May 18, 2025 Park Theatre Photos by Samuel Stevens.

On PRESSURE , her daring and emotionally raw sophomore album, which was released on May 23, 2025, Julia Wolf solidifies her place as one of the most honest voices in modern alt-pop. While her 2023 debut, Good Thing We Stayed , introduced us to a fiercely independent, deeply introspective songwriter, PRESSURE  is a defiant act of emotional reclamation—the sound of someone who has stared down self-doubt, industry expectations, and personal ghosts, and decided to tell the truth anyway. Where her debut occasionally leaned into glossy pop minimalism, PRESSURE  embraces sonic variety and depth, which sees Wolf intertwine the subtlety of her pop roots with everything from hyper-pop, emo, pop punk, and the chaotic realm of both fast-paced and slower chugged metalcore riffs. From the very first track, "Kill You Off," Wolf sets the tone: searing vulnerability couched in vivid storytelling. This isn’t shock for the sake of it—when she imagines travelling three thousand miles to kill the person responsible for childhood trauma, it’s not a revenge fantasy but a metaphor for the unshakable grip of early betrayal. The religious imagery that flickers in the background (“Jesus heals, He saves”) only sharpens the contrast between what should have been safe and what actually was. Much of PRESSURE  wrestles with duality: admiration versus envy, love versus fear, strength versus fragility. On "Pearl," Wolf tears into the thin line between inspiration and imitation, crafting a biting anthem for any artist who’s watched their originality mimicked by those too insecure to blaze their own trail. That honesty is softened by the emotional ache of "Fingernails" and "Loser," two of the album’s most heart-wrenching moments. On the latter, her voice trembles as she confesses, “chugging NyQuil” just to escape the pain of feeling unworthy of love. It's a gut punch that lingers long after the last note. But PRESSURE  isn’t just pain—it’s also power. "FYP" is a highlight, pairing Wolf’s signature dry wit with a triumphant, self-aware swagger. She details the journey from bedroom freestyles to TikTok fame, taking pride in how far she’s come even as she acknowledges the burnout and jealousy that still gnaw at her confidence. It’s a perfect representation of the album’s thesis: success doesn’t silence your inner critic, but maybe it teaches you to speak over her. "Limewire" blends airy emo guitars with an indie rock heart, and "Girls" blends the same emo guitars with a more Midwest pop-punk/emo blend. Whereas "Jennifer’s Body" brings in darker, more cinematic production, which is fitting, given its inspiration from the 2009 cult horror film of the same name. On "Jennifer's Body," Wolf uses pop culture not as a gimmick but as a vehicle for deeper emotion, capturing the agonizing insecurity of watching someone else effortlessly steal the spotlight, even when you're the one in the room being loved. The back half of the album is especially poignant. "In My Room," her viral TikTok hit, which blends rock with elements of folk, remains devastating in context—a snapshot of obsessive self-sabotage disguised as longing. "Sunshine State," which continues with the melancholy acoustic guitars, delivers a breath of warmth and hope despite its darker sonic structure. The penultimate track tells a story of two people bonded by shared trauma and dreams that stretch beyond the borders of small-town life. And then there’s the immensely honest finale: "You’ve Lost A Lot Of Blood," a masterclass in poetic trauma processing. "I killed you off with two hands and I meant it, a kid in my memories," she sings—a call back to the opening track, "Kill You Off." Each word feels like ripped journal pages, but it's the crushing blow: “I prayed for death with a stuffed animal on my bed," that hits you immensely. PRESSURE  is not a comfortable album. It’s not supposed to be. It’s brimming with intrusive thoughts, bitter realizations, and the kind of honesty that makes you wince because you may recognize yourself in it. But in a music landscape often obsessed with polish and posturing, Julia Wolf’s refusal to filter herself is not just brave, it’s revolutionary. It's clear that Julia Wolf isn’t just telling her story on PRESSURE —she’s demanding to be seen, on her terms. And it's impossible to look away. Check out more from Julia Wolf: Instagram | Twitter | TikTok | YouTube

May 10, 2025 The Park Theatre All photos by Kay Arnal.

May 9, 2025 Sidestage All photos by Kay Arnal.

