Silverstein have long mastered the art of reinvention without ever losing their identity, and their new record Pink Moon , which will be out September 12, 2025, via UNFD, is a perfect showcase of that balance. Serving as the second half of the band’s ambitious double album, Antibloom  and Pink Moon  together form a sixteen-track statement that reflects on Silverstein’s twenty-five-year journey while boldly pushing into the future. Where Antibloom  leaned into urgency and grit, Pink Moon  feels like a wide-open expanse—brooding, dynamic, and alive with experimentation born in the solitude of Joshua Tree. The record opens with “I Love You But I Have To Let You Go,” a track that immediately establishes the emotional weight and reflective tone of the entire project. It’s spacious yet sharp, pairing atmospheric layers with Silverstein’s signature blend of melody and staying away from the aggression. Whereas the following track, “Negative Space,” follows with ferocity. The track is brimming with urgency, and the track's breakdown evokes anxiety, but in the end, it reminds listeners that the band still knows how to deliver a cathartic punch. One of the most undeniable highlights among the eight tracks arrives with the album's lead single, “Drain The Blood,” featuring Dayseeker vocalist Rory Rodriguez. The song is conceptually bold and musically unrestrained; the song takes aim at the creeping influence of what AI in art has become. Rodriguez’s guest spot elevates the track's narrative, bringing a haunting sincerity to lines that feel chillingly relevant. However, it's the track’s mix of chaos and clarity that makes it one of the most daring songs Silverstein has ever released. Elsewhere, “The Fatalist” and “Widowmaker” embody the darker, more menacing corners of the record, the band's guitar riffs snarling against Shane Told’s anguished vocals. But Pink Moon  isn’t without its moments of clarity and lift. The single, “Autopilot,” with pop punk vocalist Cassadee Pope, blends classic Silverstein nostalgia with a fresh twist. The chemistry between Told and Pope gives the song a duality—gritty yet soaring—that cements it as one of the most accessible tracks in the band’s catalogue. The new record closes out with the pair of tracks “Death Hold” and “Dying Game,” which both feel like a full-circle moment, intertwining heaviness and introspection in a way only Silverstein seems to be able to do. They serve as a reminder that even two and a half decades into their continuing career, the band still knows how to create endings that resonate deeply with listeners. Taken on its own, Pink Moon  is a diverse, compelling body of work that explores human fragility, resistance, and the ever-changing landscape of art and life. In the context of the double album, it feels like the exhale after Antibloom ’s storm—a continuation, a complement, and a challenge. By splitting the project into two halves, Silverstein has allowed every song to stand tall, while also weaving a narrative that speaks to evolution, survival, and the refusal to stagnate. Furthermore, Pink Moon  proves that Silverstein’s silver anniversary is not just about honouring their past—it’s about carving out a future where they remain fearless, vital, and deeply human. Check out more from Silverstein: Website: https://silversteinmusic.com/ Facebook: https://www.facebook.com/silversteinmusic Twitter: https://twitter.com/silverstein Instagram: https://www.instagram.com/silverstein/ TikTok: https://www.tiktok.com/@silversteinmusic

August 22, 2025 Public Domain All photos by Kat Kolesar.

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE .

Los Angeles rock disruptors Beauty School Dropout have been steadily carving out their space in the new wave of modern rock, and with their long-awaited debut full-length, WHERE DID ALL THE BUTTERFLIES GO? , the band delivers a record that feels both hedonistic and heartbreakingly human. Out now via Verswire and produced by hitmaker Neal Avron (Fall Out Boy, twenty one pilots, Linkin Park), the album is a loud, raw, and unapologetically fun declaration of who they are and what they stand for. From the opening blast of “FEVER,” it’s clear Beauty School Dropout aren’t interested in playing it safe. Walls of guitars collide with slick, arena-ready hooks, immediately channelling their mission statement: to bring the energy of a live rock band back into the center of the party. “TWO OF US” follows with driving urgency, balancing punchy riffs with aching vulnerability and synths. Additionally, the song's main guitar riff samples the massive 1978 hit "Rock Lobster" by the B-52's. Lead vocalist Colie Hutzler’s delivery makes the song sting as much as it soars, embodying the album’s theme of longing that never quite finds resolution. Singles like “ON YOUR LIPS” and even the track “SICK PUPPY” cement the record’s balance of adrenaline and introspection. The former is a shot of experimental rock adrenaline that’s as chaotic as it is catchy, blending an alt-rock flair with glitch pop elements, while the latter slows the pulse just enough to deliver one of the most contemplative and aching cuts of the entire album. The record thrives on contrast—between reckless abandon and crushing introspection, neon-lit chaos and dimly lit heartbreak. The acoustic guitar-driven number “ADELINE (SAVE SOME FOR THE REST OF US)” harrows of heartbreak, whereas “CITY NEVER SLEEPS” pulses with the restless electricity of late-night excess, and while “HEART AWAY” embraces a darker, club-ready swagger with riffs and a catchy chorus that feels tailor-made for sweaty nights on the dance floor. Collaboration plays a role in pushing the band further outside of their comfort zone. The raucous and infectious track “SEX APPEAL” turns sensuality into something explosive and unhinged, while still carrying a deeper weight about coping and self-discovery under its surface sheen. Additionally, the song's music video features an appearance by fellow singer-songwriter Royal & the Serpent. Even amid the album's chaos, the band makes room for deeply personal storytelling. “DADDY DON’T CRY” and “HOW COULD I FORGET” strip back some of the bravado, revealing vulnerability at the core of their larger-than-life energy, which doesn't entirely leave the sound of the former of these two particular tracks. Everything culminates with the tender title track, “WHERE DID ALL THE BUTTERFLIES GO?”—a yearning, bittersweet closer that captures the full scope of the album’s themes: unrequited love, the irony of vices, and the eternal chase for joy and fulfillment. It’s both an exclamation mark and a question mark, leaving listeners with the same unsettled hunger that fuels the band. With their debut record, Beauty School Dropout prove that they’re not just chasing rock revivalism—they’re reinventing it for a generation that craves both chaos and catharsis. Their sound is equally at home on massive festival stages and in sweaty, overcrowded clubs, making them one of the most exciting young acts to watch. There is no question that WHERE DID ALL THE BUTTERFLIES GO?  is more than just a debut—it’s a manifesto: loud, messy, honest, and above all, extremely alive. Check out more from Beauty School Dropout: TikTok | Instagram | Twitter  | YouTube

