Rising indie-rock star Meg Elsier makes a powerful return with her new single " sportscar [scrapped] ," the lead single from the deluxe edition of her acclaimed debut album spittake , out July 25th via Bright Antenna Records . A sleek, emotionally charged indie-pop track with alt-rock undercurrents, " sportscar [scrapped] " fuses crisp guitar textures, shimmering synths, and a driving rhythm. The song unfolds from quiet introspection into a soaring, energetic chorus, mirroring the emotional acceleration alluded to in its title. Hook-laden, heartfelt, and tailor-made for late-night drives, "sportscar [scrapped]" captures the weight of growing pains with poetic clarity. "'sportscar' is a really interesting addition to the deluxe, specifically because 'spittake' almost had a completely different identity,"  meg reveals.  "There was a time when I was playing with the idea of naming the album Check Engine Light On. The influence of cars and how they move you through life is something I didn’t realize was so important to ‘spittake’ until after I’d written it." She continues, " I was really identifying with my beat-up car, my mother gave me. It was this thing handed to me that I treated like shit… But that kinda was my life at the time. Something that was shiny and fast, a veneer, but if you checked under the hood, it was burning out. The oil was dark, and the engine was smoking. I would dye my hair (new paint job), get dolled up (took her to the car wash), and perform so well socially when I went out (that V8 engine purring, baby), but that was all it was. I had a coming-to moment like, ‘This isn’t sustainable and I’m about to crash out.'" The single arrives alongside a live visual —an ambitious, theatrical performance video crafted with her longtime collaborator Jacq Justice. Together, they reimagined what a “live” performance could be, building a stylized world that blends stagecraft with raw energy. “ Why can’t a fucking rock show be theatre? Why can’t it be camp? ” Meg asks. “ Why does it have to live in reality to be real? ” Meg Elsier is an indie-rock singer, songwriter, and visual artist based in Nashville. One of the most exciting new voices in the indie-rock scene, Meg Juxtaposes sweet vocals and opulent melodies with grungy guitars and weighty production. Keen wit and self-awareness shine through her lyrics, seamlessly weaving into the fabric of her ethereal shoegaze sound. Her 2024 debut LP, spittake , garnered praise from DIY Magazine, OnesToWatch, and CLASH for its emotionally raw storytelling and distinct sonic identity. Her forthcoming deluxe edition of spittake expands the world of her acclaimed 2024 debut with 17 tracks, including raw live recordings, unreleased demos, and intimate B-sides that peel back the curtain on her emotional and creative process. A limited run of vinyl is also on the way—available for pre-order now . Fresh off a run of shows supporting Blondshell , Meg joins Liz Cooper for a mini-tour kicking off tomorrow night in Brooklyn, with stops in Washington D.C., Durham, and Nashville. Tour dates are listed below, and tickets are available here .  Listen to "sportscar [scrapped]" on all streaming platforms:  https://ffm.to/sportscar.com Watch the "sportscar (live)" video: https://www.youtube.com/watch?v=TUB7nNUmzV4 Upcoming Tour Dates: June 19 - Brooklyn, NY @ Union Pool^ June 20 - Washington DC @ Comet Ping Pong^ June 21 - Durham, NC @ The Pinhook^ June 26 - Nashville, TN @ Soft Junk^ ^ with Liz Cooper Find out more from Meg Elsier: Website Instagram TikTok Twitter Facebook Spotify YouTube

Emerging from Kelowna’s increasingly vital rock scene, Freeze The Fall returns with their ambitious sophomore EP, The Red Garden , due June 18, 2025, via 604 Records. Where their 2024 debut EP, Thrones , introduced them as a promising force with a knack for dynamic hard rock, this new collection finds the trio expanding both sonically and thematically, weaving dense narratives around blistering instrumentation. Produced, mixed, and mastered by Jordan Chase (Spiritbox, Braden Barrie), The Red Garden  is an immersive concept EP blending everything from metalcore grit, grunge darkness, and progressive textures. The result is a record that not only highlights the band’s growth but also their daring willingness to tackle weighty subjects head-on. Opening the EP with “Denial,” a sparse, foreboding instrumental that sets a cinematic tone, Freeze The Fall wastes no time plunging listeners into the heart of The Red Garden . The track melts into “Rot,” where medieval imagery becomes a metaphor for modern misinformation. Quinn Mitzel’s vocals balance between melodic vulnerability and raw aggression, while her guitar riffs shift between crushing distortion and delicate lead lines. “Hypothermia” stands out early, driven by Aria Becker’s propulsive, intricate basswork. Lyrically, it explores the toxicity of online anonymity, a modern plague rendered with chilling lyrical precision. The tension of the subject matter is mirrored perfectly by Jonah Goncalves’ relentless, controlled drumming. “VHS” leans fully into the trio’s cinematic tendencies, drawing heavily from horror movie tropes—both sonically and visually (as seen in its award-nominated video). The track’s sinister undercurrent takes aim at cycles of power and exploitation, delivered with one of the EP’s most haunting hooks. Just when the intensity seems overwhelming, “Aurora” provides a melodic breather. It’s a shimmering, emotional centrepiece built around the idea of shared human experiences. The band’s statement that we all “waltz across the sky like the northern lights” feels earned here, with a full-blown string section, reverb-soaked guitars and a soaring chorus lifting the song into a hopeful, transcendent space. On the EP’s final stretch, Freeze The Fall showcases their most adventurous songwriting yet. “Oubliette” embraces progressive structures, blending French-language verses with sweeping dynamic shifts. It’s perhaps the most daring composition of the seven-track collection—dense, layered, but ultimately atmospheric. Finally, “Lace” closes out the EP in stark contrast to its earlier heaviness. Stripped down to a piano and minimal instrumentation, yet emotionally devastating, the song confronts the pain of lost innocence, pairing soft, haunting melodies with sparse instrumentation. It’s a fitting conclusion, leaving the listener with a sense of catharsis and reflection. With The Red Garden , Freeze The Fall has crafted more than just a collection of songs—it’s a cohesive artistic statement. Thematically rich and musically adventurous, it balances the immediacy of modern alt-metal with the depth of conceptual rock records. Fans of bands like The Warning and even early Evanescence will find much to admire here. Freeze The Fall may still be a young band, but The Red Garden  proves they are operating with both ambition and clarity of vision. This EP is sure to help cement them as one of Canada’s most exciting rising heavy rock acts. Check out more from Freeze The Fall: Website: https://freezethefallband.com/ Facebook: https://www.facebook.com/freeze.the.fall.band Instagram: https://www.instagram.com/freeze_the_fall_band/ YouTube: https://www.youtube.com/@freeze_the_fall_band Spotify: https://open.spotify.com/artist/20OWAFiCJOvXwWlCBU5xHc?si=hbPNj3SATdGGdcQkI8lTzA Apple Music: https://music.apple.com/us/artist/freeze-the-fall/1724866538 TikTok: https://www.tiktok.com/@freeze_the_fall_band

