, shock. And I’ll cut you like a silvering blade.” Under the surface, it seems the narrator is almost stuck in their own cycle. They present themselves as alluring and untouchable, yet quietly reveal someone who has grown weary of living behind that sharp exterior. The use of the harpsichord adds to the mirage as layered harmonies spill in. The spell has been set and it’s too late to turn back now. “My words are sharp like stalactite. My lungs glimmer, Amazonite. To shine, to shine, to shine. To shine, to shine, to shine. To shine, to shine, to shine.” As the song fades out, the ending is reminiscent of opening an old music box you’ve just found in an abandoned attic. Powerful and alluring, you have no idea what strange magic is lurking within. FINAL RATING: 9.8/10 Offering us a glimpse into their euphoric and creative world, Jazmin Bean’s “Silvering Blade” showcases dreamy, melodic instrumentation that disguises some of the song’s sharpest lyrical edges. Jazmin continues to blur the lines between songwriter and multimedia artist, carving out a creative world that is entirely their own. Ultimately, "Silvering Blade” proves that Jazmin Bean isn’t here to compete. They are here to transcend the earthly plane and take their listeners with them.

With "Vending Machine," Valley takes a close look at the emotional cost of being loved only when it's convenient. Release Date: June 12, 2026 Released via: Capitol Records/Universal Music Canada Article Contributed by Brooke Dougherty Cover of new single “Vending Machine” by Valley Since forming in 2016, the three-piece, Canadian alternative-pop trio Valley, made up of Rob Laska, Alex DiMauro, and Karah James, have built a reputation for pairing playful indie-pop production with emotionally honest songwriting. Now entering a colorful new era, "Vending Machine" marks Valley's first single since 2024's Water the Flowers, Pray for a Garden. The track explores the quiet compromises people make to earn affection. When Love Becomes a Performance “Vending Machine” immediately opens up with the question “Do you need to be entertained,” before the drums and smooth electronic guitars crash in. This opening question immediately sets the scene for a song that explores the transactional give and take within relationships. “You walk in like a miracle. Kiss like a chemical. Head spinnin’ in vertigo. Shaking me down to the bone.” The narrator is clearly smitten with his partner, but it doesn’t take long to see that this relationship is painfully one-sided. Even as he’s being used, he seems willing to accept whatever affection he’s offered. The pace quickens as the bridge echoes, “You better learn to love yourself honey. Oh. I don’t even want your money at all. Oh.” Stripping down the instrumentation to just the drum beat and a deep guitar riff, the singer’s vocals are center stage for the chorus, almost mirroring the vulnerable state he’s in. “Take whatever you want from me. You fell in love with the vending machine. Take whatever you want from me. You fell in love with the vending machine.” The narrator seems to be wrestling with own self-worth, going back and forth between thinking he can leave at any time and being completely at his lover’s command. “Lock me like an animal. To the edge of self-control. Chew me! Spit me! Kick me out the door! But baby baby I’m a carnivore. You better love to learn yourself honey. Oh. I don’t even need your loving at all.” It isn’t clear whether the statement about attaining self love is directed at himself or the person he’s with, a playful turn of phrase that leaves the listener guessing. Slowing down even further, mirroring the slow demise of a conditional and performative relationship such as this, the final lyrics lay bare to the brutal truth. “Take whatever you want from me. You fell in love with a version of me.” At the end of the day, maybe his lover could only fall in love with a version of himself he believed that she wanted to see. Now he feels trapped. Pretending to be someone you’re not to be loved; the ultimate two-edged sword. Valley is Back and Already Has Us Hooked With a colorful and introspective new era, Valley is asking the real questions about connection and what we’re willing to put up with to be loved. The vending machine becomes a metaphor for emotional objectification. Rather than loving the person standing in front of them, the narrator's partner only reaches for him when there's something to gain. Alongside the new single, Valley dropped an accompanying music video for “Vending Machine.” The music video doubles down on the song’s theme of performance and illusion. Set inside what appears to be a dollhouse manipulated by a clown, Valley performs surrounded by surreal details and shifting perspectives that blur the seams between fantasy and reality. Like the lyrics themselves, the video asks the audience to question what is authentic and what is simply being staged. Final Verdict: 9/10 At three minutes and 31 seconds, the indie-pop production of “Vending Machine” is relaxed and nostalgic, giving a nod to the likes of The Band CAMINO, Hippo Campus, Cage the Elephant, and Saint Motel. It’s the kind of song that’s perfect for a Sunday afternoon walk in the park or a road trip to the beach with your friends. With its vibrant, radio-friendly hooks, introspective lyricism, and feel-good production, Vending Machine is a song to add to your summer playlist.