On the warm evening of September 25, 2025, the Canada Life Centre was rattled to its foundations as Korn brought their Kanada Tour to Winnipeg, joined by the crushing support of Gojira and Loathe. The lineup promised a night of heaviness that spanned generations and styles, and it absolutely delivered—three distinct bands converging to show how wide the spectrum of modern heavy music can reach. Loathe. All photos by Samuel Stevens. Opening duties went to Liverpool’s Loathe, who have steadily grown from underground favourites to one of the most exciting acts in modern metalcore. Their set was a journey through aggression and atmosphere, kicking off with “Revenant” and “Aggressive Evolution,” both of which whipped the early crowd into motion. The band balanced punishing breakdowns with haunting melodies, particularly on “Dance on My Skin” and the fan-favourite “Is It Really You?”—a song that had the audience singing as loudly as they screamed. Closing with the chaotic “Gored,” Loathe proved that they’re no longer just an opener, but a force poised to headline in the near future. Gojira. All photos by Samuel Stevens. Next came France’s Gojira, masters of marrying groove, precision, and spiritual weight. From the first blast of “Only Pain,” their sound engulfed the arena like a tidal wave. Guitarist and vocalist Joe Duplantier led with his trademark guttural roar, while drummer Mario Duplantier put on a performance clinic—flawlessly switching between blast beats, polyrhythms, and thunderous grooves. Winnipeg roared in unison during “Flying Whales,” while “Stranded” and “Backbone” ignited pits across the floor. Their setlist pulled from across their catalogue, climaxing with “Amazonia,” its tribal rhythm and environmental urgency hitting harder than ever. Gojira once again proved why they’re considered one of the finest live metal bands on the planet. As the lights dropped and a familiar bassline pulsed through the speakers, the arena erupted—Korn had arrived. Opening with the one-two punch of “Blind” and “Twist,” Jonathan Davis and company wasted no time in delivering a visceral, career-spanning performance. The crowd bounced to classics like “Here to Stay” and “Got the Life,” while deep cuts such as “Porno Creep” and “Dirty” reminded longtime fans of Korn’s willingness to dive into their darker corners. Korn. All photos by Samuel Stevens. The set was peppered with surprises—most notably when the band weaved a chilling snippet of Metallica’s “One” in during their performance of “Shoots and Ladders,” and later in the set, the band added a playful nod to Queen’s “We Will Rock You” during “Coming Undone.” Ra Díaz’s bass, Munky and Head’s grinding guitar riffs, and Ray Luzier’s drumming were locked in at full power, delivering the low-end crunch that defines Korn’s sound. The encore struck an emotional chord when Davis dedicated “4 U” to Ozzy Osbourne, a heartfelt tribute that had the crowd holding lighters and phones aloft. From there, the energy surged back into chaos with “Falling Away From Me” and “Divine” before exploding into the inevitable closer, “Freak on a Leash.” The chorus echoed from every corner of the arena, a communal catharsis two decades strong. Korn’s Kanada Tour stop in Winnipeg wasn’t just a concert—it was a multi-generational celebration of heavy music. Loathe showcased the future, Gojira embodied the present pinnacle of technical heaviness, and Korn reminded everyone why they remain the titans of the nu metal genre after three decades. By the time the final notes rang out, there was no question: this night belonged to the enduring power of heavy music and the fans who live for it.

Fresh off the heels of her latest album, THE ART OF BEING A MESS , breakout vocalist and songwriter Lauren Spencer Smith unveils a new song, “ Thick Skin .” Listen/share HERE . “I wrote ‘Thick Skin’ during a time when I felt both anger and power,” says Spencer Smith. “It’s about realizing that every setback was actually building my strength—that what was meant to break me only made me tougher. My hope is that this song inspires people to embrace their resilience and recognize that true strength is the best revenge.” “Thick Skin” follows the success of her critically acclaimed sophomore album THE ART OF BEING A MESS , out now via Island Records/Republic Records . She recently performed the fan-favourite track “ IF KARMA DOESN’T GET YOU (I WILL) ” on “ Jimmy Kimmel Live! ,” a standout song from the LP that also landed on Spotify ’s U.S. Viral Chart. WATCH HERE . Spencer Smith is currently on an extensive tour across Europe, the U.K., Australia and New Zealand, with upcoming stops in Liverpool , Glasgow , Sydney , Melbourne and more. In February 2026, she’ll set out on a 32-date North American headline tour with stops in New York City , Los Angeles , Chicago , Nashville , Atlanta , Philadelphia , Austin and more. See below for a complete list of dates. Tickets and more information HERE . Vinyl, CDs and signed products are available via her online store HERE . True to its name, THE ART OF BEING A MESS captures the emotional rollercoaster Spencer Smith experienced while writing her second album. Each song taps into a feeling—anger, devastation, love, peace, confusion and everything in between, sometimes all at once. Reflecting on the chaos of being human, each song finds Spencer Smith revisiting real stories and experiences in her life. With this album, she reminds listeners to embrace and feel comfortable in their emotions, that not everything is black-and-white. THE ART OF BEING A MESS follows her debut album, Mirror (2023), which features the RIAA Certified Platinum singles “ Flowers ” and “ Fingers Crossed ”—the latter of which peaked at #19 on the Billboard Hot 100 and has reached over 875 million global streams. From a small town on Vancouver Island, Spencer Smith began her musical journey in 2019, gaining a sizeable audience online. Through her music, she explored breakups, complex feelings about school, family and friends. Spencer Smith has performed at the MTV Video Music Awards, The Tonight Show Starring Jimmy Fallon , and the People’s Choice Awards—where she was also a Best New Artist nominee. TRACK LIST: 1. What a beautiful day 2. Sticks & Stones 3. bridesmaid 4. Lighting the flame 5. parallel universe 6. IF KARMA DOESN’T GET YOU (I WILL) 7. things you never say 8. Long Story Short 9. WORSE 10. Pray 11. Looking Up 12. Someday LAUREN SPENCER SMITH LIVE: October 3—Liverpool, UK—Olympia October 5—Glasgow, UK—O2 Academy October 6—Glasgow, UK—O2 Academy October 8—Manchester, UK—O2 Victoria Warehouse October 9—Leeds, UK—O2 Academy October 10—Newcastle, UK—O2 City Hall October 12—Birmingham, UK—O2 Academy October 13—Bristol, UK—Beacon November 2—Auckland, NZ—Town Hall November 4—Sydney, AU—Hordern Pavilion November 6—Brisbane, AU—The Fortitude Music Hall November 7—Melbourne, AU—Festival Hall November 8—Adelaide, AU—Hindley Street Music Hall November 10—Perth, AU—Astor Theatre February 4—Nashville, TN—Ryman Auditorium February 6—Dallas, TX—South Side Ballroom February 7—Austin, TX—ACL Live – Moody Theatre February 9—Houston, TX—House of Blues February 10—New Orleans, LA—The Fillmore February 12—Orlando, FL—House of Blues February 13—Atlanta, GA—The Tabernacle February 14—Charlotte, NC—The Fillmore February 17—Silver Springs, MD—The Fillmore February 18—Philadelphia, PA—The Fillmore February 20—Brooklyn, NY—Brooklyn Paramount February 21—Boston, MA—Citizens House of Blues February 22—Ottawa, ON—Bronson Centre February 24—Montreal, QC—MTELUS February 25—Toronto, ON—HISTORY February 26—Toronto, ON—HISTORY February 28—Detroit, MI—The Fillmore March 2—Indianapolis, IN—Egyptian Room at Old National Centre March 3—Chicago, IL—Byline Bank Aragon Ballroom March 4—Madison, WI—The Sylvee March 6—Kansas City, MO—Uptown Theater March 7—Minneapolis, MN—The Fillmore March 10—Denver, CO—The Fillmore March 11—Salt Lake City, UT—The Union March 13—Phoenix, AZ—The Van Buren March 14—Anaheim, CA—House of Blues March 17—Los Angeles, CA—The Wiltern March 18—San Francisco, CA—The Masonic March 19—Sacramento, CA—Ace of Spades March 21—Portland, OR—Roseland Theatre March 22—Vancouver, BC—The Orpheum March 23—Seattle, WA—Moore Theatre Follow Lauren on her socials: Instagram | Tiktok | Twitter | Website

