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Article Contributed by Rebecca McDevitt myspace music logo If you had a MySpace back in the day, you already know the feeling. One click and suddenly a song was blasting through your speakers before the page even finished loading. That was how music entered your life back then. Loud. Immediate. Slightly chaotic. You’d land on someone’s profile and just sit there listening. Maybe scrolling. Maybe clicking through their friends. Maybe doing absolutely nothing except letting the song loop again and again while it slowly rewires your brain. That was the beginning. And once a song grabbed you, it didn’t stay on MySpace for long. When a Myspace Song Turned Into a Mission Finding a song on MySpace came with one immediate thought: “I need this everywhere”. So you opened LimeWire. Myspace music player playing Panic! At the Disco - I Write Sins Not Tragedies You typed the title exactly how it appeared on the profile and scrolled through a list of files that all looked mildly suspicious. Was it the right version? A live recording? Something mislabeled entirely? You picked one and hoped for the best. Watching that download bar crawl across the screen felt like waiting for the other shoe to drop. When it finally finished, you renamed the file, dragged it into iTunes, and queued it up to sync. That song officially was yours. AIM Away Messages Were Mini Soundtracks Then came the AIM away message era. Lyrics everywhere. Lowercase letters. Extra spaces for dramatic effect. AIM away message with lyrics from Avril Lavigne's "Damn Cold Night." Your away message changed depending on the song you were obsessed with that week. Sometimes it was dramatic. Sometimes it was hopeful. Sometimes it was clearly meant for one specific person and one specific person only. Music became shorthand for feelings you didn’t know how to explain yet. If someone recognized the lyric, they understood exactly where you were at. Living With the Music: iPods and Burned CDs Photo by Robert Galbraith Once a song made it onto your computer, it didn’t stay there for long. You dragged it into iTunes and decided what it was going to become. Sometimes that meant syncing it to your iPod so it could follow you everywhere. Other times, it meant opening a blank CD and starting a playlist from scratch. Your iPod was for daily life. White earbuds in. Click wheel spinning. Songs played on repeat during bus rides, walks home, late nights in your room, and long stretches of staring at the ceiling thinking about everything and nothing at once. These tracks became part of your routine simply because you carried them everywhere. Burned CDs were for moments you wanted to hold onto. You named them carefully. You rearranged the tracklist until it felt right. You burned them again when one song felt out of place. Some CDs were for driving. Some were crying. Some were made for friends. Some were made for people you didn’t know how to talk to yet. Both lived side by side. The iPod held the soundtrack of your everyday life, while CDs turned those same songs into something tangible you could share, gift, or keep tucked away. Either way, the music stayed close. That’s why these songs still hit so hard now. These songs lived with us.  The Songs That Were Everywhere Myspace music player playing Hey There Delilah by Plain White T's If you were there, these probably lived on your profile, your AIM away message, your iPod, or at least one burned CD. I Write Sins Not Tragedies by Panic! At The Disco Welcome to the Black Parade by My Chemical Romance Sugar, We're Goin Down by Fall Out Boy Cute Without the E by Taking Back Sunday The Taste of Ink by The Used Ocean Avenue by Yellowcard Miss Murder by AFI Hey There Delilah by Plain White T’s Check Yes Juliet by We The Kings The Middle by Jimmy Eat World These songs followed us from profiles to downloads to playlists to burned CDs. They planted emotional landmarks in our teenage years. Why These Songs Still Matter A bunch of burned discs littering the floor Hearing these tracks now pulls entire memories to the surface. Bedrooms lit by computer screens. AIM chats that ran late into the night. Long walks with an iPod on shuffle. Feeling understood without having to explain yourself. They mattered because they kept us company while we were figuring everything out. They still matter because they remember who we were when we found them. Somewhere between MySpace pages, LimeWire downloads, AIM away messages, iPods, and burned CDs, these songs became part of us. And let's be real, they still are.

From One Direction’s career launch to Ariana Grande’s mainstream singles, Savan is responsible for many fan-favorite pop hits within the past two decades. Article Contributed by Monica Soriano Savan Kotecha poses for a portrait (obtained via Spotify) Savan Kotecha is a name that might not be recognized by many outside of the music industry, but the songs he’s written certainly are. Kotecha does a marvelous job at being relatively private with his personal life, but celebrates his musical success through posts. Through his interviews, we get glimpses of how he’s been able to write the mega hits he’s credited for. Some of those hits include One Direction’s “ What Makes You Beautifu l”, Ariana Grande’s “ God Is A Woman ”, and The Weeknd’s “ Can’t Feel My Face ”. Who Is Savan Kotecha? Savan Kotecha poses for a portrait (obtained via LAAMP). The question shouldn't be who is Savan Kotecha? It should be how did Savan Kotecha become who he is?  Kotecha moved to Austin, Texas, at a young age, and felt like a bit of an outcast, which led him to find a place in music. Neither of his parents has ties to the music industry, so in order to become successful, Savan had to have relentless dedication and perseverance. From passing out demos to moving to Sweden, collaborating with Max Martin, to working on X - Factor, he's definitely been all around the industry. He’s spoken about how there was a point in time when he was so broke he ate canned beans. But that is who Savan is. He's a person who refused to give up, and now the reason many artists have memorable pop hits. X-Factor, One Direction and Boybands Savan wrote singles for boybands such as Emblem3, The Vamps and of course One Direction. One of his career-defining moments was when he joined X-Factor  as a coach. Savan worked with One Direction since their formation and has spoken highly of those days. He is responsible for One Direction’s first single, “ What Makes You Beautiful ”, which he has said he wrote about his wife. Other notable One Direction songs that he penned are “ One Thing, ”“ Up All Night ,” and “ Kiss You. ” Savan attributes his liking towards boy bands and pop music to when his sister gravitated towards New Kids On The Block. Since working with 1D, he’s also worked with the band PRETTYMUCH, Simon Cowell’s new band, December 10, a fictional boyband named August Moon for the film The Idea of You , and OutStation, a new boyband by Savan’s very own label Visva Records.  Biggest Hits and His Impact on Music An endless list of songs that were played on the radio and collaborations worthy of admiration. “ Cool for the Summer ” by Demi Lovato, “ Side to Side ” by Ariana Grande, “ How Do You Sleep? ” by Sam Smith, and “ Motivation ” by Normani are just a few of the well-known tracks Savan Kotecha has penned. His list of credits on Ariana Grande's discography is extensive; he has been there through different phases of her career, including the Sweetener era. Other notable artists he has collaborated with are Tori Kelly, Camila Cabello, Ed Sheeran, and Ellie Goulding. Usher’s “ DJ Got Us Fallin’ in Love, ” Vanessa Hudgens’ “Say OK, ” and Justin Bieber’s “B eauty and a Beat ” are prime examples of his versatility in writing radio hits. Savan’s impact is continuous and large enough to keep his name cemented within this industry for future generations. Pop Songs For Film/TV He’s everywhere from radio to TV/Film and soon to be Broadway! Savan is not only a master of radio hits, but he also actively writes for Film and TV. Fun tracks he has written for TV are Victorious’ “B est Friends Brother ” and “ Beggin’ on Your Knees, ” as well as Glee’ s “ Loser Like Me .” The Idea of You, which  was based around a fictional boy band by the name of August Moon, released original songs written by none other than Savan Kotecha. Another film he worked on was Will Ferrell’s Netflix film Eurovision Song Contest: The Story of Fire Saga , which is being developed into a stage musical with Savan composing the music. There are more gems hidden within the credits of tv shows and films. It is praiseworthy to see someone expand their horizons and enjoy their journey as much as they do. Kotecha and Beyond More than a songwriter but a supporter of talent worldwide Savan Kotecha continues to expand his music industry career. Not only is he still writing hit singles for some of the biggest artists today but he is working to develop artists himself through his label Visva Records. He continues to speak highly of the people he collaborates with and shares his experience having a groundbreaking career. From party hits, to the crazed boyband phase to the catchy pop releases, Kotecha’s mark in the music industry has helped many people grow into themselves. He truly is raising generations and now with his record label’s success with the KPop Demon Hunters soundtrack, he is creating opportunities for others to have the songs they write sung worldwide. Kotecha’s songwriting and music industry success seem to match his integrity. We will be continuing to follow his journey as he dives into different areas of this industry!

Article contributed by Rebecca McDevitt Fans hold up their phones as torches to sway along to an artist's ballad. (photo by @ljportnoy on IG) If you’ve ever been a fangirl or fanboy, you know this feeling all too well. Somehow, seeing your favorite band or musician has become a competition. People are fighting at the barricade, on the internet, and what was once an uplifting community and a safe space has turned into a place where adults in their 30s and 40s bully each other until someone is crying to the algorithm for help. And alas, the cycle continues. But when does it end? When do we start acting like a fan community again? When does the music bring us together instead of tearing us apart? We remember becoming fans back when MySpace and Xanga were still thriving. When you could sit and talk to your internet friends through AIM chats and late-night phone calls because the minutes were free after 9 pm. Photo of young Rebecca McDevitt and a fan standing in line for a concert. Somewhere along the way, something shifted. It became a competition and more about clout chasing. Now it feels like it's only about who can get noticed by a band member the most or who can post an interaction and be the loudest online. The authenticity and sense of community that fandoms once held have slowly died right in front of our eyes. And maybe that’s what we miss the most. The excitement of finally meeting your online friends. The comfort of a community you helped build. The feeling of belonging somewhere, even if only for two hours with strangers. Fans line the barricades, interacting with their favorite on stage (photography by @coz_artphoto on IG) The rush of live music through your veins. Seeing your favorite band for the first time, even if it was from the nosebleeds. After all, SoundCheck was built by three strangers on the internet who shared nothing but a love for music. That community still exists, and we want to protect it. But something has to change. Stop chasing the interaction. Stop caring where you sit at a show. Just exist. Music has always been there for us. It’s time we start showing up for it, too.

