With Something of Wonder , which will be released on July 11, 2025, via Fearless Records, World’s First Cinema has delivered a debut album that is nothing short of cinematic grandeur. The Los Angeles-based duo—composed of former Neck Deep bassist Fil Thorpe and classically trained pianist/violinist John Sinclair—have defied genre limitations to create an ambitious, cohesive body of work that feels like a film for the ears. It’s immersive, it’s theatrical, and it’s one of the boldest alt-pop records of the year. From the moment the opening track “Hold My Own” kicks in, it becomes clear this album will be a journey. A sharp left turn from the duo’s earlier work, the track leans heavily into their punk roots, with high-octane drums and a fierce energy that feels raw and electric, but at its core it is still a blistering pop number. Yet, as they describe it, this is a red herring. What follows is a kaleidoscopic blend of pop, electronic, baroque, and rock influences, all underscored by the duo’s signature orchestral flair and widescreen production. The previously released singles serve as anchor points throughout the album, showcasing the group’s versatility. “Freak Show” is a theatrical baroque-pop anthem that echoes My Chemical Romance at their most operatic, while “Paranoid” slips into hypnotic, synth-driven territory with haunting lyrics that echo inner unrest. “The Underneath” and “End of My Rope” are brooding, introspective standouts, the former exploring darkness lurking beneath the surface, and the latter offering a moment of reflective vulnerability. “Broken,” in both its original and the remixed version featuring UK rapper JD Cliffe, is a daring pivot that merges their cinematic style with modern hip-hop. However, it's JD Cliffe’s verses that add a new emotional layer to the already powerful song, grounding the track’s soaring production with sharp lyrical storytelling. It’s a surprising yet fitting collaboration that encapsulates the duo’s willingness to experiment and evolve. Beyond the album's singles, it’s the back half of the record that delivers the most emotional impact. “Holy Ghost” is an infectious yet sweeping ballad that could easily soundtrack a climactic film scene, or even hit at the end credits of a film, with its dramatic string arrangements and the deeply spiritual undercurrent it features. Whereas the two tracks “Say Anything” and “Into Pieces” are full-blown ballads with immensely heartbreaking lyrics, and “Sweet World” offers a moment of warmth and delicate beauty, balancing melancholy with hope. The album closes out with the track “Postcard,” and once more, World's First Cinema deliver a final poignant and poetic piece that feels like the end credits of a film you don’t want to leave. With soft piano lines and evocative vocals, it reinforces the cinematic tone that carries through the entire project. It's a quiet, emotionally satisfying resolution after an intense sonic journey. From a visual standpoint, Something of Wonder  is a leap forward. Inspired by avant-garde 70s cinema—most notably Alejandro Jodorowsky’s The Holy Mountain —the duo’s aesthetic this time around is more surreal, more iconic. Where 2023’s Palm Reader  leaned into the vintage glamour of 1920s Silver Screen, this album embraces abstract visuals and dream logic, giving each track the feeling of its own short film. Working with producer Fran Hall (Imagine Dragons, ZAYN), World’s First Cinema achieves a polish that elevates the eclecticism without smoothing over the edges. There’s a meticulous attention to detail in the way each track is layered and sequenced—every moment sounds intentional, as if part of a greater cinematic arc. World’s First Cinema have crafted more than just an album; Something of Wonder  is an event. It’s the type of project that demands your full attention—a start-to-finish listen that’s meant to be felt as much as heard. In a musical landscape saturated with singles and surface-level playlists, this debut stands out for its ambition, emotional depth, and fearless genre blending. Whether you're drawn in by the pop punk-infused opener, the lush orchestral arrangements, or the exceedingly thoughtful lyricism, there’s something in this album that will linger with you long after the final note. As Fil Thorpe put it, "They want to hear their music to feel like watching a movie for the first time," and with Something of Wonder , they absolutely deliver this. Check out more from World's First Cinema: Linktree | Instagram | TikTok | Facebook | Twitter | Spotify | YouTube

The Cube June 17, 2025 Photos by Samuel Stevens.

How would you describe your music to any person who may have never heard it before? Peel is really a bit of everything. We won’t limit ourselves by throwing away a good song because it’s too “poppy”, too disco, too this or that. Our focus is good melodies regardless of genre. We'll make it sound like Peel; loud distorted guitars and thunderous drums on one song, acoustic 12-string guitars and cello on another and a heavily synth-based on the third. Our gigs draw headbangers, goth-heads, pop freaks, emo’s…yeah, generally music lovers of all kinds, all ages, all genders and pronouns. They’re all invited into the Peeluniverse to become Peelgrims. What's the significance of your band's band? We tossed around a few different band names for a while, but Peel stood out. It’s short, memorable, and carried a certain weight. We liked how it suggested the idea of peeling back layers — getting to the core of something real. Maybe a truth, a feeling, or even a glimpse of what it means to be human. Who we are. Why we are. What are your musical influences? This is a boring and cliche drenched answer, but we find inspiration and musical influences from bands and artists all throughout the history of pop and rock music. As mentioned above we just love good songs…If it’s Bee Gees or Motorhead - doesn't really matter, The Beatles or Depeche Mode - don’t care, Dylan or Kendrick Lamar - fuck it as long as it’s good, The Cure or Thin Lizzy - both, please! What are your musical inspirations? All and everything. 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. Johann Sebastian Bach or Johnny Marr. What's the new single about? Lyrically Tears from the Sun is an attempt at a poetic reflection on loss, disconnection, and the fragile search for meaning. I used quite pompeus (but heartfelt) imagery that moves from sunlit sorrow to emotional drought, the lyrics are meant to explore the unraveling of a relationship — hmmm, or perhaps the quiet collapse of a deeper truth…hehe, I’m not really sure. I used the recurring line “we fall like tears from the sun” to capture a sense of inevitable descent, while metaphors like “twin heart” and “castles with whispers” were meant to evoke the beauty and futility of building dreams on unspoken hopes. I think in its core it’s a song about longing for connection, and coming to terms with its absence — peeling back layers to face what's left beneath. Musically it is an uptempo and melancholic song perfect for late summer nights. The chord progression is quite standard, BUT as with many Peel songs it has a little twist in it. What's something you hope people take away from the new single? The urge to hear it again and again and again and again ans…. Yeah, and it would be nice if it makes people check out our music on Spotify, Apple Music etc… What did you allow yourself to do creatively for this song that you haven’t in the past? I don’t think we did anything different than what we usually do. I don’t set any boundaries when I write, not musically and not lyrically. Once the song is written and the other guys get their hands on it the same rule applies - no boundaries. 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? Just be patient; wait, and the universe will provide the ideas if you are tuned in and receptive. Or: read a book, watch a movie, go for a walk, listen to music, engage in an important matter that means something to me. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? It varies and depends. It’s always refreshing to do the new stuff. But there are a couple of songs that are good fun to do: “Comes Down…OK” and “Natalie Somewhere” of the first album, “The Wheel” and “Like Sand” from the “Ghost and Shadows” album, “The Boy with the Oxygen Mask” from the “End of Summer EP” and our “hit single” from last year “Love Phobia” get both the band and the audience going. If you could perform a show this very second anywhere in the world, where would it be, iss there any particular venue(s) or city/cities that comes to mind? Madison Square Garden, NYC, without doubt. What do you currently have planned for the remainder of the year? Keep releasing and promoting our music. We hope that “Tears from the Sun” will do well, both on playlists and radio. If your music was a type of food, what would it be and why? A gigantic buffet with all sorts of food; meat, vegetables, fruits, candy, spices of all kind. Thanks for the time today. Is there anything else you may want to add that I didn't cover before you go? Thank you for “having us”, we really appreciate it. Check out our music if you feel like it - there is always room for another Peelgrim in the Peeluniverse!

Prisoner’s Kill The King  doesn’t just enter the room—it kicks the door in, guitar blazing, drums pounding, and with frontman Murray Emery howling like a man possessed by the very spirit of rock 'n' roll and heavy metal. The Calgary-based quartet’s debut full-length is a thunderous, riff-soaked declaration of purpose—an arrival rather than a beginning. It's a record born not in isolation but in brotherhood, driven by urgency, confidence, and a genuine love for the genre’s rich legacy. Formed in 2020, Prisoner has had a few years to sharpen their blades, but Kill The King  is their first fully collaborative effort—and it shows. Written and recorded in just five months, the album captures the raw, kinetic energy of four musicians feeding off each other's instincts. The result is a record that feels alive in the way great rock albums should: immediate, rebellious, and completely unapologetic. From the opening notes of the album's intro track, “Mars,” the listener is plunged into a world of molten riffs and cosmic ambition. The track sets the tone with a spacey intro that bursts into a stomping groove, introducing Emery’s gritty vocals and the band’s no-nonsense sound—equal parts bluesy swagger, NWOBHM snarl, and classic hard rock fist-pumping fervour. It’s easy to hear the influences: the meat-and-potatoes crunch of AC/DC, the epic scale of Black Sabbath, the thrash edge of early Megadeth. Yet Prisoner is far from derivative. They filter their inspirations through a modern lens, giving their sound enough polish to stand tall in 2025 without sacrificing the grit. The title track, “Kill The King,” is a centrepiece in every sense. It’s a rallying cry for self-determination, powerfully symbolic and musically ferocious, with razor-sharp guitar work from Marco Cioffi and a pummeling rhythm section courtesy of Trevor Macdonald and Karl Pflug. Emery delivers the chorus with venom, making the song feel like both a personal catharsis and a battle cry for a disillusioned generation. Elsewhere, Kill The King  showcases a surprising amount of dynamic range. “Chasing Ghosts” leans into melancholic melody via melodic guitars, offering a haunting exploration of regret and memory, while “Feel The Heat” is all swagger and swing, built for sweaty and dingy clubs and fistfuls of cheap beer. “Lost In Control” demonstrates the band’s knack for pairing anthemic choruses with heavy, fast, groove-driven riffs, and “Cold Light” showcases the band's softer, melancholic side with a slow-paced ballad. Whereas “Double Vision” feels like a lost cut from a late ‘80s arena tour—complete with a soaring solo and a chorus that dares you not to sing along. There’s also a notable maturity in the lyrics. Emery writes with clarity and conviction about self-doubt, burnout, and the search for meaning in a chaotic world. “Edge of the Universe” and “Stress Fracture” tackle existential themes with a poetic edge, showing a band unafraid to get personal even when they’re playing at maximum volume. Sonically, the album is tight and clean without sacrificing its raw DIY edge. Credit goes to Cody Anstey’s mixing work and Tyler Corbett’s mastering, which give the record a full-bodied sound that’s equally punchy and immersive. The production feels lived-in, modern enough for today’s listeners but nowhere close to being overproduced. There's an analog warmth to it that keeps the heart of the record beating strong. By the time the album's closer “Over The Magic” fades out—equal parts epic and elegiac—Prisoner has made their case: Kill The King  is a warning shot. This is a band that understands the roots of heavy music and knows how to build something new from it. They’ve set a high bar for themselves, and if this record is the baseline, the future of Canadian hard rock just got a hell of a lot louder. See their upcoming Canadian tour dates below:  08.08.25 Medicine Hat, AB @ Liquid Event Center 08.09.25 Brandon, MB @ The 40 08.12.25 Winnipeg, MB @ Handsome Daughter 08.13.25 Thunder Bay, ON @ Black Pirate Pub 08.15. 25 London, ON @ Palisade Socialbowl 08.16.25 Hamilton, ON @ Doors Pub 08.17.25 Toronto, ON @ Bovine Sex Club Check out more from Prisoner: Website | Youtube | Instagram | Facebook | Spotify