How would you describe your music to any person who may have never heard it before? Think of a band but all cellos. The bassist is a cellist.  The drummer beats on a cello. The keyboardist is a cellist, and so is the guitarist. And the lead singer? You got it... a cellist, but this band doesn’t play classical music. Not the way you are thinking. They don’t even play the classics in contemporary styles. The band writes and plays original music that is influenced by soul, reggae, EDM, funk, and jazz. Imagine Bobby McFerrin meets Bill Withers and Miles Davis, but with the musical sensibility of Ed Sheeran. What’s the significance of your musical moniker? My name is Okorie.  My performance name is OkCello. That’s just the “ok” from my name and the instrument I play. It means more than that, though. It could mean that I am an “OK” cellist. I think that is true. It also could be a thing that audiences say after they hear me play and are surprised/impressed: “Okay! Cello.” Really, what it is is a mantra that I use to help me remember that no matter how hard things get, it’s all going to be okay. What are your musical influences? While I mentioned who my music sounds like above, I can’t say that I listen greatly or deeply to those folks regularly. My heroes are Prince, Bob Marley, Jeff Buckley, Van Hunt, and David Ryan Harris. But lately I have been listening deeply to Jack Garrat, Hozier, and Willow Smith. So, I imagine that little bits of those sounds come through in my music, whether I know it or not.  What are your musical inspirations? I am moved by stories and emotions. But, mostly improvisation is my main method for finding inspiration. I usually don’t go to the cello with the intention to write a song or express a feeling. More often than not, I sit down at my cello and I let the music come to me, and as I listen to the music, it often helps me to be clearer about what emotion I am feeling or story I am telling. I do a lot more receiving of input and inspiration from the cello and the sounds I make on it during improvisation, that I take to the cello when I sit down to play. 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. Well, I have a song that I’d love to share with Jill Scott. Two, possibly. I have a song that I would love Darius Rucker to sing. I’d love to work with the great Bobby McFerrin. I think Jack Garrat is absolutely amazing. By far, my favourite artists making music today. I would love to see what we would come up with. And this is going to sound strange, but I think it would be amazing to work with Goldie. I’d love to be part of making a drum and bass concerto. Goldie and maybe Bjork. I like Victoria Monet. I’d love to see what she would come up with for me. The last person I would love to work with is Lionel Richie. He’s a pure songwriter. What’s the song/album about?  What’s something you hope people take away from the new song(s)? The song and the process through which I remembered/discovered this song are emblematic of the entire communication of the album: Things (life in general) are usually working out in our favor, even and especially when we don’t understand how. I started working on the album back in March of 2024.  I worked somewhat steadily until August, recording new tracks and dusting off old songs whose time, I thought, had come.  However, financial hardships began to express themselves by the end of the summer, and thankfully, gigs picked up significantly in August and continued throughout the end of the year. As a result,  I had to put the album on hold. I started back recording in Feb 2025 with the intention to finish the album by the end of March.  I was recording and mixing furiously to meet the deadline.  I was nearly done with what I thought the album was going to be, until I decided it needed something a bit lighter and brighter. More upbeat.   I went back into my video recordings of ideas that I thought had the potential to be turned into something, and I found this snippet of an idea I had recorded in February 2024, even before I had formally started working on the album. It was perfect. It had energy, edge, and light, and I immediately started finishing it. It took me maybe two days to complete, and all of a sudden, it had totally changed the direction of the album. In fact, it made such a strong sonic impact on me that it changed the title of the album and became the title track. Something about the way I stumbled into this song, even though I had a “clear” idea of what the album was going to be and where it was going to go before I had rediscovered it, was the essence of how this album and project came together. It was the essence of how plans bigger and better than our own are always guiding us and operating in the background. Sometimes it’s hard for me to believe that. However, there are so many examples in my life - personally and professionally - where a reality that is better and more custom designed to my wants and needs is being unfurled in front of my eyes unbeknownst to me, even as I think the world and the plan I have labored so hard to bring into fruition is crumbling around me. This song and this album are reminders to me and hopefully my audience to trust the journey and to be confident in your capacity to produce and meet the moment. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? The heart of this album is Sweet Work. It’s the fifth song on the album - strangely, there is no single for it. It will only be heard on the album. But, it’s my favourite to listen to -although I really love every song on this album. Sweet Work and Movement. Those were the surprises of the album. I knew that “Funny…” the song would do something powerful and new for me. As of yet, I have not performed it in public. So, it’s a favourite too. Just new to the family! If you could perform a show this very second anywhere in the world, where would it be? Is there any particular venue(s) or city/cities that comes to mind? So many places: Lagos, first. I’ve been dying to get to Nigeria. Whatever venue in that city where my music makes sense, I’d enjoy it.  Havana! I loved playing in Cuba some years ago. Tokyo. Again, I have no idea what venue, but I know that I’d love playing for a Japanese audience. I’d like to go back to Kinshasa, DRC and perform this new work. And one of my favorite audiences is City Winery in Philadelphia. I love Philly and Philly audiences.  Thanks for the time today. Is there anything else you may want to add before you go? Look for the light.  It’s always there.

Recently, I had the opportunity to ask the members of the Huntington Beach indie rock outfit Your Favorite Color some questions pertaining to their latest singles " Less In Love " and " Forever ," the past, present, and future of the band, and everything in between. How would you describe your music to any person who may have never heard it before? Your Favorite Color: Our music is a blend of our love for the ’80s and the subcultures that defined that era, woven together with a modern sensibility. The goal is to create something that feels original yet familiar, nostalgic but timeless. What are your musical influences and musical inspirations? YFC: Each member has a wide range of musical inspirations from a number of artists, but at the core, we play off one another. There’s no better way for Matt to get inspired with a vocal melody or lyric than the band admitting their unique energy with their instruments. That being said, we naturally create music that takes from a spectrum of songs that we've grown-up listening to or currently love listening to. To name a few, we all collectively love The Cure, Depeche Mode, [and] Tears for Fears. We have highlighted their influence heavily in our upcoming music. What's your forthcoming single, “Less In Love,” about? YFC:  " Less In Love," in a sarcastic tone, talks about resisting change into someone that another person wants you to be. The feeling for the song came from a night when the band was running around London on our first UK tour, and how freeing that feeling was. The opinions and voices of anybody in our past suddenly felt so small…like it never mattered, and we were unapologetically ourselves. What's something you hope people take away from “Less In Love” and even the last single, “Forever”? YFC:   Ultimately, we hope that people take whatever feelings or thoughts they knowingly or subliminally want to feel or create for themselves while listening to our songs. The cool thing about music is that it can be interpreted and felt in so many different ways. People‘s imaginations are incredible. Similar to reading a book, the story is laid out for the reader, but it’s up to them as to how they paint the images in their head. There is a beauty in that. What did you allow yourself to do creatively for “Less In Love” that you may haven’t done in the past? YFC:   On the surface level, we experimented with acoustic guitars more than we have in the past. But for the most part, we set out to do what we always do, which is attempting to bring the song to life in a way that it becomes its most pure form. Sometimes songs have a mind of their own and we view it as our job to nurture it into becoming the most of evolved and complete version of itself. What are the best three words to describe “Forever” and “Less In Love”? YFC:   Forever: Live life now. Less In Love: Be yourself unapologetically. Are the two latest singles from a new project, or are they just standalone pieces of music? YFC:   Our two latest single releases, "Bleach" and "Forever," are standalone singles, but "Less In Love" is looking like it’s going to be a part of a larger project. When you find yourself in a creative rut, what do you usually turn to?  YFC:   When we are in a creative rut, we usually just try to power through and finish whatever song we are working on. Sometimes, having an "I'm not gonna stop working on this until it’s finished" mindset is what it takes. Sometimes, watching a good movie, listening to a great artist, or reading a good book can also be a great source of external inspiration. Any habits, environments or even non-musical sources that help you reconnect with your creativity? Matt:   For me, I have found that writing music at my house with the band tends to be my most creatively free and expressive environment. We’ve just written so many songs there that it tends to be a place where we can feel alone with our thoughts and think a little bit more clearly. Last year, you went on a monumental tour with The Driver Era, the sibling duo of Rocky and Ross Lynch, that had you perform 26 shows in 14 countries in Europe and the UK. How grateful are you that they brought you out on tour across the world to help build your audience? YFC:   We are incredibly grateful. It was such a pleasure touring with The Driver Era and Almost Monday. They both know how to light up a crowd, and we felt a need to step up to the plate to show that we can do it too, especially having it been our first tour. It’s an experience we will never forget. What do you currently have planned for the remainder of the year? YFC:   We’ve got "Less In Love" coming out on June 13th ( Listen here ) and much more music to follow. Playing in the US is our next priority, so we will be looking forward to performing in the States again. Thanks for the time today, guys! Is there anything else you may want to add that I didn't cover before you go? YFC: No, these were all amazing questions! Thank you so much for having us! Find out more about Your Favorite Color: Instagram  | TikTok

June 10, 2025 Park Theatre Riley Anderson. Photos by Samuel Stevens. Dallas Alexander. Photos by Samuel Stevens.