For the past decade, Colorado’s Cheap Perfume have been a fierce and glitter-soaked reminder that punk rock is still a weapon. With their latest release, Don’t Care. Didn’t Ask. —which is out now via Snappy Little Numbers—proves that their anger, wit, and urgency have only sharpened with time. It’s a timely rallying cry dressed as a party, equal parts righteous fury and cathartic chaos. The record bursts open with “Probably It’s Capitalism,” setting the tone with biting sarcasm and a fist-pumping indictment of a system that exploits everyone but the one percent. It’s an overture for an album that never wavers in its stance: loud, angry, unashamed, and determined to wake the listener from apathy. From there, Don’t Care. Didn’t Ask.  swings between searing protest anthems and raw personal confessions. “Dead If I Do” cuts especially deep, with vocalist Stephanie Byrne channelling personal experience into a broader battle cry against gendered violence. It’s one of the album’s most harrowing tracks, but also one of its most powerful—a song that fights for survivors and those silenced by systemic violence. If “Dead If I Do” represents the record’s gut punch, then “Woke Mind Virus” is its manifesto. Guitarist and co-vocalist Jane No leads the charge, ripping apart the hollow culture-war rhetoric of billionaires and pundits who frame empathy as weakness. With snarling riffs and a chorus that refuses to be ignored. But Cheap Perfume’s brilliance lies in their ability to balance fury with fun. “Okay Party” offers a breathless, tongue-in-cheek snapshot of band life—the broken vans, the small victories, and the simmering tensions of a decade spent in close quarters. It’s frantic, playful, and honest, serving as a reminder that joy and rage often coexist in the same sweaty basement show. Elsewhere, the record brims with sharp, incendiary energy. “Down To Riot” stands tall as a working-class anthem, spitting back at the tired post-pandemic refrain of “no one wants to work anymore” and reframing it as a refusal to sacrifice life for someone else’s profit. Musically, it’s a chaotic storm that mirrors its revolutionary intent. “Anytown, USA” paints a scathing portrait of conformity and the decay of the country as a whole. Whereas the track, “No Men,” serves up a biting takedown of toxic masculinity, the band’s feminist ethos crackles through every single line they yell. Back-to-back, “Blood On Your Hands” and “Desert” expand the album’s scope, stitching together themes of systemic violence, personal betrayal, and survival in bleak landscapes—literal and metaphorical. The album's closer, “I Get Wet,” pushes the record across the finish line in a blur of sweat, noise, and catharsis, the perfect embodiment of Cheap Perfume’s live-show chaos. Sonically, the album is unapologetically punk: angular riffs, machine-gun drumming, and snarling vocals that flirt with melody without losing their bite. But what makes Don’t Care. Didn’t Ask.  feel vital is its precision—Cheap Perfume knows exactly when to sneer, when to shout, and when to lean into the catharsis of a hook. It’s angry, but not sloppy; urgent, but not unfocused. Much like their earlier albums Nailed It  (2016) and Burn It Down  (2019), this record pulls no punches against sexism, capitalism, and creeping fascism. But where those albums felt like warnings, Don’t Care. Didn’t Ask.  sounds like a declaration of open resistance. It is less a soundtrack to doomscrolling and more a toolkit for survival, solidarity, and uprising. Cheap Perfume have always been more than just a band—they’re a community, a movement, a party with a purpose. With Don’t Care. Didn’t Ask. , they’ve delivered their most cohesive and compelling statement yet. Don’t Care. Didn’t Ask.  isn’t just a punk album—it’s a spark—and a huge one if that. Whether you’re raging in the pit, marching in the streets, or dancing in your kitchen, Cheap Perfume are here to remind you that resistance can be loud, joyful, and absolutely unstoppable. Check out more from Cheap Perfume: https://linktr.ee/cheapperfume https://www.instagram.com/cheapperfumeband https://cheapperfume.bandcamp.com/music https://www.facebook.com/cheapperfume719 https://open.spotify.com/artist/2vfwEEEv5PVpGMMnC5jajB?si=NoGCq6Z4Qu2-FM0DFvUJxA https://x.com/cheapperfume719

Texas-based metal band GORE. return with their sophomore EP, IF YOU DO NOT FEAR ME… , out October 3, 2025, via Spinefarm Records. Following their 2024 label debut, A Bud That Never Blooms , which earned them critical acclaim, the band doubled down on their mission to fuse modern metal’s brutality with a distinctly feminine perspective that is as raw as it is unapologetic. Where A Bud That Never Blooms  leaned heavily into themes of fragility, loss, and societal violence, this new EP sharpens its teeth and digs deeper into the corrosive emotions that arise when stability is stripped away. Led by vocalist Haley Roughton, alongside guitarist Alex Reyes and bassist Devin Birchfield, GORE. have quickly carved out a place in the heavy music landscape by rejecting the genre’s macho posturing and instead channelling a visceral honesty that hits even harder. Their sound balances caustic riffs, atmospheric layering, and Roughton’s searing vocal performances—sometimes guttural, sometimes fragile, always commanding. The record opens with “Wrath,” a song the band describes as the culmination of the emotional fallout from their previous EP. It’s a storm of resentment, cynicism, and fear, tying together the lingering wounds left by tracks like “Doomsday” and “Babylon.” Reyes’ guitar work thrashes with frantic urgency, while Birchfield’s low-end drives the song into chaos, underscoring Roughton’s vocal eruption as she spits venom at the fragility of peace and the illusion of stability. “Sepsis” pushes into even more personal terrain, tackling the devastation of loving someone who is ill but untreated. Written from the perspective of a friend trapped in a destructive relationship, the track captures the suffocating push-and-pull of devotion and abuse. The haunting visual companion video, which depicts Roughton battling a double of herself, underscores the song’s themes of isolation and entrapment within one’s own mind. Musically, the track balances claustrophobic heaviness with flickers of vulnerability, reflecting the impossibility of separating love from torment. On “Orbiting,” GORE. takes a layering of atmospheric guitar delay and swirling vocal effects, mirroring the gravitational pull of toxic relationships, orbiting around destruction yet unable to break free. It’s one of the EP’s most sonically expansive moments, showing the band’s ability to craft tension through restraint as much as ferocity. The closing track “Like You Meant It” brings the EP full circle, marrying the band’s lyrical vulnerability with some of the band's most punishing instrumentation to date. Whereas Roughton’s performance is devastating, vacillating between whispered confessions and gut-wrenching screams that feel like a final purge of grief and betrayal. Across its four songs, IF YOU DO NOT FEAR ME…  establishes GORE. as a band unafraid to bleed openly, to confront the darker corners of love, loss, and the human condition, and to do so with a level of intensity that demands attention. If A Bud That Never Blooms  was about unearthing the pain beneath the surface, then this EP is about confronting what grows in its place: wrath, resilience, and the refusal to be silenced. With IF YOU DO NOT FEAR ME… , GORE. prove they are not just one of modern metal’s most exciting new acts, but one of its most necessary voices. Check out more from Gore.: Website | Facebook | Instagram | YouTube | TikTok