How would you describe your music to any person who may have never heard it before? Thanks for having us! I’m MarQ Andrew Speck (Q) , lead vocalist and keyboard player for the 26-time Detroit Music Award-winning band Sweet Crystal . Along with founding members guitarist Bill Blatter and drummer Steve Wieser,  and now joined by newest member and bass player Martin Kuchar , we have been at the forefront of the Christian rock scene here in Michigan, even before this genre had its own radio and broadcast outlets. What's the significance of your musical moniker? Our trademarked slogan - Reaching The World, One Song At A Time ™  - pretty much says it all about our music, message, mission and ministry: we are here to reach out to a world with songs of hope and inspiration that rock! What's the significance of your band's band? The name of the band, Sweet Crystal, reflects the message of our music and mission, referring to passages in the Book of Revelation that describe a river of sweet water flowing out from the throne of God, clear as crystal. Sounded like an amazing sight to see and place to be…so we adopted it and never looked back! What are your musical influences? We started out totally influenced by the progressive rock English music scene of the ’60s and ’70s: bands like Pink Floyd, Yes, Genesis, Atomic Rooster, and Uriah Heep all left their musical marks on our writing and playing. In the 70’s, we started listened to a lot of American bands like Kansas, Journey, Rush and Spock’s Beard to keep our creative juices flowing. What are your musical inspirations? Being a Christian progressive rock band, of course, the Bible is a huge inspiration for lyrics and themes, but more than that, we try and write songs that offer hope, inspiration and always a light at the end of every dark tunnel in life. Chances are, whatever the listener is going through, one of us has also struggled with it as well, If we can point them in the same direction that got us through, maybe that will be all they need to triumph as well. 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. We think our music would be a great fit for producer/superstar Alan Parsons to work with. His signature sounds and musical styling (think “Dark Side Of The Moon”) would make any and every Sweet Crystal song that much…you know, sweeter! What's the new single about? ‘ This Way Forever (Pearl Sound Remix) is a re-imagining of the story of the Prodigal Son in the Bible, but from the prodigal’s point of view. The song features the signature guitar and keyboard arrangements the band is well known for, as well as an overall message of hope and encouragement. What's something you hope people take away from the new single? It seems to us that it’s just too easy these days to walk away from a situation, a person, even from God, without realizing the consequences of that action until later down the road. We want to encourage listeners to look before they leap, in a manner of speaking. What did you allow yourself to do creatively for this song that you haven’t in the past? The song ‘This Way Forever (Pearl Sound Remix)’  is a tune previously released but has been rerecorded and remixed in collaboration once again with award-winning mixer/engineer Chuck Alkazian (Christina Aguilera, Mitch Ryder, Pop Evil) at both Pearl Sound Studios and Nightcrier Studios. 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? Actually, we are very prolific as a band. We still get together almost every weekend to work on new songs, rehearse the live show…whatever. We have hundreds of hours of older ideas recorded during these studio sessions from over the decades, so we have plenty of licks and jams to go back to if we are ever stuck in a rut… but we rarely are in need of inspiration. We inspire each other even after all these years together. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? As a band, we have a love and affiliation with the men and women of the Armed Services. When we perform live, we always acknowledge the veterans and families of vets before we play our patriotic salute to them with our song ‘Warriors’ (from our ‘III’  CD)…and when we finish, to see the tears in the eyes of the audience who feel like we do…that is a moment that helps us realize the path we’re taking musically is exactly where we are meant to be. A reoccurring epiphany indeed. If you could perform a show this very second anywhere in the world, where would it be? Would love to travel to the UK – just to visit that part of the world that was so instrumental in influencing our sound right from the beginning… how cool to play there after all these years? Is there any particular venue(s) or city/cities that comes to mind? No…but another thought is that everyone in the band is of German descent…maybe a pub crawl through Germany might also be an interesting addition to our musical journey! What do you currently have planned for the remainder of the year? Booking shows and benefit concerts to play again as we all get back to normal. More new songs are being recorded for our next release ‘8’, this time around featuring more lead vocals from our guitarist Bill. One more single, ‘Original Sin’,  coming out before the full release that should keep our brand and message alive across the web! We don’t chase current mainstream music trends but will stay true to our progressive arena rock beginnings and inspirational themes. The songs will be new and fresh, but the sound will remain classic Crystal, which our fans appreciate. Basically, we plan to remain exactly who we are for as long as can. If your music was a type of food, what would it be and why? We once had a local ice cream shop create a flavo u r of ice cream exactly as we requested for a contest named ‘Sweet Crystal Rocks’! Butter pecan ice cream with caramel swirls and rock candy nuggets scattered throughout. Tasty and very sweet – that’s our music to a T! What's the funniest thing that's ever happened to you while performing? The band was once booked at a rowdy country bar (unknown to us at the time) where the stage was behind a wire mesh barrier. Why? Because the patrons had a nightly ritual of throwing drinks and bottles at the band, even if they loved them. A definite unnerving experience worthy of Spinal Tap! What's the most random thing that has ever inspired you to write a song? Take a listen to ‘Heaven’s Call’ from our 7 th Heaven release. Written in the space of 30 minutes when we heard about a very dear friend and supporter passing away from Covid (fine on Friday, feeling bad on Saturday, on to heaven on Sunday). Kicked us in the gut. Beautiful song, lousy reason to write it. Thanks for the time today, Q. Is there anything else you may want to add that I didn't cover before you go? We hope that the music, message and words we sing will make a difference in the lives of everyone who hears them. Our music is about us, but it’s also about you. We hope someone who hears our music – or attends a Sweet Crystal show – to come away feeling better about themselves, knowing that whatever they are dealing with, chances are we’ve dealt with it as well. Follow Sweet Crystal: WEBSITE:  www.sweetcrystal.com SPOTIFY:  http://tinyurl.com/y76vcpqg TWITTER:  www.twitter.com/sweet_crystal YOUTUBE:  www.youtube.com/c/SweetCrystal FACEBOOK:  www.facebook.com/SweetCrystalBand SOUNDCLOUD:  https://soundcloud.com/sweet_crystal REVERBNATION:  www.reverbnation.com/sweetcrystal