Recently , I had the opportunity to ask the members of the Toronto music group The Free Label some questions pertaining to their previous album, Songs For Sienna , touring, their forthcoming performance at the 2025 Winnipeg International Jazz Festival on June 17, 2025, and what they have planned for the future. Let's jump right into your latest singles, “DANCING ON YOUR OWN” and “GALS4U.” Are these two tracks leftovers from your recording sessions for your debut album, Songs For Sienna , or are they standalone singles? The Free Label: The "DANCING ON YOUR OWN" two-track is a stand-alone. These two tracks are going to set the tone of the new direction of the music we’re making right now. What's something you hope people take away from the new singles? TFL: We hope people dance. We created these singles to let loose and move our bodies. Where did the idea of doing a remix album for the majority of the tracks off of Songs For Sienna ? Working with Westwood for the release of Songs For Sienna really influenced our decision on a remix album. They are more versed in the electronic music space and helped us reimagine this album. You guys did something I never personally never seen done before and toured across North America last year performing Songs For Sienna pretty much in its entirety, with a mix of covers and older tracks mixed in, whose idea was that and why did you go that route than the traditional promo tour, let the album release, then hit the road some more with the newly released songs? TFL : We believe that the songs needed to be played live first. At our core, we are a live band. We needed to test how the songs felt in front of an audience. Watch how the people would move to our music. You can really tell a lot about your songwriting by the energy of a live audience. You feel the anticipation of the chorus, the release of the bridge. Or sometimes things don’t work the way you wanted, and the energy of the crowd goes dull. Then we got to go back and rework the song so that every part feels amazing. Our process helped shape the music Songs For Sienna , and realize when it was ready for release. Last time we spoke in 2020, you said that off your EP at the time, the track, "M.I.A.," was the most fun song to write, and the most difficult to write was “Let Me Find a Way.” What tracks off of Songs For Sienna were the most fun to write, and which were the most challenging to write? TFL: The most fun song to write was definitely "Tiffany." Not only was it based on a true story, but resonated so deeply with every member of the band. The hardest to write had to be "On The Floor." The words came out pretty easily, but we changed the arrangement in the studio a couple of times before recording what we have now. What's the most random thing that has ever inspired you to write a song? TFL: It’s not the most random thing, but something that continually inspires us is the many beautiful older women we meet on the road. Since 2019, you've been tirelessly touring and promoting your music across North America, Europe, and Australia, sharing the stage with the likes of T-Pain, Aqua, and Lupe Fiasco, to name a few, and getting spots on major festivals like the Calgary Stampede, Mariposa Folk Festival, Laketown Shakedown, and Winnipeg International Jazz Festival. Do you have any profound moments on the road that stick to you to this day? TFL: While in Luxembourg, we got to perform at their Blues n’ Jazz Rallye. Not only was the festival stage in the middle of what looked like a castle courtyard, we got to open up for MonoNeon and our heroes, Incognito. This was one of the first major European festivals we've performed, and at the time our biggest crowds, around 4000 people. Best part was after we finished our set, we got to go back stage, and watch Incognito pop off. Speaking of Winnipeg, you've played here twice last year and are returning again for another performance at The Cube in Old Market Square as part of Winnipeg Jazz Fest. What are you looking forward to most from the performance? TFL: The first time we played Winnipeg Jazz Fest, the reaction we got from the city was electric. We had never performed in Winnipeg before then, so that night blew us away with how comfortable you all made us feel on that stage. This time we’re excited because now we know the city. So we’re not coming back to prove anything, we’re coming back to just let loose on that stage and party with you all. Additionally, last Summer at the Winnipeg Jazz Festival, I'm sure a majority of that audience never heard of you before your set, but you have the entire area packed to the brim and by the end of your performance the entire crowd was invested in your music, singing along and dancing along to every beat. What do you think people take from your music that resonates so much? TFL: Music is a reflection of self. We have such a good time writing, recording, and performing our music. That feeling is underlying everything that we do. We try to put that energy out there when we perform, and I think it resonates. The audience gives it back to us, and we try to double it and give it right back. Once you hit that loop of good feelings, it's unstoppable, and before you know it, everyone is dancing. What is something fans can expect from your shows this summer? TFL: More music, more dancing, more unreleased songs that we’re gonna perform live, and just MORE . What do you have planned for the rest of 2025 beyond touring? TFL: We finish touring just before Christmas, so probably family time. We will be in the studio while we are on the road, so new music in 2026. Thanks for the time today, Josh, Mathew, Malik, Cole, Jacob, and Jason! Can't wait to see you again at Jazz Fest! Is there anything else you want to add before you go? TFL: Get some of that good feeling, listen to "Dancing On Your Own," and The Free Label loves ya, baby! Check out more from The Free Label: Facebook | Instagram | Twitter

May 14, 2025 Sidestage All photos by Kat Kolesar.

PRE-ORDER HERE LEAD SINGLE “MANCHILD” OUT NOW Today, two-time GRAMMY® Award-winning record-breaking global superstar Sabrina Carpenter announces her new album, Man’s Best Friend, out August 29th. Pre-order here .   The album’s lead single, “Manchild,” which was written by Sabrina and her frequent collaborators Jack Antonoff and Amy Allen, was released last week to rave reviews and quickly ascended to number 1 on both the Spotify US and Spotify Global charts. The critically acclaimed music video quickly amassed more than 15 million views.    Man’s Best Friend is Sabrina’s seventh studio album and follows her monumental album, Short n’ Sweet . Released last August, Short n’ Sweet topped the charts worldwide and had one of the biggest global debuts of 2024. All three singles off the album, "Espresso" (2.2 billion), "Please Please Please" (1.4 billion), and "Taste" (1 billion) entered the coveted Billions Club on Spotify. Short n’ Sweet sold 10 million albums globally.   Short n’ Sweet garnered Sabrina six GRAMMY® nods as a first-time GRAMMY® nominee and won two awards for her GRAMMY® debut. Sabrina took home the “Best Pop Vocal Album” award for Short n’ Sweet along with “Best Pop Solo Performance” for the album’s lead single, “Espresso.” Following the GRAMMYs, Sabrina released Short n’ Sweet (Deluxe), which featured five additional songs, including a duet with global icon Dolly Parton on “Please Please Please” and “Busy Woman,” which Sabrina debuted live on her sold-out headlining arena tour.   Internationally, Sabrina shattered records by becoming the first female artist to hold the top three spots on the UK Singles Chart simultaneously with “Taste,” “Please Please Please,” and “Espresso.” She also set a new benchmark for most weeks at #1 in a single year by a female artist on the UK chart—totaling 21 weeks—and became the first international artist to receive the BRITs’ Global Success award.   This fall, Sabrina will embark on the second sold-out North American leg of her highly praised Short n’ Sweet Tour. The tour kicks off on October 23rd in Pittsburgh and will stop at major arenas in New York, Nashville, Toronto, and Los Angeles. Sabrina will perform five nights at Madison Square Garden in New York and six nights at Crypto.com Arena in Los Angeles, where the tour will conclude on November 23rd. This second leg follows the massive success of the previous 33-date sold-out North American tour last November, as well as the sold-out European leg, which saw additional shows added in four cities due to overwhelming demand.   She appeared on SNL earlier this year for their 50th anniversary special, where she sang “Homeward Bound” with Paul Simon and starred in a remake of the fan favorite “Domingo” sketch. Sabrina made her SNL debut as the musical guest for the season finale last May. She recently graced the cover of Vogue US for the first time - see the cover/read the feature here .  ABOUT SABRINA CARPENTER : Two-time GRAMMY® award winner, Sabrina Carpenter, has enchanted an audience of millions as a singer, songwriter, actress, and style icon. With her music, she has delivered one anthem after another on stage and in the studio, earning multiple gold and multi-platinum certifications, and performing to sold-out crowds worldwide. On-screen, she has generated mega-fandom through starring roles on television and film. She is signed to Island Records, where she debuted her acclaimed Gold-certified fifth studio album, emails i can’t send , which appeared on many “Best Of 2022” lists, including Rolling Stone and Billboard. The album features her hit single “Feather,” which went #1 at Top 40 Radio, earning Sabrina her first #1. Her sold-out emails i can't send tour took her to North America, Europe, Asia and Brazil, and she recently served as direct support for Taylor Swift in Latin America, Australia, and Singapore on the Eras Tour. In April, Sabrina made her Coachella debut and was one of the most talked-about artists of the festival. Ahead of her Coachella debut, she released her single “Espresso,” which quickly climbed the charts. Upon release, Pitchfork declared “Espresso” as "in pole position to be this year’s song of the summer,” and The New York Times heralded the single as the song ready to “propel her to the next level”. Since its release, “Espresso” has gone on to reach #1 on the UK & Australian singles charts, Top 5 in the US, and #1 on Spotify globally, where it reached over 200M streams within its first month. Her second single, “Please Please Please,” was released in June and shot straight up to the top of the charts. The single hit #1 on Spotify’s Global and US charts, #1 on Apple Music, and debuted at #2 on the Billboard Hot 100 before claiming the #1 spot a week later and went #1 at US Pop Radio. Sabrina made her Saturday Night Live debut in May on the season finale, where she performed “Espresso” and “Feather/Nonsense.” In August, she released her highly anticipated sixth studio album, Short n’ Sweet . The album was instantly met with an outpouring of critical acclaim from the likes of the New York Times, Rolling Stone, Pitchfork, Variety , and many more. The album debuted at #1 on the Billboard 200, making it the 3rd biggest first week debut in the US in 2024, and became only the second album that year to spend its first three weeks atop the list. Short n' Sweet also topped the charts around the world, reaching #1 in UK, Canada, Australia, Spain, and France. The album earned Sabrina an impressive six GRAMMY® nominations as a first-time nominee. Short n’ Sweet took home the GRAMMY® Award for Best Pop Vocal Album and Sabrina also won the “Best Pop Solo Performance” GRAMMY® Award for the album’s lead single “Espresso.” She made her debut at the 67th GRAMMY® Awards with a captivating performance of “Espresso/Please Please Please.” Last Fall, Sabrina wrapped the 33 date North American leg of her monumental sold-out Short n’ Sweet Tour and recently wrapped the sold-out European leg. Later this year, Sabrina will return for a second North America leg that includes six shows at  Crypto.com Arena in Los Angeles and five shows at Madison Square Garden in New York.