August 23, 2024 True North Square Ami Cheon. Photos by Samuel Stevens Photography YSN Fab. Photos by Samuel Stevens Photography Roman Clarke. Photos by Samuel Stevens Photography Haviah Mighty. Photos by Samuel Stevens Photography Shawn Desman. Photos by Samuel Stevens Photography

Rising singer-songwriter Avery Lynch has always had a gift for crafting tender, piano-driven stories out of life’s most vulnerable moments. With her new nine-track EP, Glad We Met , due for release on September 5, 2025, via RECORDS/Sony Music, she solidifies herself as one of pop’s most heartfelt new voices. Known for being a “happy girl filled with sad songs,” Lynch leans fully into that duality here, delivering a collection of nine tracks that feel both intimate and universal, built on soft, expressive vocals and her signature melancholic piano arrangements. At its core, her new EP, Glad We Met , is a journey through heartbreak, reflection, and rediscovery—yet it’s also a celebration of love and growth. It’s the first record Lynch has ever co-produced, giving the project a new layer of intimacy and ownership that feels essential to its storytelling. “The Glad We Met  EP is my favourite project I’ve ever made,” Lynch expresses, and it’s clear why. The EP opens with “Rain,” a wistful, atmospheric track that sets the tone with its quiet storm of longing. From there, Lynch leans into her observational songwriting with “the boys who don’t know what they want,” a matter-of-fact anthem for anyone exhausted by the noncommittal gray areas of modern dating. She describes it as a “sister-song” to her earlier track, “you’re just a guy,” and its immensely candid, relatable lyricism makes it one of the EP’s standouts. “think about it” strikes a different chord—heartbreaking yet delicate, inspired by her sister’s breakup. The track captures the painful limbo of unanswered questions after love ends, and it holds particular weight for Lynch as her first self-produced release. That sense of ownership shows, as the track balances raw fragility with refined production choices. Lynch digs even deeper with “Dead to Me,” one of the EP’s most vulnerable offerings. With its diary-like confessions and bittersweet piano lines, it feels like a meditation on how people change and relationships fade, even when memories remain vivid. It’s the kind of track that can quietly undo a listener in just a few verses. Elsewhere, the pair of tracks, “Lasting Effects” and “intruder,” explore the echoes of heartbreak with a maturity that resists melodrama, while “Sweetheart” brings some warmth and sweetness to the record. Co-written with her boyfriend Jordan and friend Neisha Grace, the track reflects on the discovery of healthy love and the joy of being seen fully—making it the EP’s emotional counterbalance to all of its many heavier moments. The final stretch introduces “strawberry ice cream,” another delicate piece that feels like a fleeting memory preserved in melody, before closing it all out with the title track “I’m Glad We Met.” This finale ties the EP together, tracing the arc from heartbreak to gratitude and acceptance. It’s both a love letter and a statement of arrival, cementing Glad We Met  as a deeply personal yet widely resonant project. With over 130 million streams to her name and a fast-growing fanbase, Lynch has already proven her ability to connect through her storytelling told through song. But Glad We Met  feels like her most definitive statement yet—a body of work that shows her not just as a songwriter but as a producer, a storyteller, and an artist fully coming into her own. As she prepares to take these songs on the road with her West Coast tour this fall, Avery Lynch stands poised on the edge of something much, much bigger. Glad We Met  is more than a breakup soundtrack—it’s a portrait of growth, healing, and the quiet courage it takes to love again. Check out more from Avery Lynch: Website Instagram TikTok X YouTube Spotify Apple Music

August 22, 2024 True North Square Jérémie & The Delicious Hounds. Photos by Samuel Stevens Photography Snackie & Courtney Fox. Photos by Samuel Stevens Photography The Free Label. Photos by Samuel Stevens Photography

August 14, 2024 Burton Cummings Theatre Brandi Vezina. Photos by Samuel Stevens Photography Hailey Benedict. Photos by Samuel Stevens Photography Owen Reigling. Photos by Samuel Stevens Photography Dean Brody. Photos by Samuel Stevens Photography