STREAM “KING OF THE ISLAND” SINGLE HERE PRE-SAVE AMERICAN PALM  ALBUM HERE Niko Moon , multi-platinum country star, has released his brand new song “KING OF THE ISLAND” via EMPIRE. The song is the latest track to be released from Niko’s upcoming new studio album AMERICAN PALM, out July 18, 2025. On his new single Niko said: “ Ever wish you could sail away to a tropical destination and take a permanent vacation? That’s what ‘KING OF THE ISLAND’ is all about, trading in that 9-5 for a margarita and a banana leaf crown. I also wrote it with the real king of the island, my dad!” “KING OF THE ISLAND” is a cowboy/island song that talks about wanting to kick up your boots, retire on an island and just be. Leaning into tropical island vibes and combining a country twang the song is the go to relaxation/vacation song. The track was co-written with Niko’s father  Chris Cowan who also performs on the track.  Niko has been teasing the track on socials and recently posted a few videos with his dad saying “My dad’s 67 and wrote this song, and never had a viral moment. Let’s blow this up and blow his mind!” - See posts HERE & HERE .  “KING OF THE ISLAND” is the latest song off of Niko’s AMERICAN PALM album, which he announced earlier this week, which will include previously released tracks: “ SANDCASTLES ,” “ BOAT SONG ,” and “I LOVE THIS BEACH.” In speaking about the new album Niko noted: “Ever since I was a kid, I’ve seen the beach as a place where anybody can go to hit pause on the stresses of their everyday life,” says Niko, who partly grew up in Georgia and spent many summer days on the beaches of Florida. “With this record I wanted to bring that experience to everyone, and hopefully give them that same feeling of peace.” Earlier this week Niko also announced he will continue the celebration of the new album by hitting the road on the AMERICAN PALM TOUR - on sale today! The headline tour adds to an already long run of tour dates for Niko as he previously performed to a packed crowd at Stagecoach, has been on tour supporting Russell Dickerson & Michael Franti and this year announced his first ever GOOD TIME CHARLESTON Event. The 13 new shows kick off on October 2nd in Rosemont, IL at Joe’s Live and bring Niko to some of the country’s top stages including House of Blues in Anaheim, California on October 9th, San Francisco’s Regency Ballroom on October 14th and end in Lake Buena Vista, FL on November 14th. See full tour dates below and more info at: www.nikomoon.com   This year has already been packed for Niko as his recent song “SANDCASTLES” was released in honor of Men’s Mental Health Awareness Month (JUNE). The song  captures the beauty of life’s impermanence. Blending warm, coastal textures with tender acoustic elements. Lyrically, it contemplates a powerful question: If we lived forever, would we still feel the magic in the little things? The result is an emotionally resonant anthem that encourages listeners to love deeply, live fully, and embrace the here and now—because even the most beautiful moments are temporary. Recently, Niko hosted the inaugural Good Time Charleston, a family-friendly day of music, yoga, food trucks, and community connection also in honor of Mental Health Awareness Month.  Born in Tyler, Texas, raised in Georgia, and now based in Nashville, Niko Moon has become one of country music’s most exciting and dynamic voices and biggest advocates for mental health. He first gained recognition co-writing major hits for Zac Brown Band (“Homegrown,” “Beautiful Drug,” “Loving You Easy”) and has penned songs for top artists including Morgan Wallen and HARDY. In 2020, Moon launched his solo career with the multi-platinum, chart-topping single “GOOD TIME”.  Off stage, Niko and his wife, Anna, co-founded the Happy Cowboy Foundation, which supports mental health initiatives and addiction recovery programs. Niko is also the founder of Happy Himalayan, a premium artesian water brand infused with pink Himalayan sea salt, designed to promote health, wellness, and hydration. The brand recently announced that in less than a year, it has expanded into over 300 retail locations, including Nugget Markets, Raley’s, Stinker Stations, and Kroger stores in the Northeast—with even more exciting placements lined up for 2025 and 2026. To date, Happy Himalayan has sold over 21,900 bottles—each one a step toward a cleaner, happier planet by reducing reliance on single-use plastic. Through his foundation, water brand, and music, Niko aims to inspire others to prioritize well-being and positivity. His other recent release, “BOAT SONG,”  set sail with major support across media including CMT , OnesToWatch , Holler and Music Row , and now, “SANDCASTLES,” Niko brings an introspective, heartfelt tone to country music. An evolution that blends his signature feel-good energy with deeper emotional resonance and timeless storytelling. As Niko continues to connect with fans through his music, this is another vibrant chapter in his feel-good discography—and furthers his mission to spread positivity and celebrate the good times whilst acknowledging and overcoming our challenges with mental health. Niko Moon Tour Dates: NEW AMERICAN PALM TOUR DATES BOLDED BELOW  Jun 27 Fri - Cadott, WI - Hoofbeat Country Fest 2025* Jun 28 Sat - Brainerd, MN - Lakes Jam 2025* Jun 30 Mon - Gwinn, MI - The Big 3 Summer Concert - Forsyth Township Ballfields Jul 4 Fri - Nashville, TN -  Let Freedom Sing! Music City July 4th Presented by Dr. Pepper* Jul 5 Sat - Hot Springs, AR - Magic Springs Theme & Water Park Jul 10 Thu - Hampton, NH - “Country By The Coast” Country Music Fest* Jul 11 Fri - Buffalo, NY - Electric City  Jul 12 Sat - Fort Loramie, OH - Country Concert 2025*  Jul 15 Tue - Virginia Beach, VA - The Dome ^ Jul 17 Thu - Washington, DC - Nationals Park - Plaza Stage ^ Jul 18 Fri - Atlantic City, NJ - Ocean Casino Resort ^ Jul 19 Sat - Sidney, ME - Snow Pond Center For The Arts ^ Jul 22 Tue - Nashville, TN - Grand Ole Opry Jul 24 Thu - Harrington, DE - Delaware State Fair 2025*+ Jul 26 Sat - Janesville, WI - Rock County 4-H Fair* Jul 31 Thu - Crown Point, IN - Lake County Fair*+ Aug 1 Fri - Lake Ozark, MO - Lazy Gators Aug 2 Sat - Wahoo, NE - Saunders County Fair* Aug 10 Sun - Billings, MT - MontanaFair*+ Aug 15 Fri - Louisville, KY - Fourth Street Live!  Aug 16 Sat - Perrysburg, OH - Boots in the ‘Burg 2025 Aug 21 Thu - Redmond, WA - Marymoor Amphitheater Aug 22 Fri - Redmond, OR - General Duffy’s  Aug 23 Sat - Salem, OR - Oregon State Fair* Aug 30 Sat - Belton, TX - Central Texas State Fair* Aug 31 Sun - El Paso, TX - The Elmont Social Sept 6 Sat - Saint-Tite, QC - Festival Western de St-Tite*  Sat 13 Sat - Piccolo, OK - Choctaw Pocola Centerstage Sept 19 Fri - Canton, OH - Centennial Plaza Sept 20 Sat - Fort Thomas, KY - Merchants & Music - Fort Thomas Tower Park Amphitheater  Oct 2 Thu - Rosemont, IL - Joe’s Live # $ Oct 3 Fri - Chesterfield, MO - The Factory # % Oct 4 Sat - Kansas City, MO - Uptown Theater # % Oct 9 Thu - Anaheim, CA - House of Blues #$ Oct 10 Fri - Lincoln, CA - Thunder Valley Casino Resort + Oct 14 Tue - San Francisco, CA - Regency Ballroom # $ Oct 16 Thu - Las Vegas, NV - House of Blues # $ Oct 17 Fri - San Diego, CA - SOMA # $ Oct 18 Sat - Phoenix, AZ - The Van Buren  # $ Oct 21 Tue - Missoula, MT - The Wilma  # $ Oct 23 Thu - Garden City, ID - Revolution Concert House  # $ Oct 24 Fri - Salt Lake City, UT - The Union # $ Oct 25 Sat - Denver, CO - The Mission Ballroom # $ Nov 13 - 15 - Miramar Beach, FL - Moon Crush “Odies Beach Vacation”* Nov 14 Fri - Lake Buena Vista, FL - House of Blues # &  # American Palm Tour Date * Festival Date  +Direct Support for Russell Dickerson ^ Direct Support for Michael Franti Support:  $ David J  % Iam Tongi  & Wheeland Brothers Find out more from Niko Moon: nikomoon.com | facebook.com/nikomoonmusic | instagram.com/nikomoon | twitter.com/nikomoon | tiktok.com/@nikomoon | youtube.com/@nikomoon

Today, synth-pop duo Paperwhite —the project of siblings Katie (singer/songwriter) and Ben Marshall (producer/songwriter)—make a triumphant return with their new five-track EP, Reach , out on all streaming platforms today. The project features their poignant and cinematic new single “ Looking Back ," a track that first began taking shape during the pandemic. Nearly five years later, the duo returned to it with a fresh perspective, teaming up with acclaimed composer and virtuoso cellist Philip Sheppard , whose stunning string arrangements bring added emotional depth and a renewed sense of hope. Nearly a decade after releasing their 2016 debut EP Escape , Paperwhite remain true to the dreamy, synth-driven aesthetic that first captured the internet’s attention, while expanding their sonic palette with organic textures and cinematic flourishes. On Reach , shimmering melodies and atmospheric production underscore themes of self-discovery, perseverance, and quiet wonder—resulting in music that feels at once nostalgic and entirely new. "The 'Reach' EP is a reflection of where we've been and where we're going—a collection of songs shaped by longing, nostalgia, and the quiet magic of memory,” the duo shares. “We made it for anyone who’s ever felt lost in a dream or found comfort in a feeling they couldn’t quite name. We hope it brings a sense of wonder and a little more light.” Since their debut, Paperwhite have captivated fans and tastemakers alike, earning praise from Billboard , Vice , and Buzzfeed , and landing spots on numerous Spotify editorial playlists. The New York-based duo became blogosphere darlings, twice named Hype Machine’s Most Blogged Artist , and have shared the stage with the likes of Oh Wonder , SOFI TUKKER , and Great Good Fine Ok . After a brief hiatus, the duo returned in late 2024, signalling a fresh chapter for Paperwhite. With Reach , they reassert their place in the synth-pop landscape while inviting listeners into a world rich with feeling, memory, and wonder. Reach EP Track List: 1. The Space Between 2. Unfold 3. By Your Side 4. This Feeling 5. Looking Back

Singer and songwriter Lily Fitts  reveals her debut album, Getting By , out now on Thirty Knots Records.  Across the album’s ten tracks, Lily pairs warm acoustic textures with unflinching lyrical vulnerability, offering a raw and honest perspective on life’s ups and downs. Since releasing her first single in 2023, Lily has captivated listeners with her heartfelt blend of indie-folk and alternative country. At its core, Getting By  is a coming-of-age story packed with all the highs and lows of young adulthood—heartbreak, anxiety, depression, grief, relationships, and everything in between. Singles like "Brown Eyed Baby" and "In The Dirt" have already amassed millions of streams, demonstrating the anticipation amongst her fans for this full-length project. "If listeners take anything from this album, let it be this: it’s okay to not have it all figured out, it’s okay to break, it’s okay to feel like you’re just surviving some days,” Lily shares. “But even in the chaos, there’s still strength, there’s still beauty in being vulnerable, and there’s always a glimmer of hope that can pull you through.” With Getting By , Lily Fitts cements her place as one of the most promising new voices in country-folk. Honest, vulnerable, and full of heart, the album marks a major milestone in her artistic journey. As she takes these songs on the road and connects with fans around the world, it’s clear this is just the beginning for Lily. Alongside her new album, Lily is hitting the road this fall for her first-ever headline tour, The Getting By Tour , with shows in 11 cities across the U.S. She’s also making her UK headline debut at The Grace in London on July 3rd, which sold out in just three days. She’ll also join Willow Avalon  for select shows this summer and support Max McNown on eight European dates later this year. Listen to Getting By on all streaming platforms: https://stem.ffm.to/gettingby About Lily Fitts: 24-year-old Lily Fitts blends authentic instrumentation with a powerfully soft yet raw vocal tone, creating alternative indie-folk music rooted in emotional honesty and a sense of sharp lyrical truth. Influenced by her Boston upbringing and a wide range of musical inspirations, her sound carries warmth, depth, and an unmistakable sincerity, intended to connect, heal, and empower. Her influences span genres, and she continues to shape a sound that feels both fresh and familiar within the indie folk/Americana space. Lily has been sharing music online since the age of 9, and her acoustic covers on TikTok have drawn attention from artists like Noah Kahan, Zach Bryan, The Lumineers, Sam Barber, and more, eventually leading to her first-ever live performance with Zach Bryan at his sold-out Crypto Arena show in LA. Since then, she’s amassed over 34 million streams across DSPs, marking her as a rising voice in the indie-folk world. Over the last year and a half, Lily has been writing and recording her debut project, Getting By. In that time, she’s hit the road supporting Michael Marcagi, Sam Barber, and Myles Smith, and has played major festivals including Bonnaroo, Summerfest, Lovin' Life, Springfest, and Extra Innings. This summer, she’ll take the stage in London for the first time at Hyde Park, performing alongside Noah Kahan, Gracie Abrams, FINNEAS, and Gigi Perez. LILY FITTS TOUR DATES : July 3 - London, UK @ The Grace (sold out) July 4 - London, UK @ BST Hyde Park (sold out) July 13 - Marshfield, MA @ Levitate Music Festival June 15 - Vancouver, BC @ Biltmore Cabaret^ June 16 - Seattle, WA @ Tractor Tavern^ June 19 - Redmond, OR @ FairWell Music Festival August 14 - Montreal, QC @ Le Studio TD^ August 16 - Toronto, ON @ Opera House^ October 7 - Phoenix, AZ @ The Rebel Lounge October 8 - Los Angeles, CA @ The Echo October 10 - San Francisco, CA @ Cafe Du Nord October 12 - Denver, CO @ Larimer Lounge November 6 - Chicago, IL @ Schubas Tavern November 7 - Nashville, TN @ The Basement November 8 - Atlanta, GA @ Smith's Olde Bar November 9 - Charlotte, NC @ Neighborhood Theatre November 12 - Washington, DC @ The Atlantis November 13 - Brooklyn, NY @ Baby's All Right November 14 - Cambridge, MA @ The Sinclair December 1 - Dublin, IE @ 3Olympia* December 2 - Glasgow, UK @ Barrowland Ballroom* December 3 - Manchester, UK @ Albert Hall* December 5 - Amsterdam, NL @ Melkweg* December 6 - Hamburg, DE @ Fabrik* December 8 - Paris, FR @ Alhambra* December 9 - London, UK @ O2 Forum Kentish Town* December 10 - London, UK @ O2 Forum Kentish Town* ^ opening for Willow Avalon * opening for Max McNown

