Rachel Bochner performing at the Philly Kung Fu Necktie | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) From a crowd singing along to flying bras and a whole lot of chaos, Rachel Bochner brought the energy, the personality and the kind of connection that makes live music special to Philadelphia’s Kung Fu Necktie. Article Contributed by Rebecca McDevitt. Photography by Rebecca McDevitt. Rachel Bochner performing at the Philly Kung Fu Necktie | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) Philadelphia got a little louder, hotter and a whole lot more chaotic on October 21, when Rachel Bochner brought her Sorry If It’s Selfish! Tour to Kung Fu Necktie. Between the singalongs, flying bras and a questionable Magic 8 Ball prediction, the night had all the makings of a memorable show. But what made it so much fun was watching an artist who seemed to be having just as good a time as everyone in the crowd. Kicking Off the Night With Janna Jamison Janna Jamison performing at the Philly Kung Fu Necktie | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) Janna Jamison opened the evening with vocals that reminded us of Dolores O’Riordan of The Cranberries. There was a distinctive quality to her sound that gave her a little rock princess energy, and we were absolutely here for it. Add in her heart shaped guitars, which we immediately fell in love with, and she was a fun introduction to the night ahead. Welcome to Rachel's World Rachel Bochner performing at the Philly Kung Fu Necktie | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) With roughly 40 to 50 people packed into Kung Fu Necktie, the atmosphere was intimate, sweaty and wonderfully chaotic. The bar's eclectic, thrifted decor set the scene, while a giant bandana style banner featuring Bochner's name and a lit clothesline full of bras gave the stage plenty of personality. And yes, more bras would eventually make their way onto that stage. Bochner's energy was infectious from the moment she started performing. Backed by drummer Sierra Leuschen and guitarist Rianna Kopcho, she brought a liveliness to the room that made it difficult to look away. You could watch her perform all night and still want another set. She has that kind of stage presence, the kind that makes you want to come back and see her again because you know the experience will be just as much fun. Rachel Bochner performing at the Philly Kung Fu Necktie | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) At one point, Bochner sat on a chest, shook a Magic 8 Ball and gave a thumbs down. No explanation needed. It was silly, unexpected and completely on brand for a night that never took itself too seriously. Then came the bras. With an entire clothesline already hanging behind her, the crowd seemed determined to contribute to the collection. It was ridiculous in the best possible way, and watching it unfold in such a tiny room only made it funnier. The crowd brought just as much energy as Bochner herself. A few girls at the front sang and danced to every word, and their enthusiasm spread throughout the room. Everyone seemed ready to let loose, sing loudly and enjoy being there. That sense of freedom was part of what made the show feel special. As an openly lesbian artist who shares her relationship with fans online, Bochner creates a connection that extends beyond the music. The room felt welcoming, offering LGBTQ+ fans a place to be themselves, sing their hearts out and celebrate alongside one another. From Lovergirl to Fault Line Bochner's 16 song setlist leaned heavily on her latest album, I Guess A Sure Thing Couldn't Go Down Gently, with Leuschen and Kopcho helping bring the new material to life. Hearing the songs with a full band gave them an extra punch, making an already exciting record feel even bigger in a room where everyone was so close to the action. Rachel Bochner performing at the Philly Kung Fu Necktie | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) She also made room for familiar favorites. “Groupie” brought us back to her Lovergirl era, while “Your Manhattan” gave the crowd another opportunity to sing along. “Stupid!!!”, “By The Roxy” and “Say That You Don’t” were highlights from the newer material, adding to a setlist that showed off where Bochner is as an artist right now. Closing with “Fault Line,” one of our favorite tracks from the new album and one of its most high energy songs, was the perfect choice. The crowd was singing and dancing along, and the room's energy carried right through to the final note. It was the kind of ending that left us wishing there were a few more songs on the setlist. Why the Small Shows Matter Kung Fu Necktie may have held only a few dozen people, but Bochner made the room feel much bigger without losing the intimacy that made the night so memorable. There were no massive production tricks needed. Just great music, a crowd ready to sing, a band bringing the songs to life and an artist who genuinely seemed to love every second of being onstage. Rachel Bochner performing at the Philly Kung Fu Necktie | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) Between the bras, the Magic 8 Ball and the crowd singing along, there was plenty to laugh about. But underneath all that chaos was the reason we keep coming back to live music: the feeling of being in a room with an artist whose energy makes you forget about everything else for a little while. Walking out of Kung Fu Necktie, our takeaway was simple: what an awesome show. No Magic 8 Ball needed. Rachel Bochner was a sure thing in Philly, and we're already looking forward to seeing her again.

Pinhead Gunpowder, Billie Joe Armstrong, performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) Billie Joe Armstrong traded stadiums for St. Andrew’s Hall, and a sold-out room of longtime Green Day fans got raw, unpolished East Bay punk up close. Written by LJ Portnoy and Mark Portnoy Photography by LJ Portnoy Pinhead Gunpowder performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) Green Day has packed Comerica Park twice in recent years, in 2021 and again in 2024. On Saturday night, Billie Joe Armstrong was standing on the stage at St. Andrew’s Hall in front of a sold-out crowd of roughly a thousand fans. Pinhead Gunpowder doesn’t come around often, and Detroit knew it. Who Is Pinhead Gunpowder? Pinhead Gunpowder, Billie Joe Armstrong, performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) If you know Billie Joe but not this band, you’re not alone. Pinhead Gunpowder formed in the early ’90s and came out of the same Berkeley punk scene that raised Green Day. Billie Joe plays guitar and sings. Behind the kit is Aaron Cometbus, who handles drums and lyrics, and he’s the primary writer of the band’s songs. Pinhead Gunpowder, Aaron Cometbus, performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) Cometbus is an East Bay legend in his own right: he publishes the Cometbus fanzine and has played in bands like Crimpshrine and Cleveland Bound Death Sentence. Bill Schneider holds down bass and vocals. Jason White rounds out the lineup on guitar and vocals, and Green Day fans will recognize him: he’s been part of Green Day’s touring and recording band for over two decades. Pinhead Gunpowder, Bill Schneider, performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) The band started with a different lineup. Original guitarist and vocalist Sarah Kirsch left the band, and White took her place. Kirsch passed away in 2012, and her place in the band’s history still matters. Even the name has a punk origin story: it comes from a brand of “high octane” green tea that Cometbus found while dumpster diving. Pinhead Gunpowder, Jason White, performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) The band never chased the spotlight. Its members treated it as a break from their main bands, with no pressure and no real touring, just a chance to be a garage band again. That made each release feel like an event: the compilation Jump Salty, the Carry the Banner EP, Goodbye Ellston Avenue, Shoot the Moon, and 2008’s West Side Highway 7". Then, in 2024, they came back with Unt, their first new music in 16 years. That brings us to Detroit, and a room full of people who never thought they’d get this chance. The Openers The Idiot Kids performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) Detroit’s own The Idiot Kids kicked things off with a hometown set, followed by Night Shop, who has been holding down support on the band’s East Coast and Midwest dates. Both set up a night built on guitars, grit, and no-frills punk. Pinhead Gunpowder: Straight Out of a Time Machine We’ve been Green Day listeners since 2005, and we’ll be honest: we came for Billie Joe. We left with a new appreciation for Pinhead Gunpowder. Pinhead Gunpowder fans in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) The band opened with “Asheville” and went straight into “Life During Wartime.” The sound is a direct line back to early Green Day, roughly the 1994 to 2004 era: raw, unpolished, and loud in all the right ways. Where Green Day has grown into a stadium-sized, polished machine, Pinhead Gunpowder keeps it scrappy and authentic. Nothing about it feels overproduced. It feels like punk the way it started, in small rooms with people who love it. The crowd skewed a little older, and most of the room were Green Day fans who’d waited years to see Billie Joe somewhere this close. Watching him walk onstage in a room this size felt like stepping into a time machine. For a lot of people in that room, us included, that was the whole night. A 29-Song Marathon Pinhead Gunpowder didn’t treat this as a quick side-project set. The night ran 29 songs deep and pulled from across the catalog, including “Reach for the Bottle,” “Before the Accident,” and “Losers of the Year.” Along the way, the band covered Joni Mitchell’s “Big Yellow Taxi” and “Do You Know Where You’re Going To,” broke into a quick “Happy Birthday,” and teased “Second Street” before “On the Ave.” Our favorite detail closed out the night. The band played “Unt” a second time, because Billie Joe had flubbed it earlier in the set. A stadium band would never. A punk band in a thousand-cap room absolutely would, and that’s the whole point. An Awe-Struck Moment Some shoots are just work, and some are surreal. We grew up with Billie Joe on our walls, and on Saturday he was right in front of us. We were the ones creating the images that, years ago, would have been the poster on that wall. Pinhead Gunpowder, Billie Joe Armstrong, performing in Detroit, MI at St. Andrew's Hall | Photography by LJ Portnoy (@ljportnoy) It was mesmerizing. For about ten seconds, we just stood there, dazed, before remembering we had a job to do. Full-circle moments don’t get much fuller than that. Long Live the Side Project Pinhead Gunpowder is a rare chance to see one of punk’s most beloved side projects in a room small enough to feel personal. If you grew up on Dookie, Insomniac, or American Idiot, or just love punk that isn’t polished, catch them whenever they surface. Shows like this don’t happen often.

Knox performing live at St. Andrews Hall in Detroit, MI | Photography by LJ Portnoy (@ljportnoy) Fresh off his new album, Knox and his show-stopping opener Emi Grace turned St. Andrew’s Hall into all-night Friday sing-along. Article Contributed by Rachel Catherine and LJ Portnoy | Photography by LJ Portnoy Friday night at St. Andrew’s Hall was a perfect end to the week. Knox brought the Midwest Best Tour to Detroit with Emi Grace in tow, and the room was packed front to back. From Emi Grace’s first chord to Knox’s final bow, Detroit showed up loud. We came into this one from two different places. One of us has been a Knox fan for a while, and the other walked in without hearing a note of his catalog. By the end of the night, we were on the same page. Emi Grace: Can’t Take Your Eye Off Her Emi Grace performing live at St. Andrews Hall in Detroit, MI | Photography by LJ Portnoy (@ljportnoy) Neither of us knew Emi Grace going in, and that changed fast. She opened with guitar-driven rock that shook the floor. She was backed by a second guitarist, a bassist, and a drummer, but she was the one stealing the show. Her riffs were smooth when they needed to be and downright nasty (the good kind) when they didn’t. On paper, the pairing is a little unexpected: Emi Grace leans rocker-girl alternative, and Knox lives in 2010s-nostalgia pop. In the room, it didn’t matter. The crowd was cheering like crazy, and phones went up all over the floor to capture her set. She didn’t just warm the room up for Knox. She set the tone for the whole night: rock-and-roll attitude, full throttle, start to finish. Emi Grace performing live at St. Andrews Hall in Detroit, MI | Photography by LJ Portnoy (@ljportnoy) If you’re wondering where she came from, so were we. The night after Detroit, she opened for Twenty One Pilots’ massive Ohio show, and after seeing her live, it’s easy to see why they picked her. Think raw, early Paramore-era Hayley Williams, before “Misery Business” made them a household name. Remember her name for 2027 and beyond. Knox: The Best-Time Kind of Headliner Knox pre-show at St. Andrews Hall in Detroit, MI | Photography by LJ Portnoy (@ljportnoy) Before his set, we got a few minutes with Knox for portraits, and he was genuine from start to finish. Moments like that are a reminder that these artists are people just like us, living extraordinary lives. That’s the whole idea behind his new album, My Midwest Best: anyone can get out of the Midwest, and anyone can do this. You just have to go for it. When Knox and his band took the stage, the crowd roared, and the momentum never dropped. His take on pop-rock is pure fun live. He played like he belonged in a room twice the size, working the stage left, right, and straight up the middle. Knox performing live at St. Andrews Hall in Detroit, MI | Photography by LJ Portnoy (@ljportnoy) We expected him to be behind a guitar all night, but he didn’t hide behind his instrument. He picked it up for select songs and went cordless-mic for the rest, bouncing back and forth with nonstop stage presence. Between songs, he promised Detroit he’d keep doing this for as long as we’ll have him. Based on Friday’s crowd, that’ll be a while. For the longtime fan among us, the night revealed an even deeper fandom than expected, singing along to nearly every song. For the new listener, the crowd told the story. Couples hung onto each other, and longtime fans sang every word with their friends like their lives depended on it. Even the little ones in attendance were jumping around, making core memories in real time. Both of us walked out with “Long Story Short” stuck in our heads, and it hasn’t left since. Knox performing live at St. Andrews Hall in Detroit, MI | Photography by LJ Portnoy (@ljportnoy) From a photography perspective, we got four songs in the pit instead of the usual three, and the production made every single shot count. The lighting was bright, clean, and so well designed that ISO barely needed a touch all night. That almost never happens, and it made shooting this show seamless. The Ones to Watch: 2027 If you love pop-rock and high-energy shows, catch the Midwest Best Tour if it comes anywhere near you. Add Knox to your playlist, and get to know Emi Grace now, because they’re both SoundCheck’s artists to watch for 2027.