Edmonton-based Métis artist Robin Cisek doesn’t just step into her power—she shatters the expectations around it on her sophomore EP, Tempered . It's a bold, self-produced statement that threads emotional vulnerability through edgy, synth-laced alt-pop. Where her 2021 debut EP, Delicate Minds,  was rooted in healing and introspection, Tempered  is confrontation and catharsis—a sonic and thematic evolution that cements Cisek as a self-assured creative force. Across seven tracks, Cisek balances the raw with the refined, welding her experiences as a woman navigating a male-dominated industry into lyrical and production gold. It's a DIY triumph, recorded largely from her home studio, with every song penned by Cisek herself. As a producer, she leans into moody, atmospheric arrangements without ever losing her pop sensibility—a sound that aligns with artists like BANKS, Ari Hicks, and Halsey, while remaining unmistakably her own. The album kicks off with “Rumor,” a sleek, slow-burning track that immediately sets the tone—mysterious, brooding, and fearless. It’s a fitting opener for a record about confronting assumptions and reclaiming narrative. “Escape,” co-produced by Brandon Unis and Brad Simons, is Cisek’s most personal offering—a grateful nod to the people who’ve helped her stay grounded. In contrast to the darker textures elsewhere, “Escape” shines with warmth, revealing a softness beneath her hardened exterior. Then comes the EP's third track, “Reactive,” a glitchy and haunting mid-tempo number where Cisek explores the emotional whiplash of being constantly on edge. Its production pulses with restrained chaos—apt for a song about overstimulation and vulnerability in a world that demands composure. The album’s anchor—and perhaps its most impactful moment—is “Play Dirty.” As the lead single and the first song Cisek fully produced herself, it’s the sonic embodiment of the album’s title: beautiful, sharp, and dangerous under pressure. The dark trip-hop influence paired with pop hooks makes it an anthem for those wronged and a celebration of reclaiming power. “Foundation” and “Goin' in Blind” maintain the album’s emotional intensity. The former is contemplative and grounded, while the latter is marked by cascading synths, pounding drums, and a sharp melodic edge, capturing the chaos of diving into uncertainty. The closing track, “Leave Me in the Cold,” is a haunting ballad, stripped back yet vocally rich. It's a finale that lingers long after the last note, aching with loneliness and defiance—a final embrace of being too much , too emotional , and gloriously tempered . Cisek’s voice is the linchpin of Tempered —airy yet grounded, soulful yet steely. There’s a measured restraint in her delivery that mirrors the central metaphor: like tempered glass, she’s built to withstand pressure, but that doesn’t mean she won’t break—and if she does, it’ll be explosive. Ultimately, Tempered  is more than an EP—it's a reclamation. It’s about being too loud , too emotional , too much , and refusing to apologize for it. By engineering every aspect of her vision—from writing and recording to visuals and performance—Robin Cisek emerges not just as a pop artist, but as a fully realized auteur. One thing that is clear is this is a record made not just by  a woman, but for  every woman who’s been told to tone it down. Robin Cisek didn’t. And the result is absolutely magnetic. Check out more from Robin Cisek: WEB | INSTAGRAM | FACEBOOK | YOUTUBE | TIKTOK | X

On VELVET & DENIM , which is out now via Infinity & Recordings, Canadian indie-pop artist Olivia Lunny presents her most personal and sonically expansive work to date—a radiant and vulnerable exploration of contradiction, transformation, and truth. Woven with glimmers of nostalgia and cinematic grandeur, the twelve-track album balances elegant softness and steely resolve, delivering a compelling portrait of a young artist stepping fully into her creative power. The album's opening track, “ CITY OF ANGELS, ” sets the scene with a sun-drenched, bittersweet tone. Lunny's lyrics speak candidly about the allure and disillusionment of Los Angeles, painting a portrait of dreams chased through neon haze and emotional wreckage. It's both a confession and a celebration of resilience—a motif that pulses through the entire project. “ JOHNNY & JUNE ” follows and is an immediate standout—a modern love story laced with longing and Americana romance. It’s deeply melodic and cinematic, despite its pulsing bass and simple beat, the track still finds a way to echo the spirit of its two namesakes. Similarly, “ GREEN EYES ” brims with intimacy and a nostalgic warmth, a gentle indie piece that recalls lost love through soft textures and raw lyricism. “ MARILYN ,” which is already a fan favourite since its release, is a shimmering pop anthem that channels iconic femininity and self-empowerment. With its bold hooks and a confident vocal performance, it’s Lunny at her most defiant. Meanwhile, “ HEAVEN ” softens the edges, presenting a more vulnerable form of devotion, with sweeping melodies and with a heartfelt but soft delivery. Throughout the middle stretch, Lunny plays with even more stylistic shifts without ever losing cohesion. “ LEAVE A LITTLE LOVE ” pairs dusky guitar riffs with sultry vocal layers, while “ JESUS HELD THE DOOR ” ventures into country-tinged introspection, but at its core, it's unapologetically pop. Additionally, it’s one of her most lyrically bold moments—both spiritual and secular, grounded in gratitude and grief. The titular track, “ VELVET & DENIM ,” anchors the record in its central theme of duality. The album's most recent single was originally penned eight years ago, the song has evolved into a spiritual centrepiece—dreamy and introspective, it floats on airy synths and poetic lyricism, capturing the tension between fragility and fearlessness. It’s this push-pull between gentleness and grit that defines the entire album. Later cuts like “ NIGHTCRAWLER ” and “ CROSS MY HEART ” lean into the nocturnal, with darker production and pulsating beats, revealing a grittier emotional underbelly. By the time we reach closer to the album's final track, “ GUILTY PARTY ,” Lunny has led listeners through a late-night emotional odyssey of self-blame, forgiveness, and finally, catharsis. With VELVET & DENIM , Olivia Lunny isn’t just chasing pop stardom—she’s carving out a unique narrative space that’s as tender as it is tenacious. Her vocals are polished yet emotionally raw, her lyrics are honest without being overwrought. The record feels lived-in and luxurious, each track a vignette of a life spent in motion—onstage, in transit, in heartbreak, and in healing. Whether it’s the indie-pop shimmer of earlier singles or the confessional soul-baring of newer tracks, VELVET & DENIM  positions Olivia Lunny as an artist deeply in touch with her contradictions and unafraid to turn them into beauty. It’s a confident, emotionally intelligent offering that will resonate with anyone who’s ever loved hard, lost big, and still found the strength to begin again. Check out more from Olivia Lunny: Website | Facebook | Twitter | Instagram | TikTok | YouTube

New Orleans rapper Rob49 released his new album Let Me Fly on May 23, 2025, via Rebel / Geffen Records. The tracklist consists of a twenty-two-song tracklist. Which includes his viral hit song ‘WTHELLY’. What do you want fans to take away from your project “Let Me Fly,” & how did you decide on that title? Rob49: I came up with the title by listening to different motivational videos. One I saw said ‘let me spread my wings’ and I just thought about let me fly. I felt like that, so that's why I came up with it. I want fans to just enjoy themselves and not think about it too much. You’ve already worked with some of the biggest names in the game. Are there any artists you still dream of collaborating with? Rob49: I want to work with the up-and-coming artists, they know what's up. Your new album is set to be released on May 23rd. What song would you consider your favorite on the project, and why? Rob49: I like "Honest" because I'm talking in depth. But I like the whole record. Humour’s always been a part of your music since breakout songs like ‘Vulture Island’. What makes that element of your writing so natural for you? Rob49: I just write whatever comes to my head. I used to think hard on what to write. One day, my mom said just to write whatever comes to you, and from that moment, that's what I did. What do you think of the way people use your song on TikTok to express surprised moments? Rob49: You know what’s funny, I knew that's what was gonna happen. I told my label they're gonna make TikToks with this song. What kind of legacy are you starting to think about? What do you want people to say about Rob49 five or ten years from now? Rob49: I want them to say this is when he started to be whatever he wanted to be. I'm sitting so comfortably in my own skin right now with the music I'm making. I don’t care if they see it. Even though I want you to see it and accept it. Even if it's just me listening to it. I know it's going to be good. You are leaving a huge impact with the release of one song already this year. What are you hoping for when it comes to the future impact of your upcoming album, Let Me Fly ? Rob49: I just want them to hear it and listen to everything I release after this as well. I hope they accept it as good music so I can continue to make music.