Today, Omaha-born and Nashville-based indie pop lyrical songsmith Noah Floersch has released what will soon become THE bartender’s anthem, “Somethin’ Bout A Beer” via Concord Records.    Stream “Somethin’ Bout A Beer” HERE   In talking about the new single, Noah said: “Somethin’ Bout a Beer’ is a drinking song dedicated to the bartenders of Nashville and their efforts to soothe the broken-hearted patrons of this town the best way they know how: a cold one. It’s a reminder to turn up the music, toss back a brew, and do your best not to think of the reason you’re drinking in the first place. Cheers!”   The song is a prime example of Noah’s incredible style of lyricism and songwriting - upon first listen you think the song is about one thing, but when you take a closer look, it’s got a deeper meaning. “Somethin’ Bout A Beer” follows that pattern as first listeners will hear a feel-good bar song about drinking away heartache…then upon the second listen, you will hear under the chorus the track is an homage to bartenders who help us nurse those wounds “Don’t forget to tip the ones who help you forget the ones you love.” Noah highlighted it lyrically on socials earlier this week HERE.     The track was co-written and produced by Jeremy Schmett.   Earlier this month, Noah announced he will be hitting the road on his headline “Somethin’ Bout A Tour” kicking off on September 29th in Orlando, Florida. The 21-date run will see Noah performing at some of the country’s hottest stages including Music Hall of Williamsburg in Brooklyn, NY on October 6th , Los Angeles’s own Troubadour on October 24th, and returning to his now hometown of Nashville, TN to perform at Basement East on November 3rd. See more information at www.noahfloersch.com/tour .  The tour is also in celebration of Noah’s previously released track “Growing Everything Out”   which kicked off his new era of music. “ The music in this new chapter is as personally scathing as it is fun to perform. It strikes a funny balance between deeply insecure lyrics and high-energy instrumentals. I wanted to find the most honest way to capture the highs and lows of the past two years of my life—and I think I’ve found it in this era. Growing Everything Out’ is as much about admitting defeat as it is about overcoming the trials and tribulations of life. It was originally written as a way to process my own stagnation and rough appearance, but over time, the song’s vulnerability turned into empowerment.”    The track was given a first look by, Ones To Watch who said: “[Noah Floersch is] Brimming with honesty and a melody even when speaking, Noah very much carries himself as a musical being, a curious seeker collaging sounds with experiences in a profoundly relatable way.”   Lyrically, “Growing Everything Out” talks about a time when you find yourself slightly partying too hard on tour every night and burning the candle at both ends. The song describes that moment when you look in the mirror and think “wow you look like a hot mess, but that’s okay right now- I’m growing everything out,” almost as if giving yourself the permission to let go a little bit.  The  track, which was produced by Travis Heidelman (Dasha) and mastered by Nathan Dantzler (Sabrina Carpenter, Teddy Swims, Niall Horan), comes after a string of viral songs Noah previously released including “Ghost of Chicago” ( which you may have seen online HERE and boasts over 35 million streams on Spotify, "Loneliest Girl In The World,” and “The Bird Song” with Em Beihold.    Recently he caught the attention of the likes of Gracie Abrams and SZA on social media while teasing new music - see HERE . Not to mention he was just named by Taco Bell as one of their Feed the Beat Class of 2025 artists - a designation that further solidifies him as the next-gen of all things big in indie pop. See full list HERE.    Within the industry, Noah has already caused quite a stir after not only collaborating with Em Beihold, but being selected by Ricky Montgomery to support him on a full US & Canadian tour last year. This early success launched Noah’s own headline run at the end of 2024 and he performed to fans singing every word across the country. Growing up in Omaha, Nebraska, Noah was one of six kids in a Catholic family ( super Catholic — his great-aunt was a nun, and his older brother is now a monk). By middle school he was hearing Jon Bellion, Vampire Weekend, and Mumford & Sons from his older brothers or in the carpool to soccer practice, and in high school choir he gained a life-changing appreciation of the power of performance. He put out a slate of singles, EPs, and his first full-length, It’s Nice Out, while still in college in Lincoln, Nebraska; right after graduation, he moved to Nashville, and shortly thereafter, the single “Ghost of Chicago” from his second record Noah unexpectedly went viral, racking up millions of streams just about overnight. Look out for more news from Noah Floersch coming soon!  Noah Floersch “Somethin’ Bout A Tour” Dates: September 29th Orlando, FL The Social September 30th Atlanta, GA Aisle 5 October 2nd Washington, DC Union Stage October 5th Philadelphia, PA First Unitarian Church October 6th Brooklyn, NY Music Hall of Williamsburg October 7th Boston, MA Brighton Music Hall October 8th Toronto, ON Drake Hotel October 10th Chicago, IL Beat Kitchen October 12th Minneapolis, MN Fine Line October 13th Omaha, NE Slowdown October 15th Denver, CO Bluebird Theatre October 17th Salt Lake City, UT The Grand at the Complex October 19th Portland, OR Holocene October 21st Seattle, WA Madame Lou's October 23rd San Francisco, CA Rickshaw Stop (PopScene) October 24th Los Angeles, CA Troubadour October 26th Phoenix, AZ Valley Bar October 29th Austin, TX The Parish October 30th Dallas, TX Club Dada October 31st Houston, TX Bronze Peacock November 3rd Nashville, TN Basement East About Noah: Hailing from Omaha, Nebraska and based now in Nashville, Noah Floersch (pronounced - FleurISH) has been releasing smart and stirring indie pop music since his college years at the University of Nebraska-Lincoln. When the single “Ghost of Chicago” from his second record Noah unexpectedly went viral, racking up over 35 millions of streams just about overnight, it allowed Floersch to quit his job at an ice prep factory and head out on his first major tour — a support slot for Ricky Montgomery and then headline tour at the end of last year. Adding to it a duet with Em Beihold on “The Bird Song” and early praise from Gracie Abrams and SZA on socials Noah is ready for the next chapter.   Now, taking on board the lessons he’s learned about connecting in a live setting, he debuts a new era with the sad-boy singalong anthem, “Growing Everything Out”. Inspired by the rougher side of his new on-the-road lifestyle, it’s a track about looking in the mirror, realizing you look like shit, and not even caring. Beneath its playful “na-na-na”s and its earworm melodies is a genuinely poignant mix of sadness and exhaustion, relatable to anyone who’s found themselves the worse for wear in a bathroom stall a few too many times. “Growing Everything Out” and the new music still to come sees Floersch grappling with his least flattering emotional impulses, at the same time as crafting the most undeniably fun songs of his career. It’s a combination of vulnerability and charisma that builds on the meaningful connection he’s already built with fans, and completes his transformation into a bona fide pop star.  Follow Noah Floersch: www.noahfloersch.com Instagram // TikTok // YouTube