Hardcore’s reigning kings, Knocked Loose, turned Worcester’s outdoor stage into 72 minutes of chaos, with a little help from Denzel Curry Knocked Loose performs in Worcester, MA | Photographed by Michael Riley (@MichaelRiley.arw) Article Contributed by Michael Riley. Edited by LJ Portnoy, Editor-in-Chief. From Oldham County to the Top of Hardcore The current kings of hardcore showed up to Massachusetts on Friday, October 9. Knocked Loose is a hardcore band from Oldham County, Kentucky, formed in 2013 and signed to Pure Noise Records. Oldham County sits about 20 miles outside Louisville. The lineup is vocalist Bryan Garris, guitarists Isaac Hale and Nicko Calderon, bassist Kevin Otten and drummer Kevin “Pacsun” Kaine. Knocked Loose performs in Worcester, MA | Photographed by Michael Riley (@MichaelRiley.arw) The band built its name the hard way. They released their debut EP, Pop Culture, in 2014, and relentless touring earned them support slots for Counterparts, The Acacia Strain and Stick to Your Guns. Their 2016 debut album "Laugh Tracks" gave them “Counting Worms,” and 2019's "A Different Shade of Blue" pushed them into heavier, more challenging territory. Their 2024 album You Won’t Go Before You’re Supposed To includes the Grammy-nominated “Suffocate” featuring Poppy, and the band performed that song on Jimmy Kimmel Live! Third Time in Worcester, Biggest Room Yet The Palladium in Worcester holds a special place for Knocked Loose. They’ve played here three times: first in the 500-capacity upstairs room, then in the 2,500-capacity room downstairs, and on Friday, outside for a crowd of 8,000. Everyone knew they were in for a treat. “MASSACHUSETTSSSSSS!” When the stage went dark, all you could hear was distorted, dissonant guitars wailing as if they were crying. It felt like you were about to meet your demise. Knocked Loose performs in Worcester, MA | Photographed by Michael Riley (@MichaelRiley.arw) As the intro to “Deep in the Willow” played, Bryan Garris walked out and held his signature fist in the air. Everything stopped for a moment. Then: “MASSACHUSETTSSSSSS!” That was all it took to start the night at a 10/10 energy level. Where Hardcore Meets Hip Hop The whole evening was chaos. For an hour and twelve minutes, the parking lot was nothing but crowd surfing and moshing, and security at the barricade worked overtime. For us, the best part of the night came when Knocked Loose brought out Denzel Curry for “Hive Mind.” The song came out in February 2026 as the band’s first new music since You Won’t Go Before You’re Supposed To, and its music video was filmed at David Armstrong Extreme Park in their hometown of Louisville. Curry is a longtime student of hardcore and metal who made waves with his 2019 cover of Rage Against the Machine’s “Bulls on Parade.” Garris has said the band always knew that if a collaboration like this was going to work, it had to be Denzel, because he understands the genre. Knocked Loose performs in Worcester, MA | Photographed by Michael Riley (@MichaelRiley.arw) Live, you can hear why. “Hive Mind” sounds like a hardcore song until the drums suddenly switch to a hip hop beat. Denzel comes in with his double-time flow and rides the song from a distinct rap sound into a recognizable hardcore two-step. Rap and hardcore have crossed paths since the ’80s, but Knocked Loose and Denzel Curry take that relationship to a new level and mash the two genres together seamlessly. The Wall of Death Bryan reflected on the band’s history with Massachusetts and seemed genuinely grateful to the state for holding a special place for Knocked Loose. Then they played their most famous song, “Counting Worms.” As the night neared its end, the band wasn’t finished. Guitarist Isaac Hale ordered everyone from the barricade to the soundboard to split in two. Knocked Loose performs in Worcester, MA | Photographed by Michael Riley (@MichaelRiley.arw) Oh boy. The infamous wall of death was coming. The parking lot split 50/50, and as the ending of “Everything Is Quiet Now” played, both sides smashed together like a car crash. Don’t Miss the Next One Everyone, Knocked Loose included, left everything in the parking lot on Friday night. This tour grew out of “Hive Mind,” with Knocked Loose and Denzel Curry co-headlining across North America. If you haven’t caught it yet, make sure you get to the next one.

Backstage at The Concert Hall in Toronto, Dave Faber Seamus O’Neil, and Nate Cavalli talk about the pop-punk resurgence, hearing fans sing the new single back, and what’s coming next on Faber Drive. Faber Drive performs in Toronto, ON Canada at The Concert Hall | Photography by Syhann Moyo (@Sidestagewithsy) Interview by Syhann Moyo for Side Stage with Sy, presented in partnership with SoundCheck Mag. Article contributed by LJ Portnoy, Editor-in-Chief. Edited for length and clarity. Celebrating Seven Second Surgery, a Little Early Most bands mark a milestone on the round number. Faber Drive is calling this run the 19¼ Anniversary Tour, because, as frontman Dave Faber puts it, 20 is next year. Faber Drive performs in Toronto, ON Canada at The Concert Hall | Photography by Syhann Moyo (@Sidestagewithsy) The tour celebrates Seven Second Surgery, the 2007 debut that put the Mission, B.C. pop-punk band on Canadian radio with “Second Chance,” “Tongue Tied,” “When I’m With You,” and “Sleepless Nights.” This year the album came back as a remaster, and the band has been playing nearly all of it live. Before their October 4 show at The Concert Hall in Toronto, Dave Faber, Nate Cavalli, and drummer Seamus O’Neill sat down with Syhann Moyo of Side Stage with Sy. They talked about the scene’s revival, what it feels like when a crowd knows the new songs as well as the old ones, and their next release. Who Is Faber Drive? Faber Drive formed in 2004 in Mission, British Columbia, east of Vancouver. Dave Faber was teaching guitar and drum lessons when he started the band, recruiting one of his first drum students, Ray “Red” Bull, then guitarist David Hinsley and bassist Jeremy “Krikkit” Liddle. They first played as Faber and added “Drive” after a naming conflict with a large company. A win in Vancouver radio station CFOX’s Seeds competition in 2005, plus a demo that reached Nickelback producer Joey Moi and songwriter Brian Howes, got the band noticed. Chad Kroeger signed them to his 604 Records label in May 2006, and they spent that year opening for Hedley and for Nickelback’s Canadian dates. Seven Second Surgery arrived on May 1, 2007. “Tongue Tied” and “When I’m With You” both cracked the top 20 of the Canadian Hot 100 and went gold, and “Second Chance” won Best New Hot AC Group at the 2008 Canadian Radio Music Awards. That same year the band was nominated for New Group of the Year at the Juno Awards and toured Canada with Simple Plan, Metro Station, and Marianas Trench. The band leaned into electropop on 2009’s Can’t Keep a Secret. Its singles “G-Get Up and Dance” and “Give Him Up” both went platinum, and the record earned a Juno nomination for Pop Album of the Year. Lost in Paradise followed in 2012, and O’Neill joined on drums ahead of that tour, which ran across Canada and as far as Singapore. By 2014, new releases had slowed as members took on other projects. A 2016 reunion show in Vancouver brought them back, and Faber Drive has released music independently ever since, including the four-song Lifeline EP in April 2025. Today the lineup is Faber on vocals and guitar, O’Neill on drums, Nate Cavalli on lead guitar, and Bailey Jacobsen on bass. Faber Drive on Their Second Shot at the Limelight When Moyo asked why the band didn’t just wait a year for the 20th, Faber had the answer ready: “Because 20’s next year!” O’Neill put it more plainly. “We didn’t want to wait. We’re impatient.” Faber Drive fans in Toronto, ON Canada at The Concert Hall | Photography by Syhann Moyo (@Sidestagewithsy) The bigger question was what the band means to them now. Faber passed it to O’Neill, whom he calls Shay, and the drummer described a band that nearly became a memory. “We thought we were kaput, you know what I mean?” he said. He watched plenty of bands get big and then fade away, until a wave of groups from that era came back and got another chance at the limelight. Faber Drive is riding that same wave. For O’Neill, new music is how the band pays that second chance back. “Making new music is our chance to give back to the fans,” he said. The latest single, “The Beat of My Heart Goes,” has landed better than he hoped, and he has watched crowds on this tour sing it back night after night. He knows how rare that is. Many of his own favorite bands release new songs only to have fans wait for the hits. “It means a lot that it’s being so well received,” he said. Faber said the old songs hit just as hard. The band is playing almost all of Seven Second Surgery each night, including “Tongue Tied,” “When I’m With You,” “Second Chance,” and “Sleepless Nights.” Hearing fans sing those back “means the world to us,” he said. “We’re very thankful and grateful. We don’t take it for granted, that’s for sure.” Back on the Road, With a New EP Coming Between the remaster and a run of new singles, fans have been asking whether a full project is on the way. Faber confirmed the band is planning another EP for early 2027, its first since Lifeline. The timing puts it right on schedule for the anniversary that actually ends in a zero. Until then, Faber Drive is still on the road with Seven Second Surgery, and the crowds are still singing every word. Listen to Faber Drive on Spotify, and follow Side Stage with Sy on Instagram for more interviews.