The Messenger Birds aren’t here to play nice or sell illusions. With the gloriously tongue-in-cheek titled GRAMMY AWARD WINNING ALBUM IT'S ALL A BLUR , the Detroit alt-rock duo delivers a scathing, sonically charged critique of modernity, where social media personas reign, attention spans fracture, and objective truth slips further into abstraction. Clocking in at just four tracks, this EP is lean, furious, and unrelentingly relevant. The lead single “FAKE LIVES” sets the tone with serrated guitars, pounding drums, throbbing synths, and a venomous lyrical delivery that calls out the curated chaos of online existence. Vocalist and guitarist Parker Bengry’s frustration is palpable as he wrestles with the disconnection masquerading as connection, screaming into the digital void alongside drummer and vocalist Christopher Williams’ explosive percussion. The song is less a protest than an emotional purge—urgent, raw, and musically massive. The intensity carries into “LOST THE PLOT,” which feels like a fever dream of algorithm-induced paranoia. Drenched in droning synths and fuzzed-out riffs, the track spirals through disillusionment and societal fragmentation with a controlled, anxious energy. It's the sound of doomscrolling set to a soundtrack of industrial grit and melodic tension, reminiscent of mid-era Nine Inch Nails and early Muse at their most politically paranoid. “BLACK HOLE LOVE” shifts gears slightly, trading in the chaos for a slow-burning dirge of detachment and existential dread, which also clocks in over six minutes long. Bengry’s vocal performance here is haunting, as the song explores the emptiness behind performative connection. It’s the most emotionally vulnerable moment on the EP, like if Radiohead wrote a love song for a world too numb to feel it. The EP's closing track, “REPRISE,” is a cinematic outro, washing over listeners with ambient guitar textures and duelling synth and guitar pieces—perhaps a final nod to the concept that in the age of infinite content, everything is recycled, repackaged, and blurred beyond recognition. It’s both a reset and an unresolved question mark, inviting contemplation long after the noise fades. For a band that already earned critical acclaim with 2020’s Everything Has to Fall Apart Eventually  and 2022's genre-defying Tragic Comedy , this new release marks a bold evolution. GRAMMY AWARD WINNING ALBUM IT’S ALL A BLUR  may only span four tracks, but its impact is outsized—a blistering, unfiltered snapshot of life in 2025 that hits with the force of a sonic sledgehammer. The Messenger Birds continue to defy expectation, blending alt-rock ferocity with introspective nuance and a biting social consciousness. With this most recent EP, they’ve crafted a collection of tracks that feels both timely and timeless. Whether you're overwhelmed by the noise or numbed by the algorithm, IT'S ALL A BLUR  doesn’t just reflect the chaos—it confronts it head-on. Check out more from The Messenger Birds: https://themessengerbirds.com/ https://www.facebook.com/themessengerbirds https://www.instagram.com/themessengerbirds/ https://x.com/TheMssngrBirds https://open.spotify.com/artist/7cETzIYBVYBvs8oJG1wywk https://www.youtube.com/themessengerbirds https://themessengerbirds.bandcamp.com/ https://music.apple.com/us/artist/the-messenger-birds/1145175273

April 19, 2025 Sidestage All photos by Kat Kolesar.

A Genre-Blending Reflection on Self-Love, Nostalgia, and Transformation Stream “Without You” HERE On June 6, 2025, the official debut of genre-bending Alt-Pop artist, RYLAI, with the release of “Without You.” Born and raised in Seoul, South Korea, RYLAI introduces himself to the world with a soul-baring track rooted in self-reflection, transformation, and the healing power of music. At its core, the track expresses both regret and gratitude, reflecting on a time when RYLAI admits he "should have loved [himself] more and taken better care" of his emotional well-being. Driven by emotion and introspection, RYLAI creates songs with layers to unpack — where nothing is accidental and every sound has a purpose. In a world where so much feels uncertain and fragile, RYLAI’s journey begins with that same sense of instability. From a young age, he turned to music as a sanctuary — a place to disappear, escape, and find comfort when the outside world felt chaotic. “When everything was falling apart around me, music was the only thing that made sense,” he says. “It still is.” That spirit lives at the heart of “Without You,” a track that captures both gratitude and regret. “I wrote the lyrics with intentional ambiguity, I wanted the lyrics to stand alone and also fit into the larger narrative of my upcoming releases,” RYLAI explains. “They could be for my younger self, a past lover, potential fans — or music itself.” The production of “Without You” spans continents — with most of the song recorded in Seoul, and key sessions taking place in Los Angeles with co-producer Dylan Buzz Gold. RYLAI’s instrumental contributions include viola, violin, and synthesizer, underscoring his hands-on approach to every part of the song's creation. The track was written entirely by RYLAI and produced in collaboration with Dylan Buzz Gold, Scandi, and Colby Lapolla. Collaborators on the track also include Scandi (who provided the original beat) and Colby Lapolla, who contributed vocal production and textured effects. RYLAI’s music is more than sound — it’s storytelling. Each release this year will connect to a larger narrative, revealing more with every track. “There’s always something to unpack,” he says. “Art is where we go when the world doesn’t make sense. And right now, we all need a place to escape.” More About RYLAI: RYLAI is a rising singer-songwriter and producer born and raised in Seoul, South Korea. His passion for music began in the quiet aftermath of a pivotal moment at the end of sixth grade, when he started exploring melodies on an old digital piano that had sat untouched for years. Though he had taken piano lessons as a child, it wasn’t until then that he truly connected with music — creating original ideas that gradually turned into songs. Influenced by a wide range of artists, RYLAI draws vocal inspiration from Naul of Brown Eyed Soul, whose emotional head voice and rich chord progressions left a lasting impression. He also cites Ado for her unparalleled vocal intensity and expressiveness, and Seo Tai Ji, a Korean pop-rock icon known for his genre-bending approach to music. Kendrick Lamar remains one of RYLAI’s biggest influences — both for his lyrical depth and for the way each of his albums tells a cohesive, meaningful story. Inspired by that model, RYLAI’s own music follows an overarching narrative, with each release revealing a new chapter. Check out more from RYLAI: INSTAGRAM | SPOTIFY | YOUTUBE | TIKTOK | FACEBOOK