San Diego’s Pleasure Pill has spent the last few years riding the line between underground reverence and mainstream breakthrough. With their debut studio album Hang A Star , set for release on June 27, 2025, via à La Carte Records, the band plants its flag firmly in the lineage of Britpop revival—but does it with a distinctly modern, American slant, avoiding mere nostalgia trips in favour of vibrant reinvention. Formed by brothers Jonah and Ethan Paz along with childhood friends from the local DIY punk scene, Pleasure Pill might have grown up skating warehouse lots and playing basement shows, but Hang A Star  is the sound of a band stepping confidently into the limelight. It’s ambitious, anthemic, and dripping in self-awareness. The band wears its influences proudly—Blur, Primal Scream, The Stone Roses—but instead of simply mimicking those bands, they filter their admiration through sharp hooks, shimmering production, and biting emotional honesty. The album opens with "Favorite Color Gold," a woozy yet determined slice of psych-tinged pop-rock. Jonah Paz’s vocals float over layered harmonies and swirling textures, setting the tone for an album both accessible and exploratory. "So Long" leans more into Brit-rock swagger, propelled by Ethan Paz’s crisp, jangly guitars and a rhythm section that’s clearly spent time dissecting the grooves of Oasis' Definitely Maybe . "Not Giving Up" and "In Our Time" provide some of the album’s most memorable choruses and hooks, balancing youthful defiance with shimmering, wide-open production. These are songs meant for late-night drives with your friends, having your windows rolled down; futures uncertain but hearts on fire. The album's centrepiece comes with "My Way to You," a sprawling, cinematic anthem that Jonah himself describes as “large, powerful, and anthemic.” It’s the album’s emotional peak, steadily building from quiet introspection into a euphoric burst of guitar heroism and sweeping harmonies—a love letter to every band Pleasure Pill has ever admired, distilled into five glorious minutes. The album's lead single, "Line Up The Stars," delivers exactly what it promises: club-ready energy dressed up in leather jackets and shimmering sequins. With dance floor propulsion and power-pop harmonies, it’s an intoxicating mix of reckless abandon and youthful yearning. The song balances hedonism with reflection, proving that Pleasure Pill is just as interested in searching for meaning as they are in starting the party. Later tracks like "One to Blame" and the psych-drenched "Wonder How" lean into their live energy, echoing the electric buzz of last year’s Heaven Can Wait  live album. "Don't Fly Away," one of the most hyped tracks ahead of release, takes on almost mythic proportions with Jonah boldly stating that this track is their "Ed Sullivan moment." Thankfully, the song lives up to the hype, swirling with jangly guitars, plaintive vocals, and a sense of cultural hunger rarely heard in indie rock today. Additionally, if you're a physical music buyer, then you're in luck. CD buyers of Hang a Star get treated to a bonus track, "Feel Alive," a final burst of dopamine that encapsulates the band’s ethos: pleasure, feeling, and chasing life’s high points at full speed. Hang A Star  doesn’t reinvent the wheel—but it polishes it, paints it neon, and sends it spinning into a sky full of dreams. Pleasure Pill might not yet be a household name, but with an album like this, they’re aiming for the stars—and it feels like they might just get there. Check out more from Pleasure Pill: Instagram   |   TikTok

Singer-songwriter, actor, and icon Frankie Grande released his debut album, Hotel Rock Bottom, on June 27, 2025, via Casablanca Records. The album consists of a 15-song tracklist, which includes his recently released singles “Rhythm of Love” and “Boys.” You’ve worn many hats - Broadway star, TV personality, producer, and activist. How do you balance such a diverse career while staying grounded? Frankie: I allow myself to be energetically directed to wherever I need to be. I definitely have ADHD, so I need to 100% focus on one thing at a time. That's so difficult for me. But it's interesting when it comes to art or activism, especially in the month of June. I don't think I can separate the two. For me, they are very much hand in hand for Pride Month. Especially with this album and the “Boys” music video. Just existing these days as an out proud queer extremely flamboyant homosexual and music is in and of itself a protest. I feel like right now I'm half and half art and activist, and it's pretty awesome. What do you think makes a great pop song timeless? Frankie: Oh wow, definitely something about the hook. But I am also a visual girl. I remember music videos so vividly from when I was young and a kid. I can tell you pretty much everything Madonna has worn in any one of her music videos. I remember Michael Jackson's iconic "Remember the Time" music video. I like visuals a lot. I think when you marry music and visuals effectively, that's what makes it stand the test of time. Which is why I'm really dedicated to making sure y’all get visuals for all my singles. It has been a top priority for me. I know a lot of artists these days are like yeah you got a 15-second TikTok, I did it. I’m like, no I’m giving you full visuals cause that's how I was raised. In “Boys,” you transform the gym locker room, a traditionally hyper-masculine space, into a celebration of queer joy. How do you envision this reclamation influencing perceptions of masculinity and queerness in mainstream media? Frankie: That’s exactly what I was trying to do. I was actually doing my makeup in the bathroom/locker room of the equinox. I was like giving a full beat, mascara and lashes. I was looking at all these masculine-presenting guys that are all being like bros, and I'm like beating my face for the gods. I’m like this is so silly, because I'm definitely the only one that is doing their makeup or would do their makeup there. It's so weird, but meanwhile, you go into the steam room and they're not straight. So it's very interesting having that dichotomy playing out in the locker room. I was just like I want to do this. I had my makeup running down my face, it was something that I was super self conscious about. Is going to the steam room at the gym with makeup on and coming out looking like that. Guys were like that's not masculine, so then that's not hot. I’m like well no fuck you yes it is. I feel like it’s a good time right now to have this dialogue. Because in society we love to try to almost fem shame or queer shame or bottom shame in the community. That is not what I'm about. If there's gonna be a power bottom anthem called “Boys”. So like let's be very proud of who we are and being queer, fem and all the fabulousness that makes us who we are. It is all beautiful and all attractive. If Hotel Rock Bottom were a hotel in real life; what kind of drama would be unfolding in the elevators? Talk to me about the hotel's vibe. Frankie: The Hotel Rock Bottom is a real hotel in London. It’s where I locked myself after the One Love Manchester concert. It was definitely one of the darkest and worst moments in my whole life. So the song truly, the lyrics are like if i'm checking out tomorrow and there is a double entendre there. Am I going to check out of the hotel, or am I gonna check out of life. That was the moment where I decided whether I was going to check out of life and be done, and this is where I end, or check out and go straight to rehab. I actually don't remember where the hotel is or what it's called. But I can see it in my head, it was grey and very modern. It was cold and dark and a place where I didnt want to die. So I got out of there. Hotel Rock Bottom truly is about my rock bottom moment where I made the decision to leave, check out and get sober. So it's a real place. Can you share more about the creative process behind Hotel Rock Bottom ? Were there any unexpected challenges or breakthroughs during its production? Frankie: I ran this entire gambit of the past 20 years of my life on this album. So we start in the club, and it's fun and ferocious. I'm stomping in heels and being a disaster. It's great and wonderful, and there are no consequences. There was a whole time in my life when I could drink and use with no consequences. That's in the beginning, then you see the struggle in “Hotel Rock Bottom,” and then you see the sobriety angle as well. Which also has light and dark on it, 'cause once you get sober, it's life on life's terms. Then you have songs that are about my husband and puppy, and my life as a married man in the world. We really do go to many, many places. I would say the biggest challenge for me was discovering my sound as a recording artist. Which is very different from a live stage artist, which is what I've trained for my entire life. I'm a very loud singer, so learning to sing softer with the mic close to me was totally different for me. As a professional Broadway trained actor who has to hit the back of the house with my high notes. It was really cool and a fun challenge. Creative process wise, just start with a beat from my amazing EP, Prince Fox . It would warp me somewhere, and wherever we ended up going is where I would write from. The music sonically dictated the story. You’ve always had such a vibrant stage presence. How do you recharge and stay grounded outside the spotlight? Frankie: It's constantly a struggle, I'm not going to lie. I've been much better about booking time off to literally be in bed with my husband and my puppy and just be like im not doing anything this weekend. Even if it's just on the calendar a month ahead of time, like I know I have a pride show booked every weekend till July 3rd, and the next weekend I'm off and not doing anything. You have to try and carve out these spaces otherwise this industry will suck you completely dry. I've seen it happen. It's hard to balance, it's something I'm constantly dealing with. It's not easy because people are always asking for more. I'm a people pleaser and want to say yes to everything that is asked of me. Every once in a while, I will through a do not disturb on my weekend. What’s your favorite memory from the making of the album overall? Frankie: I wrote most of the album with Prince Fox, Kate Morgan and a few other collaborators. Eventually, my music came into the hands of Feras and Bonnie McKee, and these are some people I've looked up to my whole life. They've written some of my favorite songs ever in the Pop world. They pursued me to work with me. That was a huge pinch-me moment. I was like I don't understand how these grammy nominated, number-one billboard holding people. Bonnie said to me I’ve been dying to have an artist that is doing what you're doing. We got to work on some amazing songs together, one of which is “Sex Shop,” “Oasis,” and “Cognitive Dissonance.” Another is sitting in Republic Records playing Wendy Goldstein my EP. Can you set fans up with the perfect environment to listen to the album for the first time? Frankie: To me , sound is the most important thing in the world. Listening on your iPhone, like okay no, we mix it for everything, including your iPhone, so it will sound fine. But I want you to be in a Dolby room with speakers everywhere. I got to do a playback at the title, and I'm telling you that the room has the sickest sound and playback. I started crying while listening to “Sex Shop” because the sound was so good. Be with friends and somewhere loud. I heard “Rhythm of Love” at Tropicana in West Hollywood. How surrounded you are, I want the music to hug you. So go someplace where it’s loud and you are with friends and blast it. Or wear headphones and blast it.

