Search

The Northeast Ohio songwriter, Liam Brock, on community, the live setting, and his most personal work yet. Liam Brock poses for SoundCheck Mag's Underground Radar | Photography by Madison Cozzens (@coz_artphoto) Article Contributed by Madison Cozzens “It’s hard to beat a live setting, you know. I think words said face to face are always more impactful.” A Calling From Behind the Kit Producer, singer, songwriter, performer; Liam Brock does it all. Starting as a drummer in the punk scene at the age of 14, Liam knew that the music scene was where he wanted to be. There was something about performing live with other people that felt like a calling and he ran with it. Releasing his first debut EP, Scorched in 2022, Liam has slowly gathered a loyal following in Northeast Ohio. It Takes a Village For Liam, growing up in a small town with a small music scene has proved to be something special. “...everyone’s super stoked to see what you’re working on. And it’s really rare to see creative projects come out of that space, so when they do the community really puts themselves behind it.” That sense of community has been a strong back bone for Brock through his music career. The creative community across the Cleveland/Akron area shows up for each other, whether it be other bands, artists, photographers or anyone in between. “Everyone understands that we’re in it together and it takes a village.” An Infectious Feeling Liam Brock poses for a portrait for SoundCheck Mag's Underground Radar | Photography by LJ Portnoy (@ljportnoy) It’s not just the creative community that supports him, but his loyal and growing fan base as well. Liam’s core audience comes from the people who have been in his corner from the beginning. “I think having people like that in an audience, that’s just an infectious thing to be around…. that’s an easy thing to jump onto and an easy feeling of support.” As Liam expands his reach attending different venues and playing with other bands, he’s felt that sense of care and community has follow him. For Liam the value of playing his music live and making those in-person connections is undeniable. “It’s still mindblowing when there’s a person that I don’t know telling me that my songs mean something to them. Like that’s what you do it for. You can’t replicate that feeling.” Liam Brock's Goes Deeper And we have only gotten a taste of the artistry Liam is truly capable of. Liam Brock poses for SoundCheck Mag's Underground Radar | Photography by Madison Cozzens (@coz_artphoto) The songwriter has been working on an EP for the last year and cannot wait to share it with the world. “I just love these songs that I’ve been working on….I love showing people these songs and I’m so excited for when they’re out and I can send a link instead of having to send a wave file.” Brock defined the new EP as a “deeper departure” from is first. For Brock, Scorched acted as a way for him to figure out who he was as a musician. Learning how to create and produce music on his own. “...a lot of the songs that came before Overstepping was just me trying to get my bearings and trying to make songs that are songs first.” With that out of the way, he can now use the confidence in his songwriting ability to throw himself into projects. “I can really identify with it and relate to it on a deeper level than songs in the past….I think trust and trust in your own taste is just the most valuable thing to have as a creative.” This new EP is departing from Scorched in the direction that is more true to himself. For Liam, these new releases will be the most personal and representative work he’s put out yet and we can’t wait to hear it. The Outside Liam Brock poses for SoundCheck Mag's Underground Radar | Photography by Madison Cozzens (@coz_artphoto) The first single from Liam’s upcoming seven song EP, The Outside, is scheduled to be released sometime in July, but we wanted to hear his other hopes and plans for the future. His main focus right now, other than releasing his new music is to focus on playing more gigs. “I think that live setting is what’s most valuable to me right now. With AI and how disingenuous things have felt in the creative space lately. I think live show is so in your face and as real as it gets. I think those live shows are only getting more valuable.”

Analog Antics fill the screen in the new music video Photo: Max Christiansen Devon Again Introduces Herself to the World Devon Again, the stage name of the rising country-pop artist Devon Johanningmeier, has hit the world stage after a 2020 TikTok video in which she freestyled over a polka beat and went viral. From there, label meetings became routine, and she eventually met with Cameron Hale, who helped produce Johanningmeier’s first hit, Suburbia. Now, four years later, Johanningmeier is supporting Olivia Rodrigo on tour and has released her latest music video, “Snake the Drain”, a fun grunge-tinted romp through the daily lives of some small-town characters. The Value of a Dollar Directed by Kaylin Duffy and published June 5, 2026, Love Don’t Snake the Drain” already has 148,524 views and over a thousand likes. The music video is highly stylized, following the money Devon Again earns from a scratcher as it is written on, ripped up, stepped on, used to ash a cigarette, and more. The song’s theme of words and actions not matching up is backed by visuals of different people finding loose money and their reactions, including an attempted robbery. The music video is fun, with a VHS-like color tone and pixelated look, giving it an analog feel with DIY roots. The track itself is a fun, upbeat country-pop song with tongue-in-cheek lyrics like “Words don’t make me come..home to the dishes done”. The slightly sexual undertones give the music video and the track a youthful feel, ending with a mud pit where the cast is covered in dirt and singing together, and a couple embraces. There is tenderness that runs through the video, as the track asks for more from their partner. Devon Again is available to stream on all platforms, with tickets to see her and Olivia Rodrigo now on sale.