Franklin Jonas and the Byzantines at the HiFi Indy, in Indianapolis, IN | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) On the road with Franklin Jonas and the Byzantines during their first of many headlining tours. Photography by Rebecca McDevitt & Madison Cozzens. Article contributed by Rebecca McDevitt & LJ Portnoy. Videography by LJ Portnoy. There is something different about seeing an artist on their first headlining tour. The rooms are smaller, the connection is closer, the songs are still finding their shape in real time, and the audience is not just watching the beginning of something. They are becoming part of it. Franklin Jonas and the Byzantines’ First of Many Tour brought exactly that feeling to rooms across the country, and SoundCheck was lucky enough to experience five nights of it. Between Indianapolis, Columbus, Lakewood, Philadelphia and New York, we watched the tour grow from night to night, captured the moments that could only happen in rooms this intimate, and watched fans follow the band from city to city to hear songs that, for now, can only be experienced live. Franklin Jonas and the Byzantines in Lakewood OH, at Mahall's - Photography by Madison Cozzens (@Coz_artphoto) Franklin is a friend of SoundCheck and the cover star of our most recent issue, so being able to follow along for five dates felt especially full circle. From the moment he walked onto the stage to the moment he disappeared behind the merch table at the end of the night, one thing remained consistent: Franklin made sure everyone in the room felt like they were part of the show. Polyglam Set the Tone There are openers, and then there are artists who make the room feel ready for whatever comes next. Polyglam did exactly that. The Los Angeles trio, made up of Allie Stamler on lead vocals and strings, Rachel White on guitar and keys, and John Sinclair on bass, drums, keys and backing vocals, brought a dreamy, transcendent energy to the beginning of each night. Polyglam open the First of Many Tour, in Philly, PA at MilkBoy | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) This was SoundCheck’s first time seeing Polyglam, but hopefully it will not be our last. Their sets were beautiful without feeling distant, technically impressive without losing their sense of fun, and by the time Franklin and the Byzantines took the stage, the audience was already completely locked in. From the First Second Franklin makes his presence known instantly. The set opened with “Revelator,” before the room got the announcement fans had been waiting for: the band would be playing The Byzantines, the still-unreleased album, in full and in order. That decision changed the entire feeling of the shows. Franklin Jonas and the Byzantines at the HiFi Indy, in Indianapolis, IN | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) Nobody was singing along to a record they had already streamed a hundred times. Nobody knew exactly what was coming next. These songs were still new, and the only way to hear them was to be in the room with Franklin and the Byzantines while they were being played. For fans, that made every night feel like its own little piece of history. It also became one of the reasons people kept showing up from city to city. The tour was not simply a chance to see Franklin perform songs fans already knew. It was a chance to experience songs together for the first time. Many fans were avid listeners of the various recordings available on TikTok and Instagram, and still were able to sing along, belting many of the words to each track. Nobody knew exactly what was coming next, but everyone was there for it. “Theodora” Franklin Jonas & The Byzantines in New York, NY at the Bowery | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) If there is one song the entire tour seems to bend around, it is “Theodora.” The fan favorite is the emotional center of the set, a slower and more vulnerable moment that feels completely different from everything surrounding it. Franklin gets visibly emotional while performing it, and some nights, the emotion completely takes over. Franklin Jonas and the Byzantines at the HiFi Indy, in Indianapolis, IN | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) But what happens onstage is only half of what makes “Theodora” so powerful. The room gets quiet. Not concert quiet. Not simply “the audience is listening” quiet. The kind of quiet where it feels like you could hear a pin drop. And somehow, that happens no matter where the band is. It does not matter what city or state they are in. It does not matter whether the room holds 100 people or 20,000. The emotion radiates through the entire room. For those few minutes, everyone is simply there. Franklin leaves everything on the table during “Theodora,” and the audience responds by giving him the same vulnerability right back. The Byzantines The name on the ticket is Franklin Jonas and the Byzantines, and the second half of that matters. This is a band. Franklin introduces them as one, nicknames and all, and watching them move through the set night after night makes it impossible to see them as anything else. The Byzantines include Tim Bruns, known as “Timmy T-Bone,” on guitar; Aidan Harbeson, known as “Eight Ball,” on banjo; Ben Wood, known as “Ringus,” on upright bass and trumpet; and Nick Harrison, known as “Trailer Park Nick,” on drums and saxophone. Nic Vernali, better known as “NASCAR Nic,” serves as the band’s tour manager. The Byzantines (Tim, Aidan, Nick, and Ben) in various cities and states | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) Banjo, upright bass, trumpet, saxophone and guitar give these songs a texture that you might not expect walking into the room, and the chemistry between the musicians is a huge part of what makes the live show work. One of our favorite band moments came in Lakewood. Midway through the set, Tim handed his guitar out over the edge of the stage to someone in the crowd, who played it while the band continued on around him. It was completely spontaneous, completely chaotic, and exactly the kind of moment that makes an intimate tour like this so memorable. Franklin Jonas and the Byzantines in Lakewood OH, at Mahall's - Photography by Madison Cozzens (@Coz_artphoto) A Setlist That Listened The setlist grew throughout the tour, and it grew because the fans asked it to. In Indianapolis, someone asked for “Spaceship.” Franklin played it, and it stayed. Then, in Columbus, “Cherub” was added to the set, and it stayed too. By the time SoundCheck reached New York for the final night of our coverage, both songs had become part of the evolving setlist. Franklin Jonas and the Byzantines at the Summit Music Hall, in Columbus, OH | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) It is a small thing, but it says a lot about the way Franklin approaches these shows. A request from one person in one room can become part of the experience for everyone who comes after them. The set was not simply something Franklin and the Byzantines brought with them each night. It listened, it changed, and it grew. Franklin Jonas Dives Into the Crowd Franklin Jonas and the Byzantines at the HiFi Indy, in Indianapolis, IN | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) Franklin is not the type of performer to stay on the stage for long. Trailing what has to be the world's longest microphone cord, he jumps down into the audience and plays a stretch of the set from the floor, moving through “High and Sad,” “Oasis,” “Break the Levee,” “Beverly Hills” and “That Psychic.” He twirls people around. He dances and jumps with them. He sings to them and with them, one face at a time. Most importantly, he looks at them. Franklin makes a point of giving the people in front of him his full attention. In a room full of hundreds of people, every individual interaction somehow feels personal. That connection is not something that can be manufactured. It is one of the defining characteristics of the First of Many Tour. Franklin Jonas & The Byzantines tour compliation video | Videography by LJ Portnoy (@ljportnoy) One of the moments that stayed with us came from Lakewood, when Franklin went out over the crowd at Mahall’s and was carried above them, crowdsurfing, while continuing to sing. The moment works because of trust. Franklin trusts his audience to hold him up, and they do. There is something incredibly special about watching an artist put that kind of faith in the people who came to see him. It turns a concert into something more than a performance. For a few seconds, Franklin was literally in the hands of his audience, and they made sure he stayed there. Franklin Jonas & The Byzantines in Philly, PA at MilkBoy | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) By the end of the night, that line between band and audience disappears completely. Franklin brings fans onto the stage for “Road Soda,” and they remain there for the closer, “First of Many," a tribute song to the tour, that is never planned for release. What began as a room full of people watching a band becomes something much more communal by the time the final song arrives. The audience is no longer just watching the show. They are in it. Five Rooms, One Tour Indianapolis. Columbus. Lakewood. Philadelphia. New York. Five rooms, five nights, five different atmospheres, but one continuous experience. From HI-FI in Indianapolis to the Summit Music Theater, in Columbus, Mahall’s in Lakewood, MilkBoy in Philadelphia and Bowery Palace in New York, each room brought its own personality to the First of Many Tour. But the biggest thing we noticed across all five nights was just how much the audiences overlapped. Fan Talks video | Videography by LJ Portnoy (@ljportnoy) / Interviewer Rebecca McDevitt @RebeccaJeanLimitedPhotography) Fans were traveling. People who had been in Indianapolis showed up in Columbus. Columbus fans returned in Lakewood. Fans traveled from Philadelphia, Michigan and beyond to hear songs they could not hear anywhere else. That says something about the music, but it also says something about the community Franklin and the Byzantines are building around it. These were not five separate shows. They felt like five chapters of the same experience. No Encore Necessary Franklin Jonas & The Byzantines in New York, NY at the Bowery | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) There is no traditional encore at a Franklin Jonas and the Byzantines show. When “First of Many” ends, Franklin heads to the merch table, and somehow, that becomes the encore. He stays to talk to the people who want to shake his hand, give him a hug, tell him what a song meant to them or simply say hello. The same openness that defines Franklin onstage follows him offstage. Franklin Jonas & The Byzantines in Philly, PA at MilkBoy | Photography by Rebecca McDevitt (@RebeccaJeanLimitedPhotography) Throughout the tour, he also shared his experience through his tour talk videos on TikTok, creating a running diary of the First of Many Tour as it happened. Watching those moments alongside the shows only reinforced what was already obvious in the rooms themselves. Franklin genuinely loves what he is doing, and he genuinely seems grateful that people want to be there with him. The First of Many Franklin Jonas & The Byzantines - Revelator - Full Song (Live Version) | Videography by LJ Portnoy (@ljportnoy) The tour is called The First of Many, and after five nights across five rooms, the name feels fitting. There is still plenty ahead for Franklin Jonas and the Byzantines. The next stop takes them somewhere much bigger: Franklin is set to perform at the Grand Ole Opry House in Nashville, Tennessee, on October 20. Tickets can be purchased for this show, here. And if these first five nights showed us anything, it is that the size of the room is not what makes a Franklin Jonas show feel big. It is the people in it. The band. The fans. The songs. Franklin Jonas and the Byzantines in Lakewood OH, at Mahall's - Photography by Madison Cozzens (@Coz_artphoto) The moments that could never be recreated exactly the same way twice, after all, this was The First of Many. The First of Many Tour was just that. The first of many.

Her vulnerability is explored and the layers of her world are peeled back in Rachel Bochner’s album ‘I Guess A Sure Thing Couldn’t Go Down Gently.’ Article Contributed by Monica Soriano Photo Credit: Smiles Meyer We had the pleasure of chatting with Singer-Songwriter Rachel Bochner. Upon entering the call for the interview, she was kind and had a serene presence. Rachel was open to give us as many details as she could in regards to her upcoming album. Our first questions for Rachel were none other than “how are you?” and “how’s your day going?”, it helped set a more conversational tone. She told us that she was in a session taking a break and continued to say that although she has an upcoming album set to release, she’s already working on new stuff for an even further future! We had to immediately ask about her upcoming album, as fans of her music, we wondered what the process of creating it was like. Rachel explained that it was her first full length album and it's been in the works since summer of 2024. Referencing her last EP Lovergirl, Rachel said that it “was a transitional project sonically” and “that EP kind of helped me open the door to what this album sounds like which is definitely more indie-rock leaning, organic instrumentation and a lot of love and effort.” I Guess A Sure Thing Couldn’t Go Down Gently With the title of Bochner’s upcoming album being I Guess A Sure Thing Couldn’t Go Down Gently, it was easy to wonder where the idea or decision came from. She said “the title comes from one of the tracks on it, when I was trying to figure out what felt right for the title of this album, I was going back and forth for a while because this album feels so huge to me…feels very significant to put out, you know, a full length album for the first time in your career...the content of the album is just a really significant period of my life.” As she continued to explain, she mentioned that this project carries weight and once she read that line she read it over and over and it became clear that she had found her title. “that was a tough listen….it must have been hard for you to write this album” Rachel also mentioned an unreleased song, track 3, in which she said “something started kinda pouring out of me and I just remember writing what turned into the bridge of that song in my old apartment…..i just remember crying….it was just kind of expelling itself from my body and that song kind of opened the doors to really working on the album in an intentional way.” The New York based artist explained that the entire album is going to be filled with vulnerability and emotion, even stating that her dad said “that was a tough listen….it must have been hard for you to write this album” Since Rachel is a singer-songwriter, we had to ask how she allows herself to be vulnerable when creating music. We discussed her collaboration process with other writers and she said that in order to be vulnerable, "I think it’s really a comfort thing. That can come from working with someone for a long period of time and really developing that trust and that comfort to be able to share such personal things with someone or…..sometimes you get into a room and you just really click with people.” Her single “Say That You Don’t” was co-written with Greer Baxter and Cody Fitzgerald, Rachel mentioned that the song was the first time they wrote together and she felt safe to do so with them.Something Rachel does to transfer her vulnerability into her music is in her words “overshare.” “Sometimes it is a little bit like trauma dumping on these people but usually…everyone is kind of sharing similar experiences.” There were many amazing things that were discussed during the video interview including her change in what she herself listens to and is inspired by, the excitement from her upcoming tour and her identity as a queer woman. Throughout the interview, Rachel said many things that can benefit other artists or that her fans would appreciate, she even left us with iconic quotes like “If you ever feel like you need your art to be better - be gay.” Rachel will be visiting many cities across the U.S. during her tour, in her words “hopefully I see a lot of new faces and I can’t wait to see all of the friendly faces of the fans that have been around for a while.” We felt her excitement through the screen and couldn’t help but be excited for her! We’re so excited that Rachel’s album, I Guess A Sure Thing Couldn’t Go Down Gently, is officially out now and she’s already hitting the road on tour! Fans can now experience the full album, including singles like “How Was I Supposed To Know?”, “Say That You Don’t,” and “Happier You’re Gone (SASE).” We’re wishing Rachel the best as she continues her tour and are so grateful we had the opportunity to chat with her. To hear more about our conversation and get the full details, be sure to watch or listen to the interview!