How would you describe your music to any person who may have never heard it before? We’re a punk rock band that leans hard into catchy choruses. At the core, we want our songs to feel familiar, like something you’ve been missing without knowing it. We pull influences from all over, but no matter what, we end up punking it out and making it our own. What's the significance of your band's band? We’re Take It Or Leave It, and the name came out of frustration with trying to pick one. Every time someone suggested something, the answer was always, “Eh, I could take it or leave it.” After saying it a thousand times, we started laughing and realized it was perfect. It matches our attitude. We’re going to keep making music either way, so hop on board or get out of the way. What are your musical influences? Our influences range from The Offspring, Blink-182, Rancid, NOFX, and Alkaline Trio. Honestly, if it falls under the punk umbrella, it probably shaped one of us at some point. We also keep an ear on what’s popular now, because it helps us understand what connects with listeners today. What are your musical inspirations? Inspiration comes from everywhere. Family, friends, the news, random moments, all of it feeds into the songs. Sometimes it’s a personal feeling, sometimes it’s something bigger. The band also doubles as a therapy session for us, so a lot of inspiration comes just from talking through life together. If given the chance, what musician(s) would you like to collaborate with? Rather, this is to either write a song or be featured on a track. If we could pick from anyone in history, Jimi Hendrix or Freddie Mercury would be the dream. But if we’re talking today, Billie Joe Armstrong from Green Day would be top of the list. The guy knows how to write timeless bangers, and the chance to put something together with Green Day would be unreal. What's the new EP about? Our debut EP, Tunnel Vision , is about capturing energy. It’s everything from celebrating with friends to dealing with toxic relationships. A lot of it reflects the frustration of stepping back into the world post-COVID and still feeling stuck in it. What's something you hope people take away from the new songs on the album? We hope it sparks nostalgia while still sounding modern. We love pulling from all kinds of genres and decades, and you can hear that in the record. Yes, it’s punk, but we borrowed from a wide range of influences that shaped who we are. Which songs on the album were the most fun to write, and which were the most challenging to write? "Cracked Ribs" was definitely the hardest. It’s full of offbeat patterns mixed with straight ones, so it keeps you on edge, and nailing that balance took work. On the flip side, "Pints and Power Chords" came together almost instantly. As soon as we wrote the chorus, we knew it was an anthem, and everything else just fell into place. What did you allow yourself to do creatively for this song that you haven’t in the past? We self-recorded everything in Craig’s basement with Mario’s gear before sending it off to Anthony Bilancia to mix and master. Doing it ourselves gave us the freedom to experiment without worrying about studio time. We layered in more harmonies, tried rhythmic changes, and just let ourselves throw ideas at the wall. Some got cut, but others stuck and made the songs stronger. Do you have any favourite song(s) off the new album? "Run" will probably always be the front-runner. It opens the EP and has everything we love in a punk track: big choruses, breakdowns, riffs that make you bounce. It’s also one of our favourites to play live, because it always gets the room moving. When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even non-musical sources that help you reconnect with your creativity? Craig likes to write at the park while his son plays, just him, a notepad, and a shady bench, until something clicks. For the rest of us, it’s often about taking the pressure off. Learn some covers, jam for fun, and remind ourselves why we started doing this. That usually sparks the next idea. Do you have any favourite songs to perform live? It could be your own music or even a cover. Any reason why? We love punking out oldies. "Video Killed The Radio Star" is one of our favourites, Craig even uses a megaphone to give it that radio feel. We’ve also covered "Just What I Needed," "Johnny B. Goode," "Last Train To Clarksville," and "I’ve Just Seen a Face." Of course, our originals are at the heart of our set, but throwing in a '60s, '70s, and '80s classic always lights up the room. If you could perform a show this very second anywhere in the world, where would it be? Anywhere you say? London. We’ve got family overseas who’ve never seen us live, and getting to share that with them would be amazing. Plus, an international show is definitely on our bucket list. London just feels like a perfect spot to introduce ourselves to Europe as well. Is there any particular venue(s) or city/cities that come to mind? Starland Ballroom in New Jersey. We all have so many memories there as fans, and playing it ourselves would be a full circle. New Jersey punk shows are just different; the energy is unmatched. Mario’s been the closest to playing there, as he got invited up during a Goldfinger show to stage dive into the crowd. What do you currently have planned for the remainder of the year? We’ve got a couple of fun shows lined up in New York and New Jersey. For anyone who can’t make it in person, we’ll also be doing some live streams on YouTube, so you can still catch us. Make sure to follow along so you don’t miss them. If your music was a type of food, what would it be and why? Ravioli. We call our music “Pasta Rock” since TIOLI sounds like ravioli. It’s comfort food for your ears, Familiar, filling, and best served right from the source. What's the funniest thing that's ever happened to you while performing? One time, Mario swapped instruments with Craig, but since they were both in charge of each other’s pedals, he accidentally muted Craig’s bass for an entire song. Craig swears it happens all the time. Mario swears it was only once…and he’s got the receipts. What's the most random thing that has ever inspired you to write a song? Our original drummer once bailed on practice after getting bear-hugged too hard and needing X-rays. That story became the seed for "Cracked Ribs." What's the most useless talent you have, and would you incorporate it into your music if you could? We’re bad at letting talents go unused. Craig’s harmonica made it into sets. Mario and Nick’s streaming experience became our live YouTube shows. Devon’s love for working on cars? He rigged up the hitch for our Buffalo trip. If something can be folded into the band, it will be. Thanks for the time today. Is there anything else you may want to add that I didn't cover before you go? This was a blast. Thanks so much for having us. Opportunities like this mean a lot because it helps us share what we’re doing with new people. We appreciate you giving us the space to make more friends!