Pushing themselves to new heights following the move to Oxide Records, Savage Hands are preparing to release a new album and set out on a summer tour. Without losing touch with their hard rock roots, the Maryland band have dropped a gut-wrenching new single, "It's Me,” compelling enough to hook even the non-metal fans. Article Contributed by Brooke Dougherty Photography by William George The song begins fast-paced, and almost uneasy as if you are trying to outrun your shadows and the sun is beginning to set. Accompanied by stripped-down instrumentation, Mike Garrow sings about someone who is cruelly aware of the worst parts of themselves that keep bubbling up to the surface. The side of themselves that takes anything good and destroys it. “Try to hide the demons. Try to kick the habit. But it comes back screaming. Like it’s automatic. I take the rain. Turn it to ashes. I hate the flame. Then I light the matches.” The song details a person caught between addiction, their darkest impulses, and the terrifying fear of destroying what they have with the person they love. The song encapsulates the feeling of believing you are undeserving of someone willing to love you through your lowest moments, and becoming fixated with the idea that the other person would be better off without you. “But ooh. That forever stay and fight. In your eyes. Ooh. Is the look that I just can’t find. In mine.” All of a sudden, the drums crash into the scene like a man wrestling with the demons in his head. The chorus is chock-full of anguished desperation and the explosion of energy feels like the narrator losing control. It details someone trying to escape themselves and the downward-spiral thought pattern that leads someone to think the only thing they can do to protect the person they love is to leave. “It’s not you. You tame the devil. Rip right through like holy metal. It’s not you I’m scared to death of. Breaking loose. It’s not you, it’s me. Running, running free." The volatility is palpable as Garrow delivers a catchy chorus accompanied by pummeling riffs and relentless drums. This song feels like being at rock bottom. The inability to see clearly in the moment and just wanting to hide away from your own reflection. “You’re the only reason. I evade the poison. But I’m at my weakest. And the only choice is. Finding the vein. Taking the vial. Numbing the pain. For your survival.” With “It’s Me,” it’s clear that Savage Hands have settled into their sound, continuing to blur the lines between metalcore, alternative rock, and post-hardcore music. The single retains the heavy riffs and headbanging intensity of their roots while leaning into a vulnerable, hook-driven sound that could easily reach beyond traditional metal audiences. “It’s Me” captures the warped logic of hitting rock bottom, the ugly underbelly of addiction, and the self-sabotage that comes with believing you will inevitably hurt the person you love the most.

The talented vocalist and DJ, Jazzy, teamed up with Chris Lorenzo to create a song full of life that is worthy of replay. Jazzy poses for the cover of her album artwork | Album Artwork supplied by UMG. Article Contributed by Monica Soriano. It isn’t surprising that fans often rave about Jazzy’s music. Her execution of the dance-pop and house genres, along with other inspirations, plays a big role in the artist she is today. She is an all-around artist - a singer, DJ, songwriter, and producer. A Collaboration We Didn’t Know We Needed “Invisible” is a song that will be on repeat. Upon first listen, we felt a wave of energy fill our eardrums. Immediately, we knew this song was something we would be adding to our playlist. Jazzy and Chris Lorenzo created an appealing contrast between the lyrics, which seem to be calling someone out on an unlikable behavior, and the freshness of the music that accompanies it. It becomes addicting, in the best possible way. A Music Video Perfectly On Theme The music video for “Invisible” is perfectly in alignment with the song, the vibe, and Jazzy herself. Jazzy has a modern approach to her visuals, but at the same time, they can feel vintage; it is a balance she has mastered. This video is just that - the premise is simple, and the shots are visually eye-catching. It starts off with her in a room full of invisible faces, all but one - the person whom the song is presumed to be directed towards. In the end, the people have faces again and dance in the rain while the woman who once had a face is now invisible herself. There are performance clips in between, rather simple but very much worth watching visually. Upcoming Album & Current Tour Jazzy recently announced that on October 23, 2026, she will be releasing her debut studio album ‘Peace & Patience’. In a recent post she stated “This album represents my personal love story with music, my journey through my career, an ode to home.” It only makes us more excited to follow her journey. Jazzy poses for the cover of her album artwork | Photography supplied by UMG. Currently, Jazzy is on tour until the end of the year. She has stops across Europe and the United States. We will be looking out for her album and we wish Jazzy and Chris Lorenzo much success on “Invisible.”

Deon's new "Feel the Same," featuring Don Aaron, turns an amicable breakup into atmospheric indie-electronica and a study into identity. Deon and Don Aaron team up for the new single, "Feel the Same" | Single Artwork provided by THE BLACK EAST Article Contributed by Konstantina Buhalis. Singaporean singer-songwriter Deon released the third single, “Feel the Same,” from his upcoming record, Numbers Game. In collaboration with alternative R&B artist Don Aaron, the single is an emotional journey filled with electronic influences and indie sensibility. Orbiting Each Other Deon’s latest single, “Feel the Same,” is a downtempo indie track that maintains a dark and atmospheric sound, bringing the track’s themes of an ending relationship into focus. With the lyrics focusing on mutual agreement to end the relationship, there is recognition of feelings on both sides. Sonically, there is a hint of mid-2010s electro-indie that adds texture to the track, and Don Aaron’s R&B style, which hinges on pop as a foundation, meshing two styles that mirror the characters in Feel the Same. With its multi-genre influence, the track tells the story of individuals who exist and orbit each other through the ebb and flow of sound. Feel the Same is, at its core, about identity, and the single explores that theme through two unique artists who navigate their respective genres and build a story together. Playing the Numbers Game Numbers Game, the new upcoming release from Deon, is influenced by statistics and performance metrics of artistry. “Feel the Same” is an extension of the anxiety over performance, and the daily show we put on for ourselves and others. Deon’s voice, mixed with the layered sounds, gives the impression of racing thoughts and speaking over each other. Overall, the single is an excellent example of sonic storytelling. “Feel the Same” is available to listen to on all streaming platforms.