Orbit Culture have never been a band to tread lightly. Since emerging from the frozen Swedish underground, the Eksjö-based melodic death metal quartet have honed a sound that’s equal parts punishing and cinematic, a blend of thrash ferocity, death metal heft, and industrial-tinged atmospherics. On their forthcoming fifth studio record, Death Above Life , and their first album with Century Media Records, which is due October 3, 2025, the band reach their most ambitious and widescreen vision yet. It’s a record of rebirth, transformation, and sheer force, solidifying Orbit Culture as one of the most vital voices in modern metal. Frontman and chief songwriter Niklas Karlsson describes the album as “a big change for the better… a rebirth,” and that sentiment echoes throughout its ten tracks. Each song feels like both a continuation of Orbit Culture’s relentless trajectory and a bold step into new territory. Where past releases often leaned into groove-driven brutality, Death Above Life  layers on cinematic intros, atmospheric flourishes, and unexpected shifts in tone without ever losing its bite. The opening number “Inferna” immediately sets the tone with a foreboding, scorched-earth atmosphere before giving way to jagged riffing that recalls Gojira’s tectonic weight, but filtered through Orbit Culture’s own melodic sensibility. It’s less a song than an invocation—a gateway into the rebirth Karlsson speaks of. The album's second track, “Bloodhound,” erupts with a pure primal rage. It’s a track born of disillusionment with an exploitative industry, but also an anthem of reclamation. The riffs gnash and bite, the drums thunder like war drums at bullet speed, and Karlsson’s guttural growl cuts through with raw fury. “Inside the Waves” shifts gears, weaving clean vocal passages into its swirling storm of riffs, evoking an oceanic pull between serenity and violence. The balance between the harsh and melodic here shows Orbit Culture’s growing confidence in dynamics and mood. Then comes “The Tales of War”—the band’s chosen lead single and perhaps the purest distillation of their sound. With its cinematic string intro, its massive chorus, and its battlefield imagery, it feels tailor-made for festival stages. Orbit Culture’s strength lies in their ability to make music that’s both intimate and colossal, and this track exemplifies that duality. It’s as much a rallying cry as it is a narrative. The following is the track “Hydra,” which takes things darker and heavier, featuring low-tuned guitar grooves and unnerving textures that nod to industrial metal. Inspired by the vastness of Dune , the song feels colossal—like a leviathan stirring beneath the sand. The production, complete with distorted strings and cavernous drums, amplifies that sense of scale. Lyrically, it’s about severing toxic ties, and the music mirrors that finality with crushing weight. “Nerve” is a throwback of sorts, recalling the more melodic side of Orbit Culture’s earlier work. Its clean-sung chorus feels like an exhale after the suffocating heaviness of “Hydra,” and some of the previous tracks early on, yet its closing twist ensures it remains unpredictable. The track’s longevity in the band’s vaults pays off—it feels like the emotional spine of the record. At the center is the title track, “Death Above Life.” Where “The Tales of War” builds a bridge to Orbit Culture’s future, this song smashes through it. Horror-inspired atmospherics, cavernous riffs, and lyrics about cutting ties with suffocating influences make it the darkest and most uncompromising song on the entirety of the album. Debuted at Download Festival, it already feels like a defining moment in their catalogue. Now, the final stretch doesn’t relent. “The Storm” is aptly named, swirling with chaos and catharsis, while the penultimate track “Neural Collapse” pushes the band’s technical side with dizzying riff patterns and punishing rhythms. With their closing track, “The Path I Walk,” the band delivers their most heartfelt track of the album. It feels like both an ending and a beginning, marrying immensely sombre melodies with bone-crushing heaviness. It leaves the listener with the sense that Death Above Life  is not just a chapter, but the first act of something in fact larger. Orbit Culture has always existed in the liminal space between death metal’s ferocity and metalcore’s accessibility, but here they carve out something more timeless. Death Above Life  is cinematic without pretension, brutal without monotony, and personal without losing its universality. It’s an album about letting go, moving forward, and embracing transformation with both fists clenched. With this release, Orbit Culture have not only cemented their partnership with Century Media Records, but they've also positioned themselves as heirs to the modern metal throne alongside contemporaries with the likes of Gojira, Trivium, and Machine Head, to name a few. Death Above Life  is their most complete and compelling statement to date—an album that doesn’t just mark rebirth, but demands it. Check out more from Orbit Culture: Website |  Facebook | Instagram  | Twitter | YouTube  | TikTok

On his debut album Open Bars , which was released on September 26, 2025, via EMPIRE, Nashville-based singer-songwriter Jake Banfield arrives with undeniable confidence and a fresh approach that blends country, hip-hop, and pop into a sound entirely his own. Across twelve incredible tracks, Banfield builds a body of work that is both anthemic and deeply personal, positioning him as one of the most exciting genre-bending artists to emerge in recent memory. Banfield has already proved his knack for viral success with “Lasso,” a country-rooted smash that twists traditional twang with trap-inspired hi-hats and sleek pop production. With over twenty-five million streams to its name, it could’ve easily pigeonholed him as a one-hit crossover act. Instead, Open Bars  demonstrates that he has far more to offer than a single breakout moment. The titular “Open Bars” is a centrepiece of the record—an instantly memorable breakup anthem that captures the shared humanity found in late-night dives and neon-lit watering holes. “Without girls breaking hearts, those bars wouldn’t be open late, pouring the drinks strong,” Banfield explains, and the track feels both celebratory and cathartic, the kind of song destined to become a singalong staple on tour. Other standouts on the album that showcase Banfield’s range: “What She Wants” pulses with woozy beats and sharp rap verses, giving the project a modern urgency, while “Sunburn,” “Nights Like,” and “Hennessey in Tennessee” lean more into playful, summery territory. However, the latter two tracks feature a more heartfelt vibe to them. By contrast, the aching ballads reveal Banfield’s emotional depth. “Still Feels The Same,” featuring fellow rising country singer RaeLynn, aches with piano-driven vulnerability and haunting harmonies, while “Thought of You” strips things down to raw emotion, spotlighting Banfield’s storytelling gift. That storytelling ability is no accident. Hailing from a family of coaches and athletes, Banfield’s path to music wasn’t straightforward. A promising basketball player in Oklahoma, he saw his sports career end with a devastating injury. During his recovery, he stumbled upon a guitar at a pawn shop, sparking a new passion that eventually led him to writing sessions in Los Angeles with artists such as Madison Beer, and later on, he moved to Nashville to carve out his own artistry. That resilience and reinvention pulse through Open Bars , giving its themes of heartbreak, healing, and hope an authentic edge. Banfield’s delivery is as versatile as his production choices—sometimes gritty and rapped, sometimes soulful and melodic, but always vulnerable. He has a natural ability to make listeners feel like they’re living these stories alongside him, whether it’s the nostalgia of “Anywhere But Home” or the triumphant swagger of “Hall of Fame.” As Banfield gears up for a string of tour dates to close out 2025, Open Bars  feels like the perfect launching point for his career. It’s a record that invites listeners into his world—a little heartache, a little celebration, and a lot of honesty. And if the crowds singing back to him are any indication, his journey from injured athlete to rising star was indeed, as he says, a “blessing in disguise.” Jake Banfield’s Open Bars  is a bold and heartfelt debut that cements him as a shapeshifting storyteller with staying power. A record to cry, dance, and heal to—it’s proof that sometimes the biggest detours in life can still lead to the most rewarding destinations. Check out more from Jake Banfield: Instagram  | TikTok  | YouTube  | Facebook  | X  | Spotify