Let’s jump right into discussing your new single, “Fit In”. It's a bold, emotionally charged anthem about identity, resilience and the universal desire to belong. What inspired the writing of the song?   Kelsie Watts: Thank you! I LOVE and am so proud of this song! It’s my favourite that I’ve written so far. DQ, the producer and I were sitting in the studio talking about random parts of life, and we got on the topic of never being “cool.” Growing up, I always felt like I needed to be a certain way to fit in with the cool kids. I was never invited to the parties, never had a date to prom, wasn’t “high school skinny,” etc. It took me a long time to realize that just being me is enough. So we wrote a song about it. What do you want listeners to take away from “Fit In”? KW: I want listeners to feel empowered and excited to just be themselves. I think it’s so important to lift each other up and celebrate everyone’s individuality and to feel like, with me, they have a safe place and belong just the way they are. You've written some pretty personal music in the past as well, especially on “I Can't Say Goodbye,” after the tragic loss of your brother. Do these personal topics you write about just come easier then say a situation you're close to, but isn't exactly “you” - if that makes sense? KW: Oh, absolutely. I can write songs that don’t relate to me, but I don’t enjoy it as much. Topics that I’ve lived are easy to write about because I can pull everything from personal experience. You're trained to perform anything from opera to musical theatre, how did you land on creating music in the realm of pop and pop-rock over anything else? KW: I’ve wanted to do pop-rock music ever since I was little! I was brought up on Whitney Houston, Def Leppard, Mariah Carey, Boston, Kiss, and Celine Dion. It’s a heck of a combination of music. I take inspiration from all of it. I’ve had a dream of selling out arenas for as long as I can remember. Do you ever take your opera and theatre training and incorporate it into your original music? If so, how? KW: Yes, I 100000% use my opera and musical training all the time. I like to call Opera the foundation of vocal health. I’m able to sing like I do for extended periods of time because I understand vocal health. I owe a lot of that to opera training. Even though I don’t perform Opera, it’s a tool I have in my box. I love combining theatrics with performing. Lady Gaga is a great example of being super theatrical in her shows. I think it all goes hand in hand. It must have been a fantastic feeling growing up in a musical family and being encouraged by your parents at such a young age to pursue your talents, which led you on a path of church choirs, church plays, and everything in between. Looking back, do you have any profound moments from that time in music that you can attribute to where you are today?   KW: One of the core memories I have from growing up in a musical family is singing during the Christmas season. The first time I heard “All I Want for Christmas is You,” I was HOOKED ! I just wanted to sing and perform it all the time. I remember dancing to the entire album in the living room while decorating the tree. We would sing as a family all the time, but Christmas specifically was really special. We each had our own part in “Carol of the Bells.” We performed “Who Could Imagine a King” from the movie The Preacher’s Wife as a family at church every year. We sang the entire California Raisin’s Christmas album while driving to see Christmas lights. It definitely shaped me and my love for music growing up. You've also had a pretty wild career so far, past that. Just to touch on some of it, what are the differentials from being a featured artist on an AJ Mclean (Backstreet Boys) song to, say, being on Team Kelly on season 19 of The Voice, or auditioning on American Idol? What have you taken away from these experiences to the music you're making today? KW: I do my best to be a sponge in every situation and soak up as much knowledge as I can. I truly believe that every single artist has something special to share, and it’s important to listen. But as cliche as it sounds, one of the biggest takeaways I’ve received is to simply be me. There is no other Kelsie Watts.  You're currently on Broadway playing Queen Jane Seymour in  SIX the Musical , which was a dream come true. You're hundreds of shows in, and have hundreds of shows left to go on this current run. What gets you through performing once, sometimes twice a day?   KW: Broadway is the Olympics of performing. The schedule of eight shows a week alone is demanding. Stack on top of that the rehearsals, press, physical recovery, social media, and still doing my own music, and it’s truly insane. But I wouldn’t change anything. I believe two things can be true at the same time: I can be physically exhausted and still be beyond grateful to be in SIX . To be honest, I’m still in awe that I’m here. I have “pinch me” moments all the time. The joy from performing on Broadway is enough to get me through the shows. This is an opportunity I am beyond blessed to have, and I want to cherish every moment.  If the opportunity arose, would you do a tour of SIX the Musical? Actually, this is a two-parter. Also, are there other Broadway shows–past or present and on Broadway or touring–that if you could join the cast right now, even as a certain role, what would it be and why?   KW: Touring would be difficult for me to do, solely because it would make my career as a recording artist very tricky to pursue at the same time. Being on Broadway, I have the luxury of being in NYC and having access to recording studios, writing sessions, publicity events, etc. But I DEFINITELY have roles I would love to play. Elphaba ( Wicked ), Fantine ( Les Misérables ), Satine ( Moulin Rouge ), Maureen ( Rent ), Regina George ( Mean Girls ), Ali ( Burlesque ), and those are just a few [Laughs]. I think it would be super cool to originate a role in a Broadway show. If The Greatest Showman ever comes to the stage, I’m manifesting to originate the role of Jenny Lindt. I think that’d be a blast! Can your fans and listeners–who have yet to discover you–expect even more music from you this year past “Fit In”? KW: Absolutely, I plan to keep releasing new music. Which also leads me to ask, besides a ton more performances of  SIX the Musical , what else do you have planned for the rest of 2025?   KW: 2025 has been a busy year. In addition to starring in Six the Musical , I’m still writing and recording pop music weekly. There will definitely be more solo shows, music releases, and, fingers crossed, some really awesome Christmas performances. Right now, I’m in the finals for the Global Citizens Festival. So if y’all wanna go vote for me to advance to the next round, that’d be super helpful! And it’s free! Thanks for taking the time today, Kelsie! Is there anything you'd like to say before you go?   KW: Thank you for having me! Be sure to keep up with me on all my socials @kelsiewattsmusic on Instagram and @kelsiewatts on TikTok and Facebook .

Few bands in the modern metalcore landscape feel as purpose-driven or visceral as Deadlands. With their new EP, Seven , out June 27, 2025, via Spinefarm Records, the New York duo of vocalist Kasey Karlsen and producer/multi-instrumentalist CJ Arey (aka NO SHADE) solidify their standing as one of the genre’s fiercest emerging voices. Conceptually ambitious and emotionally unflinching, Seven  threads each of its blistering tracks through the lens of one of the seven deadly sins, delivering a cathartic experience that balances heaviness with accessibility, brutality with melody, and vulnerability with venom. From the outset, it’s clear that Deadlands aren’t here to merely follow in the footsteps of their influences, though fingerprints from Spiritbox, Motionless In White, and Make Them Suffer are certainly present. Instead, Seven  feels like a refinement of the band’s sound, evolving beyond their Sentence of Myself  EP and viral singles into something more cohesive, daring, and personal. Opening track "Villain" (Pride) kicks things off with searing precision, introducing listeners to Deadlands’ signature interplay of haunting synths, chunky breakdowns, and Karlsen’s piercing screams counterbalanced by soaring clean vocals. Kasey’s presence as a frontwoman is undeniable, wielding her dynamic range like a blade. The defiance in her delivery makes “Villain” a highlight, sounding equal parts theatrical and confrontational. "Die In Paradise" (Greed) follows with cutting aggression, blending industrial undertones and deathcore flourishes with massive choruses. The hooks are undeniable, and CJ’s production emphasizes mechanical sharpness without sacrificing raw emotion. This is where Deadlands show they’re not afraid to write big  songs. "MORE!" (Gluttony) digs even deeper into thematic resonance, addressing addiction and eating disorders with a brutal honesty. The song’s swaggering rhythm, gnashing riffs, and massive chorus demand your attention as Kasey howls, “Give me more!”—not as a boast, but as a chilling admission of compulsion. It’s an unflinching track that’s destined to resonate with listeners grappling with their own destructive desires. Of all the singles, "Limbo" (Lust) stands out as the band’s most refined work yet. Featuring a neck-snapping groove layered with eerie synth textures, the track’s melodic sense perfectly complements its crushing breakdowns. Lyrically, it flips the typical portrayal of lust on its head, framing it as corrosive and emotionally bankrupting rather than seductive. The climactic, soaring refrain is one of the EP’s most memorable moments, proving Deadlands have anthems in their blood. Whereas collaboration shines on the following track, "Kundalini" (Envy) featuring The Pretty Wild. The synergy between Kasey, Jyl, and Jules is electric, blending fierce femininity with metalcore’s brutality in a way that’s empowering and authentic. Spiritual symbolism and brutal honesty weave throughout the song's lyrics, offering both confrontation and catharsis. “Kundalini” represents not just a sonic partnership but a shared defiance, and it’s easily one of the strongest cuts on the project. "Wither" (Sloth) throws their traditional structure out the window. The song is chaotic, experimental, and unsettling; it’s intentionally disorienting—its sludgy breakdowns and off-kilter guitar riffs evoking the slow deterioration of motivation and willpower. Kasey’s immense guttural growling vocals practically disintegrate into the fabric of the song, leaving behind a gnarly, melting wreckage. Deadlands closes out the Seven EP with the track "House of Cards" (Wrath). Deadlands ensures that the EP doesn’t end quietly. Instead, it erupts into pure metalcore catharsis with frenetic riffing, jarring tempo shifts, and vocals that oscillate between anguished and venomous. It’s a fitting finale for a record designed to peel back emotional layers until only raw nerve endings remain. Throughout Seven , what stands out most isn’t just the skill or the sheer heaviness—it’s the intention behind every note and lyric. Deadlands aren’t interested in metalcore by numbers. They’re here to offer a visceral soundtrack for confronting inner demons. Kasey and CJ’s dynamic is one of complementary strengths, with each track feeling like a joint exorcism of personal and societal anxieties. With Seven , Deadlands don’t just prove they belong in the conversation alongside genre heavyweights—they prove they’re ready to start leading it. Seven  is a bold, ambitious step forward for Deadlands—a conceptual triumph with emotional weight and vicious execution. Watch this band carefully; they’ve only just begun. Check out more from Deadlands: Facebook | Instagram | Twitter  | TikTok | YouTube