Article and Photos Contributed by Rachel Catherine MUNA performing at Masonic Temple in Detroit, MI | Photography by Rachel Catherine (IG: rachelcatherineee) MUNA got so hot in Detroit on Wednesday night! They truly delivered a non-stop wave of catchy bangers and soaring anthems; the energy was off the charts. Hemlocke Springs kicked off the show, opening the evening with playful chaos, eccentricity, and infectious charisma that contagiously raised the crowd’s excitement for the show and set the bar high for the rest of the night. Hemlocke Springs performing at Masonic Temple in Detroit, MI | Photography by Rachel Catherine (IG: rachelcatherineee) When MUNA stepped on stage, the atmosphere changed. It became electric, and it was HOT! Katie’s strong and commanding lead vocals were paired perfectly with Naomi’s synth production and backing vocals. Combined with Josette’s backing vocals and her sharp guitar lines, the venue felt vividly alive. The chemistry between the trio is palpable and magnetic–there was a genuine connection between the three of them that radiated from the stage directly into the audience. From the beginning of their set to the encore, there was never a dull moment where the momentum fell short, nor was the crowd’s enthusiasm lost. The energy between the band and the crowd was completely unmatched. They fed off of each other’s excitement and passion for the music that was being played. MUNA performing at Masonic Temple in Detroit, MI | Photography by Rachel Catherine (IG: rachelcatherineee) By the end of the night, the crowd was left buzzing and on a high of joy and the good kind of sweaty feeling after a great night out. The Gets So Hot Tour is proof that MUNA doesn’t just entertain and put on a good show, but they know how to leave a lasting impression and a damned good one to remind everyone in the room exactly what live music is supposed to feel like.

The Linda Lindas brought the noise, the energy, and a whole lot of punk rock to the House of Blues Chicago. The Linda Lindas at the House of Blues in Chicago, IL | Photography by Ernesto Raul Aguilar (@blacksheepimagery) Article Contributed by Ernesto Raul Aguilar. Photography by Ernesto Raul Aguilar. On a rainy Chicago night at the House of Blues, The Linda Lindas played with VIAL and Flower at Her Feet in a performance that moved through three versions of punk and alternative rock, each group bringing its own energy to the stage. Flowers at Her Feet opened the night and set the tone immediately. Their set faced the difficult task of catching a room still filling in. The performance had an intimacy that contrasted with the restless energy that followed. Flowers at Her Feet at the House of Blues in Chicago, IL | Photography by Ernesto Raul Aguilar (@blacksheepimagery) VIAL leaned into that energy. The band from Minneapolis gave the room a sharper, more confrontational edge with a fast, loose, and deliberately abrasive performance that included a moment when KT Branscom spotted a loose knot of bodies trying to mosh. VIAL at the House of Blues in Chicago, IL | Photography by Ernesto Raul Aguilar (@blacksheepimagery) They waved the crowd wider to create a big empty circle and set the floor for the next song's release. VIAL’s set never felt like a mere transition between the first act and the headliner; instead, they took control of their time on stage and gave the audience a second, distinct identity before the night changed again. The Linda Lindas closed the night For a band whose story has often been tied to how young its members were when first discovered, the key takeaway from their House of Blues performance was how irrelevant that part of the story has become. The Linda Lindas at the House of Blues in Chicago, IL | Photography by Ernesto Raul Aguilar (@blacksheepimagery) The viral performance of “Racist, Sexist Boy” introduced The Linda Lindas to a huge audience and became part of the mythology surrounding the band. Viral moments for young performers can backfire, often freezing them at the moment the public first notices them. For The Linda Lindas, they kept writing, recording, touring, and developing in public, and that was evident onstage They had the confidence of a band that has accumulated time together. They moved naturally between vocals and instruments, each bringing a different character without disrupting the group's identity. No one tries to force one person into the traditional front-person role. The stage feels democratic, which remains one of the band's strengths. They are becoming a genuinely seasoned live band, capable of carrying a room through their songs, chemistry, and lived experience. The Linda Lindas at the House of Blues in Chicago, IL | Photography by Ernesto Raul Aguilar (@blacksheepimagery) That translated into an energetic set that retained its rough edges and humor. The Linda Lindas no longer appear as just a curiosity or a band audiences watch because of what they might become; the evolution is happening. The crowd responded accordingly. This was not an audience politely watching a young band develop. It was a crowd reacting to a band fully capable of commanding a stage. That may be the most interesting part of The Linda Lindas' trajectory: their story began with age being impossible to ignore, but with every record and tour, it becomes less important. And on a night shared with Flowers at Her Feet and VIAL, The Linda Lindas didn't need the surrounding story to carry the show; the music did.

Photography and Review by Hannah Mary Hampton Julia Wolf brought her Deep End World Tour to Philly this past Wednesday, September 30, delivering an emotionally charged night that showcased exactly why the New York singer has continued to build such a devoted audience. Photography by Hannah Mary Hampton | IG: @hannahmarymedia Nearly 4 years after Wolf first headlined Philadelphia at The Foundry at The Fillmore in February 2023, she has made her return. This time commanding the significantly larger Franklin Music Hall! Wolf has continued to expand her audience, including performing alongside MGK, Sleeping With Sirens, Pierce The Veil, and more. The growth has been impossible to miss. What makes Wolf particularly compelling is the intimacy she creates even in a larger room. Her music has always carried a confessional quality, and seeing those songs performed in front of a packed Philadelphia crowd amplified that feeling. There was a sense that fans weren’t simply watching an artist perform, they were experiencing songs that had become personal to them alongside hundreds of other people who felt the same way. Photography by Hannah Mary Hampton | IG: @hannahmarymedia The contrast between Wolf’s 2023 Philadelphia show and Wednesday night’s performance was perhaps the most striking part of the evening. What was once a rising artist playing a smaller room has become a fully realized headlining act capable of owning a significantly larger stage. Philadelphia wasn’t simply another stop on the Deep End World Tour; it was evidence of how far she’s come. By the time the final songs arrived, Franklin Music Hall felt less like a venue and more like a collective release. Wolf’s ability to turn intensely personal experiences into something thousands of people can scream back at her is ultimately what makes her live shows so effective. Photography by Hannah Mary Hampton | IG: @hannahmarymedia Philadelphia was ready for her. And judging by Wednesday night’s response, Julia Wolf is more than ready for what comes next.

With a new album release in June, Modest Mouse enchants fans, bringing their genre defying show is across the US. Article Contributed by Madison Cozzens. Photography by Madison Cozzens. Modest Mouse’s Isaac Brock performing at Jacob’s Pavilion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Modest Mouse brought their newest studio album “An Eraser and a Maze” to Cleveland on their Fall 2026 Tour. Despite the rainy evening, fans showed up for the ’90s band at the outdoor venue. As the rain fell, the Cleveland skyline lights served as the backdrop to an enchanting evening. Caroline Rose Starts the Show Caroline Rose performing at Jacob’s Pavilion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Before Modest Mouse took the stage, Caroline Rose opened the show. Rose was a perfect opener for Modest Mouse, matching their broad stretch across genre and sound. Caroline Rose showed off her artistic capacity during their set, playing a variety of songs that showed her range. They played songs like “Hello Again, Jim”, a blend of pop-punk and California surfer rock, “Jeannie Becomes a Mom”, an electro-pop, indie-rock beat, and “Yip Yip Yow” a chaotic beat with country twang. Their friendly energy and passion for performing made the 5,000-capacity venue feel like an intimate show. Throughout the set, a blow-up doll was front and center, with a guitar slung over its shoulders. One of Rose’s touring members was unable to attend, and instead of a human replacement, the doll took their spot. Caroline Rose put on a fun and memorable performance, leaving with new fans in the Cleveland area. Modest Mouse Makes an Entrance Modest Mouse’s Isaac Brock performing at Jacob’s Pavilion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Modest Mouse has been around since 1993 and has been through huge changes as they’ve progressed through the years. Due to member departures and deaths, frontman Isaac Brock is the sole founding member still in the band. Despite the changing lineup of members, Modest Mouse has continued to put out music and shows that entice fans. That was clear as the lights dimmed and the group took the stage. Their first song of the night was “March Into the Sea”, an intense song about humanity’s evolution and destruction. It was a great way to grab the attention of the venue; Brock went all in with forceful vocals with strong emotion behind them. The song’s sea-shanty vibe, using accordion paired with the growing intensity of the instrumentals and Brock’s forceful and emotional vocals, made it a show stopping entrance. Modest Mouse performing at Jacob’s Pavilion in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Similarly to their opener, Modest Mouse has never conformed to one genre or sound. The group has 11 studio albums, and within those releases there is something for everyone, but many fans cannot seem to agree on the group’s best album. Since their music spans such a wide range of sounds and genres, it can be hard to find a consensus on their best. They range from dreary Midwest emo to upbeat indie-rock and experimental art rock. That being said, by far their most popular song is “Float On,” and despite that, many Modest Mouse fans can agree that it is not they best song by a long shot. The group will often leave this song to be part of the encore performance since it is so popular, and despite the disagreements, the crowd was still jumping and twirling around to the upbeat tune. Modest Mouse seems to prioritizes their deep cut and long term fans, playing songs from throughout their discography, not just focusing on the top hits. Modest Mouse performing at Jacob’s Pavilion in Cleveland, OH with Terminal Tower lit in the background. Photography by Madison Cozzens (@coz_artphoto on IG.) Throughout the show, Modest Mouse utilized their lighting and unique guitar and instrumental sounds to produce a dreamy atmosphere. The fog from the rain aired with the smoke and lighting cues, almost making you feel like you were floating in space, with beautiful colors and sounds guiding your journey. During every Jacob’s Pavilion show, the top of Terminal Tower lights up in coordination with the music. Programmed to match the beat and color vibe of each song, it makes it feel like the whole city is part of the experience. The group ended the night with “We’re Lucky”, a song about the mystery and beauty of human existence. Despite the song being relatively short and simple, it was the perfect encapsulation of the night. "It takes a lifetime to ever figure out that there / There ain't no lifetime that's ever figured out" highlights our want to have everything figured out and make sense of life, despite that being the whole point.

Peaches’ first album in 10+ years brought the performance artist’s bizarre and iconic show across the US on her 2026 “No Lube So Rude Tour.” Photography and Review by Madison Cozzens Peaches performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Sundays are usually for relaxation, football, and prepping for work the next day; that wasn't the case for those who attended the Peaches show on Sunday, September 20th. The iconic feminist musician, producer, and director brought her avant-garde, sexual, and high-energy show to Globe Iron. From crazy costumes to a liberating political message and dancing vaginas, Peaches’ “No Lube So Rude Tour” delivered on all fronts. Denver's Biggest Smallest Band: Wheelchair Sports Camp Tour bus driver, Trey Merrill performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Before the opener took the stage, the tour’s bus driver performed for those who got there early. Dressed in a cowboy-esque outfit, the bus driver Trey Merrill strummed his acoustic guitar as the small crowd swayed to the music. Merrill explained that he got tired and bored of his old life and switched it up; now he’s driving a bus across the country while getting to write and perform his music. The 64-year-old’s songs are more akin to the Americana sounds of Guy Clark and Bruce Springsteen. Merrill was a reminder to everyone who was there that it’s never too late to follow your dreams. Wheelchair Sports Camp performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Wheelchair Sports Camp was the official opener of the show. The group, comprised of Kalyn Rose Heffernan and Greggy, is a duo that doesn't take themselves seriously. The catchy hip-hop beats get people listening, but Heffernan’s humorous and sarcastic lyrics resonate with listeners. Wheelchair Sports Camp expertly weaves their humor with political commentary, resulting in unique and memorable songs. Heffernan has excellent stage presence and crowd control, getting the venue to laugh at her jokes and sing along to the chorus. When trying to get the crowd to do a call-and-response for their song Make it Make Sense, she started with, “I’m a tiny little rapper suffering… from a praise kink. So if you could do this for me…” The duo caught the attention of the crowd during their set, and we saw plenty of Wheelchair Sports Camp merchandise throughout the night. Time to Let Your Freak Flag Fly Peaches performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Peaches took the stage at 9:15 to a crowd ready for this show since they bought the tickets. As a performance artist, Peaches’ show is something that is not a concert, but an experience. Something in a league all it’s own, almost like a live art installation piece. The singer came out on stage to Hangin Titties in a large costume that hid her face and matched the song’s name. The costumes added a unique movement and feeling to Peaches and her back-up dancers as they moved around the stage. She slowly took off the costume piece by piece during the first three songs of the night, and when her face was finally revealed, the crowd went wild. Peaches’ background in theater is apparent in the artistic choices throughout the show, in the costumes, staging, and lighting. The tour team was setting up different stage elements as Peaches performed, adding steps, lights, platforms, and blow-up elements to completely change the layout of the stage. Peaches performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) The No Lube So Rude Tour only has ten people in its crew, including the dancers, managers, bus driver, and Peaches herself. The show feels like a large scale production despite the small group, and Peaches made it known that every person in their crew gets to perform during the show at some point. With the amount of stage and costume changes, the 10-person crew is an impressive feat, and to top it all off, everyone seems to be having a blast. At one point during the show, Peaches seems to have a medical issue related to her neck, being escorted off stage by one of the crew members. After the “emergency”, Peaches’ head (a mannequin head, not her real one, don’t worry) falls out of the rafters and onto the stage. This is when Operate begins, as Peaches and a large headless “Peaches” take the stage together as giant fallopian tubes inflate behind them. The song is actually featured in Mean Girls during the Halloween party. Peaches can be found in many mainstream content, including Voicemails for Isabelle and Big Mistakes. Connecting with the People Peaches performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) About halfway through the show, Peaches had the crowd help her “walk” from the main stage to the B-stage. They held up their hands to hold Peaches in the air as she sang I Feel Cream and got carried across the venue. Fans eagerly swarmed around her to get close to the artist and to get Peaches safely on the ground. She performed two songs with her backup dancers on the tiny stage, which was right in front of the Front of House crew. During Not In Your Mouth None of Your Business, the FOH crew got involved, wearing fun sunglasses while fist pumping and screaming along to the chorus. On her way back to the main stage, Peaches walked through the crowd, stopping to jump and interact with fans. While her shows are iconic, weird, and memorable, Peaches is also known for her feminist message, fighting for LGBTQ+ rights and challenging social norms and the patriarchy. Her onstage persona often boasts strange body hair, a direct protest against patriarchal standards and body shaming. "... I’m sick of us shaming ourselves. It’s patriarchy, and it’s capitalism, and it’s control... We need to feel comfortable in our own fucking bodies." Peaches continues to be an advocate for women and queer people everywhere, with music and performances to help people feel comfortable with who they are and dismantle the boxes we put ourselves in. Peaches performing at Globe Iron in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) “When the world is friction, lube isn’t a luxury. It’s a necessity. It’s how you turn that friction into pleasure, into power, into pride. I want people to understand that they can still have a voice no matter who they are or what the world says about them. Now more than ever, there are so many forces that just want you to give up and be quiet. If this album can help you resist that, then that’s what it’s for.” Peaches on No Lube So Rude