PRE-ORDER HERE ONE OF ROOTS MUSIC’S MOST SINGULAR SINGER SONGWRITERS EMERGES WITH NEW ALBUM PRODUCED BY ROBBIE LACKRITZ AND FEATURING LEGENDARY BASSIST PINO PALLADINO RELEASES NEW SINGLE “SUFFER,” WATCH MUSIC VIDEO HERE   Recently, Boy Golden , singular emerging singer-songwriter, announced the release of his new album,   Best of Our Possible   Lives , out February 13, 2026, via Six Shooter Records.  The smooth and disarming album was produced by  Robbie Lackritz ( Feist, Bahamas, The Weather Station) and features legendary bassist  Pino Palladino,  renowned for his work with D’Angelo, Adele, The Who and Elton John, among others. Best of Our Possible Lives   is twelve songs of self-discovery, best considered as roots music from a galaxy far away. Uniting the distant universes of '80s folk pop and '90s country, Boy Golden collides with influences including edgy modern indie rock and is a swaggering slice of sonic exploration that is destined to captivate you from the first note.  Also recently, Boy Golden released the new single "Suffer" — cowbell-ladened indie rock and roll, with lyrics exploring the Buddhist philosophy that the one thing that unifies us all is our human capacity to suffer. He is currently on tour with Birdtalker with upcoming stops in Portland, Seattle, Salt Lake, Denver, Boulder and more.  Holler  premiered the track, describing it as, “a cowbell bashing slice of self-consciously louche and artful indie rock and roll with Boy Golden delivering a blistering State of the Nation address.”   Boy Golden  shared, “ I write songs to seek understanding. Suffering, the first of the Four Noble Truths, is universal. It takes different shapes and forms and magnitudes, but the pain of change, the pain of mortality, the pain of living in bodies we did not choose, is shared. “Suffer” can’t help but be a political song, because our lives have inherent political consequences, but I don’t believe it to be a partisan song. I write songs to find the threads that bind us all together.  The song came when my ideals were being tested and shattered by the world as it is now. I hope that anyone listening to this song can come to the same conclusion that I did: if we only have this moment, what you do in this moment is who you are. Who do you want to be? ” Who is Boy Golden? On the one hand, it is a moniker for a mysterious new artist, who is building buzz following major support for the track "KD and Lunch Meat" from his debut album which hit #1 at Alternative radio in his home country of Canada, and major moments including debut at Bonnaroo, and opening for Jason Isbell, MJ Lenderman, and Joshua Ray Walker. On the other hand, Boy Golden  is also a conduit for songwriter Liam Duncan —a persona that allows him to create honestly and freely. For Duncan, Boy Golden  grants access to an inner world only reachable through music. His three previous albums— For Eden  (wistful), For Jimmy  (rollicking), and the lemon-yellow-leisure-suited Church of Better Daze —served as a psychic clearing for Best of Our Possible Lives . This new work finds him mid-journey, reckoning with the self as it was, as it is, and as it can be. Boy Golden states,  “The lines between him and I are soluble… Whether it is my spiritual beliefs, my way of living, my sexuality - it comes up in my writing and I am then forced to reckon with it. ” Recorded at Lucy’s Meat Market in Los Angeles in March, the album features contributions from aforementioned Pino Palladino, alongside Abe Rounds (Meshell Ndegeocello), Gabe Noel (Father John Misty), Joseph Shabason (Destroyer), and Church of Better Daze  collaborators FONTINE and Austin Parachoniak. An album with highlights including rocking album thesis, “Suffer,” swampy, moody and resolutely idealistic “The Matter at Hand,” cheeky groovy rocker “Cowboy Dreams,” featuring beautiful vocals from Cat Clyde, “Eyes,” a powerful eulogy for a friend who died by suicide, and breezey folk rocker and perhaps the album’s breakout single “Like a Child” which urges us to be present, adaptable, and vulnerable.  The album’s title was inspired by Boy Golden’s reflections on philosopher Leibniz’s argument that, if God is omnipotent, omniscient, and benevolent, this must be the best of all possible worlds. In the face of suffering and injustice, Boy Golden reframes the idea: being present and living through each moment, somehow accepting it as it is, is our only true option to find peace in the chaos around us.  Boy Golden’s philosophy is simple: By living here—now—in this moment—we create the Best of Our Possible Lives . With a major 2026 tour ahead and anticipation building, this moment truly belongs to Boy Golden. TRACKLIST: Suffer The Matter at Hand New Orleans Like a Child Chickadee Cowboy Dreams - feat Cat Clyde Bad Habits Moontan - feat Cat Clyde Eyes Meadowsweet You Got It Best of Our Possible Lives TOUR DATES (opening for Birdtalker): Oct 2 Thu - Boise, ID - Neurolux Lounge Oct 5 Sun - Teton Village, WY - Mangy Moose Steakhouse and Saloon  Oct 7 Tue - South Salt Lake, UT - The Commonwealth Room Oct 9 Thu - Denver, CO - Bluebird Theater  Oct 10 Fri - Boulder, CO - eTown Hall Check out more from Boy Golden: Instagram  | TikTok  | Facebook  | Spotify

Alt-pop has always thrived on contradictions—vulnerability against bravado, glossy production against jagged emotion—and on HOW TO SING FOR MONEY , which is out September 26, 2025, via turtlemusik, Maggie Andrew leans into every tension with confidence and clarity. The Nova Scotia-born artist has been steadily carving out her place in the Canadian pop landscape, but this EP feels like the moment she fully seizes it. With a flair for sharp storytelling and genre-fluid experimentation, Andrew presents her most fully realized work to date. HOW TO SING FOR MONEY opens with “Emotional Touchdown,” a shimmering cut built on gauzy synths and a beat that mirrors the disorienting high of constant motion. Lyrically, Andrew interrogates the emptiness of a jet-set lifestyle, painting the loneliness that lingers long after the crowd’s cheers fade. The ache of distance is handled with poise, her melodies skating effortlessly between dreamy and defiant. The following track, “Unfinished Business,” sinks even deeper into melancholy. The hazy atmosphere underscores her exploration of unresolved love, one where she chases someone still tethered to their past. It’s a standout moment of intimacy, with Andrew’s voice glowing against restrained production, giving the track a haunting resonance. The title track, “How to Sing for Money,” acts as both centrepiece and manifesto. A mix of pounding percussion, searing '80s-inspired guitars, and Andrew’s syrupy toplines, it’s a biting look at the commodification of heartbreak. At once ironic and infectious, the song calls out the absurdity of turning pain into a pop spectacle, even as it revels in its own cathartic brilliance. It’s a daring tightrope act that Andrew executes with style, doubling down on her ability to pair wit with emotional gravity. “Father Figure” shifts gears into acoustic textures, as Andrew reflects on her upbringing and the process of transcending the weight of her past. Vulnerable yet unflinching, the song carries a maturity that grounds the EP’s more maximalist moments. That spirit of confrontation carries into the track, “If God Was Real,” where she dismantles inherited beliefs with buoyant, pop-rock-leaning instrumentation. It’s playful, rebellious, and deeply personal—a rejection of dogma that still bursts with hope. The EP’s most explosive track comes with “Did You Cry,” a sun-soaked anthem that channels a post-breakup fury into catharsis. Its companion music video, directed by MOOSECANFLY, pushes the narrative even further, casting Andrew as a runaway bride fleeing a toxic cycle. It’s a visceral reminder that Andrew doesn’t just sing about survival—she embodies it. The EP's closing track, “Fall Like a Feather,” ties the project together with resilience. A soaring anthem that rises above the chaos of what came before, it leaves the listener with a sense of renewal. If the earlier songs wrestle with disillusionment and exhaustion, this finale asserts Andrew’s enduring strength: to bend without breaking, to turn hardship into soaring melody. Taken as a whole, HOW TO SING FOR MONEY  feels like both a culmination and a turning point. It’s the sound of an artist who has sharpened her vision through years of collaboration and lived experience—CBC Searchlight winner, festival mainstay, ECMA award recipient—and now delivers it with unwavering confidence. Andrew refuses to be boxed in: she can move from glossy synth-pop to folk-leaning intimacy to alt-rock grit without losing her thread. What ties it all together is her voice, at once commanding and tender, capable of flipping from sweetness to sting in an instant. Maggie Andrew's latest doesn’t just showcase her ability to craft hits—it solidifies her as one of the most exciting voices in alternative pop today. HOW TO SING FOR MONEY  is equal parts daring, vulnerable, and magnetic. It’s the kind of project that not only resonates in the moment but promises even bigger things to come. Check out more from Maggie Andrew : Website /  Instagram / Facebook / Twitter / Spotify /  YouTube /  TikTok

Winnipeg’s Park Theatre was packed wall-to-wall on September 23, 2025, as two of power and progressive metal’s most revered bands—Sonata Arctica and Symphony X—brought their joint North American tour to the Canadian prairies. The intimate venue provided the perfect setting for a night of soaring melodies, technical mastery, and pure heavy metal theatrics that had fans singing, headbanging, and cheering long after the final notes faded. Sonata Arctica. Photos by Samuel Stevens. The evening kicked off with Finnish power metal icons Sonata Arctica, who wasted no time diving into their high-energy opener, "First in Line." Frontman Tony Kakko immediately captivated the crowd with his unmistakable vocals, combining theatrical flair with heartfelt emotion. The setlist pulled from across the band’s career, delighting longtime fans who sang every word of classics like "Replica" and "My Land." The atmosphere grew even more electric with "FullMoon" and "Wolf & Raven," songs that showcased the band’s trademark mix of speed, melody, and symphonic textures. Kakko’s rapport with the Winnipeg crowd was warm and lighthearted, balancing humour with moments of raw sincerity, especially on "I Have a Right," which hit hard with its anthemic chorus. They closed with a fan-favourite one-two punch: "Don’t Say a Word," capped off with their playful "Vodka" outro (a nod to their Finnish countrymen Korpiklaani), which had the entire room raising fists and voices in unison. By the time Sonata left the stage, they had successfully set the bar sky-high for the night. New Jersey’s Symphony X took the stage to a roar of anticipation, opening with the crushing riffs of "Nevermore." Where Sonata Arctica thrived on melodic exuberance, Symphony X countered with pure technical precision and intensity. Guitarist Michael Romeo was a force of nature, unleashing jaw-dropping solos and riffs that pushed the limits of virtuosity, while Russell Allen’s commanding vocals filled every corner of the venue. Symphony X. Photos by Samuel Stevens. The setlist was a dream for longtime fans, spanning highlights from "Underworld" and "Paradise Lost" to older gems like "Smoke and Mirrors." "Evolution (The Grand Design)" and "Inferno (Unleash the Fire)" showcased the band’s blend of progressive intricacy and headbanging groove, while "Kiss of Fire" delivered sheer ferocity. The encore was nothing short of spectacular. The tender ballad "Without You" gave Allen the chance to display his range and emotional depth before the band launched into "To Hell and Back" and the thunderous closer "Sea of Lies." The crowd responded with unrelenting energy, headbanging, shouting, and throwing up horns until the very last note. Together, Sonata Arctica and Symphony X offered Winnipeg a night that celebrated two distinct but complementary sides of the metal spectrum—soaring melodic power and intricate progressive might. The Park Theatre’s intimate atmosphere amplified the connection between band and audience, making this stop of the North American tour feel truly special. For fans of either band—or anyone who appreciates musicianship at its highest level—this was an unforgettable evening that reminded everyone why Sonata Arctica and Symphony X remain titans of their genres.