A BOLD NEW FOLK-ROOTS-ROCK MASTERPIECE AND SWEEPING, STORY-DRIVEN TRIBUTE TO THE AMERICAN LANDSCAPE RELEASE NEW SINGLE “ROUGHNECKS,” PREMIERED BY FLOOD MAGAZINE ,  INSPIRED BY TRUETT’S GREAT-GRANDFATHER, WHO WORKED THE GAS LINES AND IN THE OILFIELDS OF TEXAS IN THE EARLY 20TH CENTURY  WATCH MUSIC VIDEO HERE / LISTEN HERE LIFELONG FRIENDS PHILIP LUPTON AND TRUETT HEINTZELMAN RETURN WITH  BRAD COOK PRODUCED ALBUM, FEATURING WATCHHOUSE (FORMERLY MANDOLIN ORANGE) AND STUDIO MUSICIANS KNOWN FOR THEIR WORK WITH HOUNDMOUTH, BON IVER, AND HISS GOLDEN MESSENGER WRITTEN WHILE ON THE ROAD, HEAT OF JULY   CAPTURES TALES OF MARRIAGE, MEMORY, LIFE, AND LOVE, AS WELL AS LEARNING HOW TO WAIT FOR THE COOL OF THE DAY IN THE BLAZE OF THE SUMMER HEAT TOURING USA AND PERFORMING AT AUSTIN CITY LIMITS FESTIVAL  Today, Texas duo Briscoe announced the release of Heat of July , the bold new album, out September 19 via ATO Records. Celebrating the great outdoors and their flesh-and-blood roots as husbands and family men, Heat of July marks a major sonic leap for lifelong friends Philip Lupton and Truett Heintzelman, the Austin based duo known for their signature intertwined vocals and relentless touring alongside acts like Noah Kahan and Dave Matthews Band. Pre-order HERE   Produced by Grammy-nominated Brad Cook (Waxahatchee, Nathaniel Rateliff & The Night Sweats) and featuring a “folk supergroup” featuring Watchhouse (formerly Mandolin Orange) , and studio musicians who have performed with artists including Bon Iver, Houndmouth, and Hiss Golden Messenger.  With sweeping arrangements and vivid storytelling, the album elevates Briscoe’s raw, rootsy foundation into a polished folk-rock masterwork. Today, Briscoe also released “Roughnecks,” a song inspired by a photo of Truett’s great-grandfather, who made his living working gas lines and in the oilfields of Texas. “ The song tells the story of a man who spends his long and strenuous hours of work in the fields reflecting on his past decisions and the girl he left behind, with instrumentation and lyrics that pay homage to the trades that are so integral to our Texas heritage. ” stated Truett.  FLOOD MAGAZINE premiered the track, stating, “the deeply personal track about the duo’s labouring Texan ancestors feels even more ripe for any future dates with recent tourmates Dave Matthews or Noah Kahan.” Listen HERE / Watch video HERE The track is a perfect introduction to the new sound from a fully-formed duo chasing down a broader horizon. An album written while on the road, as they traveled across North America, playing everywhere from Canada to Cancun.  " We learned how to write music from behind the wheel ," Philip says, thinking back to the show-filled schedule that helped transform Briscoe from Texas' best-kept secret into national torchbearers of timeless American Roots. Adding, " Coming up with melodies in our heads, without a guitar or piano nearby, was a necessity for us during those tours. We were on the road so much that we had to become more mobile with the creative process ." It is also a snapshot of the major shifts in Philip and Truett’s lives, as they both married their longtime partners in the wake of West Of It All 's success — whose accolades included a Top 40 hit on the Triple A chart with "The Well," and thoughts of family lingered as they traveled across North America and penned the album while on the road and on heir many road trips through the desert of Arizona. Heat of July is inspired by the brutal summer heat of West Texas in title, but offers a wide-angle view of the American landscape.  " We both grew up in parts of the country that were hot all the time ," Philip explains. "M y parents live on 100 acres in West Texas, and there's not a single proper tree. When you have that kind of heat running through your blood, you learn how to wait for the cool of the day. We really loved using that idea for the album title. That feeling that you get in July… it transcends the month itself. You take it with you all year long, and you learn how to appreciate the cool when it does come ." Sharing their journey, both geographic (Lupton is an ex-geology student) and emotional — Heat of July celebrates two great friends at their creative peak, and a band stepping confidently into its next chapter. " I studied geology, so driving through Arizona is like me being a kid in a candy store ," says Philip. " We'll always write songs inspired by that landscape, but we've learned how to tell more personal stories with our music, too. We're talking about our wives, our relationships, and our family trees. We're really wearing our hearts on our sleeves when we're writing ."  There's more touring up ahead, of course, including dates through August and September and an appearance at Austin City Limits festival in October. More commitments that will take Briscoe away from the lives they've built in Texas. Heat of July may be the band's next ticket out of town, but it's also a love letter to the landscape that first inspired Truett and Philip to write songs. The road goes on forever… but for Briscoe, the road always leads back home, too.  It is also a showcasing for a pair of songwriters who've learned to grow without leaving their foundations behind. As they prepare for another packed year of touring, Heat of July stands as both a powerful travelogue and a heartfelt tribute to the people and places that continue to inspire and anchor them to this day.  TRACKLIST Saving Grace  Arizona Shining Roughnecks  Heat of July Escudilla Adeline Blue Eyes and Red Wine  Leaving California Flashlights in the canyon Free Mexican Eagles Is this where TOUR DATES Aug 19 Tue - Kansas City, MO - Encore at Uptown Aug 20 Wed - St. Louis, MO - Off Broadway Aug 21 Thu - Indianapolis, IN - HI-FI Aug 22 Fri - Lexington, KY - Burl County Fair Aug 23 Sat - Lawrenceburg, IN - The Liberty Theater Aug 26 Tue - Fayetteville, AR - George’s Majestic Lounge Oct 3 Fri - Austin, TX - Austin City Limits Music Festival Oct 30 Thu - Houston, TX - House of Blues* Nov 1 Sat - Dallas, TX - Echo Lounge* Nov 4 Tue - Phoenix, AZ - The Van Buren* Nov 5 Wed - Los Angeles, CA - Troubadour*  Nov 6 Thu - San Diego, CA - SOMA* Nov 12 Wed - Eugene, OR - WOW Hall* Nov 16 Sun - Portland, OR - McMenamins Crystal Ballroom* Nov 17 Mon - Boise, ID - The Knitting Factory*  *supporting The 502s CONNECT WITH BRISCOE: Instagram | TikTok | YouTube | Facebook | X

When a hardcore supergroup emerges from the shadows, boasting members of genre-defining outfits like Alexisonfire, Doom’s Children, Daniel Romano’s Outfit, and Young Guv, expectations naturally skew high. But Pig Pen, the Niagara-born brainchild of longtime friends and musical conspirators, tears past expectations and into the gutter on their ferocious debut, Mental Madness , out June 27, 2025, via Flatspot Records. It’s not polished, it’s not pretty, but it’s powerful, cathartic, and absolutely real. Born from pandemic boredom and bonded by shared history in hardcore, Pig Pen is helmed by chef-turned-actor-turned-frontman Matty Matheson (of Niagara hardcore footnote Hanging Hearts), joined by longtime collaborators Wade MacNeil, Daniel Romano, Ian Romano, and Tommy Major. Recorded over just two days after writing ten songs in one session, Mental Madness  carries that immediate, volatile, demo-tape energy that rarely survives post-production—yet here, it’s perfectly captured and bolstered by Arthur Rizk’s mix and Alan Douches’ mastering. Musically, Pig Pen dig into the classic ‘80s hardcore well but dirty it up with rock’n’roll swagger, courtesy of Daniel Romano’s signature melodic grime. There’s the reckless stomp of Negative Approach, the noisy abrasion of early Black Flag, and shades of Poison Idea’s drug-addled punk defiance. But despite the homages, Mental Madness  doesn’t feel like cosplay—it’s lived-in and personal. Lyrically, Matheson wields his guttural bark as a sledgehammer against his own psyche. “Mental health shit,” as he likes to calls it, and he means it to the fullest extent. Tracks like the album's title track, “Mental Mentality,” are brutally self-aware: “Teach me to hate myself / Teach me not to care / I’m sick. I’m sick. I’m sick.”  These aren’t just classic hardcore lyrics thrown around for aggression’s sake—they’re honest examinations of internal rot and of mental spirals that persist no matter how good things look on the outside. The duality of Mental Madness  is striking. While the lyrics explore isolation, anxiety, and the self-sabotage of mental illness, the project’s very existence is rooted in joy—old friends reconnecting over riffs, screaming into microphones, and, by all accounts, having a full-on blast. That tension makes the album more potent: despair dressed in camaraderie. Standout tracks include the extremely speedy crossover thrash number “Pig Pen,” “Rabid Beach,” a two-minute blitz of grimy, animated rage paired with Jesi Jordan’s striking visual accompaniment (which can be watched above), “Venom Moon Rising,” which injects a welcome dose of melody beneath the feedback and violence. The latter could pass as an early Fucked Up cut, all the more fitting considering the band’s shared scene history. Finally, the album's closing track, "XJXIXDX," which is less hardcore than it is a mid-80s sounding death metal song —a nice switch up to end their debut record off. In true hardcore spirit, Pig Pen don’t overstay their welcome. Mental Madness  is a ten-track gut-punch, a shot of adrenaline, and a well-earned scar. It’s loud, it’s fast, and—importantly—it means  something deeper down. While some supergroups feel like cynical cash grabs or nostalgia trips, Pig Pen is simply five guys making noise because they need  and want to. It’s therapy, it’s brotherhood, but at the end of the day, it’s hardcore. Find out more from Pig Pen: Instagram  | Spotify

The Cube June 17, 2025 Photos by Samuel Stevens.