How would you describe your music to any person who may have never heard it before? Little King: Good morning! The best description I have been able to cull over 28 years of making music is "dynamic, progressive, melodic rock." I know...it doesn't exactly roll off the tongue, but it's appropriate just the same. We try to blend a lot of influences from each band member into a synthesis of focused, intelligent, and thoughtful rock and roll. I mean, no one really does anything totally in a vacuum, right? Creating music is no different, as we are a product of our influences and experiences. Because the lineup has changed this time for the new album, Lente Viviente, I can hear the different flavours of Dave (Hamilton, bass and cello) and Tony (Bojorquez, drums) all over this record. What's the significance of your band's band? LK: Little King = "Ryan" in Gaelic. It was a brainstorm from 28 years ago...it's still funny to me. "Don't let the little king do the thinking for the big king!" What are your musical influences? LK: They are always evolving, for sure. I grew up mostly in the late '70s and '80s listening to KISW, Seattle's Best Rock. That fed me a steady diet of Zeppelin, Rush, Floyd, The Who, and the rest of the classics. In fact, the second song on our album, "Dawn Villa," was my willing attempt to pay homage to those days. That was the name of our neighbourhood on Mercer Island, WA, and the kids who were a bit older than me, along with my brother, worshipped at the altar of the greats. I branched out once I left Seattle and came to the Southwest. More hip-hop, more Midnight Oil and John Mellencamp and less Iron Maiden. But I do still love "Number of the Beast" and "Run to the Hills!" But outside of that little Dawn Villa bubble, the lens shifted, and I was eager to accept some new influences. Especially jamming in El Paso in the 1990s...Pissing Razors, At The Drive In, and the popular Tejano hits were everywhere. There is SO MUCH that I've never heard of, much less listened to. I tend to gravitate towards local music when I am in the writing stage, and so I've been immersing myself a bit into the Tucson Music scene, particularly some of the great singer-songwriters like PJ Bidwell, Stephen E. Lee, and Maree Montagnini. KXCI is the local radio station here that plays it all, and we are grateful to have such a supportive and COOL local outlet. I also wanna mention that our engineer for this record, Ricky Wascher at Cimamusic in Tucson, kicks out a ton of great local music. He's really opened my eyes to the local talent here. If given the chance, what musician(s) would you like to collaborate with? Rather, this is to either write a song or be featured on a track. LK: Oh, I've always fantasized about having Snoop or maybe Bog Hutch from ATL collaborate with us on a hip-hop prog track. I think there is way more crossover than one might think, especially when it comes to the art of telling a story within a track. I love rap for that, and it makes perfect sense to try and create a concept album with some of those '90s rap production themes. '16 bars and to the stars!" What's the album about? LK: Lyrically, Lente Viviente  (Spanish for “Living Lens,” a play on Rosoff’s Video Memoir production company, LivingLens Memoirs ) explores the delicate dance between memory and presence, perception and truth. The songs span a wide emotional arc—from reflections on childhood and lasting friendship (“Catch and Release,” “Dawn Villa”) to meditations on immigration and identity (“Who’s Illegal?”), aging and addiction (“Pass Through Filters”), and the blurred line between strength and vulnerability (“Kindness for Weakness”). At its core, the album asks how we see ourselves—and each other—through the ever-shifting lens of time, emotion, and experience. Tied together by dynamic arrangements and textured performances, Lente Viviente   is both personal and universal—an honest portrait of life’s sharp edges and soft light. What's something you hope people take away from the new songs on the album? LK: Songs can be catchy, interesting, unique, and epic...all in under 4 minutes! My faves over time (especially with Steely Dan, Rush, and Talking Heads) evolve and take on different meanings through the years. They're repeatedly worth listening to...if I can create that emotional arc, that NEED to hear a song again and again, then that's my big win. All we are is perception. Ours, our peers, our faith, our nationality. It can be altered so easily by minor external forces. Are we aware of the filters through which we see the world? How about those that we hear music through? I mean, the album sounds different from my car to my earbuds, from Apple Music to YouTube, recorded to live. I want to respect those filters of perception while at the same time asserting some universal truths. Kindness, wellness, honoured memories of childhood, and the blight of drugs and homelessness all play a role on Lente Viviente. But it is a Living lens, for sure...and it changes if you let it. This is where I want to take our listeners. Which songs on the album were the most fun to write and which were the most challenging to write? LK: They're always challenging...I mean, they're Little King songs! Ha...it's true, though. Time signatures and tempos be damned! I want to point out that nothing is tracked until it's been thought through, vetted through the band, rehearsed, edited, and dumped on. Then rewritten. I know, I know...silly artist. But it's true . The process is painstaking in an effort to make the end product worth it all. This one definitely was worth it. The last song, "The Living Lens," was actually the first one I wrote musically and lyrically. Always music first, for all of the songs, but I came right back to this one when it was time for the lyrics. It just flowed, and I knew what I wanted to say...just had to figure out how to say it. It really wraps up the ethos of the album nicely, and it will be very fun to play live. Special note that Tucsonan Laura Sadie Bette crushed the backing vocals on this and "Kindness for Weakness." Looking back, we worked on "Catch and Release" a lot, and it took a bit to get it right. It was the first song we mixed, and that's always a process that involves close attention to detail and a good deal of self-loathing. Once that's abated, we can get down to the bits and bites, and when "Catch" was done, it became clear that it was gonna be the first single. I have such warm memories of fly fishing in Montana with my dad, and I wanted to impart that back to him and our audience. It was also important to state that I, in so many words, fully endorse that bumper sticker that reads "The worst day fishing is better than the best day working." Amen. What did you allow yourself to do creatively for this song that you haven’t in the past? LK: Ahh...that's an easy one! Harmonies...subtle and honest. Dave and Tony both sing beautifully, so we can cover them live in a way that Little King hasn't before. So, I allowed myself to create freely, and the textures that the vocal harmonies bring to the table on this album create a whole new dynamic for the album that we haven't had before. Ricky Wascher is a brilliant vocal harmony suggester...we had a ton of fun doing it. I was proud to sing them real and true so that there was very very little tuning/correction in the post-production. That was a challenge that Ricky laid out for me, and I was eager to meet it. Think we did! Do you have any favourite song(s) off the new album? LK: Awwww...you're asking me to choose one out of my 7 children? No fair! Okay..."Pass Through Filters" gets some special mention because it evolved from its original structure significantly. The song is inspired by the surroundings at my studio in downtown Tucson, smack dab in the middle of a lot of chaos and strife. In my 3-plus years there, I've seen the best and worst of humanity, and unfortunately, the drug and homeless problems are right in your face down there. It's a huge problem, and I'm not sure I see the will of most to understand or care too much about it. So, this song is my contribution to that awareness. It also takes some inspiration from the mental health profession and the medication that so many are on, prescribed or otherwise, to just try and get through the day. Pain, mental and physical, can be numbed through the filter of narcotics. But the problem doesn't go away...instead, it spirals us down to a place that can seem hopeless. "That's what the voices said..." What's the new single about? LK: As I said, "Catch and Release" captures a few moments frozen in time from the Yellowstone River near Livingston, Montana. I grew up visiting my grandparents there in the summer, and we spent a lot of time beating the river and the adjacent spring creeks trying to become confident trout fishermen. It's HARD. Dry fly, especially...bounce bounce bounce BANG! That thrill is no joke. My dad and I like to fish with a guide named Marcus McGuire. He's been a friend and supporter of Little King's music for a long time, and I was thrilled to let him know that yes, I'd rather be fishing than working. Paradise Valley is one of the most spectacular places in the country, by the way. Please don't go there. What's something you hope people take away from the new single? LK: "Catch and Release" can bring some sense that nostalgia is good and worthy, and that connecting with the outdoors and your family is an experience to be passed down, as it is to my kids in the bridge of this song. Polarized glasses allow us to see underwater, and the depths become clear when you put them on. I think this song takes a willing listener to some depths, too. So..."Tight Lines!" When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even non- musical sources that help you reconnect with your creativity? LK: I'm willful, to say the least. When I have determined that it's time to write, I f'ing WRITE! I mean, there are breaks and respites, but there is a job to be done, and work ethic is talent's full enabler. A creative rut is fine, but the persistence needed to overcome it is something that perhaps I have learned over time. The thrill of the end product, the legacy it leaves, and the joy of sharing it with the band and our loved ones and fans is enough motivation to fight through every single time. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? LK: We have a song called "The Skin That I'm In" that came out in 2019 on the EP Occam's Foil. It's so fun to play! There are some great dynamics, interplay between each of the clever players, and some violin and cello parts which we've been fortunate to recreate live a number of times. Oh yeah...I get to totally wank, too. Shredding is in my blood, but it's not usually the end-all of my playing. But damn it's fun on this one! Recording sounds good, too. If you could perform a show this very second anywhere in the world, where would it be? Housewarming party at my new place in Tucson. The sound is immaculate! Is there any particular venue(s) or city/cities that comes to mind? LK: The short answer is that we really want to focus on festivals next year. I think we are a great festival band...we have so much material that we believe in, so if we have 25 or 45 minutes or whatever, you can bet we bring it. Dynamic, Melodic, Progressive Micro-epics, remember? I love that term. It fits what we do. When I go see a band, I'm looking for some dynamics. I want power, but I want it in doses interspersed with some reflective passages. It makes it all so much more effective in the end. That's our goal in a live setting - the push and pull of emotions and connection with an audience, no matter how limited our time together may be. What do you currently have planned for the remainder of the year? LK: We are busy dudes, but there are shows in the works for later this year. I think we will mostly focus on the east and west coasts, time and finances permitting. I want to promote Lente Viviente, as I know it's the best work we've ever done. The songs deserve the live treatment, and I am already in the woodshed prepping the new versions of the songs for an audience. More extended passages, more harmonies and tricky tricks, but mostly just a connection to the audience. We will be ready. If your music was a type of food, what would it be and why? Vegan Pudding, of course. What's the funniest thing that's ever happened to you while performing? LK: Pulled my guitar cable out 3 times in one show. Sober. I'm wireless now! What's the most random thing that has ever inspired you to write a song? LK: I watched that Elvis movie Blue Hawaii or whatever, and it was so cheesy that I wrote "Name Your Price" all the way back in 1998. Also still makes me laugh. What's the most useless talent you have, and would you incorporate it into your music if you could? LK: NSFW, bruh. Next question. Thanks for the time today. Is there anything else you may want to add that I didn't cover before you go? LK: All of our info is online at www.littlekingtunes.com  or on the socials @Littlekingtunes. I truly hope you dig it.