With their sophomore album, joan—the Arkansas alt-pop duo of Alan Benjamin Thomas and Steven Rutherford—lean into vulnerability like never before. Out now via Photo Finish Records, this won’t last forever  isn’t just a collection of shimmering pop tracks; it’s a deeply personal project forged in the midst of life’s highest highs and its most daunting uncertainties. The result is a record that balances bittersweet nostalgia, emotional honesty, and bright, hook-driven melodies with the gravity of lived experience. At the heart of the album lies its title track, “this won’t last forever,” which also kicks off the record. The song captures the emotional crux of the record—an acceptance of life’s fleeting nature, both its beauty and its struggles. Backed by atmospheric synths and melancholic humour, it’s both a mantra and a release. joan’s knack for glossy, infectious pop is on full display on “body language” and “magic.” Both tracks pulse with danceable rhythms and lush production, evoking the duo’s signature ‘80s-inspired sheen. Yet beneath this nostalgic sheen, the lyrics simmer with intimacy and yearning, grounding the tracks in emotional depth. “face” and “eyes” showcase the band’s gift for crafting tender mid-tempos with immense lyrical contrast. These songs shimmer with dream-pop textures while carrying lyrical weight—quiet meditations on connection, distance, and love’s fragile persistence. The latter is an immense number that has the duo shed their heart and soul like no other song on the album. The record’s more ambitious turns arrive with “supernatural” and the interlude “tutto passa.” The former leans into a cinematic blend of swirling synths, striking bass lines, and layered vocals, while the latter takes its name from the Italian phrase “everything passes,” amplifying the album’s central theme of impermanence. It’s a poignant inclusion that broadens the duo’s palette without losing their sense of immediacy. “heartbodymindsoul” feels like a centrepiece moment—it's expansive, unabashedly romantic, and overflowing with devotion. However, in contrast, the track “bothered” pulls toward darker corners, with moodier arrangements and heavier emotional tones that add dimension to the record’s emotional arc. Whereas “tsunami” features janky guitars, but overall it's a full-blown pop number that is sure to be a favourite in their live show. The closing stretch highlights the pair of tracks, “alibi” and “space,” which reaffirm why joan has become a fixture in modern alt-pop. Once more, “alibi” is sleek and infectious with its heart and pulsing synths, while “space” feels almost cosmic in its expansiveness—an ethereal closer that lingers long after the final note. What makes this won’t last forever  stand out is its cohesion. Every song orbits the same emotional nucleus: the recognition that life is transient, that joy and pain alike pass with time. It’s a concept that resonates universally, yet joan filter it through their own lived experiences—making the record as much personal as it is relatable to its listeners. Production-wise, the duo stay true to their established sound—blending sparkling synths, glossy guitar flourishes, and layered harmonies—while maturing in their storytelling. The result is an album that balances accessibility with substance, nostalgia with immediacy. For a band that has steadily built its following through heartfelt songwriting and high-energy live shows, this won’t last forever  feels like a milestone: the work of a group who’ve weathered storms, embraced joy, and emerged with a record that mirrors both the fragility and resilience of being alive. this won’t last forever  is joan at their most vulnerable, most polished, and most resonant yet. It’s an album that asks listeners to dance through their grief, but to hold on to their joy while it lasts, and to trust that no darkness lingers forever. It's a career-defining release from one of alt-pop’s most emotionally attuned duos. Check out more from joan: YouTube | Instagram | Facebook | X | TikTok

After more than a decade away from the spotlight, The Cab has reemerged with Road To Reign: A Prelude , a four-track EP, which is set for release on September 26, 2025, that feels both like a homecoming and a bold reintroduction. For fans who have kept their legacy alive since 2012’s Symphony Soldier , this collection serves as both a reminder of why The Cab was so beloved in the first place and a tantalizing preview of where they’re heading to next with their music. From the opening track, “Pain,” the band signals their return with urgency. Layered synths, vocal pitch effects, and driving percussion give way to Alex DeLeon’s unmistakable vocals—emotive, soaring, and tinged with a newfound maturity. Lyrically, it’s an anthem of resilience, setting the tone for the EP’s themes of growth and rediscovery. Following is the track, “Rollercoaster,” which leans into The Cab’s pop instincts, blending slick production with the band’s rock backbone. It’s catchy in that quintessential Cab way—equal parts polished pop and heartfelt storytelling. The song captures the highs and lows of navigating love and life, with DeLeon’s delivery straddling vulnerability and defiance. With the EP's third track, “Every Little Lie,” the band dips back into their R&B-influenced roots. Smooth keys and atmospheric guitars frame a track that feels like a modern extension of Whisper War , offering a perfect balance between nostalgia and forward-thinking production. It’s intimate, confessional, and the kind of song destined to become an absolute fan favourite live. The EP closes with “Stay This Way Forever,” a sweeping, cinematic ballad that carries echoes of Symphony Soldier ’s grand emotional core. With its lush arrangement and aching sincerity, it feels like The Cab’s love letter to fans who never stopped believing in them and their return. It’s a fitting closer, leaving listeners suspended in the promise of what’s next. Sonically, Road To Reign: A Prelude  blends The Cab’s signature genre-bending style—pop hooks, rock grit, and R&B smoothness—with the wisdom and perspective gained from so many years away from creating memorable tunes. There’s a palpable energy here, not just in the music but in the intent: this is a band reclaiming their place and signaling that they’re ready to reign once again. Thematically, the EP thrives on ideas of perseverance, second chances, and seizing the moment. It’s not weighed down by nostalgia but instead uses the past as fuel for a vibrant, refreshed sound. For longtime listeners, the EP will feel like a triumphant reunion; for new fans, it’s an accessible gateway into a catalogue rich with emotional resonance. With a full-length album on the horizon in 2026, Road To Reign: A Prelude  succeeds as both a standalone statement and an invitation to the next chapter of The Cab’s story. After more than ten years away, The Cab proves they’ve lost none of their magic. Road To Reign: A Prelude  is a powerful return—short, impactful, and brimming with heart—that reaffirms their place in the alt-pop-rock landscape and sets the stage for something even bigger. Check out more from The Cab: https://thecabband.com/ https://www.facebook.com/thecab/ https://www.instagram.com/thecab https://www.tiktok.com/@thecabband https://x.com/thecab