FEATURING BRITISH-UGANDAN SINGER/SONGWRITER DAUDI MATSIKO LISTEN NOW | WATCH THE MUSIC VIDEO NOW FROM NEW ALBUM NECESSARY FICTIONS DUE OUT JUNE 20, 2025, VIA XXIM/ SONY GoGo Penguin, the Manchester trio known for their blend of jazz, classical, and electronic influences since forming in 2012, released their new single, “Forgive The Damages,” featuring British-Ugandan singer-songwriter Daudi Matsiko – their first-ever song featuring a vocalist. This is one of many bold new directions from the UK trio from their forthcoming seventh studio album NECESSARY FICTIONS, due out June 20 via XXIM/SONY. It makes sense that for GoGo Penguin’s first-ever collaboration with a vocalist, they would choose Daudi Matsiko, a British-Ugandan singer-songwriter who has toured with the band for years, opening for them at shows around the world. His fragile, yet powerful, layered vocals and poignant songwriting blend seamlessly with the GoGo Penguins’ elaborate textures that echo around his voice. It is truly a sonic match made in heaven and one of the most exciting sounds coming from the UK right now. Says Nick Blacka on this collaboration, “We’ve often thought about working with other musicians, particularly vocalists, but it had to feel right and not forced. We’ve been friends with Daudi Matsiko for a long while now, and over the years, we’ve talked about writing something together. Originally, we weren’t thinking of having vocals on this track. We had the chords and the melodic idea, but we were thinking of using field recordings, samples or perhaps even some spoken word. One weekend, around the time we were working on this track, Daudi randomly phoned as he’d flown into Manchester from a gig in Slovakia. I went to pick him up from the airport, and we sat in my garden and drank some beers. This is when I explained some of the overall concepts behind the album, and he went away and wrote some lyrics. He completely understood where we were coming from with this album. Everything clicked into place, it didn’t feel forced, and it definitely felt right. We tweaked a few things together, and we asked for a “soaring vocal line” at the end of the track, and Daudi recorded the harmonized line that sings “forgive the damages” near the end of the song, which is when we really felt we had something special.” GoGo Penguin’s last album, Everything Is Going to Be OK (2023), found the band reeling from almost breaking up, a new drummer in the form of Jon Scott (formerly of Mulatu Atsake’s band), coping with the death of family members, grief, the pandemic, and finding solace in the studio as they journeyed through uncertainty, survival and ultimately, resilience. With NECESSARY FICTIONS, GoGo Penguin — Chris Illingworth (piano, synths), Nick Blacka (bass, synths), and Jon Scott (drums) — have embraced new textures and ideas more fully than ever before. They are operating from a place of confidence, having truly found their groove with Scott, and Illingworth and Blacka both in their fifth decade, and truly embracing who they are without fear. The album sees them expanding their signature sound, drawing deeper into modular synths, and, for the first time, welcoming other voices into their sonic world. “This is what we want to make right now, and it feels authentic,” says Blacka. NECESSARY FICTIONS is the sound of a band unafraid to reflect who they are — not just in sound, but in spirit and surroundings. About Daudi Matsiko: British-Ugandan singer-songwriter Daudi Matsiko’s debut album, ‘The King Of Misery,’ is a hauntingly beautiful exploration of depression, bipolar disorder, and finding hope in that experience. His fragile yet powerful vocals, evocative lyrics, and modern folk melodies have earned high praise from Gilles Peterson, Lauren Laverne, Jamz Supernova, Dean Jackson, Sian Eleri, Jamie Cullum, Tom Robinson, John Kennedy, Simon Phillips, and comedian and podcaster Adam Buxton. After a standing ovation at The Great Escape Festival, and with support from POWER UP, PRS Foundation, and Alberts Favourites, Matsiko set up his own label, ‘Really Good,’ to release his debut. Since its release, ‘The King Of Misery’ has received 4 stars in Mojo Magazine and Far Out Magazine, has been featured on several Spotify editorial playlists, and has been a headline feature on Bandcamp Weekly, and continues to captivate audiences worldwide. Matsiko also delivered an unforgettable performance and insightful interview on episode 215 of The Adam Buxton Podcast and gave a mesmerizing live session at BBC Maida Vale for Gilles Peterson on BBC 6 Music. With every performance life-affirming and memorable in equal measure, Matsiko is not to be missed live. “Absolutely glorious” – BBC 6 Music TRACKLIST – NECESSARY FICTIONS: 1. Umbra 2. FALLOWFIELD LOOPS 3. Forgive the Damages (feat. Daudi Matsiko) 4. What We Are and What We Are Meant to Be 5. Background Hiss Reminds Me of Rain 6. The Turn Within 7. Living Bricks in Dead Mortar 8. Naga Ghost 9. Luminous Giants (feat. Rakhi Singh and Manchester Collective) 10. Float (Loi Krathong, 2003) 11. State of Flux (feat. Manchester Collective) 12. Silence Speaks