LISTEN HERE   WATCH THE VIDEO HERE Today, rising singer-songwriter Tia Wood releases “Never Come Down,” her first release since her assured debut EP, Pretty Red Bird (2024) . Listen to “Never Come Down” here . Watch the stunning music video here .    “Never Come Down” is an intimate exploration of how it feels to be on a journey that all your loved ones cannot attend with you. “I know you miss me / hangin’ around,” Tia sings. “Am I gonna lose you? Where are you now? Will you still be there if I never come down?” It’s a deeply poignant reflection on how it feels to explore who you are; to leave home, shoot for the stars, and potentially leave some things behind.    Written by Tia, Casey Mattson (Oliver Tree), Joe Pepe (iann dior), and Bailey Bryan (Shaboozey, Noah Cyrus) and produced by Casey Mattson and Joe Pepe, “Never Come Down” is the first track off of Tia’s upcoming project, set for release later this year. The project tone is set to stunning images and visuals, which were creative directed by CD / DP duo Mom, an artistic partnership formed in 2019 by Skokomish Yakama artis Ray and cinematographer Matt, who perfectly complement Tia’s vision for her new work.    Says Tia of this record, “The last two years have been filled with so many amazing opportunities and ups and downs as I got my bearings in this new world. I’m always thinking and dreaming about the future and creating, and making music, but with that comes a sort of bittersweet feeling because it means I have to spend time missing many of the people and things I love the most, and this song really captures this moment for me – and I think it’s something that so many people can really relate to as well.”   2025 has already been a whirlwind for Tia, including capturing her first JUNO Award nomination (for ‘Contemporary Indigenous Artist or Group of the Year’), and performing at the JUNO Award Broadcast with Snotty Nose Rez Kids. She’s been immersed in writing mode, and deeply excited to release more new music throughout the year. Stay tuned for more from one of Canada’s most compelling new artists.  ABOUT TIA WOOD:   Born in Saddle Lake Cree Nation in central Alberta, a community of about 6,000 people in Treaty 6 territory, Tia’s musical journey began at home. Her first experiences on stage were with her family, singing traditional music at powwows, schools, and community events. As a teenager, Tia was drawn to a wide range of artists, from musical legends like Etta James and Amy Winehouse to contemporary stars such as Remi Wolf, Dominick Fike, Leon Bridges, Jessie Reyez, and SZA. In her 20s, she gained a massive social media following as a creator, with many of her videos, which introduced Indigenous sounds to mainstream audiences, going viral and earning widespread acclaim.   Those influences, combined with the music of her Indigenous roots, laid the foundation for her debut EP, Pretty Red Bird , a project rich in style, genre, and spirit, which was released in 2024. Tia’s smooth, stunning vocals thread together a vibrant tapestry of modern music, strengthened by her Indigenous heritage and lush R&B and pop production. The songs on Pretty Red Bird capture the depth and diversity of the young adult experience, blending classic instrumentation like piano and guitar with contemporary beats and hooks that define modern R&B and pop.   For Tia, songwriting has been a deeply personal and therapeutic journey—one that has allowed her to explore identity, self-expression, and emotional depth. “It’s allowed me to open up and really dig into feelings,” she says. In 2025, Tia was nominated for her first JUNO award for ‘Contemporary Indigenous Artist of Group of the Year,” and performed at the broadcast alongside Snotty Nose Rez Kids.  Check out more from Tia Wood: Website  | Instagram  | TikTok  | YouTube | Facebook