Winnipeg’s Park Theatre has built a reputation for being one of the city’s most intimate and energetic venues, and on Saturday, September 20, 2025, it once again lived up to its name. The Redemption Tour rolled into town with hard rock powerhouse Dorothy and rising country rockers Eddie and the Getaway, marking the first-ever appearance in Winnipeg for both bands—and in Eddie and the Getaway’s case, their first-ever show on Canadian soil. The result? A night of raw emotion, powerhouse vocals, and electric energy that left the sold-out crowd roaring until the final note. Eddie and the Getway. Photos by Samuel Stevens. The night kicked off with Eddie and the Getaway, who wasted no time proving why they’ve been gaining momentum south of the border. Opening with “Alexis Texas” and “Love Myself,” the band immediately drew in the crowd with their blend of pop-punk energy and alt-rock grit. Their set struck a balance between original songs and playful surprises. Midway through, they launched into a cover medley that mashed up the soaring balladry of the Goo Goo Dolls’ “Iris,” the smooth R&B of Jay Sean’s “Down,” the nu-metal chaos of Limp Bizkit’s “Break Stuff,” and Buckcherry’s infamous “Crazy Bitch.” It was chaotic in the best possible way, a bold move that showcased the band’s personality while keeping the audience hooked for every moment they stood on the stage. A fiery drum solo kept the momentum high before they dove into “Middle Finger Motto” and the grunge-tinged “Cobain.” Their choice to cover Hinder’s “Lips of an Angel” gave the set an emotional breather, with fans singing along passionately. They closed out with “Sleep Alone” and “Overdose,” proving they could shift from singalong anthems to heavy, hard-hitting closers with ease. For their Canadian debut, Eddie and the Getaway delivered a set that felt both celebratory and hungry—a band introducing themselves with immense confidence. By the time Dorothy and her band took to the stage, anticipation was through the roof in the venue. Dorothy kicked things off strong with “Down to the Bottom” and the fiery “THE DEVIL I KNOW.” Dorothy Martin’s commanding presence immediately took hold of the Winnipeg audience. Her voice, equal parts grit and soul, reverberated through the Park Theatre with an intensity that felt larger than the room itself. Dorothy. Photos by Samuel Stevens. About a quarter of the way into the band's set, Dorothy paused to let the crowd know they had made “a few small changes” to the setlist for the evening—a reminder of how live music thrives on spontaneity and that it doesn't always mean that you've never been to a city, you need to play the same setlist every night. That led into the smouldering “What’s Coming to Me,” a track that resonated with gospel-like intensity. The middle stretch of the set was pure rock ’n’ roll firepower, with highlights including the blues-soaked stomp of “BONES,” the swampy grit of “MUD,” and the sultry burn of “After Midnight.” Fan favourites “Raise Hell” and “Medicine Man” had the crowd shouting every lyric, while “Top of the World” showcased Dorothy’s ability to balance empowerment with swagger. The emotional high point came with “Rest in Peace” and the haunting “Gun in My Hand,” both of which highlighted Dorothy’s ability to weave vulnerability into her powerhouse performance. As the band briefly exited the stage, the audience erupted in chants for more. Dorothy and co eventually returned for an encore of “TOMBSTONE TOWN,” a brooding, heavy country rock-tinged closer that left the room buzzing with cathartic energy. The Redemption Tour’s Winnipeg stop was a milestone for both bands. Eddie and the Getaway celebrated their Canadian live debut with a fearless, genre-bending set that won over a new audience, while Dorothy continued to cement her status as one of rock’s most commanding live performers. For the fans packed into the Park Theatre, it was more than just a show—it was the kind of night that reminds you why live music matters. It was a first for Winnipeg, but hopefully not the last.

Phoenix, Arizona singer-songwriter Sydney Sprague has always had a knack for taking life’s most intrusive thoughts and dressing them in irresistible melodies. From the apocalyptic musings of her 2020 debut, maybe i will see you at the end of the world,  to the haunted, wounded heart of, somebody in hell loves you  (2023), she’s carved out a niche as an indie-rock voice for the anxious, the overthinkers, and the insomniacs. With her third album Peak Experience , which will be self-released on September 26, 2025, and fiercely independent, Sprague sharpens her songwriting into something more raw, more funny, and heavier—an album that sounds like a panic attack you can sing along to. At its core, Peak Experience  is an exploration of spirals—romantic, existential, emotional, and cosmic. Sprague leans further into guitar-driven catharsis than ever before, pairing crunchy riffs and propulsive rhythms with lyrics that land somewhere between diary entry and late-night stand-up. It’s no surprise the record feels like her most urgent and unfiltered work to date: recording with her band (Chuck Morriss, Sébastien Deramat, and Matt Storto) in DIY fashion gave her total control, and that freedom seeps through every track. The album opens with “As Scared As Can Be,” a manic whirlwind that sets the tone with self-aware chaos. Sprague calls it her most unhinged song yet, and it shows—every line quivers between desperate confession and tongue-in-cheek humor, making heartbreak feel both devastating and oddly triumphant. From there, “Critical Damage” and “Deads in the Van” crank up the volume, diving into a slightly different musicial territory with riffs that recall her time supporting bands like Jimmy Eat World and Dashboard Confessional, while still keeping her lyrical wit intact. “Fair Field” stands out as a centerpiece: born out of a panic attack in a Kansas hotel room, the track captures the surreal highs and crushing lows of tour life, refracted through Sprague’s wry lens. It’s jittery, off-kilter, and strangely fun, embodying the paradox of living in constant unease yet finding ways to laugh at it. Meanwhile the track, “Long Island” is a plea for connection disguised as a plea for another drink, blurring impulse and restraint into a slow-building indie anthem of both exhaustion and longing. Lead single “Flat Circle” is quintessential Sprague—lyrical spiraling, delivered with melodic clarity. The track wrestles with alternate realities and the futility of “what ifs,” posing unanswerable questions over bold guitars that churn like clockwork gears. It’s one of her strongest songs to date, balancing existential dread with undeniable catchiness. The later cuts, and the final two tracks on the album, “All Covered in Snow” and “Your Favorite” bring the record to a contemplative close, dialing back the chaos in favor of intimacy. Here, Sprague’s voice takes center stage, fragile yet resolute, as she reckons with heartbreak, self-doubt, and the fleeting comforts of nostalgia. What makes Peak Experience  so gripping is its duality: it’s both deeply personal and universally relatable, both heavy and hilarious. Sprague writes songs for the people who lie awake wondering if they remembered to turn the stove off, then gives them riffs to scream along to on the drive home. The album doesn’t offer answers, but it doesn’t need to—its catharsis lies in the release, the chorus that cuts through the noise. With Peak Experience , Sydney Sprague doesn’t just solidify her place in the indie-rock landscape—she kicks down the door of expectation and walks through it on her own terms. It’s her most cohesive, confident, and cutting work yet, a record that proves sometimes spiraling can sound like salvation. Check out more from Sydney Sprague: Linktr.ee Instagram Website YouTube TikTok

Funeral Lakes have always written songs that sit in the tension between myth and memory, history and inheritance. On their new EP, Mountains Turned to Dust , which was released on September 19, 2025, the Kingston, Ontario–based duo of Chris Hemer and Sam Mishos expand their indie rock palette into a realm tinted with country and western hues—not to embrace the genre’s storied mythologies, but to unravel them. What results is a collection of anti-western songs that challenge the cowboy archetype and the legacy of westward expansion, reminding listeners that these stories still haunt the present. Across five tracks, Funeral Lakes lean into galloping rhythms, spring-soaked guitar twang, and dusty, cinematic arrangements, only to undercut them with lyrics that strip away the veneer of heroism associated with frontier myths. It’s music that feels both familiar and estranged—using the language of the Western to critique its destructive legacy. The opening number, “Ride On,” sets the tone with a canter of drums and a windswept guitar line, conjuring wide-open landscapes that feel less romantic than desolate. Hemer and Mishos weave their voices around images of displacement and longing, framing motion not as freedom but as exile. On “Dreaming of Heroes,” the band sharpens its focus on the figures enshrined by settler mythology. Over pulsing bass and reverb-heavy chords, Hemer's and Mishos’s vocals collide together and carry a mix of lament and accusation, asking who gets remembered as heroic and who is erased in the process. The interplay of their harmonies underscores the tension between reverence and reckoning. The EP’s centrepiece, “No More Cowboys,” delivers the sharpest subversion. What begins with a swaggering groove soon collapses into a mournful refrain, calling for an end to the cowboy as a symbol of conquest. Here, Funeral Lakes lean most heavily into western tropes, only to dismantle them in real time. It’s a standout track, both musically and thematically. “The Valleys Wept” is steeped in atmosphere—ghostly keys, aching guitar swells, and restrained percussion—painting a portrait of landscapes marked by extraction and abandonment. The song captures what the band calls “prairie madness,” the psychological toll of a land carved up and commodified. Finally, the title track, “Mountains Turned to Dust,” strips back the instrumentation almost entirely, leaving space for Hemer’s stark storytelling. At once ancestor and descendant, the narrator reckons with the inheritance of violence and the collapse of what once seemed eternal. It’s Funeral Lakes at their most vulnerable and devastating, closing the EP with the weight of history pressing down like a long shadow. The EP’s production, engineered in both Kingston and Jonas Bonnetta’s Port William Sound studio, balances clarity with rawness. Bonnetta’s mixing gives the songs a widescreen quality, while Heather Kirby’s mastering ensures the dynamics remain intact, letting quiet moments breathe and crescendos hit hard. The cover art—a stitched intervention on an archival photograph of a faceless rider—mirrors the music’s purpose: to unpick and reframe the imagery of the frontier. With Mountains Turned to Dust , Funeral Lakes prove themselves adept not only at crafting evocative soundscapes but also at interrogating the narratives embedded in them. By borrowing from country and western traditions only to twist them inside out, they’ve created a record that feels timely and timeless, rooted in the land yet unafraid to expose its scars. It’s a haunting reminder that the past isn’t gone—it’s riding alongside us, in every valley and mountain that bears its weight. Check out more from Funeral Lakes: Website | Facebook | Twitter | Instagram | Bandcamp | Youtube