The reasoning behind some of the hits in history never made it to the top spot on the charts.  Article Contributed by Monica Soriano Thriller by Michael Jackson reached a high of Number 4 on the Billboard Top 100 Charts Just imagine, hearing the same songs everywhere you go - at a bar, a mall, a grocery store, or the radio, and thinking that there is no way it didn’t hit the number one spot on the charts. The reality is that some of the songs that marked our middle school, high school, or college experiences didn’t even come close to that coveted spot. Singles that we now consider classics, and let's be honest, we hear a little too often, were not making the major mark on the music industry that we would’ve thought. For example, songs like The Killers’ “ Mr. Brightside ” and Ben E King’s “ Stand By Me ” are karaoke staples and even, dare we say, songs that transcend language barriers and unite people. While those songs have become bigger than anyone would have imagined at their release, they were not near the number one in the charts. While One Direction’s “ What Makes You Beautiful ” and Taylor Swift’s “ 22 ”  were being played by teens and preteens (and even adults), they were unable to reach the number one spot on the US Billboard Hot 100. The Worldwide Impact of Sleeper Hits About the songs that have made it to worldwide audiences, regardless of where they charted. Looking back at some of the biggest songs from different generations and the impact they continue to have makes us wonder how or why they didn't chart higher. Journey’s “ Don’t Stop Believin’ ” is now an American classic because throughout the years it continued to be revived through TV series like The Sopranos , Glee , South Park  , and many more. Creating impact within music doesn’t always elicit a number 1 single. It is already admirable that this song peaked at number 9 in 1981 during a time when Olivia Newton-John was releasing music post - Grease and Diana Ross released “ Why Do Fools Fall In Love ”.  “Thriller” Continues to Re-Enter The Charts One peculiar detail about Michael Jackson’s “ Thriller ” single is that it never reached the #1 spot on the US Billboard Hot 100 Chart. It might seem impossible, seeing how big an impact this song continues to have to this day. In reality, “ Thriller ” was the last single from the album by the same name .  It was a combination of timing and the album in its entirety already having spent three years in and out of the number one spot. For it to be the last single and to chart years after its release is not something many artists can accomplish. “ Thriller ” continues to weave in and out of the charts to this day and will continue to do so since it has become a Halloween fan favorite. Pop - Culture Hits  Childhood favorites that marked upbringings, pop culture, and created super fans everywhere. The songs you would hear before getting dropped off at school and again while getting picked up were on repeat on the radio. They were catchy, fun, and hypnotizing songs. It is impossible to think that with so much radio play and exposure, they didn’t reach number one. Even Eminem, Britney Spears, Lizzo, and One Direction had songs that only went number one in our homes.  “ Stan ” by Eminem was praised by fans for its heavy subject matter and incredible delivery by the artist. The track might have been a little too strong for casual listeners, but to fans, it was a sincere moment in music, even if it only peaked at number 51. Many of Britney Spears’ most memorable hit songs, unfortunately, peaked at number 9 , including “ Oops!...I Did It Again " and " Toxi c". Regardless, Britney created iconic moments in pop culture that will continue to be brought up again and again. At one point in time, Lizzo was everywhere in the social media sphere. With her self-love and empowering anthems, she wasn’t just a musician but also an important part of guiding pop culture towards self-expression through music. Her single “ Juice ” was everywhere on social media and marketing campaigns, but it only peaked at number 82. The Hits In Our Hearts It is almost incomprehensible to think that One Direction has never had a number 1 on the Billboard Hot 100 Chart. Given how enormous their fame and fandom are, it almost felt expected for them to have charted higher. Regardless of their success in the charts, One Direction, although not active, is a band that continues to be adored and talked about by many. The millions of lives they touched with their journey on X - Factor  and their music is something that continues to be cherished. As stated above, “ What Makes You Beautiful ” was a huge hit worldwide, although it only reached number 4 on the US Billboard Hot 100.  There is an endless amount of artists that deserved more, many songs that were sleeper hits, and of course, there is only one top spot. The impact that music has within media, daily lived experiences that create memories, and the artists themselves is greater than keeping track of where songs land on the charts. With that being said, it is also important to support those songs that impact our lives as we create what will one day be known as history.

Panda House self titled album cover artwork by Anthony Brass. Article contributed by Konstantina Buhalis. Panda House, one of the local legends of Detroit, is releasing their sixth album. Formed in 2012, Panda House has been on the circuit for a while, after their 2024 EP, The Means , and their return with their latest album, a self-titled journey spanning their career to date, accompanied by a vinyl release through Third Man Records. After almost 100 shows, local festivals, and two mini-tours, Panda House is at their best with their self-titled album, which seamlessly blends their influences of Midwest Emo, Pop-Punk, and Alternative. Panda House is currently gearing up for their first show of the new year on January 23, 2026, in Ann Arbor. With 2026 in full swing, get ready for one of the most exciting acts to come out of the Motor City.  A Self-Titled Statement from Detroit’s Midwest Emo Standouts: Panda House Panda House poises for a band portrait, shot by ( https://www.instagram.com/damnyoumatthew/ ) Taking Midwest emo and updating its sound puts Panda House at the forefront of the Detroit alternative scene, offering listeners a fresh perspective on a genre that has helped uplift multiple Midwest bands. Taking cues from the mid-2010s hardcore and down-tempo breakdowns from albums of that era, giving listeners a bit of nostalgia from the “Tumblr era” of popular Midwest records that were cult classics, complete with titling a song after a celebrity, Shia LaBeouf. This self-titled album is a sonic treat, showcasing their consistency, vocal gymnastics, and lyrical abilities. The record is dynamic, with each track complementing the last, giving it a welcome cohesion.  Track Spotlight: “Overexposure” The opening track, “Overexposure,” sets the album's tone with intensity and purpose, offering listeners a thesis for the sum of Panda House. Striking a balance between a downtempo post-hardcore sound and Skramz influence through the screamed vocals, Overexposure proves the band’s talents and their expertise in blending genres that, to the trained ear, are a match made in heaven. The drums push the track forward, while the mid-song breakdown peels the intensity back and creates the perfect opportunity to jump in the pit. Hardoin’s vocals pull the song together, giving it texture and personality. Overexposure is the first music video for the album, available to view on YouTube.  Final Verdict Panda House has outdone themselves on this record, and it stands as a testament to the longevity of Midwest Emo, Post-Hardcore, and the intertwining genres that shaped the alternative scene for the last 20 years. This S/T is a standout for “elder emos” and the younger set alike.  SoundCheck Rating: 8/10 Stand Out Tracks: Overexposure Shia LaBeouf Ghost

Messy , fan community, and choosing artistry over the “perfect” life Article Contributed by LJ Portnoy. Photography by ( @ shantell.cruz.photo ) Alex Ray has the kind of origin story that sounds like a dare. Manchester, Kentucky. A home shaped by faith and learning. A path that led her to law school, graduating valedictorian, and into commercial litigation. On paper, it looked like an arrival. In reality, it felt like an erasure. “I was losing my hair,” she told us, remembering her first year practicing law. “I was working constantly. I just remember thinking, something’s gotta give.” What gave was the belief that she could survive by shrinking herself into something more acceptable. The version of herself that fit expectations was not sustainable. Now, Alex is building an alt pop world grounded in grit, melody, and unfiltered storytelling. Her debut EP Messy  does not promise growth arcs or clean conclusions. It documents the middle of things. The uncertainty. The damage. The clarity that arrives without comfort. And she has no interest in softening it. We had a chance to sit down with Alex Ray to talk all things Messy , from the emotional weight behind the EP to the community that’s grown alongside her music. In our latest Underground Radar interview, Alex opens up about songwriting, mental health, and choosing a creative life that feels honest. The full conversation is available on YouTube and provided below. Writing without resolution When Alex talks about songwriting, she does it with the urgency of someone used to telling the truth before it gets smoothed over. She wrote the title track “Messy” with collaborator SayWhen , approaching it chronologically. Line by line, top to bottom, without searching for a conclusion that might make the story easier to digest. “We wanted to talk about giving into your vices, feeling like you weren’t good enough, and sitting with that failed potential,” she said. “Without any resolution. There was no ‘and then it gets better.’” That approach defines the EP. Messy  captures mental health as it exists in real time, not as a lesson or a recovery narrative. The songs do not aim to inspire. They aim to be honest. For Alex, that meant dismantling the illusion that vulnerability is the same thing as openness. When oversharing stops being enough Alex describes herself as a chronic oversharer, a survival skill many people develop online. But a conversation with her therapist reframed what she thought she was offering. “Just because you have an easy time sharing doesn’t mean you’re being vulnerable,” she said. “Real vulnerability is supposed to be hard.” That realization reshaped the EP. Instead of writing what felt familiar or performative, Alex leaned into what felt embarrassing. Insecure. Uncomfortable. On Messy , she names thoughts most people keep internal. The fear of being too much. The belief that affection is conditional. The quiet conviction that everyone else is pretending to like you. “It’s those feelings of ‘I am annoying, I am too much, nobody actually likes me,’” she said. The specificity is the point. Messy  does not generalize pain. It documents it. A series of midnights Photography by ( @ shantell.cruz.photo ) Alex described the structure of Messy  as a set of standalone emotional moments. Each song exists independently, but all belong to the same internal landscape. “I approached it like each song was its own moment,” she said. “They’re separate, but they’re connected by the same feeling.” Tracks like “Driver’s Side”  and “yours to use”  trace the progression from attraction to attachment, and the devastation of realizing the emotional balance was never equal. “‘yours to use’ is realizing you were the one hanging on,” Alex said. “You just have to watch them slip away.” The EP does not moralize those moments. It allows them to exist as they were experienced, without apology or correction. Sound shaped by instinct Sonically, Alex lives in the tension between grit and clarity. Distorted guitars sit alongside softer textures, while melody and narrative remain central. She gravitates toward sounds that feel worn in rather than polished. In the studio, she pushed production choices until they matched the emotional weight of the lyrics. Even when the instrumentation leans modern, the songwriting stays grounded in storytelling. The melodies hold their shape on their own, built to carry meaning as much as sound. Alex Ray on leaving a life that looked right Photography by ( @ shantell.cruz.photo ) Alex does not romanticize her time in law. “It’s a weird feeling to have what so many people want and want to throw it away,” she said. Living that life fully clarified what she already suspected. Without doing it, she believes she would have continued wavering. “Now I know I can’t,” she said. Art was not something she could return to casually. It was the only place she could exist without fragmenting herself. That certainty drives her work now, not as fantasy, but as necessity. “There really is not another option for me,” she said. Community before the music Before releasing her own work, Alex rebuilt her relationship with music as a fan. Through YouTube, streaming, and Discord, she created a community rooted in conversation rather than promotion. People met up in different cities for shows. Friendships moved off screens and into real life. “Don’t you love when the friendships leave the Discord?” she said. That community shaped her understanding of why music matters. Not as content, but as a connection. “Absent my YouTube community, I wouldn’t really have any community,” she said. “It’s so hard for indie artists to stand out anymore.” The connection runs both ways. Alex writes the kind of music she would want to believe in as a listener. What Messy  leaves behind Alex does not frame Messy  as a turning point. The EP captures awareness without pretending it comes with answers. For listeners navigating unfinished chapters, her message is simple. “Messiness doesn’t make you a bad person,” she said. “The fact that you’re thinking about it means you’re not.” Messy  stays with that truth. It trusts listeners to recognize themselves without being told how to feel about it. Alex Ray is not offering closure. She is offering honesty. And that is more than enough.