LISTEN HERE Emerging singer and songwriter Ana Luna unveils her new single " Dance in a Trance ," an ethereal and introspective track that dives deep into the emotional aftershocks of a past relationship. Building on the momentum of earlier releases like "Oxytocin" and "Why Not," the new single further showcases Ana's eclectic, genre-blurring sound and distinctive artistic voice. Guided by her hypnotic vocals and sweeping, cinematic production, "Dance in a Trance" explores how memory and identity shift in the aftermath of heartbreak. Through introspective lyrics like " a caged romance, I danced in a trance ," Ana captures the paradox of being trapped in something intense, even beautiful, that ultimately left both people feeling confined. It's more than a breakup song; it's an unflinching meditation on transformation, memory, and the quiet unraveling that often follows the end of a relationship. "People will interpret my songs however they want, but this one wasn't about making anyone the bad guy — it was very much about me,"  she says. " I’d run into my ex and he wouldn’t even look at me. When we did lock eyes, the energy just felt… different. The line 'a caged romance' came from something he once said to a friend of ours about feeling 'caged' or trapped, which ironically, is how I felt too. It wasn't toxic in the way we tend to define toxic now — but maybe it was in its own way, just because of how intense it all was. This song lives in that duality of: either you’ve always been this person and I was blind, or remind me why I loved you so I don’t feel like an idiot." Born in Ukraine, raised in Paris, and now based in Los Angeles, Ana Luna is a natural-born storyteller whose music is as cinematic as it is emotionally raw. Though she’s always known she was destined to be an artist, Ana initially led with acting and kept her songwriting close to the chest. It wasn’t until college, after years of emotional growth and inner work, that she finally gave herself permission to stop overthinking and dive fully into music. Over time, she’s shaped a signature sound that moves effortlessly between dream pop, alt-rock, and moody ballads, creating songs that feel celestial, sultry, and reflective. Ana approaches music as a form of therapy and storytelling, using it to process wounds, examine behavior, and carve out space for healing. Her songs explore the complex emotional layers beneath the surface, asking where our feelings come from, what they reveal, and how they shape the way we see the world. As she readies her debut album, Ana Luna is channeling her voice into songs that invite connection, introspection, and healing. Listen to "Dance in a Trance" on all streaming platforms: https://ffm.to/danceinatrance Find out more from Ana Luna: Instagram TikTok X YouTube Facebook Spotify

FEATURES ELEVEN NEVER-BEFORE-HEARD SONGS NEW SINGLE “THE COST OF GROWING UP” OUT TODAY AN ETHEREAL, ROOTSY MEDITATION ON THE BEAUTY THAT COMES FROM GROWING PAINS ANYWHERE BETWEEN MINOR INCONVENIENCES TO DEVASTATING LOSS Today, Nashville-based singer-songwriter Max McNown released the sublime new single “The Cost of Growing Up”  alongside a new album announcement. An expanded edition of his stunning sophomore album with eleven new tracks, Night Diving (The Cost of Growing Up)  is slated for release on July 18, 2025, via Fugitive Recordings x The Orchard x Columbia Records. Available for  pre-order on: Signed D2C Exclusive Clear Black Ice Colored Vinyl, Amazon Exclusive Opaque Maroon Colored Vinyl, Indie Exclusive Opaque Bone Colored Vinyl, Opaque Tangerine Colored Vinyl, and Standard CD. Anchored in the charmingly warm vocal presence that McNown partly honed by busking at the beach in Southern California just a few years ago, Night Diving (The Cost of Growing Up) takes the latter half of its title from a gorgeously textured track that perfectly exemplifies his newly refined sound. With its rootsy and ethereal instrumentation—luminous steel guitar, lush mandolin, soulful organ—“The Cost of Growing Up” arrives as a clear-eyed but melancholy meditation on the inevitability of pain. “ To me, the cost of growing up is an acceptance that difficult things are going to happen—from minor inconveniences to devastating loss, it’s all a part of life,” says McNown. “But there’s also beauty in that because, without those hard moments, you wouldn’t be able to truly love.” The new single is one of the 11 never-before-heard tracks featured in Night Diving (The Cost of Growing Up) , the drastically expanded edition of his sophomore LP. “Even though Night Diving was the length of a full album, in my heart it never felt complete to me,”   reveals McNown.   “All of these songs were written in the same time period, and my intention was always to have them be one body of work.” The previously unreleased songs surfaced from a recent evolution of his mesmerizing sound, spotlighting an earthy tonality informed by his upbringing in the Pacific Northwest. “ Since my first EP I’ve been on the hunt to find myself as a musician, and with this album, I’ve officially made something that fully represents me, both sonically and in my songwriting,” he continues . Produced by Jamie Kenney (Colbie Caillat, Laci Kaye Booth)  and made with an A-list lineup of session players, Night Diving (The Cost of Growing Up)  ultimately provides an extraordinary vessel for his profoundly moving and soul-baring storytelling. At 23, McNown has already been on a storied musical journey. Taking control of his future, overcoming personal challenges, and drawing inspiration from his brother who was bravely fighting cancer, McNown packed his bags and drove from remote Oregon to Southern California. From there, videos of him busking on a pier made an impact online and eventually grew into a legion of supporters on TikTok (currently has 2.3M followers). After attracting interest from major TV talent shows, McNown auditioned for one and then decided it wasn't for him and gracefully turned them down as he knew he needed to walk his own path. Within just a year of teaching himself to play guitar, the Nashville-based artist set off on a meteoric rise largely fueled by his breakout single “A Lot More Free” —a RIAA Gold-certified  track whose explosive success includes peaking at #1 on the iTunes singles chart and earning him a #1 spot on Billboard’s Emerging Artists chart . Following the release of his widely lauded debut album Wandering , the Willfully Blind EP, and his acclaimed sophomore album Night Diving , the 23-year-old Oregon native continued his fast ascent to stardom and made his TV performance debut with an appearance on The Kelly Clarkson Show  earlier this year, in addition to selling out his first-ever headline tour within just hours. Named a 2025 Artist To Watch by Amazon Music, Holler, and Country Now, McNown now embarks on a thrilling new chapter with Night Diving (The Cost of Growing Up) : a 21-song powerhouse that shows the complete depth of his artistry like never before. Watch “Better Me For You” performance on The Kelly Clarkson Show HERE Watch Kelly Clarkson cover “A Lot More Free” HERE One of the “ brightest newly minted stars to come out of Nashville in recent years” ( GRAMMY.com ), McNown has impressively sold out every stop of his debut headline tour after spending the past year opening for stars like Wynonna Judd, Wyatt Flores, Michael Marcagi, Sam Barber, 502s, Corey Kent, Trampled by Turtles, JOSEPH, and more. With the resounding success of the current run for the “A Lot More Free Tour,” McNown announced a handful of additional shows to officially mark the end of the triumphant tour. The series of southern stops include Knoxville, Orlando, Richmond, and more. He is also scheduled to perform at upcoming major US festivals including Boston Calling, CMA Fest, Lollapalooza, and others. Visit www.maxmcnown.com/tour for more information. Night Diving (The Cost of Growing Up)   Track List: Forever Ain't Long Enough Better Me For You (Brown Eyes) St. Helens Alpenglow The Cost of Growing Up Same Questions Call Me If You Miss Me This Side of Heaven Marley Wherever I'm Going Where to Start Night Diving (New Feature Version) It's Not Your Fault Take This Plane Hotel Bible Roses and Wolves (feat. Hailey Whitters) Won't Let Me Go Azalea Place Love I Couldn't Mend Freezing in November (Revisited) Night Diving Hindsight & Photographs Tour Dates: May 23 Fri- Boston, MA - Boston Calling Music Festival May 30 Fri - Knoxville, TN - The Mill & Mine *^ May 31 Sat - Gadsden, AL - Bash at the Bend Jun 1 Sun - Lexington, KY - Railbird Festival Jun 5 Thu - Nashville, TN - CMA Fest at Stadium Platform Jun 6 Fri - Nashville, TN - CMA Fest at Riverfront Jun 13 Fri - St Petersburg, FL - Jannus Live ~ Jun 14 Sat - Orlando, FL - The Plaza Live ~ Jun 15 Sun - Jacksonville, FL - Five ~ Jun 17 Tues - Isle of Palms, SC - The Windjammer ^ * Jun 20 Wed - Lewisburg, WV - Wild Trails Festival Jun 19 Thurs - Richmond, VA - The National *^ Jun 21 Sat - Chattanooga, TN - The Signal *^ Jun 27 Fri - Bloomsbury, Australia - Country Fest Queensland Jul 4 Fri - Milwaukee, WI - Summerfest Jul 18 Fri - Redmond, OR - Fairwell Music Festival Aug 2 Sat - Chicago, IL - Lollapalooza Aug 8 Fri - Elkhorn Precinct, NE - Pinnacle Bank Championship Concert Series Aug 21 Thu - Kansas City, MO - KC Live! Aug 30 Sat - Aspen, CO - Jas Aspen Labor Day Experience * Lee T. Baker ^ Ethan Luke ~ MYFEVER **Weston T. Hine Follow Max on his socials: TikTok  | Instagram  | YouTube  | Spotify | www.maxmcnown.com

There’s something undeniably electric about watching history unfold in real time, and that’s exactly what went down at The Park Theatre on May 16, 2025. For one night only, Winnipeg was the epicentre of global hardcore as Australia’s Speed and Thailand’s Whispers brought their relentless energy to Canada for the very first time, joined by Canadian bruisers Trench and Juice in a stacked lineup that felt more like a warzone than a show. Juice. Photos by Samuel Stevens. Vancouver’s own Juice came out swinging with a set that felt like being thrown into a blender of punk chaos and metallic rage. Their eight-song barrage opened with the unhinged "Victim Of The Psychic War" and never let up from there. Tracks like "Drug Game" and "Satanic Pimp" turned the floor into a boiling pit of limbs, with the crowd responding to every jagged riff and primal scream. By the time they closed with the anthemic, apocalyptic "World War 3," the stage had been properly scorched for what was to come. Trench. Photos by Samuel Stevens. While Calgary’s Trench didn’t have the international mystique of their tourmates, their set served as a reminder that Canadian hardcore can still throw down with the best of them. Their sound—a hulking mix of hardcore, death metal, and sludge—hit with the weight of a sledgehammer. Brutal and uncompromising, Trench delivered a crushing set before the international acts that felt like the Canadian gut-punch everyone needed. Whispers. Photos by Samuel Stevens. Few bands have walked onto a Winnipeg stage with as much to prove as Whispers, and fewer still have levelled expectations the way they did. Hailing from Bangkok and bringing their brand of “evilcore” to North America for the first time, Whispers launched into "Bangkok Evilcore" with a hunger that couldn’t be faked. The band's vocalist was a force of nature—commanding the crowd like a veteran general leading a blitz. "Morbid Vision" and "Retribution" were devastating, but it was the crushing finale of "Chaos Breed" that left the biggest mark, with breakdowns so heavy they felt tectonic. Some of the Winnipeg audience might not have known Whispers before this night, but you can bet they won’t forget them. Speed. Photos by Samuel Stevens. Then came the moment everyone had been waiting for: Speed, finally on Canadian soil. From the second they exploded into "KILL CAP," the room ignited. Vocalist Jem Siow stalked the stage like a man possessed, hyping the crowd between tracks with heartfelt speeches about unity, resilience, and community—themes that lie at the core of Speed’s ethos. The setlist was stacked. From mosh-starters like "We See U" and "Big Bite" to the emotional centrepiece "REAL LIFE LOVE," Speed proved they’re not just a hype band—they’re the real deal. "DON'T NEED" and "NO LOVE BUT FOR OUR OWN" got some of the most visceral reactions of the night, with the pit erupting in a flurry of stagedives, spin-kicks, and crowd chants. They closed the night with "THE FIRST TEST," a perfect closer that felt like a challenge to the crowd and a declaration of their mission. If this show was the first test, Winnipeg passed with flying fists and bruised ribs. The May 16th show at the Park Theatre wasn’t just a concert—it was a statement. It was about hardcore as a truly global movement, built on shared struggle, raw expression, and unrelenting passion. With Speed and Whispers crossing oceans to bring their music to new audiences, and with Trench and Juice flying the flag for Canada, this was more than just a gig—it was a milestone.