August 17, 2024 Burton Cummings Theatre Romi Mayes. Photos by Samuel Stevens Photography Harlequin. Photos by Samuel Stevens Photography Chilliwack. Photos by Samuel Stevens Photography Kim Mitchell. Photos by Samuel Stevens Photography

Brooklyn-based indie pop artist KATiIE has released her new single “ Two Ways ,” out on all digital music platforms now. The lead single off of her upcoming EP “Fallout” (due out this September), “Two Ways,” takes listeners on an experimental journey, creating a dreamy soundscape that is as enchanting as it is personal. Originally hailing from Oregon, KATiiE has spent the last eight years crafting an ethereal indie pop sound, driven by her delicate, siren-like vocals and dreamy production - fitting for fans of CHVRCHES and Lorde. About “Two Ways,” she says: Two Ways actually started off as a ballad, which I find funny now. I wrote a little synth line and sang the melody in a more lilting and wistful way. When I showed my producer, John Young the draft I made, he had the idea to flip it and make it more rhythmic and sassy. Up to that point, a lot of songs I had written had a more wistful and soft approach, so this was a new avenue to take and a new headspace to write from that ended up influencing the song to be less passive, and more empowering. This was pretty relevant to the internal journey I was going through to build my self worth and not just wait around for what I want, but demand it, or leave. KATiiE, a soulful musician hailing from a small town in Oregon, has spent the last eight years crafting her sound in Brooklyn, NY. Known for her calming, siren-like voice, KATiiE effortlessly blends indie pop production with ethereal vocals, creating a soothing and captivating musical experience. Her friends often describe her as their "Lavender," a nickname that embodies the serene yet enchanting energy she radiates both on and off stage. A talented lyricist, she poetically describes her experiences in life, love, and relationships, often laced with an underlying element of sass and playfulness that adds depth and character to her music. KATiiE creates her music from the ground up, experimenting with demos in Ableton and a deep love for working with synthesizers. With each song, she invites listeners into a dreamy soundscape that feels as personal as it is universal. “Two Ways” is out NOW on all music platforms. Check out more from KATiiE: Website | Instagram | TikTok | Twitter | YouTube