The Legacy of East Coast Pop-Punk and Emo Lives On Turn Two band photographed | Photography by Steph Cincinnatti (IG: @ohiosteph3) Article Contributed by Konstantina Buhalis Turn Two, one of New Jersey’s latest bands, has been taking the Pop-Punk world by storm with their sound, melding the classic 2000s sound with modern touches. SoundCheck sat down with Shane Maziekien to talk about the formation of Turn Two, Third-Wave Emo, and how they developed their sound. Turn Two’s Entrance Turn Two was created out of a love of playing music. Shane Maziekien, formerly of With the Punches, was recording with lifelong friend Matt Flavaloro when, after developing an EP that faced internal struggles, He posted on Instagram asking if anyone was interested in joining their band. Maziekien explained that through his sister they soon gained a singer, saying, “At the time, my sister was dating a guy out in California who just so happened to be one of Mike [Hayden], our now singer's, good friends, and so he saw me post it. They forwarded the post to Mike, and was like, ‘Hey, this guy doesn't live that far away from you; he's my girlfriend's brother. If you wanted to do something again, you know, hit him up.’ And so Mike messaged me, and he messaged me a demo, which actually is the song "Nice Thing" that's on the newest EP; that song just came out last month. After recruiting Hayden, Mason Ingling joined as the bass player, and the band was complete. Mazieken went on to say that three out of the four members have previous experience playing in bands: “Mike used to play in a band called Talent Four with Pete, which was my sister's boyfriend; that's kind of the other band that, and I know Mason, Mason played more progressive metal kind of stuff. He toured for a long time in a band called In the Presence of Wolves, too. So the three of us have played in other bands. Matt's the only one who never really played in a band previously.” Up from the Underground Pop-Punk has evolved since the 2000s, moving away from the era of New Jersey bands that shaped the genre, as members now have unique experiences. While so much of the sound has changed, the passion for the genre has stayed the same. Mazieken explained that while their sound is influenced by the genre standards they grew up with, Turn Two draws on each member’s talents. While multi-genre influences shape the sonic architecture of Turn Two, the core is a desire to create music that reflects their collaborative spirit. Mazieken went on to explain how each member’s writing style is incorporated into the work, saying, “I think the coolest part is that we're trying to make something that is something that defines who we are as a group of people.” Continuing to say, “We have some stuff that leans a little bit more heavier to Matt's influence and some stuff that leans a little bit more heavier to Mike's influence, but I think, in the end, all the most like all the songs you can tell are a blend of all of us kind of like putting our heads together to say, hey, this is fast and fun, but we're going to make it catchy, and then we're going to give it a little bit of synthesizer to give that pop element to it, stuff like that, that can make the song our own.” As Pop-Punk and Emo changed and the rise of Fifth Wave Emo arises, Mazieken says. “People change, people evolve, and like young people also get influenced by different things, you know, like they're bringing in multiple, you know, different genres of music, maybe that we didn't have a lot of access to back in the early 2000s, so that's where some of that evolution of the music comes from.” Mazieken follows up saying, “I just appreciate all of the iterations of it. While you can definitely see an evolution, I really dislike that people have to pigeonhole it into, like, "oh, this is fifth wave" or ‘This is sixth wave’-that's, like, whatever to me. I am probably sounding like an old man, but it's evolving, but it's the same thing to me.” Music Video Mavens Turn Two’s music videos harken back to the early era of Fuse and MTV, and feature some interesting visuals, with their lead singer, Hayden acting as the director. Hayden takes inspiration from horror media, in particular, Stephen King, leading to one of their music videos, “Medicine” taking a gory turn with Mazieken saying, “We kind of just came up, came up with some concepts, like the medicine music video, that one, that song we released on Halloween. So we were like, Mike's done horror music videos, it's coming out on Halloween, we got to do something fun, and so Mike came up with that entire concept, and like we ended up, you know, draining our friend Steve's blood throughout that video, but it's, it's just, you know, we want to bring back like fun, I wanted to look fun, right?”. In the spirit of DIY, the music video for “Polaroid” was shot in a backyard and used a corkboard and green screen to create a montage of the band, with Turn Two working together to create another aspect of their art. August Releases Turn Two is planning to release their EP, Never Meant To Fit in August, with Maziken saying he’s excited, “I think it may be like some of my favorite music, like as just as a musician that I've ever put out.” Most recently, Turn Two released another single, “No Skips” with an accompanying music video on YouTube. They are also in the process of planning a tour in the upcoming months. Turn Two is available to stream on all platforms.

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.

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.

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."

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. LINKS: love/guilt live performance: https://www.youtube.com/watch?v=ds7NQWeTUSY Fever Dream visualizer: https://www.youtube.com/watch?v=-BnvCWXgE3A Spotify Album: https://open.spotify.com/album/6LUS9nD6iNakxe3zXxYRY8?si=keVzoTPAT0O7bNZkAVo21w

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

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.

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!

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.

There are breakup songs that make you want to text your ex. Then there are songs like Rachel Bochner's "Happier You're Gone (SASE)," the kind that reminds you just how much you've grown since everything fell apart. Article Contributed by Rebecca McDevitt Photography by Smiles Meyer (IG: @strangeexposures) At its core, "Happier You're Gone (SASE)" isn't about bitterness. It's about perspective. While the song can easily be heard as the story of leaving behind a relationship, it also leaves room for something even more personal: saying goodbye to an older version of yourself. That's what makes this track so relatable. We've all had moments, relationships, or even versions of ourselves that shaped who we are, even if we were never meant to stay there. The chorus, "I'm happy you happened, but I'm happier you're gone," feels like the emotional heartbeat of the song. It's honest without being resentful, nostalgic without wanting to go backward. Instead of wishing the past away, Bochner embraces it for what it was while recognizing that growth sometimes means leaving something, or someone, behind. Photography by Smiles Meyer (IG: @strangeexposures) Musically, "Happier You're Gone (SASE)" carries an infectious energy that feels made for a golden hour drive with the windows down. It's the kind of track you'd picture soundtracking that cinematic close up of someone in a convertible, smiling as they reminisce about a love that once meant everything while quietly realizing how much they've grown since then. There's nostalgia woven throughout, but it never overshadows the sense of freedom waiting on the other side. Instead, Bochner turns reflection into something uplifting, making the song just as easy to dance to as it is to get lost in your own thoughts. Lyrically, the song doesn't pretend healing is a straight line. "A clean break is never really cut and dry" is a reminder that moving on isn't about forgetting. It's about changing your relationship with the memories you carry. Later, when Bochner sings, "Today I barely question / Or feel the echo of what could have been," there's a quiet confidence that feels earned. It's a subtle but powerful reminder that closure doesn't always arrive all at once. Sometimes, it shows up when you realize the "what ifs" don't have the same hold on you anymore. As a taste of Bochner's upcoming album, “I Guess A Sure Thing Couldn’t Go Down Gently”, "Happier You're Gone (SASE)" hints at a project that's unafraid to explore identity, self discovery, grief, and acceptance with complete honesty. If this single is any indication, listeners are in for a record that doesn't just revisit the past, but learns from it. Catch Rachel Bochner on her "Sorry If It's Selfish" Tour this fall!