On her compelling debut album, i guess this is where we’re at , Mistine doesn’t just deliver a collection of indie pop anthems—she crafts a world of melancholic reckoning and quiet rebellion, wrapped in a dazzling alt-pop sheen. With a blend of grunge-dusted guitars, 80s-tinged synths, and experimental vocals, the eleven-track project is Mistine’s most expansive and inventive effort yet—a deeply personal exploration of the climate crisis that is as emotionally charged as it is musically adventurous. From the opening notes of “changing with the weather,” Mistine sets the tone: urgent, intimate, and introspective. Her voice drips with sincerity as she draws a parallel between emotional unpredictability and environmental instability—a motif that carries throughout the record. There’s a melancholic beauty in how she treats the Earth not as a political battleground, but as a relationship fraying at the seams. “lithium town” is an instant standout, marrying raw alt-rock textures with subtly biting commentary about our modern dependence on tech and minerals—a love letter to both innovation and the cost it carries. It’s the kind of track that would sit perfectly between early Garbage and the atmospheric pop of CHVRCHES. Elsewhere, the shimmering “vermont” layers glittering synths over a folk-inflected backbone, evoking both nostalgia and loss. Mistine’s lyrics are understated but poetic, her delivery sharp and vulnerable. She excels at finding the human scale in global issues—a conversation about a disappearing winter becomes a metaphor for detachment in “summertime,” while the deceptively sweet “just for you” reveals itself as a meditation on consumerism disguised as affection. Mistine’s commitment to sustainability isn’t just thematic—it’s embedded into the very DNA of the album. She crafts sonic landscapes that mirror the unpredictability and fragility of the natural world, experimenting with texture and contrast. The playful “(of u)” feels like a lost 90s alt-pop gem until its warped outro crashes into a wall of distortion—a musical climate event. The record’s closing stretch is among its most potent. “better days” is a gut-punch of hopeful cynicism, while “see u somewhere” floats with dreamlike resignation, a hazy postcard from a future that might not come. And then there’s “another day,” the album's emotional coda—a gentle reminder that we’re still here, still trying. The production strips back to let her voice shine, intimate and weathered, but unwavering. i guess this is where we’re at  is a triumph of artistry and message—a rare album that manages to be thematically focused without ever feeling heavy-handed. Mistine’s ability to make the abstract feel personal and the global feel close-to-home is what makes this release resonate so deeply. She’s not shouting from the rooftops—she’s talking directly to us, like a friend we trust, asking us to care a little more, feel a little deeper, and maybe, just maybe, do better. It's Mistine’s most urgent, inventive, and emotionally resonant work yet—a bold and beautiful soundtrack for a burning world. Check out more from Mistine: https://www.instagram.com/mistinemusic https://x.com/mistinemusic

LISTEN TO “DELUSIONAL” Multi-Platinum global pop superstar Kesha is marking Black Friday with today’s arrival of her hugely anticipated new single, “ DELUSIONAL .” Produced by Zhone (Troye Sivan’s GRAMMY® Award-nominated “Rush”) and co-written by Kesha, Zhone, and Madison Love (Lady Gaga, Ava Max) – the same team behind this summer’s worldwide hit single, “ JOYRIDE ” – the visionary new track is available everywhere now on her own Kesha Records. “DELUSIONAL” was heralded last week via the final moments of the official music video for “ JOYRIDE ,” streaming now on YouTube. Directed by Dimitri Basil (Kylie Minogue, Vance Joy), Cooper Roussel (Unknown Mortal Orchestra, Miami Horror), and Laura Gorun (Joywave, Kings of Leon), the action-packed visual was immediately met by applause upon its long-awaited premiere from high-profile publications and top online outlets around the globe: “The high-octane clip…is a cheeky homage to Quentin Tarantino’s Kill Bill series, with Kesha playing the part of a red leather-clad hell-raiser on the run from a group of colorfully named hired assassins.” – BILLBOARD “Kesha is taking her foot off the brakes and going full-speed ahead on her new video for ‘JOYRIDE.’ The video sees Kesha racing through the desert in a hot red convertible while being chased by a helicopter, gun-toting assassins, and a shirtless dude hell-bent on catching up to the pop diva.” – ROLLING STONE “Kesha has a new music video. And this time…it’s personal. After being exonerated for murder, the singer goes on a roaring rampage of revenge against an unnamed person and any similarity to actual persons, living or dead, is purely coincidental…It’s all very good and vroom-vroom fun, but is it better than the fan-made video with Pennywise drinking vodka? You be the judge.”  – VULTURE “Kesha has never been one to shy away from bold statements, and her new music video for “JOYRIDE' is a testament to her fearless creativity. Released under her independent label Kesha Records, the video is an exhilarating blend of Tarantino-style visuals, personal empowerment, and high-octane action. It’s not just a music video – it’s a short film that feels as rebellious and triumphant as Kesha’s career resurgence.” – GOOD STAR VIBES “A cinematic thrill ride from start to finish.” – STATIC “Ready for a JOYRIDE? Kesha’s chaotic new music video for her song of the summer is finally here.” – OUT “he ‘JOYRIDE’ video paints a vivid picture of Kesha as ‘Mother,’ a fierce figure speeding through a desert as villains pursue her…The gripping visuals and high-energy narrative showcase the artist’s bold new direction.” – BRIDES & YOU “To no one’s surprise, the ‘JOYRIDE’ music video is utter perfection, and it’s quickly becoming one of our favorite visuals of 2024.” – THE HONEY POT Currently boasting over 100M worldwide streams and counting, “JOYRIDE” has proven a true sensation since its July 4th release, reaching #6 on Billboard ’s “Bubbling Under Hot 100 Singles” and “Hot Dance/Electronic Songs” along with the top 30 on “Pop Airplay” and chart success around the world from the UK to New Zealand. In addition, with fans everywhere clamoring for the unapologetic pop anthem’s official music video, the “ JOYRIDE ” official lyric video has earned over 7.2M views via YouTube.  Produced by Zhone and co-written by Kesha, Zhone, and Madison Love, “JOYRIDE” represents the triumphant first chapter of a milestone new era for Kesha, celebrating both her long overdue empowerment as an independent artist as well as a powerful sonic evolution following 2023’s critically acclaimed fifth studio album,  Gag Order . Along with its popular achievement, the track has been met by high-profile critical applause from the likes of Rolling Stone , which hailed it “ a return to the dancey, campy pop music she entranced audiences with on Animal and Warrior. ” “ ‘JOYRIDE’ is an electro-banger perfectly timed to summer, ” wrote Variety , “ a callback to her early hits like ‘TiK ToK’ and ‘We R Who We R.’ ” ”JOYRIDE” is “ (Kesha) happily untethered, embracing electropop kicks and modulated vocals like God intended ,” declared Vulture , “ a two-and-a-half-minute celebration soundtracked by some polka-inspired beats, heavy synth, and sheer confidence. ” Perhaps NYLON said it best: “ Everything about ‘JOYRIDE’ is a trip…The original glitter-faced party animal of the 2010s is back with a fiery vengeance. ” One of Spotify’s Top 100 Artists with close to 40M monthly listeners, Kesha – who is currently starring on the cover of GLAMOUR Germany after recently being honored as “Music Icon” at GLAMOUR Germany ’s 2024 Women of the Year Awards – will wrap up her incredible 2024 by joining forces with iHeartRadio for eagerly awaited performances at Kiss 108’s Jingle Ball Presented By Capital One at Boston, MA’s TD Garden (December 15) and Hot 99.5’s Jingle Ball Presented By Capital One at Washington, DC’s Capital One Arena (December 17). What looks to be an even more stacked 2025 will see the release of Kesha’s hugely anticipated sixth full-length studio album and an ambitious tour schedule that already includes a number of sold-out “House of Kesha” headline shows and top-billed festival dates around the globe. Among the recently announced highlights will be headline sets at the Australian Open’s AO Live event in Melbourne, Australia on January 25 and London’s Mighty Hoopla pop extravaganza on June 1. Additional dates will be announced. For complete details, please visit keshaofficial.com/tour . The upcoming live schedule follows what has undoubtedly been an eventful 2024 for Kesha, including her featured role on the remix of Charli xcx’s “Spring Breakers” (included on the acclaimed album,  Brat and It’s Completely Different but Also Still Brat ) and a cover of Lindsey Buckingham’s song, “ Holiday Road “ released as part