Riot Grrl pioneers, Bikini Kill, played a political and energetic show on Thursday night at The Agora in Cleveland, OH. Photography and Review by Madison Cozzens Bikini Kill lead singer, Kathleen Hanna, performing at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Bikini Kill has been at the forefront of the punk rock scene since the 90’s. As a founding voice of the “Riot Grrrl” movement, the band is unapologetic about its feminist lyrics and empowering performances. In today's political climate, Bikini Kill is gaining a younger fanbase and resonating with a new crowd. The punk rockers made their way across the country this September with a short but exciting tour. With only twelve dates, fans secured their tickets, planned their outfits, and showed up for the punk pioneers. Ganser Takes the Stage Bikini Kill lead singer, Kathleen Hanna, performing at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.)t: Ganser is an experimental punk band from Chicago and is named after Ganser Syndrome, a disorder in which people give nonsensical, absurd answers to simple questions. The group is often referred to as post-punk, art-rock, or noise rock. Ganser’s unique sound and use of instruments fits the nonsensical and absurdist definition of their name. They captured the attention of the Cleveland crowd Thursday night, beginning with a slow and ethereal entrance that transformed into something all it’s own. While they performed with usual instruments, their use of pedals, guitar techniques, and keyboard sounds give them an alien-like sound when performing live. The crowd in Cleveland was seduced by their electronic, punk, rock sound, watching every second. The group just released their newest single “Futuretripping” on September 10th, and their album Animal Hospital flew off the merch table. Gansler’s unique sound and captivating live performance make them an act to watch out for. We’re Bikini Kill and We Want Revolution Bikini Kill performing at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Bikini Kill took the stage at 9:15 to an excited crowd that was filled with people across all age groups. The group was wearing sparkly outfits, sunglasses, and sneakers, while the venue was filled with vests covered in patches, safety pinned shirts, ripped fishnets, teased hair, and everything in between. Bikini Kill came out to New Radio, a perfect encapsulation of what their music is all about. The song is about women taking back their desire and redefining what feminine sexuality is. The fans were immediately singing along, bouncing to the music, and letting their worries go. Despite the group being in their late 50’s, lead singer Kathleen Hanna brought the energy. The frontwoman was jumping and moving around the stage, while screaming into the microphone with her memorable vocals. Even now her voice feels raw and real, bringing her rage and feelings into her iconic screams. Bikini Kill performing at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Halfway through the show, the group invited a fan on stage to perform Alien-She with Hanna. The two were having a blast on stage, singing and dancing to the song. The crowd went wild, cheering on the newcomer as she lived out her Riot Grrrl dreams. It was a memorable experience for the fan and the other attendees, but this isn’t the first time Bikini Kill has done this. The group often invites a female fan on stage to perform a song with them, continuing to support young women by giving them a chance to shine. The Real Girl Power Bikini Kill fans at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) The group ended the night with their most popular song, Rebel Girl. An anthem for women and girls, championing female friendship and deep connection. The song teeters on the edge of a close female friendship and a sexual/romantic connection, but in the end Bikini Kill is urging women to love and stand up for each other fiercely. You could feel that connection throughout the venue; it was an experience that brought everyone together. A sense of comradery and community was flowing through the crowd all night; Bikini Kill’s message was connecting with everyone. “Bikini Kill believed that if all girls started bands the world would change. They actively encouraged women and girls to start bands as a means of cultural resistance. The group used touring as a way to create an underground network between girls who played music, put on shows and made fanzines. This independent media making and informal network created a forum for multiple female voices to be heard.” Looking for More Bikini Kill? Bikini Kill lead singer, Kathleen Hanna, performing at The Agora in Cleveland, OH. Photography by Madison Cozzens (@coz_artphoto on IG.) Bikini Kill will live forever as an iconic and pioneering band for female artists everywhere. While they aren’t putting any new music out, there is still new content to consume! Kathleen Hanna is currently hosting the Rock and Roll Hall of Fame’s podcast “Music Makes Us”. She has talked to several artists, including Haley Williams and Olivia Rodrigo. You can also check out Hanna’s book Rebel Girl: My Life as a Feminist Punk, detailing her experiences as an influential member of the 90s feminist movement.

When did enjoying live music become a competition over who is doing it "right"? Photo by Luis Quintero from Pexels: https://www.pexels.com/photo/photo-of-people-using-their-phones-3689546/ Article Contributed by Rebecca McDevitt There seems to be an increasingly unspoken rule at concerts: if the person next to you isn't experiencing the show the way you are, they're doing it wrong. Someone is sitting down; they're "ruining the atmosphere." Someone is talking to their friend; they're "disrespecting the artist." Someone isn't singing every lyric; they "shouldn't have bought a ticket." Somewhere along the way, going to a concert seems to have become less about experiencing live music and more about making sure everyone around us is experiencing it correctly. We recently came across a conversation online about someone being frustrated with people sitting down and talking during a concert, and it got us thinking about how quickly personal preferences have become concert etiquette rules. Of course, there are situations where someone's behavior can genuinely interfere with the people around them. If someone is screaming over the entire performance, intentionally blocking everyone's view, pushing through a crowd, or otherwise making it impossible for those around them to enjoy the show, that's a different conversation. But there is a significant difference between genuinely disruptive behavior and someone simply experiencing a concert differently than you would. You Don't Know Someone Else's Story Photo by Luis Quintero from Pexels: https://www.pexels.com/photo/audience-at-a-concert-18482996/ The truth is, we don't know why someone is sitting down. Maybe they're tired after standing for hours. Maybe they have a physical limitation that isn't immediately visible. Maybe they're injured, pregnant, working, or simply more comfortable sitting for part of a three-hour show. We also don't know why someone is talking. Maybe they're there with a friend who loves the artist. Maybe they're seeing that artist for the first time and don't know every song. Maybe they're press or working the event. Maybe they bought a ticket because they were invited by someone else and decided to give an artist they don't know a chance. Or maybe they simply want to talk to the person they came with. None of those things automatically make someone disrespectful. There Isn't One Right Way to Be a Fan Concerts have always been deeply personal experiences. Some people scream every lyric. Some people dance from the moment the lights go down until the encore. Some people cry. Some people stand completely still because they're taking everything in. Some people sit for portions of the show. Some people film everything, while others put their phones away entirely. Some people have followed an artist for years and know every deep cut, while someone sitting a few seats away might be hearing their music for the very first time. There is no single way to be a concertgoer, and there shouldn't be. Photo by Caleb Oquendo from Pexels: https://www.pexels.com/photo/smiling-people-at-a-concert-14364670/ What feels particularly interesting is how much of modern fan culture seems to revolve around performing fandom the "right" way. You should know every lyric. You should stand. You should sing. You should react at the right moments. You should know the deep cuts. You should understand every reference. And if you don't meet those expectations, someone is inevitably ready to question why you are there in the first place. But who decided those were the rules? Being Annoyed Isn't the Same as Being Wronged There is a difference between wanting to be able to hear the artist you paid to see and believing everyone around you needs to behave exactly as you would. There is a difference between being annoyed by someone's behavior and deciding that person doesn't belong in the room. Your frustration is valid, but it doesn't necessarily make your preferred way of experiencing a concert the universal standard. And this matters because we have no idea what is happening in the lives of the people standing around us. The person sitting down might be having the best night of their year. The person who doesn't know every lyric might discover a new favorite artist that night. The person quietly talking to their friend might have been invited to a concert they never would have attended otherwise and end up buying an album on the way home. The person holding a camera might be documenting the show for their publication. We see a few seconds of someone's behavior and immediately create an entire story about who they are and whether they deserve to be there. Photo by Alexander Nadrilyanski from Pexels: https://www.pexels.com/photo/a-woman-sitting-on-a-mans-shoulder-cheering-8724893/ So, What Actually Is Concert Etiquette? Live music doesn't work by one universal set of rules. There is something beautiful about putting thousands of completely different people in the same room for a few hours and allowing them to experience the same artist in completely different ways. The person next to you doesn't have to feel what you feel for the show to mean something. They don't have to sing the same songs, cry at the same moments, stand for the entire set, or react the way you do. They bought their ticket to see the artist. So did you. Concert etiquette should absolutely exist. We should be considerate of the people around us, and we should recognize when our behavior is genuinely preventing someone else from enjoying the show. But consideration has to go both ways. Sometimes that means accepting that the person next to you isn't going to experience the concert exactly as you would, and that doesn't make their experience less legitimate than yours. Maybe the problem isn't concert etiquette. Maybe it's our growing expectation that everyone else's concert experience should look like ours. Live music is supposed to bring people together. Perhaps we should spend a little less time policing how people experience it and a little more time actually experiencing it ourselves. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Carly Rae Jepsen Knows How to Dance the Pain Away “Don’t Leave Me on the Dance Floor” video still Article Contributed by Konstantina Buhalis The Last Bard Carly Rae Jepsen’s second single, “Don’t Leave Me on the Dance Floor,” and accompanying music video have been released. “Don’t Leave Me on the Dance Floor” is a high-energy disco-inspired track that Jepsen wrote after visiting the ABBA Voyage in London, saying, “I’d just been recording in Sweden and then traveled to London to see ABBA Voyage. I came home with a mission of making my own ABBA-esque pop song – something with a perfect pop melody, but with some updated production. I wanted a hook that made you feel like you had to participate and sing along.” The song’s catchy melody is the perfect vehicle for melancholic lyrics about the fear of abandonment and loneliness in adulthood. Night Light On the new single, Jepsen’s lyrics are evocative and honest, as she expresses anxiety about isolation and loneliness. DLMOTDF is an honest plea in the face of an uncertain future, but the track is an incredibly danceable hit, making it a perfect example of finding joy even in the fear. The enticing sounds of synth-inspired late-era disco pull the listener in; the lyrics offer a heart-wrenching account of adulthood in this highly stressful world. DLMOTDF makes anxiety danceable, building a sense of euphoria through honesty. The music video is an artistic feat, directed by 12-time Tony-nominated Jeremy O. Harris (Slave Play). It follows a newly separated couple as they make their way back to each other through the dance floor. Alden Ehrenreich and Olivia Washington play the couple; Ehrenreich dances to Jepsen's accompaniment for a small audience, baring his soul and falling to the ground. At the same time, Washington’s silhouette appears out of the darkness. The music video is a tearful ode to the human condition and the desire to create art, even amid turmoil. “Don’t Leave Me on the Dance Floor” is a profound track, with a stunning music video that perfectly captures the human spirit. Carly Rae Jepsen will release Night and Day on September 18 and headline the All Things Go Festival on September 27. Her new singles and music videos are available to stream on all platforms. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