Indie pop duo The Two Lips, consisting of best friends Jewlz and Andrea. Their Kiss & Tell Tour begins on October 27, 2025, in Nevada and will end on November 20, 2025, in Texas. Photo courtesy of Andrew Angel. What is your songwriting process like? Two Lips: I t's definitely collaborative. We both have our strengths in different parts of what makes a song. We come together and it's magic. It really starts with a feeling, either one of us or both of us will be going through something at the same time, and it just happens to be at a time we have a session. It makes the writing process so easy, whether it's oh, I'm so angry or in love or I'm sad. Then we get to process that through the song we make. Once we write it, like okay, that feeling has been processed, and we let it out. We wait a couple of months for it to come out, and then we have to re-live it again. Sometimes it's nice and sometimes it's sad. It's relative to what we are going through or movies we like, or a feeling we've had before that we want to put out into the world. What is your favorite part of working as a duo? Two Lips: We both gave our strengths, we’re like yin and yang. It balances out perfectly well. We both have our individual influences, and we get to bring that together. We like the same things, which is why we're best friends in the first place. It's fun to be able to use that as a creative outlet. Also, not all the pressure is on one person; it's equally distributed on both of us. We would never be able to do this alone. It's a lot, it's nice to be able to do it together. How does it feel to take something so personal and share it with the world? Two Lips: It was always something we wanted to do. We used to do it with our laptop. The first couple of shows, we were pressing the space bar on our laptop. We always dreamt of performing it. When we would make it into her room, we would look in the mirror like how we would perform. It was always intended for that. We just didn't know when it was going to happen. It's definitely a surreal moment being able to do it together and now with a band and people actually coming to the shows. We love performing. Do you have any pre-show or post-show rituals? Two Lips: In the beginning, this is going to sound so LA of us, but we would go get an Erewon smoothie before every show. It's changed over time. Now we do a chant with our band members. Andrea does the cross three times on me. We do it in the "Still Love You" video, we go "two tulips do not die slowly in a vase." Our old name used to be tulips like the flower, and there is an Omar Apollo song where he goes "Tulips dying slowly in a vase." We thought that was bad juju, so we always say the opposite. I feel like if we don't say it, it's bad luck. We also take two shots of tequila, gotta loosen the nerves and have some fun. What songs do you enjoy performing the most? Two Lips: “still love you” is my favorite, everyone sings it. Whenever we do covers, it’s always fun and intimate. What are the biggest changes in your career since the release of your song “still love you”? Two Lips: Everything, from being put in spaces we weren't before. Given these crazy opportunities that not many get till years later. It’s been eight months since we released that song. We are just very grateful and blessed to be going through what we are now. It is scary, but it's cool that we get to do it together. Check out more from The Two Li ps: Instagram  | TikTok  | YouTube  | Spotify

Indianapolis’ self-described “fake emo” collective Summerbruise has always thrived in contradiction: grief delivered with a wink, humour steeped in heartbreak, and raw sincerity tucked inside self-deprecating jokes. With their latest release, Infinity Guise , which is out now, the band makes their debut on SideOneDummy Records, and the step-up feels both earned and inevitable. Across twelve tracks, the band sharpens the duality that has defined their career so far, crafting a record that is equal parts gut-punch and grin. From the opening chords of “Making It Worse,” it’s clear Summerbruise isn’t interested in reinventing themselves so much as refining their voice. Frontman Mike Newman’s lyrics remain brutally candid, circling death, self-doubt, and fractured friendships with the kind of sardonic wit that’s long been his calling card. Yet this time around, Newman is no longer steering the ship alone: the album marks the band’s first project written as a full five-piece, and the expanded lineup breathes new life into the material. Tracks like “What Do You Mean ‘Guise’?” and “Meet Hell Halfway” thrive on the interplay between jagged guitars and punchy rhythms, proving that Summerbruise’s instrumental muscle is every bit as compelling as Newman’s storytelling. Meanwhile, “Never Bothered” stands out as one of the most devastating cuts in their catalogue—a bitter, unflinching meditation on suicide, regret, and the fallout of a fractured community. But Infinity Guise  isn’t a wall-to-wall dirge. For every moment of heavy reflection, there’s levity and absurdity to counterbalance it. “Man! I Feel Like a Dumbass!” plays like an inside joke set to shimmering guitar riffs, while “Rusev Day (Say Hi To Kate)” nods to their love of pro wrestling and friendships in equal measure. However, these moments of levity never cheapen the record’s emotional core—instead, they highlight Summerbruise’s unique ability to capture the complexity of being both broken and laughing about it. Perhaps the album’s most intriguing moment comes with “Cookie Monster Snapback,” featuring Tades Sanville of Hot Mulligan. For the first time in their decade-long career, Summerbruise ventures outside autobiography, telling the story of a student Newman once taught who sought escape through toxic online “Sigma” culture. What began as a tongue-in-cheek jam inspired by Dave Matthews Band’s “Ants Marching” morphed into one of the record’s sharpest commentaries—catchy, biting, and deeply relevant. Elsewhere, collaborations further enrich the record: “VAN” brings in Carpool for a burst of youthful emo exuberance, while the rest of the band flexes newfound confidence as arrangers and vocalists. The harmonies and playful experimentation, especially on tracks like “Man! I Feel Like a Dumbass!” and “Bottle Episode,” demonstrate just how much Summerbruise 2.0 has grown into a genuine unit. Recorded with producer Nick Starrantino at Deadend Studio on Long Island, Infinity Guise  manages to sound both scrappy and ambitious. The guitars ring with warmth, the drums crack with urgency, and Newman’s vocals—equal parts weary sigh and exasperated shout—sit front and center without losing the sense of a band playing shoulder-to-shoulder in the same room. By the time the album's closing number “Was The Grink There?” fades out, Summerbruise has delivered their most complete statement yet: an album that wrestles with mortality, mocks its own despair, and finds comfort in collective noise-making. Infinity Guise  doesn’t pretend to have answers—it’s emo poetry for the perpetually overwhelmed, a coping mechanism for life’s mundanity and its tragedies alike. More than a decade since their inception, Summerbruise has never sounded more alive. On Infinity Guise , they embrace their contradictions, lean into their quirks, and prove once again why they’re one of the most refreshingly human voices in modern emo. Check out more from Summerbruise: Instagram:  @summerbruise69 Twitter:  @summerbruise69 TikTok:  @summerbruise69