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.

On his sold-out Cleveland night, the "Ordinary" star, Alex Warren, proved his real instrument isn’t his voice. It’s the room. Alex Warren performs live in concert at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by Carrie Samek. Article and Contributed by LJ Portnoy. The first thing Alex Warren gives you is light. Sparks fall in sheets behind the band, blue beams cut down through the haze, and for a moment it’s a big, generous, slightly disarming opening. It’s the kind of entrance a guy earns after one of the biggest, most inescapable songs of the past year. But Warren isn’t the performer you’d expect. Moments in, he starts proving the pyro was never the point. The story lives deeper. Listen to the lyrics, and you’ll catch it instantly. He’s building a world out of feeling: the people you’ve loved, lost, and grieved, and the way that loss is the thread connecting all of us. Noah Cyrus, Lighting the Torch Noah Cyrus opens the show at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by LJ Portnoy (@ljportnoy) Noah Cyrus opened the night in her own register entirely: dark, whimsical, a little witchy, lit by her signature lanterns. Across a tight 30-some minutes, she made the case that she’s one of the more genuinely talented voices you’ll catch in a support slot right now. A real instrument, with a sweet country thread running underneath the gloom. Noah Cyrus opens the show at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by LJ Portnoy (@ljportnoy) "July" landed as the fan moment it was always going to be, and "I Got So High That I Saw Jesus" was the set's clear peak. Cyrus recently collaborated with Franklin Jonas on his track “High and Sad,” and supports Warren on the Finding Family on the Road tour through July 18. Under the yellow glow of the lantern, she danced, swayed, and sang her heart out. She sparkled; her vocals soared. Noah Cyrus opens the show at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by LJ Portnoy (@ljportnoy) The Connection: The Man of the Hour Here's the thing nobody tells you about an Alex Warren show: the music is the frame, and the crowd work is the painting. Warren talks to people. Not in the choreographed, hit-your-mark way most arena headliners have learned to fake. He drops into ten-, fifteen-second conversations with strangers in the pit, dozens of them, threaded through the set like he genuinely can’t help himself. His crowd work is so seamless it’s nearly a stand-up routine. It reads as exactly what it is: a performer who has not forgotten, for one second, that these are the people who built him. That awareness is rare, and on this stage it's the whole show. Alex Warren performs live in concert at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by Carrie Samek. The floor was a sea of fans vying for his attention, and the costumes told the story before he said a word. Bananas, minions, pickles, sharks, like a Party City held a going-out-of-business sale and Cleveland bought the entire inventory. Warren clocked every one of them. When a fan told him her mom had died, he asked, gently, then not gently, whether her dad was still around, and when she said yes, deadpanned that she was rubbing it in. (Both of Warren's parents are gone. This joke only works because he's the one allowed to make it, and the room lit up, knowingly, laughing along). That’s the tightrope this whole night walks. Warren’s catalog is grief turned into pop that hooks you before you clock what it’s about. You'll Be Alright, Kid was written out of losing both parents and a teenage stretch spent living in his car. The Story Behind Him Alex's lyrics show he knows it all comes back to connection. The relationships, the fans, the people who hold you up are the ones who make you feel whole again. He brought three little girls onstage to sing and dance through "Carry You Home." He pulled a kid up to smash the confetti-blaster button with him after she'd reportedly made eighty consecutive TikToks begging for the job. Alex Warren performs live in concert at the Rocket Arena in Cleveland, OH on June 27, 2026 | Photography by Carrie Samek. "Passenger" turned the floor into a field of swaying phone lights. "Eternity" gutted everyone still carrying someone they’d lost. During "Save You a Seat," a video took over the screens: his father’s voice on a tape, a message recorded for him to find later. Hauntingly, his dad sounds almost exactly like Alex’s own speaking voice, and Warren mouthed every word along with it. You could feel the arena stop breathing. The Undeniable Encore The tell came at the end. Not a soul left early. In an arena where beating the parking lot is its own competitive sport, the sold-out house stayed planted, even after he walked off: general admission pit, full floor, all the way up to the last row of the 300s. Everyone was waiting for "Ordinary.” We didn't leave early either. "Ordinary" has been on the SoundCheck rotation since before it was "Ordinary," back when Warren was posting it to TikTok on a loop, day after day, all but grabbing the internet by the collar to insist this was the one. By his own account, he pitched it to his own team dozens of times before they bit, then flooded the feed with the song to almost no response. For a long stretch, it didn’t hit. He kept posting it anyway. Then it hit. Ten weeks at No. 1, the biggest song of the year. Watching nineteen thousand people scream it back at him in Cleveland, more than a year into that bet finally paying off, it was impossible not to think about every repost that landed on nobody before this one landed on everybody. We didn’t pull away from Rocket Arena until our Uber finally crawled out, about 55 minutes after the final house lights came up. Nobody around us seemed to be in any hurry either. The night carried a specific kind of energy, unlike any headliner I’d covered before him. Alex Warren Really Shows Us You can build spectacular pyros, shows, and screens. Any budget will rent you the rest. What you can’t buy is a room of thousands who feel personally spoken to, who’d rather wait out the traffic than miss a second of it. Warren has it, holds it, and gives every moment he’s got.