An exploration of the Disney Channel songs and stars who broke out of the network’s bubble and found lasting success in mainstream music. Article Contributed by Monica Soriano Disney Channel Logo The Disney Channel Bubble Disney Channel launched many artists into fame and long-lasting careers in music and acting. Singing on Disney Channel was a given; if you had a show, you most likely also sang the theme song for it. There was even a time when many shows and movies were centered around music. This included the High School Musical trilogy, the Hannah Montana  show, and The Cheetah Girls  films. Many of the songs released by Disney artists remained within the Disney bubble, encompassing Disney Channel and Radio Disney, but there were also a few that managed to achieve mainstream success. Yes, they managed to escape the mouse. Disney Channel is responsible for some of the biggest acts in music and television for preteens, teens, and even adults. Many songs marked generations and thus gave artists success outside of Disney. Some of the most popular artists to come from Disney include Miley Cyrus, Demi Lovato, Selena Gomez, and Hilary Duff.  The Best of Both Worlds  Hannah Montana show art The level of success that Miley Cyrus had as herself and Hannah Montana has not been reached again. To be a kid playing a character on television who is a pop star, and then bringing that pop star to life while also launching your own superstar career, is something only Miley Cyrus could have done. Many Hannah Montana songs obtained mainstream success, including “The Climb”, “Nobody’s Perfect,” and “He Could Be The One." When Miley Cyrus separated herself from her on-screen character and launched her career as Miley Cyrus, she had success with songs such as “7 Things“ and “Start All Over.” The song that was, and is still to this day, one of the most memorable songs from the Hannah Montana era would be “The Climb, “ which peaked at #4 on the Billboard 100. The song was so big that it was certified triple platinum in the U.S. and became a powerful ballad that, to this day, Miley Cyrus surprises fans with every once in a while.    Amigas Cheetahs, Friends for Life The Cheetah Girls movie art The Cheetah Girls became a sensation through their film, The Cheetah Girls , and amassed large amounts of success with their music. Several of their songs charted, and The Cheetah Girls 2  soundtrack did exceptionally well, reaching #5 on the Billboard 200. While “Strut” performed the best on the charts, there are several gems that are still talked about today, like “Cinderella” and “Amigas Cheetahs.” The Cheetah Girls marked a generation with their catchy songs, colorful sweatsuits, and fun choreography.  Let The Rain Fall Down, I’m Coming Clean  The Lizzie McGuire Movie art Although the Lizzie Maguire  show wasn’t centered around music, there was a push for Hilary Duff to be a musical artist. She, in fact, did receive success through her music with singles such as “Come Clean” and “So Yesterday.” Her film, The Lizzie McGuire Movie, produced the internationally charting song “Why Not” and the U.S. charting “What Dreams Are Made Of.” Hilary Duff, till this day, is a name that is thought of as smoothly transitioning out of Disney, or escaping the mouse, successfully. We’re All in This Together  High School Musical movie art High School Musical was one of Disney Channel‘s biggest music-centered projects. It was so big that the last film premiered in theaters with a significantly larger budget. This was a phenomenon that produced songs such as “Breaking Free” and “We’re All in This Together.” Just like with Hannah Montana ’s success, this franchise went beyond the Disney Channel bubble and reached worldwide audiences. Their films being premiered in theaters is proof of just how large the impact was. This wasn’t the case of just a couple of songs escaping the mouse, but rather a whole phenomenon erupting and breaking barriers. One and the Same Princess Protection Program movie art Two names that are still relevant to this day are Demi Lovato and Selena Gomez. Disney Channel created a foundation for their careers. Both Demi and Selena had their own shows on Disney Channel and sang the theme songs for said shows. Demi Lovato was also the protagonist of the Camp Rock  films 1 and 2, which produced the charting hit “This Is Me.” Gomez also launched her career as a singer and reached mainstream success with “Who Says” and “A Year Without Rain.” Both ladies also worked on a film together under the title of Princess Protection Program , in which they lent their voices for the track “One and the Same,” which surprisingly charted number 82 on the Billboard Hot 100. Both Demi Lovato and Selena Gomez continued to release music, with Demi Lovato leaning towards an alternative pop-rock sound, and Selena Gomez more of a classic pop radio-friendly sound. They both managed to reach mainstream success outside of Disney Channel and, throughout the years, maintain relevancy in their careers.  Disney Channel was producing pop stars left and right for a period of time. It is no surprise that many of them went on to become worldwide sensations and or chart multiple times. Disney Channel's popularity was at an all-time high, with some of its theme songs charting, and most of the actors were being turned into part-time pop stars. The music Disney Channel helped create and release into the world marked a generation of millennials and some Gen Z, who got to witness the music become bigger than the network. There are many more examples of artists and songs that were able to surpass the limits or barriers previously set by older generations. Now the question remains, will history repeat itself and Disney will again reach mainstream success with its acts, or was it a thing of the past?

Article Contributed by Monica Soriano Photo Credit: Megan Clark The Gloomy Escape Charlotte Sands expresses her personal feelings through her latest single, “one eye open.” The single “one eye open,” by Charlotte Sands, is a gloomy escape to freedom in which she paints a clear picture of her feelings through her lyricism. The song sounds almost dreamlike with somber undertones and a release of emotions through Charlotte's vocals. It is a direct focus on the anxiety experienced in an unhealthy relationship, being told directly from Charlotte’s perspective. “One eye open” is a song many people can relate to, cry to, or even just enjoy. At the beginning of the songs, a combination of rage and sadness can be felt right before the desperation in the vocals arrives to elevate the listening experience. Overall, the dim subject matter combined with an almost whimsical sound to this song is a treat for the ears. Lyrics That Paint A Picture Her lyrics leave bits of her feelings along the way Lyrics that stood out from the single were “You dream of my devotion, it kills you, I don’t need it anymore”. There is something just so in your face about it.  She paints her experience directly with lyrics such as “You keep me, Uneasy, Just leave me” or the almost terrifying “I sleep with one eye open, I hear you heavy breathing through the door”.  The song “one eye open,” overall has a touching story, and that can be said for much of Charlotte's music. There are small gems of expressive writing and feelings throughout her discography, some lyrics bold and creative, while others sit in support of the overall message or sound. 2026, What’s Next for Charlotte Sands? Charlotte Sands pours her heart into her soon-to-be-released album  Photo Credit: Megan Clark The alternative-pop- pop/rock sound, accompanied by her signature blue hair and her rockstar energy, harmonizes wonderfully with this single. This song is a glimpse of her new album Satellite, which will be released on March 6, 2026. The track “one eye open” is a cohesive addition to songs “HUSH”, “Afterlife”, and “neckdeep” released last year in 2025, and will also be included in the album. Aside from releasing her anticipated album, Sands will also be on tour with Simple Plan later this year for the European tour dates.

Photo by MART PRODUCTION: https://www.pexels.com/photo/man-in-white-shirt-with-a-guitar-writing-a-song-8472858/ Article contributed by LJ Portnoy Who Really Writes the Songs We Love Here’s a secret. The songs you fall in love with, lyrically, emotionally, physically, are not always written by your favorite singers. More often than not, they are written by a songwriter or lyricist. Someone who specializes in writing. They may also be a singer, performer, or artist. Sometimes they are not. Sometimes they work behind the scenes. Sometimes they choose to stay private, preferring for the world to hear their words, but not their voice. And that is by design. Most people fall in love with a voice. Fewer stop to wonder who put those words there in the first place. Why Lyrics Are the Emotional Spine of Music Photo by cottonbro studio: https://www.pexels.com/photo/person-writing-in-notebook-8626375/ Songwriting is one of the most essential parts of a song, because without words, it is just an instrumental. While instrumentals can still be beautiful, let’s be honest. If our favorite vocalists released an entirely instrumental album, many of us would probably feel a little disappointed. It is in the lyrics that we really feel. It is where we relate, understand, and empathize. We tattoo lyrics on our bodies. We scribble them in notebook margins and in-between spaces. We lock them tightly into our hearts. And yet, so many listeners know almost nothing about the other writers on the track. They might recognize their favorite singer and maybe even know that they contributed a few lines. But the writers in the background, not taking the spotlight or all the credit, are often invisible. Those are the voices we are missing out on. Living in the In-Between Songwriters need their stories heard, felt, and acknowledged. They do not always need to be the ones telling them aloud. There is an interesting middle space there. We call it the in-between. It is the space where you want the world to recognize the experience you hold, but not necessarily through you. A songwriter does not need to be the vocalist to know when their song reaches number one. They can see it on the charts. They can hear it on the radio. They can feel it in the way the world responds. In a culture saturated with singers, artists, bands, and personalities, this position matters more than we think. Photo by Yeşim Ç.: https://www.pexels.com/photo/vintage-guitar-and-sheet-music-still-life-in-istanbul-30816642/ The Uneven Economics of Songwriting And yet, despite how much weight their words carry, songwriters often see the smallest share of the return. The lyrics are the spine of a song, its reason for existing, but the people who write them are not always compensated proportionally. In an industry built around performance, branding, and visibility, writers working behind the scenes may receive fewer points on a record, if any at all , as Jon Bellion  has discussed openly, and far less financial upside than the voices delivering the lines. In the streaming era, that imbalance has only widened. Many songwriters earn primarily through publishing royalties, which are still heavily tied to radio play and traditional performance income rather than digital streams. As Julia Michaels  has shared in interviews, massive streaming numbers do not necessarily translate into meaningful income for writers in the same way they might for artists, producers, or labels. Photo by Tima Miroshnichenko: https://www.pexels.com/photo/man-person-woman-hand-6670748/ While performers and producers often receive upfront fees, ownership stakes, or points tied to a song’s success, songwriters are frequently asked to accept smaller splits or flat compensation for work that carries the emotional core of the record. The song may travel everywhere, but the people who wrote it do not always travel with it. Why Songwriters Still Matter More Than Ever Without the lines we cling to, the ones we spend hours feeling and reliving, music would lose its emotional gravity. Think about the songs you play when you want to grieve. When you want to cry, to feel the pain, to sit in the quiet wreckage of something breaking inside you. A few probably came to mind immediately. Now think about the songs you play when you want to smile. To laugh. To celebrate. The ones that make you sing every word, dance in your seat, and feel lighter just for a moment. More titles probably surfaced to mind, just now too. Songwriters carry the weight of those moments. They say frightening things. They say the thoughts we are all afraid to voice. They feel harder, dig deeper, and tell the truth, even when it is uncomfortable. Photo by Tima Miroshnichenko: https://www.pexels.com/photo/sheet-music-on-wooden-surface-6671981/ That is the hardest part of all. And it is also why we fall so deeply in love with these songs. Because even when everything feels impossible to say, when the truth feels sharp or fragile or too heavy, songwriters keep writing anyway.