Maryland’s Have Mercy have always thrived in the grey space between catharsis and collapse, crafting songs that feel like journal entries torn out in the middle of a sleepless night. On their long-awaited sixth studio record, the loneliest place i’ve ever been , out August 29, 2025, via Rude Records, frontman Brian Swindle and company dig deeper than ever into themes of regret, loss, and the fragile beauty of connection. The result is a devastatingly honest collection that feels both intimate and timeless, designed for late nights when the weight of memory is too heavy to shake. Produced by Swindle himself and sharpened in the mix by longtime collaborator Paul Leavitt, the album captures Have Mercy at their most raw and self-assured. It doesn’t try to reinvent their sound so much as refine it—layering confessional lyrics over guitar-driven arrangements that harken back to the band’s earlier days while embracing the polish of seasoned storytellers. The album opens with “only, if only,” a slow-burning introduction that sets the tone for what follows: an acknowledgment of regret laced with a flicker of hope. From there, the lead single “august 17” emerges as the record’s emotional centrepiece. Soaring guitars and aching vocals carry the weight of words unsaid, making it one of the most affecting songs in Have Mercy’s catalogue to date. Swindle describes it as a meditation on grief—how the pain dulls but never truly disappears—and that sentiment radiates throughout the entirety of the band's new record. Elsewhere, “in my veins” throbs with intensity, carried by pounding drums and a vocal performance that sounds like Swindle is teetering on the edge of breaking. “old selfish me” immediately follows and wrestles with self-awareness and accountability, while the track “this could be gold” offers one of the record’s rare moments of light—an almost optimistic reflection that feels like stumbling across warmth in the cold. Midway through the album's tracklist, “tv glows” stands out as a highlight. Both nostalgic and bruised, the song leans into '90s alt-rock textures while blending in elements of emo-based pop-punk, lyrically tracing the unravelling of a relationship once central to one’s identity. The imagery of dim screens and quiet back roads underscores the loneliness that pervades the record. Its companion music video mirrors that melancholy perfectly, visually translating the song’s drifting sense of loss. The back half of the album sharpens its focus on identity and healing. “faking a crush” balances bittersweet humour with brutal honesty, while “what happy is” is a sobering look at the gap between what we want happiness to be and what it actually feels like, putting the piano at the forefront. The album's closing track, “medicine,” doesn’t tie everything up neatly—it’s jagged and unresolved, but there’s comfort in its ambiguity. It feels less like a goodbye and more like a hand reaching out in the dark. Visually, the record is brought to life through artwork and direction by Benjamin Lieber, whose fingerprints add a modern, understated elegance to Have Mercy’s familiar aesthetic. It complements the music perfectly: worn-in but purposeful, nostalgic but forward-looking. Ultimately, the loneliest place i’ve ever been  is less about wallowing in sadness and more about surviving it. It’s an album for anyone who’s ever replayed old conversations in their head, felt the sting of growing apart from someone, or sat in silence with the weight of absence. Have Mercy have turned those universal aches into something communal, proving once again why they remain one of the most important voices in modern alt-rock. Check out more from Have Mercy: Website: www.havemercymusic.com Twitter: www.twitter.com/havemercymd Instagram: https://www.instagram.com/havemercymd/ Spotify: https://spoti.fi/3AwwfzI

August 16, 2024 Burton Cummings Theatre The Ripperz. Photos by Samuel Stevens Photography JJ Wilde. Photos by Samuel Stevens Photography Everclear. Photos by Samuel Stevens Photography The Glorious Sons. Photos by Samuel Stevens Photography