A Spotify chart decided you didn't want this show. It doesn't know you'd drive two hours for the tour. Photography by LJ Portnoy (@ljportnoy) Article Contributed by LJ Portnoy & Rebecca McDevitt. There's a specific kind of quiet that happens in a group chat when a tour gets announced. The poster drops. Everybody scans it the same way. Not left to right, but straight to the middle, hunting for the date that's theirs. Chicago. Cleveland. Toronto. And then the pause. The little cluster of people typing, then not typing. Then somebody finally says it. Not here. It doesn't matter if you're in Detroit or Des Moines, West Virginia or Western Australia. The feeling is the same. Like your city got weighed and found wanting. Like the band looked at you and decided you weren't worth the stop. Like, there's something about where you live that makes you less of a fan. We want to argue the opposite. Not that it doesn't sting -- it definitely does -- but that the sting is built on a misunderstanding of how the map gets drawn now. Your city didn't lose a popularity contest. Your city lost a logistics calculation. And the deeper you go into why a city gets skipped, the clearer it becomes that the whole system has quietly stopped asking the only question that used to matter. First, There Are Real Reasons Photography by LJ Portnoy (@ljportnoy) Here's the uncomfortable thing for anyone who wants to be mad: when a band skips your city, there is almost always a real, defensible, non-insulting reason. We went looking for excuses, expecting to find laziness. We found a spreadsheet, and the spreadsheet had a point. The geography tax. A van going from Cleveland to Chicago does not have to clip Detroit. A bus going from New York to Boston does not swing through western Massachusetts. And a tour going from London to Paris is not stopping in rural Kent. The detour costs a day and a tank -- or in the case of any international routing, a flight and a visa and an entirely different set of venue contracts. On margins this thin, a day and a tank is a real number. A transatlantic flight per band member is a budget conversation most mid-level tours simply can't survive. That math gets even sharper when you factor in the places the routing just doesn't pass through. North Dakota. South Dakota. West Virginia. Wyoming. These aren't states that got looked at and passed over. They're states that don't sit between any two cities large enough to anchor a tour leg. The route exists before the map does, and if you're not on the route, you're not on the poster. It has nothing to do with whether the fans are there. The border tax. This one is especially sharp for cities that sit near an international line -- Detroit, Buffalo, El Paso, San Diego -- but the principle scales all the way up. Every piece of merchandise a band wants to sell across a national border has to be declared, itemized, and taxed. For US bands in Canada, there's a hard line at $2,500 in goods, above which you need an actual customs broker to clear it, plus a 5% tax on the lot. That's Canada, which shares a language and a continent. Try routing a North American tour through the UK, and you're dealing with work visas, carnets for equipment, VAT registration, and flying dates that cost more per night than some bands gross in a month. Australian bands eyeing Europe or the US face all of that plus the added math of flights that could run $10,000 or more before a single ticket gets sold. The standard touring advice is to keep the paperwork and the tax bill manageable, and sometimes the cleanest fix for that is to not cross the line at all. The right-sized room. Sometimes the venue you'd need simply isn't free the night the routing allows, or doesn't exist at all. When a band manager finally got fed up with "why no Charlotte?" messages and explained himself publicly, the answer wasn't snobbery. It was that the room they needed in that size was booked solid every night they'd be in the region. A city can want you badly and still have nowhere to put you on a Tuesday. The radius clause. Play a festival, and you've often signed a contract that legally bars you from playing anywhere within a certain distance of it for weeks or months on either side. One festival booking can black out an entire region, and the Midwest gets walled off this way constantly around festival season. The conflict. A manager will scrub a date the second it lands the same night as another major draw around the corner. There are only so many discretionary concert dollars in a city on a given week, and nobody wants to split them. The saturation math. A touring veteran who's been at it for thirty-plus years laid it out plainly: a band can hit a top market maybe twice a year before attendance craters, so the rest of the calendar gets spent grinding through secondary and tertiary cities on weeknights, at lower attendance, at worse cost structures, just to stay a full-time act. His own band, with actual radio hits, does a thousand in San Francisco and two hundred on a Monday in Syracuse. Skipping a city isn't an insult. It's a casualty of a calendar that can only absorb so many low-population weeknight rooms before the whole tour goes red. Every one of these is true. We're not here to pretend they're not. We're here because of what they all have in common. Notice What's Missing Photography by LJ Portnoy (@ljportnoy) Read that list again. Geography. Borders. Room availability. Radius clauses. Scheduling conflicts. Saturation. Mileage. Not one of them is about whether the people actually want to come. And yet the metric that increasingly drives the routing decision is one that's supposed to stand in for that: streaming numbers. The biggest predictor of whether a show gets added is a band's monthly-listener count in that specific city. Somewhere between 1,200 and 5,000 listeners in a market translates to roughly 200 to 400 tickets sold. Under 300 listeners and you're looking at maybe 60 to 150. Agents pull up a heat map of Spotify numbers, and the cold-looking cities fall off the route. Clean. Efficient. Data-driven. Here's the problem. A streaming dashboard cannot see a person who'd drive two hours. It can't see the fan who plays the record off their partner's account, or the one who still buys the vinyl and never streams it, or the entire generational, word-of-mouth, show-up-no-matter-what loyalty that certain scenes run on. It measures a very particular kind of fan -- the one who logs their devotion into an app -- and treats the absence of that signal as the absence of fans. It isn't. It's the absence of that signal. Those are not the same thing, and a map that confuses them will systematically write off exactly the kind of place that would have lined up around the block. This isn't just a US problem. European fans have watched US tours contract to the same six cities over the past decade -- New York, LA, Chicago, maybe London if there's a transatlantic leg. Australian, South American, and New Zealand fans have built entire fan cultures around artists who've never set foot on their continent, streaming devotedly, buying imports, and showing up in enormous numbers the moment anyone takes a chance on the routing. The data says one thing. The room says another. The Hot Take The take isn't "these reasons are fake." The take is that a stack of legitimate tiebreakers has been quietly promoted into the whole decision, and the one variable they were always supposed to serve -- the actual hunger of an actual room full of actual people -- is now the one thing nobody's measuring, because it's the one thing that doesn't fit neatly in a cell. We built SoundCheck on a bet against that map. That the skipped cities have scenes worth covering. That a Tuesday-night room in a place the spreadsheet wrote off can mean more than a sold-out arena in a market that's seen the band four times. That the people who don't show up in the data are still, stubbornly, here. So when the poster drops and the middle of it isn't yours, don't read it as a verdict on your city. Read it as a verdict on the instrument. The dashboard doesn't know you'd drive two hours. But we do. We see you. And we'll see you there.