FIRST SINGLE “ EDUCATION ” OUT TODAY LIGHTS TO BE CELEBRATED AS THE FIRST EVER RECIPIENT OF THE BILLBOARD CANADA ‘VISIONARY AWARD’ THIS FALL Today, electro-pop heavyweight Lights announces A6EXTENDED , a supercharged deluxe treatment of her latest album A6 , featuring eight brand new songs. The first single, “EDUCATION,” is out today alongside an accompanying music video that hints at plenty of easter eggs to be revealed within her A6 world. The track is a deep, synth-driven stand-out - a fun, mildly dramatic take on how love makes you grow and learn more about yourself. “The spirit and heart of A6 is in these new songs; it’s just an extension of its life,” said Lights. “I feel like I understand the sonic and emotional intention in this album very deeply, so completing more songs that match the vibe was not complicated.” Today’s announcement builds upon Lights’ sixth studio album A6, released in May alongside a stunning full visual album . The music is her most deeply personal yet - entirely written and produced by Lights. Making this album, Lights pulled from the full, beautiful range of experiences that make life what it is. “Past lessons, grief and loss, personal growth in a world that wants you to stay the same, the bliss of sensuality, and the recklessness of love,” she expands. “It's everything you'd write down in a small A6-sized journal because saying it out loud is often somehow harder.” Lights recently wrapped up a run of summer festivals, on the heels of her sold-out (A)LIVE AGAIN North American tour. This month, she will be honoured at Billboard Canada’s Women in Music Event, where she will accept their first-ever “Visionary Award,” honouring her nearly 20-year career built on bold creativity and redefining what it means to be an artist. Stay tuned for more dates to come! Pre-order A6EXTENDED HERE Listen to “EDUCATION” HERE and watch the video HERE A6EXTENDED - Tracklist: 1. INTRO 2. DAMAGE 3. ALIVE AGAIN 4. SURFACE TENSION 5. YOU’RE KILLING ME 6. WHITE PAPER PALM TREES 7. GHOST GIRL ON FIRST 8. TAKE IT EASY 9. DRINKS ON THE COAST 10. CLINGY 11. THE OTHER SIDE OF THE DOOR 12. PIRANHA 13. DAY TWO 14. EDUCATION 15. COME GET YOUR GIRL 16. LOVE IS A GAME 17. THE CITY IS FALLING 18. THIS TIME TMRW 19. LEARNING TO LET GO 20. FINAL ROUND *NEW TRACKS indicated in BOLD ABOUT LIGHTS: Lights is many things all at once: singer, songwriter, producer, multi-instrumentalist, comic book author, DJ, artist. She’s unabashedly honest and unapologetically confident. Weaving in and out of alternative, indie, and dance, she makes manic pop irreverent of boundaries, yet reverent of truth. With streams in the hundreds of millions and widespread critical acclaim, she has sold out tours globally, made headlines from Coachella to Comic-Con, and collaborated with Travis Barker, deadmau5, Kaskade, Illenium, Steve Aoki, and Mike Shinoda of Linkin Park. The A6 cycle has already included a sold-out North American tour and a summer festival run in 2025. The 2026 deluxe edition A6EXTENDED features 8 new songs and will precede further international touring to come. Find out more from Lights: FACEBOOK • INSTAGRAM • TIKTOK • X • SPOTIFY • APPLE MUSIC • WEBSITE • YOUTUBE

The Park Theatre was buzzing with anticipation on September 16, 2025, as country pop singer-songwriter Dasha kicked off her Welcome To Dashville Canadian Tour in Winnipeg. With her highly anticipated new EP, Anna , on the horizon, which is set for release on October 10 via Warner Records, the night not only marked the first date of the tour but also gave fans the rare thrill of hearing some unreleased music live for the very first time. Opening the evening was rising Canadian country artist Dawson Gray, who brought an undeniable warmth to the stage. Blending heartfelt ballads with upbeat, radio-ready hooks, Gray immediately connected with the sold-out Winnipeg crowd, offering a perfect introduction to the night. His set showcased a promising young talent whose name will no doubt become more familiar across the country in the years ahead. Dawson Gray. All photos by Samuel Stevens. The moment Dasha stepped on stage, the room transformed like a snap of the fingers. Backed by a tight, high-energy band, she dove straight into the fan favourite tune “Not at This Party” before unveiling the first of three unreleased tracks from Anna , “Work On Me.” The song carried a polished but emotionally raw edge, instantly proving why Dasha is one of country pop’s brightest rising stars. Her set struck a balance between her viral hits and a few deep cuts, including the reflective “Didn’t I?” and party-ready anthem “Way Too Drunk.” Midway through the set, she leaned into her influences with an entertaining, fiery cover of Gretchen Wilson’s 2004 hit “Here for the Party” that had the whole room singing along. But the highlights of the night were undeniably the new songs. “Give Me A Second” and “I Don’t Mean To” revealed Dasha’s evolving artistry—polished yet vulnerable, catchy yet lyrically poignant. Fans were hanging on every word, eager for a glimpse into the upcoming EP. Her performance of “Oh, Anna!” added a poignant, emotional punch to the set, tying directly into the new record’s narrative. Dasha. All photos by Samuel Stevens. However, the energy never let up, with tracks like “Heartbreaker From Tennessee” and “Ain’t It Baby” showcasing her mix of sass and sincerity. By the time she reached the set closing number “Bye Bye Bye,” the crowd didn't want the show to come to an end and were chanting for more. For the encore, Dasha returned with the emotional “What Happens Now?” before closing with a crowd-shaking, extended version of her breakout hit “Austin (Boots Stop Workin’).” She invited a number of kids to do the viral dance with her on stage. As the song played out, it stretched into a cathartic, yelling singalong, transforming the intimate Park Theatre into what felt like a stadium-ready chorus of voices. As the first stop on the Welcome To Dashville Canadian Tour, Winnipeg was treated to a special kind of magic—an artist fully leaning into her momentum, testing out her new material, and connecting with fans in a way only a live show can achieve. With her forthcoming Anna  EP poised to push her even further into the spotlight, Dasha proved that she’s not just a viral success but a genuine star with staying power. For those lucky enough to catch this tour throughout Canada, expect a night that blends vulnerability, empowerment, and a whole lot of fun—true to the spirit of Dashville.

Over the past decade, I Prevail have cemented themselves as one of modern rock and metal's most daring and resilient forces. From their gold-certified debut album Lifelines  to the GRAMMY-nominated TRAUMA  and their bold experimentation of 2022’s TRUE POWER , the Detroit outfit has continually defied the limits of post-hardcore and metalcore. With their fourth studio album, Violent Nature , the GRAMMY-nominated quintet steps further into the fire, creating a record that’s both their heaviest and most emotionally gripping to date. Produced entirely by bassist Jon Eberhard, Violent Nature  feels like a deeply personal yet aggressively outward expression of the band’s ethos: survival through chaos. Across ten tightly constructed tracks, I Prevail balance gut-punch riffs and cinematic electronics with lyrical vulnerability, blurring the line between destruction and rebirth. The band's new record kicks off with the pair of tracks, “Synthetic Soul” and “NWO,” songs that immediately establish the duality of the album—unflinching heaviness colliding with melodic hooks designed for arena-sized sing-alongs. Whereas “Pray” drives deeper into desperation and catharsis, showing the band’s gift for writing anthems that cut through with both rage and resonance. Among the early standouts is “Annihilate Me,” a slow-burning track that smoulders before detonating into one of the band’s most powerful choruses yet. Frontman Eric Vanlerberghe describes it as “one of the most I Prevail songs on the album, ” capturing the painful persistence of pushing forward even when it costs everything. It’s a purge of frustration and resilience, and it may well become a defining moment in the band’s live shows. The centrepiece of the album is the title track, “Violent Nature,” which embodies the record’s duality. It’s equal parts chaos and clarity, an exploration of how inner struggles manifest like storms that can either destroy or cleanse. This theme is carried beautifully into the following track, “Rain,” a very melodic song that Vanlerberghe calls one of his favourites on the record. Its soaring emotional weight makes it both punishing and liberating—an anthem for finding peace in surrender. “Into Hell” continues that balance of brutality and beauty, marrying haunting melodies with crushing breakdowns. Thematically, it’s one of the most intimate tracks, detailing the act of loving someone through their darkest hours. The sincerity in Vanlerberghe’s delivery makes it impossible to dismiss as just another heavy ballad—it’s a lifeline disguised as a descent. Later cuts, such as “Crimson & Clover” and “God,” show the band leaning into experimentation, a trait that will always push the band to innovate on every project. “Crimson & Clover” is driven by acoustic guitars, while “God” is the band's heaviest track ever. “Stay Away” closes the record on a jagged, unrelenting note that refuses to tie everything neatly together. Instead, it leaves listeners lingering in the wreckage, reflecting the uncertainty that runs throughout the record. What makes Violent Nature  a standout in I Prevail’s catalogue is how cohesive it feels. With Eberhard at the helm, the production highlights the band’s chemistry and versatility—every electronic texture, whispered verse, and crushing bass drop is meticulously layered yet never overproduced. The record thrives in contrasts: melody against brutality, clarity against chaos, destruction against rebirth. At ten tracks, it’s a leaner album than its predecessors, but that restraint works in its favour. There’s no filler, only focused, hard-hitting songs that showcase a band unafraid to push themselves deeper into discomfort. With Violent Nature , I Prevail don’t just reaffirm their place at the forefront of modern heavy music—they raise the bar. It’s a record that thrives on extremes but never loses sight of its emotional core. Brutal, vulnerable, and uncompromising, Violent Nature  is not only I Prevail’s most cohesive record yet, but also their most human. Check out more from I Prevail: Website | Facebook | Twitter | Instagram | Youtube

September 5, 2025 The Wiltern All photos by Juri Kim.