BAND DROPS FIRST NEW SONG IN 16 YEARS WITH NEW SINGLE "HURT PEOPLE HURT PEOPLE" — WATCH HEADLINE TOUR KICKS OFF IN SEPTEMBER '00s hard rock provocateurs MUDVAYNE  — Chad Gray [vocals], Greg Tribbett [guitar], Ryan Martinie [drums], and Matthew McDonough [drums] — have just dropped their first new single in 16 years with " HURT PEOPLE HURT PEOPLE " via Alchemy Recordings . It was well worth the wait. Watch the visualizer and listen to the song here . "Hurt People Hurt People' has probably been around since the beginning of man," says Gray about the song. "Certainly longer than the phrase ever existed. The endless cycle of projecting our pain onto others. I think I wrote this song as a reminder to myself to break the cycle. We create our own suffering, our own hurt. It's time for us to create self-love and let go of the pain. It was never ours to begin with." Mudvayne are looking towards their future as they also celebrate their impactful past. The song arrives on the eve of the band's L.D. 50 25th Anniversary headline tour, which kicks off on September 11 and runs through October 26. L.D. 50 was the band's debut studio album, arriving in August 2000 via Epic Records and established the band as a new yet major player in the hard rock scene. It eventually went on to achieve a Gold certification. Years after its release, both Revolver and Metal Hammer deemed the album an essential of the '00s metal class, rightfully so.  The tour will feature support from Static-X, while Vended will open. All dates are below. Get tickets here. MUDVAYNE ON TOUR: WITH STATIC-X + VENDED: 9/11 — Dubuque, IA — Q Casino — Back Waters Stage 9/13 — Waukee, IA — Vibrant Music Hall 9/14 — Chicago, IL — Byline Bank Aragon Ballroom 9/16 — Milwaukee, WI — The Rave/Eagles Club — Eagles Ballroom 9/17 — Youngstown, OH — Covelli Centre 9/19 — Louisville, KY — Kentucky Exposition Center 9/20 — Chesterfield, MO — The Factory 9/21 — Omaha, NE — Steelhouse Omaha 9/23 — Denver, CO — Fillmore Auditorium 9/24 — Albuquerque, NM — Revel 9/26 — Las Vegas, NV — Palms Casino Resort — Pearl Theater 9/27 — Phoenix, AZ — Arizona Financial Theatre 9/28 — Hollywood, CA — Hollywood Palladium 9/30 — Portland, OR — Moda Center — Theater of the Clouds 10/1 — Airway Heights, WA — Northern Quest Resort & Casino — BECU Live 10/3 — Pocatello, ID — Portneuf Health Trust Amphitheatre 10/5 — Sacramento, CA — Discovery Park 10/7 — Salt Lake City, UT — The Union 10/9 — Tulsa, OK — Tulsa Theater 10/11 — Dallas, TX — Gilley's Dallas — South Side Ballroom 10/12 — San Antonio, TX — Boeing Center at Tech Port 10/13 — Houston, TX — Bayou Music Center 10/16 — Durant, OK — Choctaw Casino & Resort Durant — Grand Theater 10/18 — Nashville, TN — Nashville Municipal Auditorium 10/19 — Atlanta, GA — Coca-Cola Roxy 10/21 — Raleigh, NC — Red Hat Amphitheater 10/22 — Virginia Beach, VA — Virginia Beach Dome 10/24 — Montclair, NJ — The Wellmont Theater 10/25 — Boston, MA — MGM Music Hall at Fenway 10/26 — Uncasville, CT — Mohegan Sun - Arena ABOUT MUDVAYNE: Just before the turn of the century, Mudvayne rose up from the twisted heart of the country and redefined what heavy music could sound like, look like, and feel like. Hailing from Peoria, IL, the Gold-certified GRAMMY ®  Award-nominated quartet psychotically pushed metal to its breaking point at both ends, stretching their enigmatic sound from moments of mind-bending musicality to bloodletting melody. They carved out a catalog without comparison highlighted by a triptych of Gold-selling classics, including  L.D. 50  [2000],  The End of All Things To Come  [2002], and  Lost and Found  [2005], which bowed at #2 on the  Billboard  200. Beyond contributing music to franchises such as  Saw , the band earned a place in the zeitgeist, achieving cultural recognition with an infamous MTV VMA moment (accepting a trophy with bullet-holes in their foreheads) and overtaking social media with their seminal breakout "Dig." As it would be hard to imagine the advent of "djent" or nu-metal's resurgence without them, Loudwire cited L.D. 50 among "The Top 50 Nu-Metal Albums of All Time," while Revolver christened them "one of the biggest metal institutions of the 2000s." Following a decade-plus hiatus, the group mounted a powerful comeback in 2021, headlining major rock festivals, playing packed arenas and amphitheaters with the likes of Rob Zombie and Megadeth, and transfixing another generation of fans. Mudvayne take a much-deserved victory lap with the L.D. 50 25th Anniversary Tour, but they also leap forward with the release of their first new music since 2009. They’re back with the brutal and bulletproof anthem "Hurt People Hurt People," paving the way for their Alchemy Recordings/BMG debut.  Welcome  back  to their fucked up world...

August 15, 2024 Burton Cummings Theatre Show Pony. Photos by Samuel Stevens Photography Fefe Dobson. Photos by Samuel Stevens Photography Down With Webster. Photos by Samuel Stevens Photography Marianas Trench. Photos by Samuel Stevens Photography

Ten years ago, X Ambassadors’ debut album VHS  cracked the alt-rock mainstream with its blend of big-hearted vulnerability and cinematic ambition. Anchored by the runaway success of “Renegades” and “Unsteady,” the record not only launched the band’s career but also etched itself into the mid-2010s pop-rock canon. Now, in celebration of its tenth anniversary, the Ithaca-born trio return to their roots with VHS(X) —a fully rerecorded and reimagined version of their debut that reflects a decade of growth, hindsight, and artistic evolution. From the outset, VHS(X)  feels like more than just a nostalgia project. Where many bands revisit their classic material as a note-for-note victory lap, X Ambassadors approach the task with curiosity. Each track is reinterpreted with modern production flourishes, sharper instrumentation, and more lived-in performances. Sam Nelson Harris’ voice, now weathered with experience but still carrying its raw emotional edge, becomes the central force that ties these new versions together. The album opens with “Renegades,” a song that has long since become an anthem for resilience. The 2025 rendition dials back some of the glossy pop production of the original, replacing it with a warmer, more organic arrangement. Acoustic textures and richer vocal layering turn the track into something both familiar and freshly stirring. “Unsteady,” released ahead of the album with an accompanying music video, stands out as the emotional centrepiece once again. Where the original captured a fragile plea, the new version deepens the vulnerability Sam spoke about when reflecting on writing the song. The band leans into subtle string arrangements and a more dynamic build, amplifying the sense of intimacy while also showcasing their maturity as arrangers. It’s a song that somehow feels heavier and lighter at the same time, bearing the weight of hindsight. Elsewhere, tracks like “Hang On” and “Naked” benefit from tightened arrangements and fuller instrumentation, with Casey Harris’ keys brought further to the forefront. Additionally, both tracks are reimagined with full-blown wind sections. Whereas tracks “Fear,” “Low Life,” and “Superpower” are darker and more textured than the majority of the rerecorded album, layered with atmospheric electronics that make them feel cinematic enough to sit alongside the band’s film soundtrack contributions. “Gorgeous,” “Feather,” and “Loveless” all shine with reimagined vocal deliveries that capture the wistfulness of looking back at a decade gone by. The record’s heaviest hitter, “Jungle,” reemerges as a thunderous closer. Originally known for its gritty, aggressive energy, this 2025 rendition feels even more primal and commanding, bolstered by deeper bass tones and rawer drum work from Adam Levin. It’s a powerful reminder that while X Ambassadors have honed their vulnerability, they’ve lost none of their powerful bite. What makes VHS(X)  compelling is how it balances reverence for the original with bold reinterpretation. Rather than erasing the debut’s youthful spark, the band leans into the fact that they’re no longer the same musicians who first wrote these songs some ten years ago. The album plays like a conversation between their younger selves and the artists they’ve become—more confident, more versatile, and more open in their storytelling. For longtime fans, VHS(X)  is a celebration of a formative record, but for new listeners, it functions as a powerful introduction to the essence of what X Ambassadors has been and is now. It captures both the urgency of the past and the refinement of the present, proving that great songs can not only endure but can also evolve. With the upcoming VHS(X) Tour set to bring these songs to life again across North America, the band have crafted the perfect bridge between nostalgia and reinvention. A decade on, VHS(X)  reaffirms what made VHS  so impactful in the first place: a fearless embrace of vulnerability and a willingness to turn personal stories into universal anthems. Check out more from X Ambassadors: https://xambassadors.com/ https://www.facebook.com/XAmbassadors https://x.com/xambassadors https://www.instagram.com/xambassadors https://www.tiktok.com/@xambassadors https://www.youtube.com/XAmbassadorsOfficial