Article Contributed by Monica Soriano The newly released LP by Jenny Gillespie Mason has grabbed our attention. With her soothing vocals and present atmosphere, it creates a full listening experience. Listening to In The Safety of the Light feels like wandering through green fields and clear skies just as her promotional photos and videos. Jenny Gillespie Mason press photo provided by Force Field PR The Perfect Length This is Mason’s first solo Album release apart from her band Sis and within 8 songs, she managed to leave a meaningful impression through her musicality. The detailed and varied instrumentation and the background sounds and vocals created an atmosphere that grabbed us with ease. Her lyricism paints her songs with intention. The 8 track album was a perfect 31 minute escape as the feelings of serenity filled our ears. “Medicine of Light” and “Touch Everyone on Earth” While all the tracks were enjoyable and together formed the cohesive project, our favorite songs were “Medicine of Light” and “Touch Everyone on Earth.” Both songs are singles of this album and were perfectly chosen to represent the project. “Medicine of Light” sits under 5 minutes and sinks into listeners' ears as soon as Jenny’s voice reveals itself. “Touch Everyone on Earth” is a track filled with hope and tranquility that can resonate with many. Jenny Gillespie Mason’s switch to Folk music after years of releasing pop/jazz/electronic music is something to applaud. We enjoy listening to artists who have a vision and go after it, when it is truthful to their journey it is noticeable. From what we can see and hear this path and return to Folk music is one filled with sincerity and exploration of a genre she appreciates. We hope that In The Safety of the Light reaches the listeners that will appreciate and benefit from this project.

Single Review: The Tampa alternative pop-rock band, Pretty Pity, delivers a hook-filled ode to chemistry, temptation, and living for the night. Article Contributed by Brooke Dougherty Pretty Pitty's artwork for new single, "I.D.K." | Photography by Matt Kraig I.D.K. is the third, in a string of singles, released by Pretty Pity in 2026. Hailing from Tampa, FL, the self-proclaimed sun-soaked alternative pop rock chameleons live up to their name with their latest single. With the voice of a seacoast siren, vocalist Tani Jade melodically bottles the feeling of wanting affection without attachment. Of giving the people around you just enough to get hooked, but never enough to truly know you. Getting lost in a fleeting moment with a stranger you know will never stay. “I don’t know, I don’t know what you’re talking about. But I think I like it.” The song begins with Jade singing a cappella just before the drum beat crashes in. Almost like she’s been wandering aimlessly before suddenly being pulled into a busy bar, ready to lean into the night. As the tempo shifts, the chaos briefly settles. It is as if she has found someone who quiets the rush in her head. The spotlight is just on them in the crowded room. The world around them swirls into a blur and fades away. And before this person can say anything to ruin the moment or make it too real, she shuts them up. “I wanna bite your tongue. ‘Fore you say something stupid. Lies feed me lies so dumb. I just might believe it.” The lyrics reveal the push and pull at the heart of the song. The chemistry is temporary, but that is precisely what makes it appealing. “Turn me on, oh, anyone can. Fuck me up, if I get love drunk I’ll get stuck, can’t find the right way out.” Fist-pumping guitar riffs pair with melodic, soaring yet punchy vocals to create a song you won’t be able to resist singing along to. The chorus practically begs to be shouted back from a crowded venue. I.D.K. sounds like several gin and tonics. Neon lights. Losing yourself on the dance floor. Finding connection in unexpected places. The kind of chemistry that’s best left unexplained. “Bright pretty lights in the corner of the room leaving me to lose it So put your money where your mouth is. Give me something to forget.” With I.D.K., Pretty Pity captures the feeling of a person just wanting to let go and shed all inhibitions with a stranger. The temptation to stay in a perfect moment before reality has the chance to complicate it. A song about craving connection while resisting anything real. And with its dark drum beat, intoxicating riffs, and swoon-worthy punk-pop-infused vocals, it’s easy for the listener to get swept up in the fantasy. Pretty Pity's single, "I.D.K." is one of many new tracks we've been enjoying this June. For a full playlist of all the tracks we can't get out of our head, head over to our monthly Spotify playlist. This month is called, "June Hits Once in a Blue Moon!"