How would you describe your music to any person who may have never heard it before? Dr Space: Improvised Space rock (Øresund Space Collective), Improvised electronica (Doctors of Space), and synthesizer music from another universe (Dr Space). What's the significance of your musical moniker? Dr Space: My name is Scott Heller (I do have a PhD). My friend Doug Walker (RIP) was Dr Synth, and I thought, since I mostly made space sounds (when I first started playing Synth), Dr Space sounded good. What's the significance of your band's name? Dr Space: Øresund Space Collective, pretty much summed up our ethos and are we were from when the band started 20 years ago. We are a musical collective (one hundred thirteen different people have played in the collective). We play space rock, and the band started. What are your musical influences? Dr Space: That is always a tough question as I love so many kinds of music, but Pink Floyd, Hawkwind, Black Sabbath, Tangerine Dream, Klaus Schultze, Alien Planetscapes, Fela Kuti, Allman Brothers... What are your musical inspirations? Dr Space: To just keep progressing musically and make music that makes people smile and takes them on a bit of a journey when they listen to it. I also dream of playing in Japan one day. 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. Dr Space: There are a lot of them, and I keep trying with some, but to be realistic, White Hills, Richard Pinhas, Zack Oakley, Ed Mundell… We will see… What's the album about? Dr Space: The new ØSC album (came out April 24th) is called Alotta Hella down in Estrel a. It is a double LP and double CD (two bonus tracks not on the LP). It is all instrumental music recorded in 2022 in my studio in the Serra da Estrela mountains in Portugal. The first track is forty-nine minutes and takes you on a funky, spaced-out ride to another universe… It is about going to new musical places and seeking the unknown. Doctors of Space, our new CD, is called Fusing Your Synapses . It is a long 70min track with many parts from MOOG synth freakouts to intense heavy doom and space rock. A pretty trippy record. Quasars of Destiny also just came out and is an album I made with my cousin Craig Wall (multi-instrumentalist) in the summer of 2023, and it is a very Pink Floyd-inspired three-track album. Classic space rock. What's something you hope people take away from the new songs on the album? Dr Space: just listen closely and open your mind, and set yourself free and disappear into the music. Put your phone in the other room, get a drink, relax and listen. You will be rewarded. Which songs on the album were the most fun to write and which were the most challenging to write? Dr Space: All this music is improvised (except Quasars, which was made in Layers, but the basic tracks were jams), so we do not write any music, so to speak. Just get in the studio and create. It is not always amazing, but when it is, that is really rewarding. What did you allow yourself to do creatively for this song that you haven’t in the past? Dr Space: For the Doctors of Space album, this was our second CD, where it was a long musical collage, and it was decided to try to do this again, and we are happy with the results. Quasars were different because Craig and I had never made music together before, so that was great. The reviews of the CD have been very positive. Do you have any favourite song(s) off the new album? Dr Space: On Quasars , I like the long middle track, "Colossus Consumes" best. It has so many cool parts. On Doctors of Space, I guess "Doomstar" is my fave. I just love this space doom track. We have a video on you tube for it as well. On the new ØSC, Weiberian Bass, it is hypnotic and just goes from one place to the next with such easy and is very interesting musically. 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? Dr Space: I pull all the cables out of the modular synth and try to set it up in a different way, or get the manual out for one of my synths and try to do something with it I have not done before.. Going for a long walk on the mountainside is also good to clear the head! Listening to music can also be very inspiring and help me to reset and try new ideas. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? Dr Space: Almost all the music I perform is totally improvised, so I do not play songs really, but I used to play in the Norwegian band, Black Moon Circle, and we had songs with a lot of improvisation, and one of my faves was "Warp Speed." Amazing song and really fun to play. If you could perform a show this very second anywhere in the world, where would it be? Dr Space: JAPAN… for sure Japan.. I have been there once and love a lot of Japanese bands (Rovo, Church of Misery, Acid Mothers Temple, Damo Suzuki, etc), and it would be a dream to play there. Is there any particular venue(s) or city/cities that come to mind? I have never played in Spain or Italy either, so Rome or Madrid, wow. That would be awesome. What do you currently have planned for the remainder of the year? Dr Space: Øresund Space Collective are celebrating our 20th anniversary and will play gigs in Germany, Sweden and the Netherlands this summer. We are also working on mixing the next studio material, bandcamp subscriber release, and a possible live release from the 20th anniversary shows in Copenhagen this past April. I hope to have another solo album out later this year, and so will Doctors of Space. If your music were a type of food, what would it be and why? Dr Space: It would have to be Japanese food as it is so interesting looking and you never know what it will taste like! What's the funniest thing that's ever happened to you while performing? Dr Space: Once in Sweden , I was taking a picture of the audience as they were so wild, and the barrier collapsed right as I took the picture. That was crazy. Thanks for the time today. Is there anything else you may want to add that I didn't cover before you go? Dr Space: Thanks for the chat and the support. Have a great year. Peace, love and music! Follow Øresund Space Collective on their socials: http://oresundspacecollective.com http://oresundspacecollective.bandcamp.com http://drspace1.bandcamp.comhttp://doctorsofspace.bandcamp.com http://www.spacerockproductions.com Http://auralhallucinations.bandcamp.com

Singer-songwriter Aron! released his new EP cozy you (and other nice songs), on June 6th. The EP consists of a six-song tracklist. How did your journey into music begin? Was there a moment that made you say, “This is it for me”? Aron!: I think the moment I really got into it. There is an 80-year-old jazz teacher. I saw him at a music store playing these weird chords. I was just like, "Wow, that's what I want to do. I went up to him and said, 'Excuse me, sir, can I please take lessons from you?" I would go over to his house and do lessons till midnight. Are there any particular artists, jazz or otherwise, who you feel have significantly influenced your musical style on this EP? Aron!: I think a lot of it is these super niche old '30s and '40s songs that I'm obsessed with. There's something about pop music from back then that's super cool. It's more of a songwriter thing, Cole Porter, Matt Denis, Johnny Mercer, just really old people write really good songs. What do you do when you’re facing a creative block? What keeps you inspired to make new music? Aron!: I feel like writer's block is a bit of a rumor. A songwriting teacher told me writer's block is just because you're too lazy to push through it. There is so much to explore. Right now, the possibilities seem endless, so I just want to try all of the things. The video for “table for two” feels like a whimsical short film, complete with a surprise ending. How involved are you in the visual storytelling of your music, and how do you see visuals contributing to the cozy pop brand you’re building? Aron!: The way that it goes is, I make a song, and then a couple of people are like Do you want to do a video for this? I'm either like, yeah let’s do it, or no I don’t want to. The basic idea I had was kind of lame, we were at a restaurant with a waiter. There's this director whose name is also Eran, and she turned everything around. She said what if we put the table on wheels and we have the waiter push them through the streets of LA. Everyone was like, yeah that’s what it's got to be. It was really cool to see everything come together. That's the thing I've been working on more; the benefit of working with people and collaborating can really bring to the table. It shakes things up in a really cool way. The EP is called cozy you (and other nice songs) . What does ‘cozy’ mean for you emotionally, physically, or musically? Aron!: Cozy, goes with vulnerability. This is something I was recently thinking about. You can't really be cozy and be afraid to be vulnerable at the same time. It's your most comfortable. How did the concept for the EP cover come together? Aron!: I think we just took a bunch of pictures and tried to go for this cozy thing. This wasn’t even a posed picture. I forgot they were taking pictures, I was just playing songs on the guitar, and they got me. We were all like, yeah, that's pretty good, let’s go with that. I was actually pretty anti-me being on the cover. There was a disagreement. I was like It’s so weird if I’m on the cover. It's about the music, not me. Everyone was like no you should it's your first project you should be on the cover. As a genre-bending artist, how do you think your music is shifting the way people listen to jazz today, and do you see it continuing to grow or change? Aron!: I like that a lot of these genres are young people driven, the 18-24 age range. It's what makes the music exciting. We've kinda gotten to a place now where we need more of that in jazz, and we're getting it. There's a lot of young people who are really propelling the music forward. The more young people listen to it, the more it supercharges the movement.

LISTEN TO "HEAD EMPTY NO THOUGHTS" HERE Avant-pop provocateur Sophie Powers reveals her new single, “ head empty no thoughts ," out on all streaming platforms today. Building on the moody allure of her recent single " move with me " and her hypnotic collab with RJ Pasin, " XO ," "head empty no thoughts" plunges into the raw, chaotic energy of her new era—one that swaps bubblegum aesthetics for brutal honesty and unfiltered emotion. A frenetic, no-holds-barred anthem for anyone tired of surface-level romance, “ head empty no thoughts ” skewers one-sided conversations and the brain rot of low-effort dating. With razor-sharp wit, Sophie delivers an unapologetic reminder to never dim your intelligence for anyone, and to leave the airheads on read. “ There’s nothing more painful than a one-sided conversation ,” Sophie says. “ This song is the equivalent of being stuck on the worst date of your life with an absolute airhead. It’s blunt, honest, and just a little too relatable. My digital footprint is definitely leaving a mark with this one... ” She adds, “ On a more serious note, I  ( and so many others )  have felt the pressure to dumb ourselves down in relationships or certain situations, and it always sucks. This song is a reminder to never hide your intelligence for the sake of someone else. If they can’t communicate on your level, they don’t deserve your time .” Listen to "head empty no thoughts" on all streaming platforms:  https://stem.ffm.to/heademptynothoughts SOPHIE POWERS TOUR DATES July 20 - Garden Grove, CA @ Garden Amp July 26-27 - Long Beach, CA @ Vans Warped Tour November 15-16 - Orlando, FL @ Vans Warped Tour Find out more from Sophie Powers: Website | Instagram | TikTok | X | Facebook | YouTube | Spotify | Apple Music

For the first time in his storied career, Mike Campbell brought his latest band The Dirty Knobs to Winnipeg, treating an entirely packed Park Theatre to a night of rock 'n' roll storytelling, sharp guitar work, and a heartfelt celebration of both his solo material and his legendary tenure with Tom Petty and the Heartbreakers. Shannon McNally. Photos by Samuel Stevens. Opening the evening was acclaimed singer-songwriter Shannon McNally, whose warm blend of Americana, blues, and country soul made for the perfect lead-in. With a seasoned voice and sharp lyricism, McNally held the crowd’s attention with ease, mixing original songs with tasteful covers, setting a mellow yet magnetic tone for the night ahead. When Mike Campbell & The Dirty Knobs took the stage, the mood shifted to pure rock energy. Campbell—long known as one of rock’s greatest guitarists—seemed genuinely pleased to finally be performing in Winnipeg. “It’s about time, Winnipeg,” he told the crowd with a grin, and from the first notes of “Wreckless Abandon,” it was clear the audience agreed. The setlist was a seamless mix of Dirty Knobs originals and deep cuts from the Heartbreakers’ catalog, alongside a few well-chosen surprises. Songs like “Innocent Man” and “So Alive” highlighted Campbell’s knack for crafting gritty, melodic rock tunes with a timeless quality. The crowd roared with familiarity when the band launched into “Even the Losers” and “Love Is A Long Road,” two tracks that reminded everyone of Campbell’s role as a key architect of the Heartbreakers’ sound. Mike Campbell & The Dirty Knobs. Photos by Samuel Stevens. A notable highlight was “Dirty Job,” a swaggering, bluesy romp that showcased the chemistry of the current Dirty Knobs lineup. Notably, filling in on drums on the Canadian tour was none other than Steve Ferrone—another Heartbreakers alumnus—whose powerful, precision drumming added weight to the night’s performance and gave the show a familial vibe for longtime fans. Deeper cuts like “The Wild One, Forever” and “Fault Lines” offered emotional depth, while “Fuck That Guy” brought humor and irreverence, much to the crowd’s delight. The inclusion of “Don’t Fade on Me” from Tom Petty’s Wildflowers added a reflective, intimate moment that resonated deeply with many in attendance. The encore was a full-circle celebration. Starting with “Shake These Blues,” the band led into an electric rendition of “You Got Lucky,” and surprised the audience with a cover of Tommy Roe’s “Everybody,” before closing the night with “Runnin’ Down a Dream,” bringing the Winnipeg crowd to its feet one last time. For many, it was not just a concert—it was a rare opportunity to see one of rock music’s unsung heroes up close and personal in a smaller-sized theatre, playing the songs that shaped generations while forging ahead with his own creative voice. Winnipeg waited a long time for the return of Mike Campbell, but The Dirty Knobs made sure it was worth every second. It was a masterclass in rock ‘n’ roll craftsmanship. Winnipeg hopes it won’t be another lifetime before The Dirty Knobs return.