What being a music photographer teaches you about respect, awareness, and presence in live music spaces. Photographers lining the pit while Cartel performs at St. Andrew's Hall in Detroit, MI. Article Contributed by Rebecca McDevitt When the Lights Drop There’s a moment that happens in almost every photo pit. The lights drop, the crowd surges forward, cameras rise in unison, and for a brief stretch of time, a handful of strangers are asked to share the same few feet of space while capturing something fleeting. You learn very quickly that talent alone won’t carry you here. Awareness will. Most of the time, that window is small. The Used lines up in their spaces, spotlights ahead, before the curtain drops. (Photography by LJ Portnoy) Three songs, fifteen minutes, sometimes even less. Being a music photographer teaches you how to make those first three songs matter. You learn to anticipate rather than chase, to trust your instincts instead of spraying frames, and to understand that intention is what turns limited access into meaningful work. There’s no time for ego in that space, only presence. How You Move in the Pit Matters The pit itself isn’t a competition. It’s a shared ecosystem. Everyone is working toward the same goal from different angles, and how you move through that space says more about you than the gear around your neck. The photographers who last are rarely the loudest or the most aggressive. They’re the ones who understand rotation, who step in and out of shots without being asked, who make room instinctively because they remember what it felt like to be the person waiting for a clear frame. You also learn that blending in matters, especially in the pit. Dark clothing isn’t a fashion choice; it’s part of the job. The goal is to disappear, not distract. Moving quietly, staying low, and avoiding drawing attention away from the stage. Respect in the pit often looks like invisibility. Reading the Room Communication rarely looks like conversation. A nod, a tap on the shoulder, a raised camera to signal movement. There’s an unspoken language that forms when people are paying attention. You learn to read the rhythm of the room, when the crowd is about to surge, when security is about to tighten the line, when it’s time to step back without being told. House photographers often become your compass without you realizing it. Photographer (Rebecca McDevitt) taking photos at a concert in Philly, PA. They know how the room breathes. They know when security will call time early or when an artist is about to jump the barricade. Watching how they move teaches you more than any online tutorial ever could. The same goes for security, who are rarely obstacles and far more often allies. A simple greeting and mutual respect can shift the entire energy of the night. Shooting for shows also teaches you restraint. You don’t need to photograph every second to tell the story well. Sometimes the most powerful choice is lowering your camera and feeling the room for a beat, reconnecting with the emotion you’re trying to preserve. Overshooting can create distance. Intention closes it. What Lasts Beyond the Pit The crowd also becomes impossible to ignore. Fans aren’t background noise or compositional hurdles. They’re the pulse of the room. The tears, the screams, the quiet moments of awe pressed against the barricade often carry just as much weight as what’s happening onstage. Being a music photographer trains you to see beyond the spotlight and recognize that live music is a shared experience. A fan crowd surfs through the audience at a Young Culture concert. (Photography by Kayleena) What happens after the show matters just as much as what happens during it. Tagging artists and venues correctly, respecting embargoes, honoring agreements, and crediting everyone involved reinforces that access is built on trust. A photo pass isn’t meant to be a badge of entitlement, but more so a responsibility that a photographer carries with them even after the lights come back on. Being a music photographer teaches you that longevity isn’t about getting the shot at all costs, but about protecting the room so the moment can exist at all. The unspoken rules aren’t about control, they’re about care and the people around you. In an industry that moves fast and forgets easily, that care is what keeps the music and the community around it alive.

Article Contributed by Monica Soriano Graphic Designed by LJ Portnoy A cover or rendition being more popular than the original track is actually more common than we would think. A few of the biggest songs that we hear often, some even classics, are not sung by the original singer. This is the case for songs such as “Year 3000” by the Jonas Brothers, which was originally sung by the British band Busted, as well as “Respect” by Aretha Franklin was originally performed by Otis Redding, and “Girls Just Wanna Have Fun” by Cyndi Lauper was originally performed by Robert Hazard. A cover being more popular than the original does not always mean the original wasn’t good, but rather that it's just more well-known.  Punk Rock But Make It Disney Friendly Going through a few of the tracks listed above, it is very clear that this has been happening for many years. You can find some of the most popular songs in every decade that were originally somebody else’s. “Year 3000” by The Jonas Brothers was initially released by the band Busted in 2002 and achieved success on the UK Singles Chart. But it wasn’t until the Jonas Brothers recorded it that the song gained traction in the U.S. This song launched the career of the Jonas Brothers, by changing some lyrics and thus making it Disney friendly they opened doors for themselves and secured radio play. This was the start of the Jonas Brothers' rock sound. I Will Always Love You…. Dolly The song that most people would not expect to be a cover is “I Will Always Love You” by Whitney Houston, simply because her voice is so intertwined with the track. Her rendition was so powerful that Dolly Parton’s original release is not widely known. There is a heavy contrast between the two songs, Whitney’s felt assertive and bold while Dolly’s felt graceful and reminiscent of a softer love. Both beautiful but it just so happens that Whitney Houstons became popularized after she covered it for the film The Bodyguard which she starred in. The Beyonce Takeover A shocking track that was revealed as a remake is “If I Were A Boy” by Beyoncé, originally performed by BC Jean. It is unimaginable to think that both Beyoncé’s rendition and the original came out in 2008. Beyoncé‘s rendition was so popular that she even recorded this song in Spanish and took over the charts nationally and internationally. There was a dispute between Jean and Beyonce over the song but ultimately it did end up becoming a hit at the hands of Beyonce. I Keep Dancing On My Own In order for a cover or rendition, to be more popular than the original many things have to align. First, the timing has to be right, it has to be something that an audience is ready to hear and support. Second, the artist has to be undeniably perfect for the song and do it equally or better than the original. For example, Callum Scott covered Robyn’s “Dancing On My Own” in such a gorgeous way that it became a sleeper hit and reinvented the song to the point that he’s assumed to be the original singer. So ideally, artists should add their own flair and not be a simple copy. There have been cases such as “Girls Just Wanna Have Fun” and “Respect” that were originally from a male perspective, but once a woman created a rendition and added a different expression or meaning, it became popularized. We see remakes happen all the time in today’s world, whether it’s films or musicals. So, it is not far-fetched to think that the songs of today will be remade in the future, and we can only hope that they are honored beautifully, just as the previous generations have done. Fast Facts/Honorable Mention Covers  “1985” by Bowling For Soup was originally by the band SR-71. “Black Magic Woman” by Santana was originally by Fleetwood Mac.

Article contributed by LJ Portnoy Photo by Jasmine Tejada: https://www.pexels.com/photo/falling-confetti-on-crowd-at-the-concert-8065844/ When the Noise Fades There is a different kind of landscape everyone feels within the music industry in January. Tours have come to a close, and most artists prefer spring, summer, or even fall to plan their runs. Winter can be treacherous. Harsh weather, delayed flights, snowstorms, blizzards, extreme temperatures, and the weight of the holiday season all make January a difficult time to stay on the road. So what happens after the confetti has been swept away? For many fans, January feels like a resting period. There are fewer shows to attend and fewer moments demanding attention. But something does happen during this season. It is quieter, softer, and less rehearsed. The noise fades, and what remains feels more honest. The Work No One Sees Inside the industry, January may sound quiet, but it is anything but inactive. Artists often spend these months writing, recording, revisiting drafts, and sitting in rehearsal rooms without urgency. Strategy conversations replace rollouts. Progress happens without an audience. This perspective has been echoed by Jon Bellion , who has spoken openly about stepping away from constant promotion in favor of letting the work breathe. In his Genius: For the Record  interview with Rob Markman , Bellion explained that he intentionally chose not to heavily promote his album Glory Sound Prep , wanting listeners to have the space to sit with and digest the music rather than forcing it into nonstop industry noise. January is a lesson in patience. It rewards artists willing to sit with the process instead of rushing toward visibility. The Winter Slowdown Is Real The quieter feeling surrounding January is not imagined. Many industry professionals openly acknowledge it as part of a broader winter slowdown. Music distribution teams at Symphonic Distribution have described the period from mid December through January as one of the slowest stretches on the music calendar. Releases taper off, label teams step back after year end pushes, and touring activity slows significantly. Rather than treating this as dead time, many artists and teams use it as a reset window. Planning replaces promotion. Long term decisions take precedence over short term visibility. January is not inactive. It is intentionally quieter. When Writing Ramps Up For producers and songwriters, the winter slowdown often signals the opposite of rest. It creates space. Ryan Tedder has spoken openly about creative pacing and the importance of stepping back from constant output in a Forbes  interview conducted by Steve Baltin in August 2024. In that conversation, Tedder reflected on how time away from touring and release pressure allowed him to return to songwriting with sharper intention and perspective. Rather than reacting to trends or deadlines, he emphasized the value of letting ideas develop during quieter stretches, when there is room to experiment, refine, and write without the pressure of immediate visibility. January is where albums begin without anyone announcing them. What Fans Reach For When There Is Less January also reveals what fans truly miss. Young Culture fans interacting with their favorite band. With fewer releases and shows to chase, people gravitate toward memory. Old concert videos resurface. Albums tied to specific moments get replayed. Fans count down the days until they can stand at the barricade again, remembering what it felt like to be fully present in a room with an artist they love. When people return to an artist’s work without reminders, campaigns, or constant stimulation, that is not momentum. That is resonance. Resonance Over Stimulation When an artist’s presence lingers without constant interaction, something deeper is happening. No drops. No teasers. No forced visibility. Artists who build longevity understand this distinction. Their work lives comfortably in silence. January exposes that difference clearly. It shows which connections were real and which ones relied on constant noise to survive. Who January Is Brutal For January can be unforgiving to careers built entirely inside algorithmic cycles. When touring pauses and posting slows, some artists disappear entirely. That absence is revealing. January does not end careers, but it does expose fragile foundations. Artists with real communities remain visible in subtler ways. Fans still talk about them. Their shows still come up in conversation. Their songs still live in playlists and memory. That is culture. It does not require constant stimulation to survive. The Inhale Before the Next Season The music industry does not disappear in January. It inhales. Photo by Pavel Danilyuk: https://www.pexels.com/photo/a-group-of-friends-sitting-together-while-having-conversation-7802595/ Vocals are sharpened. Skills are refined. Direction is recalibrated. January is where the nervous system settles and the craft tightens. February is when artists begin to re emerge. More intentional. More refined. More prepared for the season ahead. January may feel quiet, but it is not empty. It is listening season. And the industry is paying attention. References Bellion, J. Interview with Rob Markman. Genius: For the Record . Discussion on creative pacing and the decision not to heavily promote Glory Sound Prep . Symphonic Distribution. “How to Survive the Winter Slowdown of the Music Industry.” Industry commentary on seasonal release and touring slowdowns. Tedder, R. Interview with Steve Baltin. Forbes , August 24, 2024. “Saturday Conversation: Ryan Tedder, The Songwriter’s Songwriter.”