The NYC alt-pop songwriter, Parris Mitchell, on the work behind the wonder, and why he refuses to fit in one box - an Underground Radar feature. Parris Mitchell performs at Under Berlin @ NYC, in New York | Photography by LJ Portnoy (@ljportnoy) Article Contributed by LJ Portnoy Press play on a Parris Mitchell song and you're locked in before you've decided to be. The production is bright, the hooks land before you've made up your mind about them, and for a few minutes, the rest of the room goes quiet. Then you listen again and notice the words underneath are quietly taking the floor out from under you. LJ gave it a name in our conversation, happy heartbreak, and Parris lit up. "I love songs where the melody is uplifting and very happy, and then you listen again and go, wait, these lyrics are actually pretty upsetting," he said. "I love that double take." That contrast, the smile on top and the ache underneath, is the whole project. We first caught the NYC artist on TikTok with "Honey, I," then watched his set supporting Enrose in New York, and the feeling only got louder. The detour that became the path Parris Mitchell performs at Under Berlin @ NYC, in New York | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) Parris didn't set out to be a solo artist. He came up in musical theater and spent years touring with a band. Then 2020 pulled the rug out from live music, and he turned inward and started writing for himself for the first time, with no plan attached. "I just put them out for my own sake," he said. "I wasn't looking for crazy growth or followers. They ended up doing pretty damn well. I was like, all right, maybe I've got something here." His debut, "Specifically You," dropped quietly in December 2020 and racked up over 20,000 Spotify streams within a year, followed by a steady run: "Charger," "Bad Place," "I Never Said I'm Perfect," and "Easy Love." Still, the title of "musician" took him a while to claim. "I can't read music. I wasn't in band in high school, I was in chorus. It wasn't until my first couple of singles that I got the confidence to go, all right, hell yeah. I'm a songwriter." "It's cheaper than therapy" Parris now has roughly 40 songs in the arsenal and a plan to release one every six weeks. Somewhere around late last year, he stopped waiting for inspiration and started showing up whether it came or not. "It's like turning on a faucet," he said. "All the dirty water comes out first, then you get to the one where you go, all right, this slaps." When inspiration does strike, it's less a process than a weather event. "It's like a Ouija board. I could be out at a bar, someone says something, and suddenly it hits. The skill is staying observant and open, because if you're not, you miss a really great hook." Most of it lands in his Notes app. "I'm always forgetting I typed them in there. I feel like my mother operating an iPhone." As for why he keeps mining his own inner monologue: "It's cheaper than therapy." Service the song first Ask Parris what his signature sound is and you've hit the hardest question in the room, the one his manager keeps asking too. "If I played you my next ten demos, not one would sound like the other," he said. "I don't like being put in a box. I'm kind of a slave to the song I'm writing. If it needs to sound more yacht rock, more country, more indie rock, that's what it gets. I have to service the song before I can service the artist." One test holds underneath all the genre-hopping, something he learned early: "If a song doesn't sound good acoustically, it's not a good song." He proved it in February with stripped-down cabin shows on a cruise ship. The result surprised him. "Even the happiest songs felt mellow. Very raw. It made me want to go back and ask, why did I say this? What did I really mean?" He's also quick to admit he can't always tell when a song is done. His new single nearly didn't make it out because of it, until friends he trusts talked him off the ledge. "Trust your gut, but also trust the people you trust most." His Biggest Vice: The Stage Parris Mitchell performs at Under Berlin @ NYC, in New York | Photography by Rebecca McDevitt (@rebeccajeanlimitedphotography) If the writing is solitary, the stage is where the theater kid resurfaces. "Performing is a drug. The best feeling in the world," he said. "I love calibrating the show based on what I'm getting back from the crowd. It's like a 3D chess game. I love when something goes wrong. Me and my band are so locked in we can turn a mistake into the highlight of the show." You can hear New York in all of it, the who-gives-a-shit swagger braided with genuine warmth. "If I screw up, I own it. But I also want to take care of you like my mother would if you came over for dinner. If I can give somebody twenty-five minutes of forgetting all the stuff going on in their life, that's the most special feeling there is." He's open about the imposter syndrome and the burnout ("I've been burnt out a thousand times. I'm still burnt out"), but something quieter keeps pulling him back. "The core of me is so loud, and it never gets quieter. I have to obey it. This is the gift I was given." He takes the music seriously and himself far less so. Asked what he's most proud of, he didn't reach for a track. "I'm most proud of today. I'm proud of the resilience. Even when it's really difficult, I still show up." New Single: I Love Whatever is Wrong With You We made him describe his new single without saying the title, a tall order he met with a grin ("I'm not the Killers, who gives a shit"). The song, he said, is "a love song about the person you love's imperfections: how love is messy, how nobody's perfect, and finding the one whose imperfections are perfect to you. You don't just accept them or love them. You celebrate them." Then he played it, and the name landed: "I Love Whatever is Wrong With You." You lose yourself at least three times a week / you laugh too loud at your own jokes, you repeat... / I love whatever is wrong with you. Classic Parris: a bright, big-hearted hook wrapped around something genuinely vulnerable. Happy heartbreak, in other words. Before he left, he shouted out a couple of acts doing it right, Some Son (New York / New Jersey, "putting out banger after banger") and Graham Goode and the Painters (out west, "one of the most talented bands I've seen live"), and left a message for everyone listening: "Be kind to one another. There's not a lot of time here. Always let somebody know you love them, but always love yourself first." Parris Mitchell's new single, "I Love Whatever's Wrong With You," is out now. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Cowboy Neal’s refreshing take on art rock hits the Chicago scene. Article contributed by Konstantina Buhalis Photo: Edenfm Chicago art-rock juggernauts Cowboy Neal have released their latest single, “Tighten Up,” a funky, prog-rock-inspired track about growth, gaining confidence, and pride in your work. The six-piece group has been a highlight of the Chicago scene, gaining traction while playing throughout the city, reigniting the power of the groove. SoundCheck Mag sat down with Ian Hammond to talk about Cowboy Neal’s inspiration, playing with Dweezil Zappa, and working as a sound designer for the stage play he wrote. Learn Your Lessons “Tighten Up”, written by Hammond, was a track that came together after Hammond was inspired by the act of self-criticism and learning when to allow yourself to feel pride in your work. Hammond said, “I guess it's sort of like learn your lessons. I also feel like I feel more secure in, like, the friendships I have and the people I associate with, and just learned over time what that means to me, and who the right people are, who the right people should be around me.” When Hammond writes music, the lyrics usually come last, giving “Tighten Up” an upbeat sound, but with serious lyricism, Hammond continued to say, “The song I feel like is pretty upbeat, and then that time to song can be a bit of a bummer, like the lyrics too, so it's trying to figure out the good balance between the two has been sort of has been fun” going on to say that working with his friend and bandmate and cast member of Second City, Kenzie, has enhanced the experience of playing the song with her vocals giving the song a lighter feel to them. Building the Band Hammond’s dedication to his bandmates is evident, and with everyone bringing in multiple influences, both in and outside of Cowboy Neal, they have created a unique blend that has helped shape the band's genre-bending sound. Hammond described working with his bandmates, saying, “We're all learning from each other at every moment. It's like a great, all the musicians just have very different backgrounds, too, which is really enriching when you're then trying to make one cohesive sound together.” Hammond continues to say that he’s very lucky to have a talented group of artists working with him, talking about each individual's accomplishments with excitement and adoration, and giving more insight into how Cowboy Neal is rooted in passion and creation. Cowboy Neal’s strength lies in its numbers and dedication to working as a team, allowing everyone to bring their own talents and abilities to build a multi-genre sonic fusion that not only represents the modern Chicago scene but also offers a brief history of the city's ever-changing landscape. Hornets, and The Second City Bandmates Hammond’s artistic interests extend not only to live music but also to sound design for The Second City, Chicago’s premier comedy and improv sketch club, which was home to some of the Cowboy Neal crew. Hammond explained how he and some of the members went from accompanying him to writing for the Hornets. “ I find myself around all these actors. I'm not, like, a trained playwright or anything, or a storyteller in any aspect, but I found myself around all these actors. There were some shows at the Second City's smaller theaters that I scored. I like music directed with a live band, so I had the bass player and drummer from Cowboy Neil, and we just sort of did a three-piece. We did live accompaniment for these sketches, and we did that twice, but the more I found myself around these actors, the more I'm like, okay, I could write something, and then I did, and it was its Hornets.” Hornets was a slight departure from the music of Cowboy Neal, and as Hammond described it, “A bit of a bummer”, but during the writing process, it was very sound forward, similar to the music of Cowboy Neal. The process of writing for Hornets led Hammond to be more experimental with his work, citing Yiannis Xenakus as inspiration for his work, saying, “I can make this as weird as I want, and that was really freeing, because this band is like very song writing heavy, and, like, heavy, a little indie here, a little Midwest emo there, however you want to feel about it, so then being able to open that up in the play and treat it as its own like creative thing and being able to go in different directions with sound and use parts of my brain that I haven't before was really exciting.” The collaboration with the Second City stage crew allowed Hammond to use sound as a vehicle for visual storytelling. Meeting the Band One of the most significant influences on Hammond was Frank Zappa, and a few years ago, Hammond got to live out a dream and have a sit-in with Dweezil Zappa. Through an after-school program, Hammond talked about the experience, saying, “I'm shaking his hand, and he looks like his dad, and he's playing his dad's music, and that was just very surreal, many of my friends in high school all shared the same kind of I don't know if obsession, but fascination with his music, so it was sort of always on, we were always talking about it.” Zappa’s music paved the way for Hammond’s creative process, leading to the dynamic sounds of Cowboy Neal. Cowboy Neal has released their latest single, “No Shade on North Ave.” Cowboy Neal is available to stream on all platforms, is playing throughout Chicago, and is planning a future tour. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

The singer-songwriter known as DeathbyRomy drops a striking music video to accompany her latest thought provoking song. DeathbyRomy poses for a set of shots to promote her new single, Manic Dream | Photography by Hanna Nasseri. Article Contributed by Monica Soriano. Known for her embrace of themes that are darker and more mature while at the same time grounded into her reality, DeathbyRomy releases yet another track perfectly in alignment with her artistic style. “Manic Dream” is a modernistic song that unveils Romy’s inner monologue in an unapologetic way. From The Lyrics To The Expression “Manic Dream” from a lyric perspective seems to tell a story of carving a path for success as an artist and perhaps looking back to her old self as she journeys on. Quotes like “I sold my soul for some cigarettes and a fake ID, I wanna drown in the glamour that is my tragedy” and “I’d rather die at the top than never make it there” make this theme easy to grasp. There is much of the song that can relate to the listener's personal experiences. After all, a good alternative-pop song is appreciated by any lover of the genre. DeathbyRomy poses for a set of shots to promote her new single, Manic Dream | Photography by Hanna Nasseri. DeathbyRomy’s artistic expression leans heavily on darker topics and visuals but it is in those shadows that she allows her talent to shine. The track wouldn’t work without her vocals to ground the alternative-electronic sounds and lead us, the listeners, through the 3 minutes and 40 seconds. Her vision plays a big part in her music, she creates visuals that are ready to be experienced. It is not just “Manic Dream” that is executed with detail and care but her songs in general pierce through to the listeners. This is also said about her music videos, there is conscious attention that goes into her visual storytelling. Her Visual Presentation of “Manic Dream” The music video with use of red hues in the beginning sets the tone for her rebellious truth. Visually eye-catching with a simplistic story. There are alternating shots of her and the male lead arguing and fighting with other shots of them dancing or expressing affection. Throughout the sequence of events Romy’s performance externalizes those feelings which she sings about in “Manic Dream” and in the end, the male lead simply disappears. Was it all a dream? A manic episode? Or like the title says a “Manic Dream?" A Thought Provoking Artist At last, whether it is a temporary escape into Romy’s inner world or a relatable understanding by the listener, this song proves to be a perfect addition to her discography. With glimpses of her that remind us a bit of Lady Gaga in her most thought provoking music videos. “Manic Dream” continues to keep DeathbyRomy’s dark artistic expressions while providing us with new shades of her art. DeathbyRomy poses for a set of shots to promote her new single, Manic Dream | Photography by Hanna Nasseri. Catch DeathbyRomy on tour, on some dates she is supporting Limp Bizkit and others she is partaking in warped tour. This is truly an exciting time in her career. We look forward to seeing her as she continues to grow and create new musical concepts! Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