More than a decade after stepping away, The Cab returned to Philadelphia with a night full of unforgettable songs, surprising covers, and a crowd that never forgot a single lyric. Article & Photos Contributed by Rebecca McDevitt The Cab performing at the TLA in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Since forming in Las Vegas in 2004, The Cab built a loyal following in the pop rock scene, blending infectious hooks with heartfelt lyrics across albums like Whisper War and Symphony Soldier. Fronted by vocalist Alex DeLeon and joined by guitarist and keyboardist Alex Marshall, bassist Joey Thunder, drummer Dave Briggs, and guitarist Chantry Johnson, the band stepped away from touring for several years before the Back From the Dead Tour brought them back to stages across the country -- and back to the fans who never stopped listening. A Time Capsule in the Heart of Philly Some concerts leave you talking about the setlist. Others leave you talking about how they made you feel. The Cab's stop at Philadelphia's Theatre of Living Arts was the latter. Philadelphia native CARR opened the evening, blending indie pop with infectious energy and earning a warm reception from her hometown crowd. CARR opening for The Cab on their Back From The Dead Tour at the TLA in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Following her, Paradise Fears took the stage in a set that felt especially fitting for the night. Like The Cab, the South Dakota pop rock band spent years away before returning to fans who never stopped supporting them -- and those fans made that clear. A section of the crowd to stage left was absolutely unhinged for them, screaming every word from the first note, and that energy radiated through the rest of the floor and into the balcony. Some audiences don't just remember a band. They've been waiting. By the time the lights dimmed for The Cab, the room was ready. For some it was a long awaited reunion. For others, a first introduction. Either way, what followed made a believer out of everyone. Symphony Soldier Still Hits Home From the moment The Cab took the stage, it was clear this wasn't just another reunion show. Fans packed the TLA from wall to wall, singing nearly every lyric back before Alex DeLeon even had the chance to finish them himself, turning every chorus into a conversation between band and crowd. The Cab performing on the Back From The Dead Tour at the TLA in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) And then there was DeLeon's voice. Live, it is something else entirely -- the kind of vocals that make you stop whatever you're doing and just listen. "Intoxicated" and "Temporary Bliss" were among the night's biggest highlights, with DeLeon's range on full display and a room full of people feeling every single note. Alex DeLeon of the Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) Songs like "Bounce," "La La," and "Bad" kept the energy moving, while newer releases blended seamlessly into the set, proving The Cab's story is still being written. By the midpoint of the show, guitarist Chantry Johnson had already joked he was "sweating Cheese Whiz up in here" and the crowd, soaked and fully unbothered, couldn't have agreed more. Chantry Johnson of the Cab performing on the Back From The Dead tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The Cab's Back, Alright Nobody in the room was expecting it. Midway through the set, The Cab launched into a medley that sent the TLA into a completely different kind of chaos -- Backstreet Boys' "Everybody (Backstreet's Back)," Britney Spears' "Oops!... I Did It Again," and NSYNC's "It's Gonna Be Me," back to back. Dave Briggs of The Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photos by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The crowd absolutely lost it. Joey Thunder of The Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) It was silly, self aware, and exactly the kind of moment that separates a great show from a memorable one. And with a band on a tour called Back From the Dead, hearing "Backstreet's Back" hit a little different. The Cab's back, alright. Alex Marshall of The Cab performing on The Back From The Dead Tour in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) One Last Shot Before "Living Louder," Alex DeLeon took a moment to remind everyone in the room that June is his favorite month because it's Pride Month -- that people should always feel free to be themselves and love whoever they love. Paradise Fears frontman Sam Miller then joined the band onstage, turning the song into one of the night's fullest circle moments. Alex DeLeon of the Cab performing with Sam Miller of Paradise Fears at the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) But the emotional peak came in the encore. DeLeon stripped things back for an acoustic performance woven into "One of THOSE Nights," pulling from Justin Bieber's "YUKON" in a moment nobody saw coming. With nothing to hide behind, his vocals did all the talking -- and they more than held up. Goosebumps, wall to wall. "Angel With a Shotgun" closed the night the only way it could, with every voice in the room joining together one last time. Alex DeLeon of the Cab performing on the Back From The Dead Tour stop in Philadelphia, PA | Photography by Rebecca McDevitt (IG: @rebeccajeanlimitedphotography) The mark of a great show isn't just what happens inside the venue. It's what you're still listening to the next morning. For us, that was The Cab.

Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) For many artists, a first headlining show is a milestone. For New Jersey native Tanner Grigoli, it felt like a homecoming. Article and Photography Contributed by Miranda Wyman. On Saturday, June 20, Tanner filled House of Independents in Asbury Park for his debut headlining show. The intimate 500-capacity venue provided the perfect atmosphere for this milestone in his career. The room was packed with family members, childhood friends, classmates, longtime supporters, and fans who have followed Tanner's journey from the very beginning. Della performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) The evening opened with performances from Della and Jordana Bryant, two talented singer-songwriters who delivered impressive sets of their own. Both artists connected with the crowd effortlessly, setting the stage for what would become a memorable night. Jordana Bryant live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) Fans of all ages filled the venue, from young listeners who discovered Tanner through social media to those who first became fans after seeing him perform at their schools. There were groups of Grigoli’s friends singing every lyric, proud family members cheering from the crowd, and supporters who had watched Tanner's growth as an artist since the beginning. The atmosphere felt less like a concert and more like an entire community gathering to celebrate one of their own. Tanner opened his 11-song set with "Figure You Out" before going right into "Bad to Worse," which immediately brought the energy to the room. Between songs, he paused to speak with the audience about his life over the last few years, sharing stories of traveling back and forth between New Jersey and Los Angeles while pursuing his music career. Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) Grigoli talked about the distance and how it often had him feeling homesick, which resonated strongly with the hometown crowd. Those emotions flowed naturally into "Summer in Jersey," which felt especially fitting given the location and the audience before him. He followed it with "Love Worth Saving," continuing to showcase the heartfelt songwriting that has helped him build a loyal fanbase. One of the night's most memorable moments came when Jordana Bryant returned to the stage for the live debut of their unreleased collab, "If I Know You." Despite not yet being released, the song received one of the loudest reactions of the evening. The chemistry between the two artists was undeniable. Tanner then shifted gears with a cover of Shawn Mendes' "There's Nothing Holdin' Me Back." The crowdsang along, creating one of the night's biggest singalong moments. The rest of the set featured fan favorites including "Say It Baby," followed by a fun mashup of "In It For The Fun" and Sabrina Carpenter's smash hit "Espresso." The mashup showcased Tanner's playful side and kept the energy high as the crowd sang along. Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) As the evening moved toward its conclusion, Tanner performed "If You Knew" and "Erasing". By this point, the connection between artist and audience was undeniable. Every lyric was met with cheers, and every pause between songs felt filled with gratitude from both sides. Of course, the crowd wasn't ready for the night to end. After leaving the stage, Tanner returned for an encore performance of "Love You Right," which worked perfectly as the closing chapter to a night that celebrated not only his music but his journey. Tanner Grigoli performs live at the House of Independents in Asbury Park, NJ | Photography by Miranda Wyman (@shotbymiranda) For Tanner Grigoli, this wasn't simply a concert. It was proof of the community he has built through his music. House of Independents became more than a venue for one night; it became a gathering place for everyone who has supported him along the way. If Saturday's sold-out hometown celebration proved anything, it's that Tanner Grigoli is no longer just a promising New Jersey artist. He's an artist on the rise, and this first headlining show felt like the beginning of something much bigger than just himself.