Nickelodeon logo Article Contributed by Monica Soriano Nickelodeon's Cultural Impact Nickelodeon features a diverse range of shows, including cartoons and teen sitcom series. Their series range from wacky comedy-style shows to more arts and music-focused genres while maintaining the comedic aspect. Many great songs were derived from these shows. Although most were not intended to be more than a catchy intro song, a few managed to engrave themselves into pop culture and quiet longevity. Many of the theme songs are impossible not to sing along to; these include theme songs like iCarly’s “Leave It All to Me”, Drake and Josh’s “ I Found a Way”, Victorious ’ “Make It Shine”, and Zoe 101 ’s “Follow Me.” But theme songs are purposely made to be catchy, and it’s no surprise they became a staple in memory lane. There are, in fact, songs that were sleeper hits or, rather, hold unexpected longevity within Nickelodeon throughout the years. Freak The Freak Out Of course, the theme songs for the shows mentioned above are some of the most popular songs to come out of Nickelodeon; unexpected or expected, they managed to captivate audiences. A track that was not a theme song, but rather released as part of a show's episode and soundtrack was “Freak The Freak Out” from  Victorious . It charted on the U.S. Billboard Hot 100 chart. Victorious ’ general longevity and impact are largely attributed to the talented cast and their chemistry, the social commentary surrounding the show, and the rerun accessibility. It is no wonder that the show and its music are still talked about to this day. Big Time Rush’s Unexpected Longevity Photography by Fernando Flores One of Nickelodeon’s music-focused shows was  Big Time Rush , which produced a boy band by the same name. Although they might not have reached high levels of success like One Direction, which was also around at that time, they still hold a special place in the hearts of many. They had many songs that were quick to take the spotlight, like “Big Time Rush” and “Boyfriend,” but there were a couple of songs that became unexpected fan favorites, including “Nothing Even Matters” and “No Idea.” Big Time Rush is considered underrated by many, but their longevity is something that can’t be taken away. They continue their band endeavors, with tour dates this year, almost 13 years after the show on Nickelodeon ended. SpongeBob’s Unexpected Musical Success Believe it or not, SpongeBob  had iconic releases. SpongeBob  is deeply ingrained in pop culture to this day; the songs, memes, and quotes produced from the show have become a way of expression. Songs such as “The Best Day Ever” and “Goofy Goober Rock” are just a couple of the tracks that prove the show's impact. SpongeBob  hits are not always expected, but are always welcomed. Overall, Nickelodeon was responsible for many theme songs becoming iconic and pop culture relevant to this day. There has always been a bit of competition between Disney Channel and Nickelodeon, and while it seems as though Disney Channel has more mainstream accomplishments overall, Nickelodeon shines with the unexpected successes. Their cartoons become something we carry from our childhood into our adulthood and hold up well when rewatching. Their strength really lies in the groundedness of their shows, and although it may take a while for some songs to get recognition, eventually they do.

Contributed by Fernando Flores The Backseat Lovers for Governors Ball 2025 The Antici…pation  There’s a particular kind of electricity that only a Gov Ball moment can generate. Today, January 5, 2026, that anticipation found its release as Governors Ball unveiled its lineup, and with it, the atmosphere of festival season officially shifted. This wasn’t just a list of names appearing on a screen; it was a collective intake of breath, a reminder of how live music continues to bring people together. Governors Ball has long understood that impact isn’t about excess; it’s about intention. Much like a performer who knows exactly when to hold still and when to command the room, Gov Ball’s lineup reveals are carefully planned, designed to feel immersive rather than overwhelming. This year’s announcement carried that same sense of control, though cryptic Instagram stories leading up to the big reveal. Each artist felt placed, contributing to a larger emotional arc that mirrors the festival experience itself. What sets Gov Ball apart is its ability to make scale feel intimate. Even as one of New York City’s most high-profile festivals, the lineup consistently reflects a sensitivity to connection. The rush of discovering a new favorite. The thrill of seeing a familiar name elevated in a new context. The quiet realization that this is a weekend you don’t want to miss. Gov Ball Sets the Industry Standard Beaches by Paigge Warton for Governors Ball There’s confidence in this lineup, but it isn’t distant or self-congratulatory. Like the best live performances, it reaches outward. Gov Ball continues to champion artists who don’t just fill time slots, but shape rooms. Artists who in the past have proven to be capable of turning a crowd into a community. The balance between established headliners and rising voices has always felt deliberate, giving the festival texture and depth rather than relying on spectacle alone. From an industry perspective, Gov Ball’s lineup drop reinforces its role as a cultural bellwether. Media outlets, brand partners, and fellow festivals often look to Governors Ball as a benchmark, and this year is no exception. The announcement underscores the festival’s commitment to thoughtful programming and its understanding of music as both entertainment and cultural dialogue. Bound to Be This Year's Conversation Starter As conversations ripple outward and listeners begin to map out their summers, one thing is clear: this lineup does exactly what it’s meant to do. It builds tension. It sparks a feeling. It lingers. Today’s announcement marks the moment the countdown truly begins. If history is any indication, Gov Ball is once again poised to deliver a weekend that captures the sound of now while shaping what comes next. As the excitement builds for this year’s Gov Ball, it is clear that this lineup is the beginning of what promises to be an unforgettable weekend. SoundCheck Mag is committed to capturing the energy and artistry that make Gov Ball a cultural touchstone, and we’re eager to bring readers along for the ride with exclusive coverage. With a mix of established headliners and emerging talent, the 2026 lineup is set to spark conversations, and we look forward to documenting it visually.  Gov Ball show flier announced; tickets at govball.com For those ready to dive deeper into this year’s festival, the full lineup is available above! The selection of artists is bound to make this summer’s Gov Ball one for the books. We can't wait to be there, capturing the moments that will define the year to come for 2026!