On his fourth solo album, Niall Horan trades heartbreak for home — and turns the everyday into something worth savoring. Niall Horan's Dinner Party album artwork | Courtesy of Capitol Music Group Release Date: June 5th, 2026 Label: Capitol Records Article Contributed by: Brooke Dougherty Dinner Party - Niall’s Back and Proves He’s Settled Into His Sound Dinner Party marks Niall Horan's 4th solo album, following in the footsteps of Flicker, Heartbreak Weather, and The Show. Returning to what he does best, Dinner Party showcases Horan’s ability to make even the mundane moments of life feel warm and meaningful. While his other albums have recounted stories of heartbreak, nostalgia, coming of age, and connection, Dinner Party feels like coming home. Niall Horan’s a Man in Love and He’s Not Afraid to Show It Starting out strong, Tastes So Good energetically pulls us into his love story with its snappy drums and electric guitar. It immediately proves that Niall is still in touch with his softer side and knows he’s not at his best without the woman he loves by his side. “Can’t take another breath without you, can’t walk down the street. No, I don’t know what you’re made of, but it tastes so good to me.” The title track of the album, Dinner Party, is more relaxed and evokes a candle-lit home and a fire going in the fireplace. The wistful instrumentation and laid-back guitars feel like exchanging a soft moment with your loved one, when the guests have all gone away. “Crashing lights when you first saw me. Yeah, I met you at a dinner party. Chandeliers, 2 a.m. coffee. Yeah, I met you at a dinner party.” The song itself recounts Niall looking back fondly on his first meeting with his current partner. Picking up the pace again, Monochromatic centers on Horan being enamored with his romantic interest. It’s smooth and relatable. This song captures the feeling of throwing your inhibitions to the wind and knowing you’re fated to be with someone. It’s having the windows down, wind in your hair, driving to your lover's house. “This kind of game don’t ever get old. You be the cat, I’m a fish in a bowl. Yeah, too many times. I try, but I can't get you off of my mind.” She Gets It From Her Mother brings down the energy a bit and settles into an understated, intimate journal entry. A romantic montage of the adoration he has for his lover. Exactly what Niall does best. “The way she dances on a table and holds onto a grudge. The never-looking-back look in her eyes. The sweetheart and the stubborn. The fighter and the lover. She gets it from her mother.” The softest, self-loathing song on the album, Better Man, hits deep. The somber piano chords frame the ache of having your entire world in your arms and wondering if you aren’t enough to hold it. “How many smiles that you faked me with went over my head? How many times that you never said you wanted a better man?” Upping the pace of the album once more, Little More Time details the feeling of savoring the time with your loved ones. Keeping them close and never wanting the moment to end. “I just wish we had one more song ‘fore we’re saying goodbye. Just a little more time, just a little more time. One more drink or a bottle of wine.” Opening with a funky drum and bass line, Flowers will make you want to nod your head, shake your shoulders, and groove your body to the beat. The lyrics are simple, but this tune evokes the euphoria of being in awe with someone you adore. Laying in the sun, feet in the grass, just the two of you. “No, you don’t know your power. Swear your eyes could grow flowers. Wander around them for hours. Swear your eyes could grow flowers.” Niall always hits love songs out of the park, but he can equally bring the house down with a song for singledom. Cue: Boys Are Fun. The poppiest of the album, Boys Are Fun shows that Horan isn’t afraid to tap-back into his boyband roots. It doesn’t matter where you are, you won’t be able to resist getting up to dance. It’s a song for the pre-game before a fun night out. “If you want someone you can late-night call that’s gonna come running any time you want. Then boys are fun.” A song for two people who just can’t stay away from each other, Fighting Over Nothing bottles undeniable chemistry, titillating tension, and the late-night rendezvous. “And she said, “Hey there’s no way out besides leaving our clothes on the ground. She said, “Hey come kiss my mouth and we’ll stop standing here, fighting over nothing now.” Crashing onto the scene with its rich guitar riffs and dancey beat, Pretty is the self-love anthem on the album. Horan’s love letter to someone who can’t yet see themselves through his eyes. “Through your hang-ups and your triggers. I can see a side of you it can blind me when it flickers. And that’s what I hold on to. Baby can’t you see? You’re so fucking pretty.” Die If I Don’t is refreshing with its stripped-back, folky pace. It paints the picture of yearning as the seconds tick by. For this song, Horan experiments with a more orchestral sound. The strings and billowing instrumentation tug at your heartstrings, making you feel sentimental and you aren’t even really sure why. “I know where this goes. I might turn the wheel just to drive past your road. I’ll die if I see you and die if I don’t.” The final track on Dinner Party, End of an Era is the perfect way to close this album. With its comforting, folky elements and nostalgic guitar, it serves as the soundtrack to ending one chapter and beginning another. Reminiscing on the past, but being grown enough to know it’s time to move on. “Feels like lettin’ go of things we’re not supposed to. One breath and it’s over. The end of an era.” Dinner Party Reminds You That the Good Ol’ Days are Now With 12 songs and a runtime of 36 minutes and 53 seconds, Dinner Party feels like Horan inviting the listener in. Documenting Niall’s experience finding the love of his life and himself in the process, this record is sure to make you laugh, cry, and dance. Once again demonstrating his range, Dinner Party nods its head to the likes of The Eagles and Fleetwood Mac while creating something that truly feels unique. Like a gathering of old friends, Horan embraces the best of acoustic, folk, soft rock, and pop without losing the intimacy at the heart of his songwriting. With an abundance of grit, sincerity, and camaraderie, this album can just as easily be played during a road trip with friends as it can on a prom dancefloor. Niall’s heartfelt and intimate vocal delivery pairs effortlessly with the textured guitars, tasteful strings, and polished percussion, making it clear that he has no interest in sounding overproduced or flashy. This is An Album for the Yearner and the Romantic Dinner Party is about soaking up time with your loved ones, raising a pint with your friends, and coming back to yourself while finding a home within another person. Final Verdict: 9.2/10 Niall Horan may have come a long way since his solo career began, but with Dinner Party, it’s clear that he’s still very much in touch with his roots and that he is still a loverboy at heart. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Twenty-five years later, blink-182 gives the album that defined a generation of skaters, slackers, and screen-staring kids the vault treatment. Blink 182's cover album artwork for Take Off Your Pants and Jacket, a 25th-anniversary release, which includes a drop of six new vault tracks. Article Contributed by Konstantina Buhalis. Blink-182, one of the quintessential Pop-Punk and Punk Rock skate bands, has been celebrated for years. After a hiatus, with an incredible return and their comeback album, One More Time, blink-182 is celebrating their legacy with Take Off Your Pants and Jacket, a 25th-anniversary release featuring six vault tracks. Guys at the Rock Show The lasting impact of Take Off Your Pants and Jacket can be felt through the cultural fabric of Pop-Punk and the Millennial experience. The album was a hit, debuting at number one on the Billboard 200 and going double platinum by May 2002, ushering in the new youth culture of the early internet and skateboarding, and featuring cultural touchstones in their music videos, such as Steve-O. Blink-182’s writing on Take Off Your Pants and Jacket featured their most vulnerable work, meditating on anxiety, aging, divorce, and youth culture. With the band's underlying silliness making them a fixture of the late 1990s and ’00s, their staying power has been confirmed by Rolling Stone's placing blink-182 at No. 2 on its list of “50 Greatest Pop-Punk Albums of All Time”. In addition to the critical acclaim it has received over the years, it remains a favorite album amongst millennials. With tracks from the album appearing in multiple movies and television shows, one of the greatest uses of “Anthem Part Two” is in the 2006 gymnastics film Stick It, during the final competition, where the song embodies the transformation and youthful rebellion of the teenage gymnasts. Color Coordinated Take Off Your Pants and Jacket was released on June, 12 2001, with the bonus tracks split between variations of the album, corresponding to the icons on the album cover: red airplane, yellow pants, and green jacket, with each album containing three of the vault tracks featured on the anniversary album. Blink 182 anniversary vinyl available now! Now, for the first time, fans have all the hidden tracks on a single release, and, keeping with the original album scheme, a double-LP is slated for release in October 2026. Pressed on black vinyl, each album features a plane, pants, or jacket emblem that is individually etched onto Side D of the record, giving fans a nostalgic surprise when they open the record sleeve. Take Off Your Pants and Jacket 25th Anniversary Edition can be streamed on all platforms, and the double-LP can be pre-ordered through blink-182’s website. In addition, tickets for blink-182’s 2027 European Tour with Billy Talent are available on the website, as well. Tracklist: 1. Anthem Part Two 2. Online Songs 3. First Date 4. Happy Holidays, You Bastard 5. Story of a Lonely Guy 6. The Rock Show 7. Stay Together for the Kids 8. Roller Coaster 9. Reckless Abandon 10. Every Time I Look for You 11. Give Me One Good Reason 12. Shut Up 13. Please Take Me Home Vault Tracks 14. time to break up 15. mother's day 16. what went wrong 17. fuck a dog 18. don't tell me it's over 19. when you fucked grandpa Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Still Blank's Still Blank (Deluxe) Is a Genre-Swirling Journey Between Awake and Asleep. Album Artwork for Still Blank Deluxe Album | Album Artwork by Rachel Goldberg Article Contributed by Brooke Dougherty. Still Blank’s Debut Album Is a Cinematic Experience It’s hard to believe that this is Still Blank’s first album. After having a fateful meeting in Liverpool in 2022, the transatlantic duo of Jordy (Kauaʻi, Hawaii) and guitarist Ben (Manchester, UK) released their debut album in 2025. Adding “love/guilt” and “Fever Dream,” Still Blank (Deluxe) expands the original release into a 12-song, 44-minute journey through mental pressure, restlessness, identity, isolation, and the existential experience of being human. The Soundtrack for Golden Hour; Windows Down The deluxe album begins, now with “love/guilt” as the hazy, cinematic opener. It pulls the listener in with its airy, dreamy, introspective vocals, but grounds them with the grungy guitar riffs that root them in the story. “Did I do it for you? Or do it for myself? I wish that we could talk about it, but I'm not sure it would help.” Singer and multi-instrumentalist Jordy laments a breakdown in communication between two people and the accompanying guilt of staying in a relationship they have outgrown. “I was just a kid and lost in fairytales of flowers and white doves. Stuck around for half my life, but I’m not sure that’s love.” What About Jane, Still Blank’s psychedelic, Jane Birkin-inspired track transports us back to the 1960s with its nod to the Velvet Underground. It feels like an atmospheric Bond girl anthem. Despite its ability to whisk you away, Still Blank (Deluxe) delivers an uneasy lyrical experience. It recounts the rawness of living. Ain’t Quite Right crashes on the scene, guiding you into a dream-like state full of turmoil and unease that continues to build. “I lay down, I watch her breathe. My senseless lamb of ecstasy. I’d peel your mind and snatch all of your dreams.” Songs like Dead & Gone feel like a breath of fresh air in the aftermath of entanglement. Reminiscing in the early morning light on getting out alive. Clinging to the pieces of yourself you were able to salvage. “I was only yours for a moment but I’ll forever be my own.” Jody sings with conviction. And the chorus hits even harder. “I am a woman. You’re no man.” A biting critique of lopsided power structures and sexism in the music industry, Get Over It refuses to look away from the way women are dehumanized. “Step on me and pretend nothing ever happenеd. Mary, cover it up. But she’s coverеd in blood.” Pulsating between a dream-like state and raw, disjointed vulnerability, songs like Sundown Dialogue ground the listener again with its warbly acoustic musings on getting back to the basics of what you know. “I wanna fall, wanna feel like a kid again. Drink the sun into my insides, it’s in my skin. The fast-paced riff on Same Sun brings more restless momentum paired with lyrical hopeful moments. A reminder that no matter how isolated you feel, everybody is connected under the same sun. Vacancy pulls us back into a daze of reaching for what once was. The shell of the past haunting your every waking moment but you aren’t ready to let go. “Your mind’s a vacant terrastone. Nobody knows just where you go. Could I come rest beside your bones?” Denial leans into folk without ever settling there. Vocals ring clear backed by eerie guitar melodies, hazy harmonies, and lyrics that almost sound like an ancient spell. “A tidal wave, a shipwrecked sea. A plastic island man made beach. To throw away what he had known. Trade in new fins for flesh and bone.” Fever Dream is a melodic mirage of a song. The layered, echoey instrumentation makes you feel like you’re lost in a long hallway. It’s perfectly disjointed in all the right places, while Cut Slack brings us back to the grunge basics. Rainman concludes the album as the perfect outro. Stripped-back instrumentation, twangy strings, gently shaking the listener from a trance. “Throwing all your ego away and laughing ‘til the pit of your ribs start burning. No need to have something to say. So why don’t we stay right here on the ground now. A reminder once again that as life rushes all around us, sometimes all we need is simply just to be. “Spin the missile. My fear is my love. Everything means nothing at all. Spin the missile. Night fades, morning comes. I'm here and I'm gone. I'm here, I'm gone.” It’s Cool, It’s Eclectic, It Leaves Us Wanting More Still Blank (Deluxe) lives up to its immersive, genre-swirling reputation reminiscent of psychedelic, folk, indie rock, art pop, and shoegaze. It’s gritty, it’s grungy, and raw. But it’s also hypnotic, dreamy, and nostalgic. If you like the distorted riffs and rock fuzz of the Silversun Pickups and the psychedelic intimacy of the melancholic vocals of Angel Olsen, this is the album for you. For a Debut Album, It’s Perfectly Imperfect FINAL VERDICT: 9.5/10 Still Blank (Deluxe) delivers a raw and cosmic sound that can only come from a band that isn’t trying to be something they’re not. The kind of music you close your eyes for and start to feel it in your body. The warmth and clarity of the vocals meld together with the restless, layered pulse of the music. Somewhere between awake and asleep, nostalgia and reality, that’s where Still Blank invites you to go. Enjoying SoundCheck Mag? 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With grain, wit and pastel charm, flowerovlove explores the dating stereotypes that keep us searching instead of staying. Article Contributed by Shyanne Vaden At first glance, when hearing the song “American Wedding” by flowerovlove you would think it is about the typical want for an American love story. The family, the white picket fence, the premonition of having a happy, stable foundation. But surprisingly, flowerovlove does the exact opposite but the reality of the polarizing dating scene that new generations are dealing with. In her new music video, which premiered Jun 4, 2026, flowerovlove is a bride. She is standing amongst her family and friends, which includes beloved recording artist Alemeda, holding the hands of her chosen soulmate, waiting to get married… at least so we think. Flowerovlove promotional pictures for American Wedding premiere | Photo from Spotify As the video goes on, although cheery, each groom is swapped out with another. Between the swapping, there is a title page that is giving each groom a name about the way they treat her. There is the casual guy, the beard, the player, and the hater. Each stepping up to the plate to be her partner but when it really comes down to getting married or being serious, they step away because they have their own faults. The player chooses one of her own bridesmaids behind her, the casual guy doesn’t want anything serious, the beard is in fact a beard and the hater is a misogynist who wants to humble her. She and her bridal party are annoyed, bored and astonished. The music video has beautiful colors, is aesthetically pleasing to the eye and absolutely humorous, but realistic. The video's whimsical cinematography creates a contrast with its subject matter. While flowerovlove sings over an upbeat, almost dreamy instrumental, the visuals quietly expose disappointment after disappointment. As a 27 year old woman in New York City, her video is reminiscent of what it feels like dating men who always feel like the grass is greener (the player), they have Peter Pan syndrome (the casual guy) or they want to humble you as a woman (the hater.) She gives a visual and full inside perspective on what it is like dating in 2026, and how many of us in the younger generation were tasked to believe that having this perfect American family and wedding is a goal, but it is certainly hard to find someone to share it with. Although the situation is funny, she and her friends are unamused and it has left her in a state of confusion. Flowerovlove's American Wedding uses a revolving cast of romantic stereotypes to capture the paradox of modern dating: when endless choice makes genuine connection feel just out of reach, and I loved it. It could not be more on the nose for herself but for an entire generation that is having difficulty connecting with others. Creating the entire music video at an alter is a symbol itself because weddings have always been sold to us as the pinnacle of adulthood, particularly for young women. “American Wedding” music video by flowerovlove which premiered on June 4, 2026 Setting the entire video at the altar rather than during the relationship itself, flowerovlove suggests that the real obstacle isn't the wedding, t's finding someone emotionally mature enough to make it there. Every groom arrives looking like "the one," only to reveal the behaviors that they are in fact not. For many Gen Z and millennials, adulthood arrived during a period of uncertainty, social media, dating apps and rapidly shifting gender expectations on both sides. Traditional milestones like marriage, buying a home and starting a family are delayed, not necessarily because people don't want them, but because modern dating often feels more transactional than intentional, plus we are worried about other things. American Wedding captures that contradiction perfectly, the dream still exists for many, but the path toward having that relationship we thought that we would always have has become chaotic. Flowerovlove presents a dating culture defined by endless options, emotional unavailability and familiar archetypes, which is why it resonates so much. Sometimes the hardest part isn't planning the future you've always imagined but finding someone who's actually willing to stand beside you when it's time to say, "I do." Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