Why Pride Belongs in Music — On Stage, in the Crowd, and Behind the Scenes Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) Article Contributed by Rebecca McDevitt Music has always been about more than melodies and lyrics. It’s about finding the song that gets you through a breakup, the artist who makes you feel seen, or the community that forms around a shared love of an album or live show. That’s why Pride matters in the music industry, not just during June, but every day of the year. For fans, music can be life-changing. It can provide comfort during difficult times, inspire confidence, and create a sense of belonging. For LGBTQIA+ listeners in particular, seeing artists live openly and authentically can be incredibly meaningful. Representation doesn’t just exist on a stage or in music videos, but echoes through headphones, concert venues, and fan communities around the world. Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) At the same time, Pride is about recognizing the countless LGBTQIA+ artists who have shaped the soundtrack of our lives. Long before conversations about representation became mainstream, trailblazers like Freddie Mercury and Elton John were redefining what it meant to be global music icons, leaving an undeniable mark on rock and pop culture. Their artistry opened doors for future generations to express themselves more freely and challenge expectations. Today, a new wave of artists continues that legacy in exciting and deeply personal ways. David Archuleta’s openness about his own journey has resonated with fans who appreciate his honesty and vulnerability. Chappell Roan has become a beacon of queer joy and unapologetic self-expression, while Lil Nas X continues to push creative boundaries with fearless storytelling and unforgettable performances. Artists like Troye Sivan, Hayley Kiyoko, Janelle Monáe, Sam Smith, and Brandi Carlile each bring distinct voices and experiences to their work, reminding audiences that authenticity is one of music’s greatest strengths. Their impact extends far beyond charts and streaming numbers. Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) They help fans feel less alone. They encourage people to embrace who they are. They create spaces where individuality is celebrated instead of hidden. For young listeners especially, seeing someone they admire succeed while living authentically can be both empowering and inspiring. But Pride in music isn’t only about the artists in the spotlight. It’s about the fans who build communities around them. Every playlist shared with a friend, every piece of fan art, every concert bracelet exchanged in line, and every online discussion about a favorite lyric helps create connections that transcend geography and background. Music fandoms have long been places where people find acceptance, friendship, and belonging. The industry behind the scenes benefits from that same spirit of inclusion. Songwriters, producers, dancers, photographers, journalists, venue staff, managers, and countless others contribute to the creative ecosystem that brings music to life. When those spaces welcome diverse perspectives and lived experiences, the result is richer storytelling, greater innovation, and stronger communities. Collage of SoundCheck Mag photographer and contributor images - designed by Ilana Bornstein (@ilana.rachel) Pride also serves as a reminder that creativity flourishes when people are free to be themselves. Some of the most memorable songs ever written come from vulnerability, honesty, and the courage to tell deeply personal stories. When artists feel empowered to share those experiences openly, audiences connect on a profoundly human level, regardless of identity or background. Ultimately, the magic of music lies in its ability to unite people. A chorus sung by thousands of strangers at a concert can become a moment of shared joy. A lyric can make someone feel understood for the first time. A favorite artist can inspire confidence simply by existing authentically and inviting others to do the same. That’s why Pride matters in the music industry. It honors the artists who create fearlessly, the pioneers who paved the way, and the fans whose passion keeps music alive. It celebrates the idea that everyone deserves a place in the crowd, on the stage, and behind the scenes. And when every voice has the opportunity to be heard, the music becomes richer, the community becomes stronger, and everyone benefits.

The alternative indie pop sensation Lila Holler released her new EP, Born to Bite, bringing her signature brand of alternative grit and candid lyricism to another iconic release. Lila Holler poses for her new EP, Born to Bite | Photography Charlie Williams Contributed by Konstantina Buhalis After playing her biggest show in Liverpool to date this past May, Born to Bite is a record of radical honesty and the journey of womanhood. Nomadic Lifestyles and Genre Mixing Inspiration Holler has gone on record about her nomadic upbringing, which has allowed her to engage with multiple cultures, musical styles, and subcultures, leading her to reside in the UK currently and to have recently traveled to Poland. Holler’s travels have lent themselves to the fluidity of sound in Holler’s work, shifting genres with ease and confidence. After appearing on Spotify playlists like Best Viral TikTok Songs 2026, Holler’s international audience is growing, including a festival performance at Sound City Music Festival. Lila Holler Rocks Lila Holler poses for her new EP, Born to Bite | Photography Charlie Williams On the Born to Bite EP, Holler’s writing takes a candid look at relationships and growth. Starting with an indie electro track, “Bruising” opens with a tongue-in-cheek commentary on faking it in bed, but the upbeat, danceable track takes the listener on a whirlwind journey. Born to Bite has an alternative backing that is relentless and takes cues from 00s pop punk, and Holler’s tender vocals bring the EP into an emotionally cathartic space. The final track, “Bite,” slows things down for a moment and takes on a Midwest-emo, down-tempo style, with the lyric “I’m only what they make of me” as a thesis statement about losing yourself, the manipulation of performance, and living truthfully. Holler’s writing is mature and introspective, with feminist undertones that are a welcome presence in the alternative and indie scene. Final Verdict: 9/10 Standout Tracks: Bruising Monster Lila Holler soars on this new EP and is continuing to grow as an artist. Holler’s storytelling abilities are entrancing. This EP is a genre-bending indie alternative journey into the modern era of songwriting.