Sabrina Carpenter, in Detroit, MI - Photography by LJ Portnoy ( @ljportnoy ) Article contributed by LJ Portnoy These are the moments that make live music magic There are artists you enjoy listening to, and then there are artists you would rearrange your life to see live. The ones who command a room without trying and make thousands of people feel locked into the same moment at the same time. Live music has a way of sharpening memory. Certain shows become timestamps, tied forever to who you were when you heard them. There is something about being in the room when it happens. The anticipation, the lights dropping, the shared breath before the first note. Some performances do not just entertain. They convert you. This is not a ranking, and it is not about perfection. It is about presence, connection, and that unexplainable feeling when a performance truly hits. These are the artists the SoundCheck team would drop everything to see live again. Sabrina Carpenter Sabrina Carpenter was an easy A+++++ live. She stole every second of attention with stunning vocals and an effortless confidence that never wavered. The standout moment came during her Juno  positions, which have been everywhere and everything to everyone. This writer will happily admit to being part of the crowd that fell fully under the spell. It all felt natural, playful, and completely controlled, the kind of performance that turns casual listeners into devoted fans by the end of the night. Jonas Brothers Jonas Brothers, Grand Rapids, MI - Photography by LJ Portnoy ( @ljportnoy ) This one feels obvious, and that is exactly the point. Multiple members of the SoundCheck Mag team have seen the Jonas Brothers live more than 30 times, and somehow each show still manages to surprise. During their Grand Rapids stop, they brought a young fan onstage with her parents, creating a moment that felt genuinely heartfelt inside a massive arena. That level of fan connection is what keeps audiences coming back. Every show feels personal, even at scale. HAYLA HAYLA, Detroit, MI - Photography by LJ Portnoy ( @ljportnoy ) HAYLA absolutely wowed the room. From the very first notes, a shiver ran straight down the spine in the best possible way. Eyes widened instantly at the realization that something special was unfolding. Her vocals are powerful, precise, and emotionally charged, paired with a commanding stage presence that makes it impossible to look away. It was the kind of opening that leaves no doubt a true artist has taken the stage. Livingston Livingston, Detroit, MI - Photography by LJ Portnoy ( @ljportnoy ) Livingston is the real deal. What stood out most was the cohesion of the entire performance. Rather than singing a collection of individual tracks, he delivered a carefully woven set of stories. Each moment flowed intentionally into the next, creating an immersive experience that felt thoughtful, honest, and deeply human. It was artistry in narrative form. YUNGBLUD Photography by Rachel Catherine (@rachsgalleryyy) YUNGBLUD is a top-tier performer, not just for his energy but for how deeply he connects with his fans. Throughout the set, he invited multiple fans onstage, including a young girl who joined him to play guitar and another who sat on his shoulders singing along without hesitation. These moments never felt staged or rushed. They felt raw, real, and deeply human. His interactions created an atmosphere of trust, joy, and shared experience that extended far beyond the music. Quinn XCII Quinn XCII, Sterling Heights, MI - Photography by LJ Portnoy ( @ljportnoy ) An all-time favorite in the SoundCheck household, and Michigan truly loves its hometown hero. The standout moment came when Quinn XCII dove off the stage and danced directly with the crowd, blurring the line between performer and audience. The moment felt joyful, spontaneous, and completely authentic. Seeing him live again carried the same warmth and familiarity that makes his shows so special. The Paradox The Paradox, Detroit, MI - Photography by LJ Portnoy ( @ljportnoy ) An exciting up-and-coming band that opened for the Everyone’s Talking  tour and immediately felt like more than an opener. Watching new fans visibly form during their set was a standout experience. When an entire room starts leaning in for the opening act, something is clicking. The Paradox clearly has momentum, and a full headlining set feels inevitable. Kendrick Lamar Even from the 100-level seats, the performance was unforgettable. What stood out most was the sheer level of production. The theatrics, blocking, staging, and set design were immaculate, each detail carefully considered. It felt less like a concert and more like a fully realized artistic production. Given the opportunity, we would not hesitate to experience it again from the floor. Dua Lipa While some members of the SoundCheck Mag team have not yet seen Dua Lipa during her Rockstar era, earlier performances left a lasting impression. Hearing songs like Hotter Than Hell  and Be the One  delivered with confidence and vocal control was electric. Knowing how far she has evolved since then only heightens the anticipation. Seeing those songs performed today would be unforgettable. Honorable Mentions (We’re Ready to See You Live Whenever You're Ready) Not every artist on this list is currently touring, and that almost makes the desire stronger. These are the names that linger in conversation, the ones members of the SoundCheck Mag team would immediately start checking flights for if a tour announcement dropped. Some are resting, some are evolving, and some are choosing quieter seasons, but their impact on live music has not faded. Jon Bellion Jon Bellion, Rochester, MI - Photography by LJ Portnoy ( @ljportnoy ) Jon Bellion’s live performances have always felt intentional and emotionally layered. While he has been open about stepping away from touring, the hope for a return remains. Until then, new music is more than welcome. Justin Bieber Justin Bieber, Detroit, MI - Photography by LJ Portnoy ( @ljportnoy ) After canceling the end of his last tour for health reasons, speculation naturally turns toward what comes next. With festival rumors circulating, members of the SoundCheck Mag team are already wondering if it is time to start saving for a potential new era tour. Eminem Leaving this one out would feel impossible. Eminem’s most recent record was sharp, impactful, and widely celebrated. Seeing him deliver a full live show would be nothing short of iconic and a true hometown moment. Final Thoughts on Live Music Live music is not just about hearing songs you love. It is about shared energy, fleeting moments, and the magic that only happens when artists and audiences meet in real time. These are the shows that remind us why we keep showing up and why that feeling is always worth chasing. Some performances do not end when the lights go down. They stay with you.

From chart-topping songs to outspoken advocacy, Justin Tranter has reshaped what it means to be a modern songwriter. Justin Tranter, Photo: Timothy Hiatt Article Contributed by Monica Soriano The name Justin Tranter holds weight within the music industry due to their involvement in writing some of the biggest hits for over a decade now. Tranter is not only a successful songwriter but also an educator and mentor to future generations of writers. They share knowledge about the music industry consistently, and when asked about their songwriting process, they seem glad to share what details they can. With major hits such as “Cake By The Ocean” by DNCE, “Sorry” by Justin Bieber, and “Good Luck, Babe!” by Chappell Roan, they have created many memorable moments in pop culture through their songwriting. A Songwriting Journey That Began At 15 Years Old Tranter has had a fulfilling career as a musician and songwriter, having begun writing songs at the age of 15. They were also involved in musical theater during their high school years and attended Berklee College of Music in Boston later on. From 2006 to 2014, Tranter was the lead singer of the band Semi Precious Weapons and signed a publishing deal to write for others before the group disbanded. Justin Tranter’s first song placement was at the age of 34, and he has been unstoppable in the songwriting world since. Hit After Hit After Hit Justin Tranter’s first-penned hit was Fall Out Boy’s “Centuries”, a rather well-known song to this day. Tranter has also contributed their skills to songs such as “Good For You“ by Selena Gomez, “Believer” by Imagine Dragons “Issues” by Julia Michaels. Their credits reach beyond pop music and expand to the world of television with the series Grease: Rise of the Pink Ladies  and films such as Purple Hearts  and Happiest Season.  Their ability to write music for different styles is a true talent. It is one thing to write a pop song, which already needs a specific ear and skill level, but it is another thing to write songs that will be used in film or television, which have more requirements and restrictions overall.  Belonging, Advocacy, and Education Justin’s ability to advocate and educate others about the queer experience in and out of the music industry is a superpower of theirs. Their work in LGBTQIA+ spaces continues to impact newer songwriters in a positive way. Tranter’s own experience with bullying and their queer identity play a big role in the influence they have and the trail of knowledge they leave behind with every new milestone achieved. They have spoken about how songs such as “Centuries” by Fall Out Boy and “Bad at Love” by Halsey have allowed them to express their identity more than other songs due to the nature of the topics they were written about. Tranter is someone who continuously raises their voice on things happening within the music industry or queer community and oftentimes educates people through responding to questions on social media or in person through guest appearances at industry events. One of the topics Tranter strongly advocates for is fair wages for songwriters so that they can have the financial freedom to go all in with their writing. Justin is continuing to write for massive pop stars, but also shaping the music industry. As the founder of Facet Records and Publishing, they give fair opportunities and education to many writers. Justin Tranter is leaving their mark one song, one session, and one conversation at a time. We can’t wait to see more of their talent continue to reach global audiences through radio, streaming, film, and television!

Photo by Patrick: https://www.pexels.com/photo/tickets-text-on-yellow-wall-17527817/ Article Contributed by Rebecca McDevitt Hot take: Live music has never been cheap. But it has also never felt this inaccessible. Ticket prices are climbing. Dynamic pricing is quietly inflating face value. Resellers scoop up inventory in seconds. And fans are left refreshing screens, watching tickets triple before checkout, even loads. The frustration is loud. The response from the industry is not. Hot Take: Fans Are Paying the Price for a Broken System Dynamic pricing is sold as neutral. Supply and demand. Market value. The cost of popularity. But what it really does is shift blame. Instead of questioning the system, fans are told this is just what live music costs now. If you really care, you will find a way to pay. If you do not, you were never that committed to begin with. That narrative hurts the people who have been showing up all along. Fans are funding the industry through ticket sales more than streaming ever could. Touring is where the money is. Everyone knows it. And yet the cost of entry keeps rising, while accountability disappears into contracts and corporate language. Silence Still Benefits the System This is not about calling artists greedy. It is about acknowledging leverage. Not every artist has control. Smaller acts are often locked into systems they did not design. But at higher levels, choices exist. Contracts are negotiated. Clauses are discussed. Opt-outs are possible. And fans notice who speaks up. Saying nothing still protects the system that is pricing people out. Silence allows dynamic pricing to become normal. Silence turns frustration into resignation. At some point, “we cannot control it” stops feeling true when no one is publicly trying. If Artists Can Buy Back Tickets, They Can Fight Upstream Some artists have already proven that intervention is possible. Bands have bought tickets back from resellers and put them back on sale at face value. They have canceled scalped tickets. They have implemented fan-to-fan exchanges. They have capped prices. They have chosen not to use dynamic pricing at all. Those actions matter. They show fans that someone is paying attention. That access still matters. That community is not just a talking point when it is convenient. If tickets can be reclaimed after the damage is done, the conversation can also happen before it starts. Live Music Should Not Be a Luxury Experience Live music was built on shared rooms, not exclusive price points. Fans are being priced out of the very spaces they helped grow. Younger fans. Longtime fans. Fans are choosing between rent, groceries, and a night that used to feel attainable. Supporting your favorite artist should not come with financial guilt. Photo by Jonathan Borba: https://www.pexels.com/photo/hand-holding-event-vip-access-badges-29255743/ Loving music should not feel like a credit check. Fans Are Not Asking for Free. They Are Asking for Fair This is not a demand for impossible prices or unrealistic expectations. It is a call for transparency. For advocacy. For artists to acknowledge the reality fans are living in and use whatever leverage they have to push back. Because fans see the disconnect, and they remember who shows up for them when it matters. Live music survives because of people who show up. They deserve to be fought for, too.

Nick Jonas did not ease us into 2026. He went straight for the feelings. “Gut Punch”, released January 1, 2026, is the first single off his upcoming album Sunday Best, out February 6, 2026, and it feels like a song you accidentally put on and then suddenly you’re staring at the wall thinking about your entire inner dialogue. Artwork by Steven R. Gilmore The song starts immediately with a soft piano and Nick’s voice sounding almost fragile. Like he’s letting a thought slip before he can overthink it. I think my hair stopped growin', is that even a thing? Haven't lost any of it, but somethin' ain't the same Maybe it's a metaphor, is it even that deep? It’s oddly specific in a way that makes it hit harder. The quiet anxieties. The subtle changes. That feeling of noticing something is different and immediately brushing it off because you don’t want to admit it might mean something. That last line, “is it even that deep?” feels like such a real moment of self dismissal. Then the chorus comes in and the song completely switches gears. The guitar eases in, the energy spikes, and Nick sounds like he’s snapping at himself more than singing to anyone else. Hit me like a gut punch, I hurt my own feelings How did I get so good at being mean to myself? It’s blunt. It’s frustrated. And it’s painfully relatable. That moment when you realize no one is being harder on you than you are. The title suddenly makes perfect sense. And the production detail here matters. That little punch sound effect layered into the chorus? Absolute perfection. It’s quick, it’s sharp, and it makes the line feel physical, like the song is actually landing where it says it will. Throughout “Gut Punch”, there’s this push and pull between softness and intensity. The verses feel inward and vulnerable, while the chorus lets everything spill out. It mirrors the way negative self talk works in real life. Quiet thoughts building until they turn loud. Then the bridge hits and everything slows down. Now, what would it be like if I just tried being nice To the person that I'm seeing in the mirror? If you find that inner child Haven't seen him for a while Let him know he's doing fine It’s not dramatic. It’s not dressed up. It’s just honest. And honestly? That’s what makes it hurt the most. The idea of checking in with your younger self and offering reassurance instead of criticism feels simple, but it lands deep. As an introduction to Sunday Best, “Gut Punch” feels less about perfection and more about honesty. Less about having everything figured out and more about admitting when you don’t. It’s also worth noting what this song isn’t. “Gut Punch” isn’t chasing a radio hit or a big flashy moment. It doesn’t feel engineered for numbers or noise. It feels like Nick sitting with himself and letting us sit there too. And honestly? We felt this one. We’ve all had moments where our own inner voice was harsher than anyone else’s, where we brushed off our feelings before giving them space, where being kind to ourselves felt harder than being critical. “Gut Punch” doesn’t offer a fix, but it does offer a pause. A reminder to check in and be a little gentler with the person in the mirror. Sometimes the hardest thing isn’t fixing yourself. It’s realizing you don’t need to be so cruel to begin with.