NEW ALBUM PLANTING BY THE SIGNS  OUT JUNE 20 VIA SLOUGH WATER RECORDS/ THIRTY TIGERS ADLINE US TOUR THIS FALL WITH DATES IN NYC, LA, NASHVILLE AND MORE S.G. Goodman released her new single “Michael Told Me” the fourth from her forthcoming third studio album, Planting by the Signs, due out June 20 via her very own Slough Water Records / Thirty Tigers. Goodman will also be embarking on a headline tour across the U.S. starting this September with dates including NYC’s Bowery Ballroom, L.A.’s Troubadour and Nashville’s Basement East – full dates below and more information here.  Listen to “Michael Told Me” here + Pre-order Planting by the Signs here .   “Michael Told Me” is an expertly constructed song that spans the distance between grief and reconciliation using the city of Los Angeles as a narrative anchor. That's where S.G. Goodman and her longtime collaborator Matt Rowan fell out due to the grueling nature of touring, which led to a two-year period of silence between the two friends. Los Angeles is also where Goodman learned the news that her father figure and mentor, whom she lovingly referred to as “Murray Dad Mike,” had died tragically in a freak accident involving a tree. She was on the road when she learned this news, and trucked on. But that grief opened up a line back to Matt. A line that led to the making of this album, of two friends reuniting and co-producing, and recreating musical magic in the studio, in honor of their shared father figure.  Says S.G., “ The grief of losing a father figure amounted to needing all of my chosen brothers. We told each other that we loved each other, and Matt told me he would take care of Mike’s partner and all of our friends while we finished up our run. The song “Michael Told Me” was started shortly after our falling out in 2021, and the song fully revealed itself in the winter of 2024.”  “It is a song of reconciliation, and a testament to my relationship to two great men who believe that there is something worth getting to on the other side of feeling hurt. Our friendship had been pruned back for a time, but Mike had always assured me that new growth would come, and I believed him. It truly is one of life's greatest gifts to understand and to experience love that can overcome ruptures.”  “Michael Told Me” follows the release of singles “Snapping Turtle,” “Satellite” and “Fire Sign,” which have collectively  received critical acclaim from the New York Times, KCRW, Relix, Stereogum, FLOOD, Consequence, Pitchfork, Brooklyn Vegan and more.  Her first album in three years, Planting by the Signs is a reminder of the Kentucky born and raised singer-songwriter’s razor-sharp lyricism, singular voice and seamless blend of indie rock and subtle rural influences. She recently spoke to Stephen Deusner at UNCUT about the making of this record, who described her “distinctive sound that mixes Americana songwriting with post-punk guitars” and her voice as a “grainy, intimate tremolo that sounds like it comes from another time.” S.G. told Uncut that this album “is about beliefs – which ones we hang on to and how those beliefs evolve over generations.” Uncut also spoke to some of her musician fans including Jim James , who said “When I first heard her, I was spellbound,” and Will Oldham – who appears on the new album – who says, “Big power, big vulnerability and an awareness of the vital container of a song inherently is, for exploration of emotion and humanity.”  While on the road, promoting her debut Old Time Feeling and 2022’s Teeth Marks , she  zig-zagged across the nation with a touring schedule that would make even the most seasoned road dog wince. Amidst the non-stop performances, she endured the loss of her own dog Howard, as well as the death of her friend and mentor, Mike, who died tragically in an accident in her hometown of Murray, KY. She parted ways with long-term collaborator Matt Rowan due to the strenuous nature of the road, but after the death of Mike, they reconciled.  Life dealt blows, but she didn’t stop. Until she did, when she returned home to Kentucky to write the next album, she hit a wall, because she hadn’t paused for years. So she took stock – a few shrooms for inspiration– got back to nature, and looked back to the ancient Appalachian wisdom of planting by the signs, i.e. the idea that cutting your hair, or laying down shingles, are best timed to lunar and planetary cycles.  S.G. says, “As an “old story keeper,” I’ve centered myself around the idea that passing down stories and sayings connects us through generations. This notion was a driving force in the creation of this album as a whole, as I was compelled to share the concept of planting by the signs with my nieces and nephews.”  The result is eleven tracks of her best material yet. Inspired by love, loss, reconciliation, and the aforementioned ancient practice, highlighted by the critically-acclaimed and award-winning artist’s singular voice and her penchant for juxtaposing vulnerable folk music with punchy rock ‘n roll, replete with chiming guitars, ethereal atmospherics, and her DIY ethos. Goodman provides a timely reminder that the only way forward is together, and that we must always take into account humanity’s dependence on and responsibility to the natural world.  In the fall of 2024, Goodman decamped to the Nutt House in Sheffield, AL, alongside co-producer Drew Vandenberg (her co-producer on 2022’s Teeth Marks) , guitarist/songwriter Matt Rowan, her longtime musical collaborator with whom she parted ways and then reconciled in the span between albums.  With her two collaborators and a cast of musical characters including Goodman tracked what is by no exaggeration her best record to date. With songs like “Fire Sign,” “Satellite,” “Snapping Turtle,” “Michael Told Me,” “Heaven” and “I’m In Love,” Planting by the Signs finds Goodman exploring this old story and other themes in the only way she knows; with a fresh musical and lyrical perspective, vivid, incisive detail, and a heaping dose of empathy and compassion.  ABOUT S.G. GOODMAN: Kentucky-born and raised indie rocker S.G. Goodman catapulted on to the scene in 2020 with her debut album Old Time Feeling  – possibly the worst time to emerge, and yet, her talent was undeniable. She immediately garnered attention from NPR, Rolling Stone, and more, and took her show on the road across the world, gaining fans and followers, even landing a fan in Tyler Childers, who covered her song “Space And Time” from her debut. “Space And Time” was also covered by Mereba and Dev Hynes/Blood Orange for the Paul Schrader film Master Gardner. In 2022, she released Teeth Marks , a critical darling that leveled her up, gaining praise from the New York Times, landing her an NPR Tiny Desk, landing on Pitchfork and NPR’s Best Of lists, and earning her the Best Emerging Artist Award at the 2023 Americana Awards. She clocked over 150 performances in 2023 alone, including headlining sold-out tours and opening for the likes of Tyler Childers and Jason Isbell from Red Rocks to the Grand Ole’ Opry. Now, after a fruitful reprieve, S.G. Goodman is back and better than ever. UPCOMING DATES WITH TYLER CHILDERS, TRAMPLED BY TURTLES, LORD HURON: 5/29 - Jacksonville, FL - VyStar Veterans Memorial Arena + 5/30 - Gainesville, FL - Heartwood Soundstage 6/1 - Orange Beach, AL - The Wharf Amphitheater + 6/27 - Lexington, KY - The Burl (w/ Secular Pets) 6/28 - Lexington, KY - The Burl (w/ Nick Harley) 7/5 - Duluth, MN - Bayfront Festival Park “ 8/7 - Pittsburgh, PA - Stage AE ^ 8/8 - Columbus, OH - KEMBA Live! ^ 8/9 - Rochester Hills, MI - Meadow Brook Amphitheatre ^ + w/ Tyler Childers “ w/ Trampled By Turtles ^ w/ Lord Huron SUMMER EUROPEAN TOUR: 8/23 - Falkenberg, Sweden - Rootsy Summer Fest 8/24 - Stockholm, Sweden - Stockholm Roots 8/26 - Oslo, Norway - Belleville 8/28–8/29 - Tønder, Denmark - Tønder Festival 8/31 - Den Haag, Netherlands - Once In A Blue Moon Festival 9/2 - London, UK - Oslo Hackney 9/4 - Manchester, UK - Gullivers 9/5 - Bristol, UK - Louisiana U.S. HEADLINE FALL TOUR: 9/18 - Dallas, TX - Kessler Theater * 9/19 - Houston, TX - Heights Ironwork * 9/20 - Austin, TX - Antone's * 9/23 - Tucson, AZ - Club Congress * 9/24 - Pioneertown, CA - Pappy & Harriet's ~ 9/26 - Los Angeles, CA - Troubadour ~ 9/27 - San Francisco, CA - The Chapel * 9/30 - Portland, OR - Aladdin Theater * 10/1 - Seattle, WA - The Crocodile * 10/3 - Salt Lake City, UT - The State Room * 10/4 - Denver, CO - Bluebird Theater * 10/22 - Atlanta, GA - Terminal West + 10/24 - Nashville, TN - Basement East + 10/25 - Asheville, NC - Eulogy + 10/26 - Saxapahaw, NC - Haw River Ballroom + 10/27 - Washington D.C. - The Atlantis + 10/29 - New York, NY - Bowery Ballroom + 10/30 - Philadelphia, PA - World Cafe Live + 11/1 - Boston, MA - The Sinclair + 11/2 - Northampton, MA - Iron Horse + 11/4 - Toronto, ON - The Great Hall + 11/5 - Ann Arbor, MI - The Ark + 11/7 - Chicago, IL - Lincoln Hall + 11/8 - Minneapolis, MN - Fine Line + 11/10 - St. Louis, MO - Off Broadway + * w/ John Calvin Abney ~ w/ Becca Mancari  + w/ Fust FOLLOW S.G. 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WATCH HERE NEW DATES TO INCLUDE, NASHVILLE’S RYMAN AUDITORIUM ON OCTOBER 12 AND NEW YORK’S TOWN HALL ON OCTOBER 24 Photo Courtesy of Jim Shea. A.J. Croce, acclaimed artist, singer/songwriter, and multi-instrumentalist, has officially announced the highly anticipated return of Croce Plays Croce , his beloved live celebration honouring the timeless music of his father, legendary singer/songwriter Jim Croce.  The upcoming Croce Plays Croce tour will feature an expanded setlist that includes more of Jim Croce’s iconic catalog, as well as his classic hits including “Time in a Bottle,” “Operator,” “I Got a Name” alongside A.J.'s own critically acclaimed work from his album, Heart of the Eternal . The new Croce Plays Croce tour will begin this fall in September with dates including Nashville’s Ryman Auditorium as well as newly announced shows including New York’s Town Hall, with dates through 2026. See details below. The tour announcement coincides with the release of the official music video for his new song “Turned Around” , WATCH HERE As described by GLIDE , “The video features A.J. and his band performing the tune in a studio, giving us a look at some of the magic we can expect onstage during his upcoming tour.” On the forthcoming tour, A.J stated, “This tour is more than a tribute to my father and more than a showcase of my own music— it’s the meeting of my roots and a declaration of my individual artistry. This is a journey through soul and sound.” On the album track, “Turned Around” , A.J stated, “Writing the lyrics to Turned Around began as a songwriting exercise. I was attempting to make sense out of nonsense. Each verse strings together a story via connecting oxymorons. When there wasn’t an existing oxymoron, then I made one up the way Ogden Nash or Roger Miller made up rhymes when none existed.” Croce’s newly released album, Heart of the Eternal , produced by Shooter Jennings (Brandi Carlile, Tanya Tucker), is a genre-defying masterclass in piano-driven rock, psychedelic soul, and classic songwriting. Recorded at Los Angeles’ famed Sunset Sound , the album features collaborations with Margo Price and John Oates and has already made waves, debuting in the Top 20 on the Billboard Americana/Folk Albums chart and the Top 40 on the Billboard Current Rock Albums . The album has been praised by outlets such as American Songwriter and Forbes , the latter stating: " What makes the album truly special is its multifaceted examination of the human experience. " Heart of the Eternal showcases A.J.’s masterful musicianship and genre fluidity — from fuzzed-out rock riffs and Latin-infused jazz-pop to emotionally raw songwriting. Standouts include “Reunion,” co-written with John Oates, and “The Finest Line,” a countrypolitan duet with Margo Price that contemplates the soul’s fate beyond mortality. The album also features legendary studio musicians who have recorded with icons like Van Morrison and Dr. John. Following the loss of his father at two years old A.J continued to face many challenges in his life and the piano became a lifeline for Croce, who suffered a total loss of eyesight from ages four to ten and turned to blind pianists like Ray Charles and Stevie Wonder for much-needed comfort and inspiration. He became a piano virtuoso and started playing with the likes of B.B. King at just 18 years and over the years has collaborated and performed with legends and luminaries across a wide expanse of genres from Willie Nelson to Ray Charles, Leon Russell, Allen Toussaint, Neville Brothers, Bela Fleck and Ry Cooder, to name a few. All while, A.J has built an acclaimed catalog that blurs the boundaries between blues, soul, rock & roll, roots music, working with of most esteemed producers in music history—including Jack Clement (Johnny Cash, Elvis Presley), Tony Berg (Fiona Apple, Bob Dylan), and Greg Cohen (Tom Waits, John Zorn). “Music has given me everything: it’s taught me patience and compassion and empathy; it was my refuge and my religion when I lost my sight as a kid,” he says. “When I look back at the music that’s inspired me the most, it’s the music that has real depth and soul to it, whether that’s Little Richard or Otis Redding and Hank Williams or Fiona Apple. Anything that makes me feel is meaningful to me, and I hope that everyone can find that same connection with all of these songs.” Heart Of The Eternal Tour: Jun 29 Sun - MIM - Musical Instrument Museum - Phoenix, AZ Jun 30 Mon - MIM - Musical Instrument Museum - Phoenix, AZ Jul 1 Tue - MIM - Musical Instrument Museum - Phoenix, AZ CROCE PLAYS CROCE FALL TOUR DATES: 9/17 – Grand Junction, CO - Avalon Theatre~  9/18 - Boulder, CO - Boulder Theater 9/19 - Colorado Springs, CO - Pikes Peak Center 9/21 - Omaha, NE - Holland Performing Arts Center 9/25 - Iowa City, IA - Englert Theatre 9/26 - Jefferson City, MO - MU Health Care Capital Region Amphitheater  9/28 - Bloomington, IL - Bloomington Center for Performing Arts 9/29 - Kansas City, MO - Uptown Theater 10/1 - St. Louis, MO - The Factory 10/2 – Des Moines, IA – Hoyt Sherman Place Theatre*10/3 – Minneapolis, MN – Pantages Theatre* 10/5 – Milwaukee, WI – Pabst Theater* 10/6 – Ottumwa, IA – BVC  Theater 10/8 – Royal Oak, MI – Royal Oak Music Theatre 10/9 – Skokie, IL – North Shore Center for the Performing Arts10/10 – Columbus, OH – KEMBA Live! 10/12 – Nashville, TN – Ryman Auditorium* 10/13 – Cincinnati, OH – Taft Theatre 10/15 – Louisville, KY – Brown Theater 10/17 – Atlanta, GA – Cobb Energy Performing Arts Centre 10/18 – Chattanooga, TN – Walker Theatre 10/19 – Macon, GA – Macon City Auditorium 10/21 – Richmond, VA – The National 10/22 – Annapolis, MD – Rams Head On Stage 10/24 – New York, NY – The Town Hall* 10/25 – Poughkeepsie, NY – Bardavon* 10/26 – Shippensburg, PA – Luhrs Performing Arts Center 11/19 – Boston, MA – The Wilbur 11/20 – Cranston, RI – The Park Theatre 11/21 – Springfield, MA – MGM Springfield 11/22 – Atlantic City, NJ – Circus Maximus Theater at Caesars ~ due to venue change, new tickets for the Avalon will be available and previously purchased tickets for Asteria will be refunded * already announced/on sale