With its airy, nostalgic instrumentation, warm vocals, and hindsight 20/20 point of view, indie-pop artist Hoppe creates a cinematic tribute to coming to terms with life’s surprises. Article Contributed by Brooke Dougherty Album Artwork for Cade's upcoming album artwork | Artwork from Spotify Listening to “Lake Michigan” feels like rolling the windows down on a summer roadtrip, chasing blue skies, and realizing that the destination was never the point. A former finance student and basketball player at NYU, Cade Hoppe’s life took a major turn when he decided to pivot and dive into creating music during COVID-19. The latest single from his upcoming album, Safer At a Distance, “Lake Michigan” is a candid, existential look into his own experience of grappling with life’s unexpected detours. What makes this song so compelling is the contrast between its breezy, sun-soaked production and the emotional weight beneath it. Warm guitars, airy keys, and Hoppe’s comforting vocals disguise a story about disappointment, changing course, and learning to live with plans that never came to fruition. The song begins on a hopeful note, the upbeat drums and shimmering keys tell the tale of two people setting out on an adventure. “We went driving your dad’s car cross country. Had to escape all the noise. Of the world burning and your parents. Counterbalancing a void.” With a car almost on empty, Hoppe sings of two people deciding to change course to Chicago to regroup. A change of plans that foreshadows what is to come. “Drove forty miles, needle on empty. Stopped for gas in Illinois. You said we should spend the night in Chicago. By the time we got there it had all been destroyed” What began as a carefree escape transformed into something heavier. Even though they never reached the Pacific Ocean, they try to find comfort in where they ended up. As Hoppe recounts a relationship unraveling, strings in the background tastefully frame the darker themes of the song with an uplifting note. Almost as if the instrumentation nudges the story toward the idea that even the biggest setbacks can have a silver lining. “And I thought maybe this is a good thing. But I cried out loud ‘cause you’re hurting. I could see you needed a white lie. So I pointed to Lake Michigan. And said that kinda looks like the Pacific Ocean” The hazy, sentimental tone of Hoppe’s vocals makes the song feel like a memory viewed through a rearview mirror. There is enough distance to finally understand what happened, but not enough to forget how it felt. Rather than dwelling in regret and looking back in anger, he chooses to embrace the idea that life rarely goes according to plan, and that sometimes, the unexpected path becomes the one worth taking. “And I left you in Lake Michigan. And we pretended it’s the Pacific Ocean. We can both say that we saw the end. Cuz I’ll never see the Pacific Ocean. But I’m walking on water. Yeah I’m walking on water” Almost as if the mirage clears, the song ends with a newfound sense of acceptance and quiet faith amid the unknown. It captures someone realizing that the future they envisioned has come to an end, but knowing that they are capable of moving forward, despite the odds. By the final chorus, the song has traded youthful optimism for the quiet clarity that only hindsight can bring. Final Thoughts: “Lake Michigan” is a Promising Look at Hoppe’s Upcoming Album Ultimately, “Lake Michigan” is an ode to accepting that life rarely unfolds as you expect and fulfillment isn’t always found in the destination. With his own life mirroring the premise of the song, Hoppe makes “Lake Michigan” feel less like a story about lost love and more like a reflection on the unexpected turns that have shaped his own life. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!

Image of Marino | Image sourced from Marino's IG (@iluvmarino) With upbeat indie-pop production and brutally honest lyrics, Marino captures the guilt and rebellion of a generation struggling to define success on its own terms during uncertainty. Article Contributed by Shyanne Vaden. “I’m Sorry Mom” by Marino, released on Jun 12, 2026, is immediately an anthem and relatable for a lot of Generation Z’s thoughts and feelings in their 20s, living in a post-COVID world. The unrevealed mysterious singers' songs remind me of a lot of music from the 2020 lockdown, like Surfaces and Jack Tauber. It tells a story about dealing with failure in your 20s, not wanting to pursue the life that your parents had in mind for you, and the inevitable shame that follows it. It is a bubbly, jumpy beat with high contrast bleak lyrics that resonate with a burnout generation that does not want a corporate 9-5 until retirement and death. The chorus expresses that he doesn’t want to do what his parents and the world expects of him as a young adult and wants to follow his dreams but through generational differences it will make your parents disappointed, “And I know it's what my parents want from me, but I don't / So I won't go get that business degree, I'm sorry, mom / That I'm a deadbeat, the failure of the family, but I didn't ask to be here, so just leave me alone.” The adverb from his mother's voice after the first chorus, “I told you not to go out last night!” is resonate of the weird in between of teen years and young adulthood, when you’re not quite out of the house yet, but you are old enough to make your own decisions. But being under your family's roof gives them opportunities to silently judge you and still control your actions. Marino creates an upbeat sound that reminds you of gallivanting around in the summer with your friends, but subtly reminds you that the fun you are having is on a countdown. It gives you that young feeling with a slight jolt of impending doom. The best thing about “I’m Sorry Mom” by Marino is that it is effective within its timing. Gen Z entered the workforce in a time of instability and awakening. This song pushes back the idea that there is only one acceptable blueprint for adulthood. Even beyond Gen Z, its themes are surprisingly universal. Every generation has dealt with parental disappointment, fear of failure, and the pressure to fit into a prescribed version of success that was created for us long before we ever got the decision to participate. The only difference is that artists like Marino can document that uncertainty due to an increase in media and rebellion. Marino’s lyricism is relatable but also focuses on the black sheep of the world, people who do not want to go the conventional route despite it not being easy: "I'm from another planet, they'll never understand it,” he sings, tapping into that emotion of feeling too different, too unique, and feeling as if you are wired differently than everyone else. Marino’s song is not just an average upbeat indie-pop song, but a song that is truly the thought of a lot of younger people who are about to enter the workforce in light of our current state of the world. It brings you back to that place you were when you were 22 and had absolutely no idea what to make of your future, or it is relatable to you right now because you are in the same place as him. In the end, "I'm Sorry Mom" isn't totally about disappointing your parents but rather about the terrifying freedom of deciding what kind of life you want when the old roadmap no longer works for you. Enjoying SoundCheck Mag? If this article resonates with you, consider joining us on this journey. Your support makes all the difference!