Article Contributed by Monica Soriano The Used live in Detroit, MI - Photography by LJ Portnoy ( @ljportnoy on IG) What is popular today in 2025 wasn’t always favored in the 80s. In fact, what is considered popular today is something that was created as a counter to mainstream music back then. That’s right, alternative music has in fact made its way into the everyday listening experience. Alternative music is not just an umbrella term for eccentric genres, but it is also a form of rebellion that was expressed through music in the beginning of its conception. Sometimes it was recognized by unorthodox lyricism with strong instrumentals, or opposing and imposing fashion choices. At some point in time, a unique characteristic of alternative music was seen visually through heavily tattooed artists at the forefront. Tattoos at some point were considered abnormal, then they were cool, and now they are everywhere and almost expected. It’s the same sequence for alternative music. Born in Opposition: The Roots of Alternative Music Why “alternative” was never about genre and always about resistance The amount of pop and mainstream rock music that was popularized in the 80s is what caused this wave of alternative music to rise. The name itself says it — “alternative,” meaning another option. While popular pop artists such as Olivia Newton-John and rock bands like Van Halen were dominating radio, there were underground bands such as R.E.M. and Mudhoney that were starting to enter the scene. Independent music was alternative music, and since there wasn’t much room on radio for this new experience, it started to take off in colleges first. What “Alternative” Really Meant Former Critics - Live in Detroit, MI - Photography by LJ Portnoy ( @ljportnoy on IG) A shifting umbrella of sound, attitude, and experimentation Depending on the year, alternative music might be music tailored specifically for college students, or it might be part of the grunge scene. Anything that wasn’t following classic lyric sequences or delved a little deeper into other topics music normally didn’t bring to light was also alternative music. A strong guitar presence was usually felt through the song, and the overall instrumentation felt powerful. Genres like punk, goth rock, and ska were just a few to be labeled alternative. The Turning Point: When Alternative Went Global How radio, genre blending, and cultural shifts changed everything The way that everything changes and affects the music industry happened to bump alternative music into the mainstream by blending it with other genres, such as pop and R&B. Nowadays, alternative is used as a descriptor for genres that are blended together, for example, alternative rock, alternative pop, alternative R&B, and so on. Every day there seems to be new genres of music popping up and making their way into the charts. But what caused the blending of genres and alternative music to become so well known? A lot of people attribute this popularization to the band Nirvana, who were inspired by a lot of independent alternative artists. The term alternative rock later became popularized by Nirvana due to the amount of radio play received. Many other artists became well known under the term alternative, such as Velvet Underground, Pearl Jam, and The Cure. Alternative as Expression, Not Trend Wet Leg - Photographed live in Chicago - Photography by Ernesto Raul Aguilar ( @blacksheepimagery on IG) Why the label endures even as the sound evolves Alternative is more than just music, but rather a way of expression. There is fashion, makeup looks, events, and worldwide subcultures that lead alternative music fans to continue expanding. Today, it is normal to label someone with high mainstream pop success, such as Charli XCX, as an alternative artist due to her nonconformist appeal. The same applies to Billie Eilish with her off-center expressiveness through music and stage presence. Other artists that fit the alternative success in today’s music world are Blackbear, Japanese Breakfast, and Wet Leg. The term alternative is not going anywhere, and it continues to be a form of expressing discomfort with world events, the music industry itself, or life in general.

Article contributed by: LJ Portnoy, Rebecca McDevitt, and Ilana Bornstein, SoundCheck Mag Co-Founding team 2025 - What a way to start, what a first year. A Whisper Becomes a Thing It started with a whisper. A tiny idea. A quiet moment where we decided to try something ourselves, this time with our full chests. We didn’t know where it would go. We just knew we wanted to build something with intention. SoundCheck began small and digital. Our first interview lived in a Word document. Our first artist was someone we already knew and believed in. Chucky Hugh. Rebecca had a relationship. We had curiosity, care, and a shared belief that artists who were small, underrepresented, or still finding their footing deserved to be seen. So did fans. So did photographers. So did the people behind the scenes. From the beginning, this was never just about coverage. It was about storytelling. The first issue was both monumental and modest. Twenty four pages. And still, the first time we held a physical copy in our hands, we knew we were holding the beginning of something special. Apologies, there's no sound for some reason, but here's a clip from Rebecca on FaceTime with LJ, opening the first ever copy of SCM from the mail! Becoming an Us Not even a few weeks into building the brand, someone slid into our DMs. She saw the vision. She saw the voice. She saw how she could help shape what this could become. Very quickly and very unanimously, Ilana joined the co-founding team. SoundCheck became an us. The First Rooms We Entered LJ and Rebecca standing outside of "Jonas" Pizza. Then came the first trip. LJ visited Rebecca in March. JonasCon. New York, New Jersey, Philadelphia. We watched the idea start to materialize in real time. We landed an interview with Gabi Rose. It was a huge swing for us and our first recorded interview, done over Zoom. We edited it, shared it, and started to feel traction. We talked to fans at the barricade. We listened more than we spoke. We learned what it meant to show up with curiosity instead of expectation. Expanding the Circle Soon after, SoundCheck spent time in Detroit. We worked with Former Critics and spent a full day at 2928 Studios filming, photographing, interviewing, and capturing performances. It marked a turning point. Contributors joined. Fernando joined. Konstantina joined. The team grew, and with it, the scope of what SoundCheck could be. LJ Portnoy & Jess from Former Critics By the time we released our fourth issue, our PRIDE issue with Milahroy, something had become very clear. This work was about passion over paycheck. About letting artists be fully themselves. About capturing joy, silliness, vulnerability, and truth without sanding down the edges. Learning How to Build Together At the end of May, the founding team came together in Miami. We attempted an early event. We learned quickly. We took photos. But more than anything, something seismic shifted. This was no longer just a creative project. We were learning how to operate. How to scale. How to build something together without losing what made it special. Left to Right - Rebecca, Ilana, LJ at Cafe Habana When Momentum Hit July arrived all at once. We landed an interview with Livingston, an artist we deeply admire. That conversation showed us something important. SoundCheck could exist at every stage of an artist’s career. From first releases to millions of listeners, the stories mattered just the same. In August, we hosted our first truly successful event. Over sixty fans showed up to celebrate music, friendship, and fandom at a Jonas Brothers album release party. People left with collectibles, signed memorabilia, and memories they still talk about. That night felt like proof. Proof that this community was real. The Work Multiplies As the year continued, everything accelerated. We connected with Deleasa and featured him on the cover of Issue Six. His story became the most searched and most viewed piece we published this year. We continued expanding SoundCheck Sessions, our interview and performance series, sitting down with artists like Gabi Rose, Former Critics, Milahroy, Livingston, Grant Knoche, David Archuleta, Lila Holler, and others whose episodes are still waiting in the wings (don’t worry, big things are coming in 2026!) Out in the World In October, we returned to Miami with clarity we didn’t have before. We walked into Sweat Records carrying stacks of magazines and asked if they would share them with their community. They said yes. SoundCheck found a new home on record store counters, in real hands, in real cities. Photo fo SoundCheck Mag available inside Sweat Records, Miami, FL! November brought another shift. Our interview with David Archuleta went live. The newest issue of SoundCheck Mag landed at ninety pages of ad free, music lover first storytelling. Proof of how far this publication had come in under twelve months. What the Year Actually Held Over the course of this year, SoundCheck covered seventy seven shows. We released six issues. We told fan stories. We ran album reviews. We published concert recaps. We hosted virtual press conferences. We built SoundCheck Sessions. We showed up in Miami and Brooklyn. We watched one album post take off. We watched one story resonate far beyond what we imagined. SoundCheck Wrappped 2025, curated by Ilana Bornstein Behind every number was time. Planning. Writing. Photographing. Designing. Editing. Managing. Supporting one another. There is not a moment where someone on this team is not thinking about SoundCheck. And that is something we are deeply proud of. Closing the First Chapter: SoundCheck Mag 2025 Season Comes to an End What started as an idea became an us. As we close out our first year, we are taking a breath. Reflecting. Resetting. Making room for what comes next. There is so much happening behind the scenes, and 2026 will be about building intentionally, creatively, and together. Endless love to our fans, contributors, musicians, and industry friends who made every moment of this possible. Thank you for being part of year one. Happy New Year. Cheers! The SoundCheck Mag Team