On a humid Thursday evening in Winnipeg, local rock fans packed into the Park Theatre for the second sold-out night of The Blue Stones and The Darcys’ two-night stand. Following a fiery opening show the night before, expectations were sky-high for night two, and the bands did not disappoint. With a clever setlist shakeup and immersive performances from both acts, this evening served as a perfect blend of nostalgia, innovation, and raw musical chemistry. The Darcys. Photos by Samuel Stevens. Opening the night, Toronto art-rock duo The Darcys brought a glossy, synth-laced energy that leaned into '80s nostalgia while maintaining a contemporary cool. Jordan and Wes seemed right at home on the Park Theatre stage, wrapping the crowd in waves of neon grooves and dancefloor melancholy. Starting with “Dreaming,” the band set an ethereal tone before easing into the upbeat yet self-aware anthem “I’m Starting to Think I’m Bad at Parties.” From there, the Darcys walked a tightrope between existential pop and indie rock cool, showcasing the magnetic “Talking” and “Can’t Be Absolutely Sure,” which stood out as an unexpected emotional highlight. The middle stretch, anchored by “1986” and the pulsing “Trouble Found Me,” invited shoulder-swaying and sing-alongs from longtime fans, while deeper cuts like “Shangri-Lost” and “Running for the Hills” demonstrated the band’s stylistic versatility. They closed with “Black Diamonds,” a slow-burning number that burst into a cathartic finale, leaving the audience riled up and ready for the headliners. The Blue Stones. Photos by Samuel Stevens. Returning to the Park Theatre stage for night two, Windsor’s The Blue Stones delivered a set packed with bluesy grit, alternative swagger, and just enough unpredictability to set this show apart from its predecessor. Right from the opening riff of “Your Master,” the duo’s chemistry was electric—guitarist/vocalist Tarek Jafar and drummer Justin Tessier played with a level of tightness and fury that only comes from years of road-tested trust. Fan favourites like “Be My Fire,” “Don’t Feel Right,” and “Magic” were delivered with snarling confidence, but it was the addition of “Kill Box,” which the band didn't perform the previous night, that truly elevated the show. Slotted in after the grimy pulse of “Grim,” the gritty, doom-laden “Kill Box” had a noticeably darker edge, providing a brooding counterpoint to the high-energy bombast surrounding it. As a treat for those attending both nights, this addition felt like a reward, a deeper dive into their evolving sound and a gesture of appreciation to their dedicated fanbase. Mid-set highlights included the psychedelic sway of “Happy Cry” and the hauntingly personal “Jesse James,” both of which showed the band’s knack for balancing vulnerability and groove. “Healing” and “Falling Leaves” brought atmospheric textures before the one-two punch of “Black Holes (Solid Ground)” and “Let It Ride” reignited the crowd into full-throttle rock mode. The encore sequence of “Rolling With the Punches,” “Don’t Miss,” and the anthemic “Shakin’ Off the Rust” was cathartic, giving fans the explosive ending they came for. By the time the final notes rang out, it was clear The Blue Stones had cemented their reputation as one of Canada’s most exciting live rock acts—and this Park Theatre doubleheader might go down as one of the standout concert events of Winnipeg’s 2025 live calendar. Night two proved that lightning can  strike twice, especially when two of Canada’s most compelling alternative rock duos bring their A-game. The Darcys mesmerized with shimmering retro-pop rock, while The Blue Stones brought the thunder—and a surprise setlist twist—to cap off an unforgettable two-night residency at the Park Theatre.

LISTEN HERE Avery Lynch  returns today with her new single, " Lasting Effects ," a hauntingly intimate yet ultimately empowering reflection on love, loss, and self-discovery. Building on the momentum of her recent standout singles, "Lasting Effects" offers another vivid glimpse into the emotional world of her forthcoming project, set for release later this year. The inspiration for "Lasting Effects" came in the wake of a breakup, when Avery was told no one else would love her the way he had. " At the time, I knew he was wrong ,” she shares. “ But as I got further from the situation, I realized he was right—but not in the way he thought. I realized I don’t ever want someone like him, and I don’t want to be loved like that ." Instead of falling apart, the experience became a turning point, helping Avery rediscover parts of herself that had been quieted during the relationship. “ I think it’s a really positive and hopeful song ,” she adds. “ I hope it inspires people and leaves a positive lasting effect .” Known for her emotionally raw lyricism and understated production, Avery once again invites listeners into her inner world with a song that feels both deeply personal and widely relatable. Built around soft keys, ambient textures, and hushed percussion, “Lasting Effects” is a beautifully restrained track that lets its emotional weight breathe through gentle melodies and heartfelt words. Co-produced by Jordanlilvee, Michael Blum, and Avery herself, the song marks an exciting step in her evolution as a producer and storyteller. Originally from Pennsylvania, Avery’s musical journey began at the age of 7, composing piano pieces before evolving into songwriting. Now based in Los Angeles, her signature sound—lush, melancholic piano arrangements paired with her soft, expressive vocals—has become the foundation of her artistry. Every song begins with Avery alone at her piano, crafting intimate, emotionally rich demos that she later refines with her trusted collaborators. Her voice, tender yet deeply evocative, breathes life into her lyrics, making each song feel like a personal confession. Often described as a "happy girl filled with sad songs," her music is a masterclass in storytelling, inspired by her life experiences, the world around her, and the media she consumes. With praise from tastemakers like Ones To Watch and EARMILK, and a rapidly growing fanbase that’s helped her surpass 400 million streams, Avery continues to showcase her gift for turning raw emotion into intimate, relatable, and quietly captivating songs. Listen to "Lasting Effects" on all streaming platforms:  https://ffm.to/lastingeffects Find out more from Avery Lynch: Website | Instagram | TikTok | X | YouTube | Spotify | Apple Music

PRESIDENT have revealed the next presidential address under the name of " Fearless ."  The powerful single follows on from the multi-million streaming debut proclamation of " In The Name Of The Father ." BE AMONG THE FAITHFUL. Watch the video for "Fearless"  here  or listen  here . Operating at the intersection of heavy music, electronic experimentation, and cinematic atmosphere, PRESIDENT doesn't conform to the traditional structures of genre or identity. Prioritizing intent over image and shifting the spotlight away from those who have created this movement, firmly onto the music itself. PRESIDENT will make their debut at Download Festival on June 15. PRESIDENT LIVE: 7/30 — The Garage — London (SOLD OUT) Find out more from PRESIDENT: Website | TikTok | Instagram | Facebook | YouTube