I had a conversation with country pop singer-songwriter Niko Moon about his new album, AMERICAN PALM , which was released on July 18, 2025. As well as his upcoming headline tour, The American Palm Tour, which began on July 31 in Indiana. How did you decide on the title for the album? Niko: This album celebrates American coastal culture and lifestyle, so calling it AMERICAN PALM felt so natural.   Are there any songs you're looking forward to fans hearing? Niko: Sandcastles is one that I hope listeners will connect to, it’s a very personal one for me.   What was the writing process like for the album? Niko: Almost the entire album was written on the road in green rooms all across America, very fitting for the American name!   What was the creative process like for the album cover? Every album cover of mine is my symbol so I wanted my symbol to be etched in the sand for the cover, I love how it came out!   Describe the album in three words? Niko: Mental vacation music.   Are there any songs from the album you're excited to perform on tour? Niko: I can’t wait to rock out on Sandbar, I think it’s gonna smash live!   Can you set fans up with the perfect environment to listen to the album in for the first time? Niko: Get your favorite warm weather drink, some good speakers and hopefully this album will take you to the coast!   Did you face any unexpected challenges while creating the album? Niko: We completely recut King Of The Island because we swung the beat and melody the first version then realized we liked it better playing it straight so we completely re-recorded the song. Whatever it takes to serve the song.   Do you have a favorite song on the album? Why is it your favorite? Niko: Sandcastles. It’s about finding the beauty in the moment. I hope you like it as much as I enjoyed making it! Find out more from Niko Moon: nikomoon.com  |   facebook.com/nikomoonmusic   |   instagram.com/nikomoon   |   twitter.com/nikomoon  |   tiktok.com/@nikomoon   |   youtube.com/@nikomoon

On Saturday, August 9, 2025, the Miss Possessive Tour rolled into Winnipeg for a high-octane evening of pop spectacle, heartfelt emotion, and unapologetic self-expression. For both Tate McRae and Zara Larsson, it marked their first-ever performances in the city, and judging by the ecstatic crowd at Canada Life Centre, Winnipeg had been waiting a long time for this moment. The night kicked off with Zara Larsson, who bounded onto the stage with infectious energy and the swagger of a seasoned performer. Opening with “Pretty Ugly” and the fierce anthem “Ain’t My Fault”, she immediately had the audience on their feet. Larsson mixed sleek choreography with powerhouse vocals, never missing a single beat. Midway throughout her set, she surprised the crowd with a glittering rendition of Britney Spears’ “Gimme More,” a playful homage that had the arena singing every word. Highlights included the euphoric “Lush Life,” the recent fan-favourite “Midnight Sun,” and her soaring duet track, “On My Love.” The emotional core of her performance came with “Ruin My Life” and the aching “Crush,” showing her ability to balance high-energy pop with vulnerable balladry. She closed her set with a triple punch of “Never Forget You” and “Symphony,” leaving the audience breathless and ready for more. Larsson’s first appearance in Winnipeg felt like a victory lap for an artist who has long proven herself on the global stage. If Zara lit the spark, Tate McRae turned the arena into a full-blown inferno... literally. Making her entrance with “Miss Possessive,” she set the tone for a theatrical, emotionally charged performance that cemented why she’s become one of the most exciting young pop stars today. McRae’s set was a rollercoaster of moods—swaggering confidence in “2 hands” and “Purple lace bra,” heartbreaking vulnerability in “guilty conscience” and “Dear god,” and sheer chaos energy in “uh oh” and “exes.” Her choreography-heavy numbers were electric, but it was her stripped-down B-stage segment that gave the night its most intimate moments. Surrounded by fans in the pit, she delivered a stunning “Greenlight,” a nostalgic medley of “that way / rubberband / One Day / feel like shit,” and a raw, unguarded “Nostalgia.” Back on the main stage, the set only grew more explosive. “you broke me first” drew a deafening singalong, “bloodonmyhands” turned the arena into a cathartic scream-along, and “she’s all i wanna be” had everyone dancing in unison. She closed the main set with the fiery “Revolving door” and “It’s ok I’m ok,” before returning for a powerhouse encore. The three-song finale—“Just Keep Watching,” the anthemic “Sports car,” and her global smash “greedy”—was the perfect exclamation point to a show that was equal parts spectacle and sincerity. Together, Zara Larsson and Tate McRae proved to be a dynamic pairing—two international pop stars at different stages of their careers, both commanding the stage with fearless charisma and vocal power. For Winnipeg, this tour stop felt historic: a first taste of both artists in the city, and a promise that they’ll be back. As confetti rained down and fans poured out of Canada Life Centre buzzing with energy, one thing was clear—the Miss Possessive Tour isn’t just a showcase of pop hits, it’s a declaration of pop dominance. Photos by Samuel Stevens.

Canada Life Centre August 8, 2025 Photos by Samuel Stevens.