From global chart-toppers to genre-defying hits, Ryan Tedder has quietly shaped the sound of a generation, one song at a time. Article Contributed by Monica Soriano Photo credit Jeremy Cowart Not only is Ryan Tedder the lead singer of one of the most internationally well-known bands out there, but he is a brilliant songwriter too. The massive hits he’s written range from Beyonce’s “Halo”, Leona Lewis’ “Bleeding Love," and Adele’s “Rumour Has It”. His band OneRepublic is widely known for songs such as “Apologize”, “Counting Stars," and “Secrets," all of which were written by Ryan Tedder himself. He is a magnet for success; the way he blends genres to create his songs gives rise to the most enticing music for all. Because Tedder pours years of knowledge into every track, he can easily create pure pop bliss or a hard-hitting rock track. Early Immersion: A Life Surrounded by Music Ryan was raised in an environment where he was consistently surrounded by music because his father was a musician. Tedder learned to play piano at 3 years old and sing very early on, at around 7. He took the initiative and spent many hours singing at such a young age. He worked a regular job while focused on his path to the music industry. Quitting his job at Pottery Barn to participate in a music contest shows how focused he was on his goals. It seems to be a pattern amongst some of the most successful entertainers: they move forward with ambition. The contest he quit his job for led to many opportunities, including national exposure. While trying to develop himself as an artist, Ryan would produce and write demos for various other artists. The continuous outpouring of his talent led him to be one of the biggest songwriters in the world. Inside the Process: Writing From the Subconscious What is his process for writing? Well, he is generally open about the way he has created songs in the past. For a lot of the tracks, Tedder has spoken about digging into his subconscious in order to decipher what works and what doesn’t for each song. His process seems to take into account who the song is for, the mood, the intent, the genre, and the wording. It may seem confusing to some, but the way he effortlessly speaks through the steps and teaches his process correlates with his vast history as a musician. More Than a Songwriter: Producer, Performer, Visionary Although Ryan Tedder has written many hits, his name can also be seen in the credits as a producer for a lot of them. He is a songwriter, producer, and vocalist of OneRepublic. There’s not much musically he can't do - he also plays at least 4 instruments! A well-rounded talent like his was bound to make his way to the mainstream world of music. Ryan Tedder was named The Undercover King of Pop  by Billboard in 2014. There’s not much else to be said; he undoubtedly has left his mark on the music industry and continues to do so to this day. Songwriters use words and melodies to communicate in a way no one else can. Through music, people are united, they fight, they cry, they celebrate, but more than anything, they feel  universally. It is because of Ryan Tedder’s work as a songwriter that many artists’ careers were launched or reborn. Having started learning about music so young, he is a true example of when preparation meets opportunity.

Collaboration Contribution By Rebecca McDevitt and LJ Portnoy Microphone, keyboard, notebook, headphones and soundboard. There is no music industry without songwriters. They are the emotional engineers behind the biggest hits, the people who take tangled feelings and turn them into midnight anthems shouted from car windows. Songwriters shape artists. They influence genres. They deserve every ounce of recognition and compensation they get. But the conversation around ownership, artistry, and identity is shifting. The Line Between Artist and Architect Is Getting Blurry More albums are dropping where the story doesn’t actually belong to the person singing it. Sometimes an entire body of work arrives built by outside writers, with the artist stepping in only for the final performance. Listeners feel that shift — not because they’re purists, but because something personal gets lost. That microscopic fingerprint an artist leaves on a lyric, melody, or idea… fans can tell when it’s missing. It raises a real question: When the writing process no longer includes the artist at all, whose story are we actually hearing? Fans build emotional connection through words. They hold certain lines for years, sometimes decades. If an album becomes an anthology of someone else’s emotional world, the bond changes. But Authenticity Isn’t Defined by a Writing Credit Here’s where the debate gets complicated. Emotional truth doesn’t live in the metadata. A song isn’t dishonest just because the artist didn’t write it. Authenticity comes from delivery. The way an artist breathes life into a lyric, bends a note, reshapes a meaning. Some performers transform a song they didn’t write into something that feels deeply lived in. That is its own kind of authorship. The place where things do  get delicate is the debut era. The first single is a thesis statement. It introduces who this person is . So when a new artist launches with a song they didn’t help shape at all, listeners may feel unanchored. Not judgmental, just unsure. They’re trying to understand the emotional universe before collaborators start expanding it. Collaboration Is the Sweet Spot The goal isn’t purity. The industry is built on partnership. Writing camps exist for a reason. Song shopping keeps thousands of creatives employed. Songwriters deserve financial stability, and artists deserve access to incredible storytelling. The danger is in extremes. When an artist fully vacates the creative seat and relies on purchased songs across an entire project, the music can start to feel disconnected. Conversely, demanding that every artist write every lyric is unrealistic and creatively limiting. There’s a middle ground:  Artists don’t need to be the primary writer; they just need to be present.  A concept tweak. A personal line scribbled at 2 AM. A melody shift. A moment of authorship that lets listeners feel them  inside the record. The songs that stay with people usually have fingerprints, not perfect paperwork. Songwriters Are Emotional Architects — And Artists Should Learn the Blueprint Photography by SHVETS production (obtained via Pexels.com ) Writers like Amy Allen, Jon Bellion, and Julia Michaels build emotional architecture that artists can step into and elevate. They don’t replace the artist’s voice, they sharpen it. Many of pop’s most resonant tracks were born from that fusion, where expert writing meets a performance that adds heat and clarity. Still, artists benefit from learning the craft themselves. Not because they must become full-time writers, but because writing deepens identity. It expands emotional vocabulary. It gives artists a clearer understanding of the worlds they’re trying to build. A well-rounded musician. One who sings, performs, and at least occasionally writes, often leaves a stronger, more lasting impression. So… When Does Selling Songs Cross the Line? It happens when songwriting becomes a replacement for the artist instead of a tool for them. It happens when an album sounds polished but hollow. When listeners can’t find the artist inside the story. When the emotional connection shifts from personal  to generic . The solution isn’t gatekeeping or purity tests. It's a partnership. Let songwriters write. Let artists perform. But let them meet in the middle. It’s here where identity forms, emotions sharpen, and the music starts to feel like it could only come from one person.

Article Contributed by Monica Soriano A collage of top music streaming apps. More and more people are tuning into streaming apps like Spotify or Apple Music, rather than turning on the radio. It has become the norm to pair up the streaming apps to cars, TVs, and every device you can listen to music from. It’s easier to pay a monthly fee to avoid commercials, know exactly what you will be listening to, skip a track, or add it to your personal playlist. The accessibility that comes with streaming apps has made it so that radio is no longer holding the power or audience it used to. With the rise of streaming, the audience moving on from radio can be bittersweet, as radio has been around for over a century.  Over 100 Years of Radio The radio was a significant milestone in the world for communication purposes and the media. Something that was limited to transmitting Morse codes or political messages became a source of entertainment for the majority of households. Jazz, Classical, Blues, and Country music were some of the first genres to be broadcast on the radio and later expanded to what we know today - multiple stations, talk shows, and ever-evolving genres. Its popularity expanded throughout the 1900s, so much so that it cemented a segment in history called The Golden Age of Radio , which lasted from the 1920s to the 1950s. The rich history of radio is important to the world because it provided live entertainment to people and thus contributed to what the music industry is today. The Streaming Takeover It’s no surprise that we are where we are today with music. The continuous evolution of technology affected the industry and thus led to the popularization of streaming apps. In the late 1990s, the first streaming website, Napster, was introduced and opened the gates for what was to come. YouTube, the iPod, Soundcloud, Limewire, and more contributed to the way we listen to music today and how accessible it is. Whether through legal or illegal means, it was clear that society wanted music to be individually curated to meet every person's individual taste. The ability to download music and have it at your fingertips makes streaming apps all the more enticing. Spotify, Apple Music, and YouTube Music are among the most popular apps today. Radio vs. Streaming Apps - For Artists While radio is still a valuable form of entertainment, it does have to compete with streaming. There are now apps for radio stations and streaming apps that have their own radio-like shows or podcasts; in a way, it is all intertwining. But where does all of this leave artists? Although streaming makes artists more visible and attainable, there is a big dispute within the industry about pay. It is undeniable that they don’t make what is considered a fair amount. Radio (in the U.S.), on the other hand, primarily pays the songwriter and publisher royalties; therefore, if the artist is not credited, they won’t make much money or any. In short, there doesn’t seem to be a true competition between radio and streaming when it comes to compensating the artists fairly. They both promote the artists and allow visibility to different audiences. The thing about streaming apps is that they seem to have an easier time catering to music fans. For example, Spotify’s Wrapped campaign allows listeners to see a short summary of their most listened to genres, songs, and artists. That is where the rise in streaming apps is undebatably valuable to artists.  We might not see radio die out fully within this lifetime, but it does continue to decline in popularity while striving to stay afloat. It’s amazing how much history was made known to the world through radio and how much it influenced the music industry. While we don’t know how Radio will continue to keep relevance against streaming apps, we can fully appreciate the imprint it leaves behind.

Contributed by Fernando Flores Single artwork for Dakota Diehl's Falling out of Love Dakota Diehl’s “Falling Out of Love” feels like the exact moment when heartbreak stops knocking the wind out of you and starts lighting a fire instead. This song marches with its shoulders back and head up, saying enough. It adds strength to a woman scorned in the best way possible, not by making her cruel or careless, but by reminding her she survived, learned, and came out sharper on the other side.  From the very first beat, the rhythm pulls you in. It pulls you up from the ground and propels you forward. No broken heart left behind with “Falling Out of Love.” Dakota empowers a broken heart through an anthem that is as powerful in rhythm as it is in lyrics, and that balance is what makes this song hit so hard. You can feel emotion without being swallowed by it. It’s pain with direction, heartbreak with boundaries. Lyrically, this song feels honest in a way that doesn’t try to soften the truth. Dakota doesn't romanticize the hurt or dress it up for sympathy. She says what needs to be said and leaves it right there. Something one would do once the tears have dried and they admit to themself that loving someone doesn’t mean it has to be at their own expense. “Falling Out of Love” is relatable without being predictable, raw without being messy.  What hasn’t been mainstream popular in a really long time is an empowering song that doesn’t feel like it's trying too hard. “Falling Out of Love” wouldn’t classify as a rant or a revenge fantasy. It’s a confidence booster that builds from that clarity when the love lens has lifted. Its storytelling at its finest especially when you hear the moment the song pivots from questioning oneself to trusting her instincts once more. That shift from heartbreak to self-respect is where this song truly brings it home. Let's be honest: this is the song that you put on when you're angry and trying to find a healthy way to blow off some steam. This track helps you resist the urge from going to carve your name into his leather seats just like Ms. Carrie Underwood because you know you're better than that. Ultimately, there's no judgement here if you decide to act on the urge. Although you would probably be better off in the car blasting this song instead, with your windows down, singing along like it's a therapy session you didn’t schedule. It has been decades since there's been a song that captures this essence, and has the powerful vocals like the artists, Carrie Underwood or Kelly Clarkson. Through and through, Dakota Diehl doesn’t just sing about losing love; she shows that finding yourself can be louder, stronger and way more satisfying. “Falling Out of Love” isn’t just a breakup song; it's a reset. To anyone out there that has loved deeply and been hurt even worse yet still decided to walk away with their dignity intact: this one's for you.