of Spotify Singles Holiday and hailed by Stereogum as “ a synth-pulsing new wave version (with) a real Kim Wilde ‘Kids In America’ feel. ” Kesha – who kicked off the year teaching “ The Alchemy of Pop “ as Artist in Residence at the Esalen Institute in Big Sur, CA, followed by a major Ted Talk at Vancouver, BC’s TED2024 conference – also delighted fans with show-stopping festival performances at West Hollywood, CA’s OUTLOUD Music Festival At WeHo Pride, Philadelphia, PA’ Wawa Welcome America Festival in Philadelphia, PA, Chicago, IL’s Lollapalooza and Mexico City, MX’s Festival HERA HSBC, as well as such surprises as a live performance to over 5,000 ecstatic fans at Brooklyn, NY’s sold-out Planet Pride 2024 and a special guest appearance alongside Reneé Rapp at Indio, CA’s Coachella Valley Music and Arts Festival that saw the two stars performing Kesha’s 8x RIAA Platinum-certified, worldwide #1 classic hit, “ TiK ToK ,” complete with raised middle fingers and an updated lyrical shout to “ F-ck P Diddy .” “ This I think is the hottest person on the Earth, ” Rapp said while introducing her surprise guest. “ Everybody put your f-cking hands together for Kesha. ” KESHA  LIVE 2024/2025 DECEMBER 15 – Boston, MA – Kiss 108’s Jingle Ball @ TD Garden (SOLD OUT)  17 – Washington, DC – Hot 99.5’s Jingle Ball @ Capital One Arena (SOLD OUT) JANUARY 23 – Sydney, Australia – House of Kesha @ Enmore Theatre 25 – Melbourne, Australia – AO Live @ John Cain Arena † MAY 29 – Glasgow, UK – House of Kesha @ O2 Academy 1 (SOLD OUT) 30 – Manchester, UK – House of Kesha @ Albert Hall (SOLD OUT) JUNE 1 – London, UK – Mighty Hoopla † † Festival Performance ABOUT KESHA:  Over her career, Kesha has earned 10 top 10 singles, billions of streams, two #1 albums, four #1 songs on top 40 radio and nearly 40 million followers across social media. The 2x GRAMMY® Award-nominated superstar attracts a diverse, passionate and socially-engaged global audience who believe in the messages behind her music while critics also have unanimously sung her praises. Kesha’s ventures outside of music include a top-rated TV program, an award-winning film, a book, a cruise and a cosmetics line, all of which spotlight an artist whose passion, talent and charm has earned her legions of fans. Additionally, Kesha has been a staunch advocate for the LGBTQIA+ community and animal welfare through various organizations since the start of her career. 2023’s Gag Order , which marked Kesha’s first new album in over three years, was met by worldwide critical applause and later named “Album of the Year” by The Arts Desk while also placing in the upper echelons of year-end charts from Rolling Stone , PopMatters , The Independent , Slant , and The Sunday Times . Check out more from Kesha: KESHAOFFICIAL.COM | FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | YOUTUBE

For a city that prides itself on embracing genre-defying music, Winnipeg got exactly what it craved when Rainbow Kitten Surprise brought their long-awaited Thanks For Coming  Tour to the Burton Cummings Theatre on May 14, 2025. Making their debut in the city alongside up-and-coming openers New Translations, the show was not only a sonic spectacle—it was a full-blown spiritual experience that left a packed house on their feet, breathless and begging for more. New Translations. Photos by Samuel Stevens. Opening the night was New Translations, an experimental indie rock outfit quickly gaining traction for their shapeshifting sound and magnetic stage presence. From the very first notes of “Post Hang,” it was clear this band wasn't just there to warm up the crowd—they were also there to make a statement. Bouncing between groovy, synth-drenched textures (“BXS”), gritty rock anthems (“Sheriff”), and emotionally vulnerable cuts like “Coldest” and “Who Am I,” the band crafted a set that was as eclectic as it was cohesive. Frontman Oliver Pierce's vocals soared and cracked in all the right places, while the band behind them delivered tight, dynamic performances that made songs like “Love Bombb” and “Wallflowers” stick long after the final note. By the time New Translations closed their set with the haunting “Wallflowers,” they had undoubtedly earned a few hundred new fans. Not bad for a first visit to Winnipeg. Then came the moment the sold-out crowd had been waiting for. As the lights dimmed and Rainbow Kitten Surprise took the stage to a roar of anticipation, the theatre instantly transformed into a kaleidoscope of sound and emotion. Kicking off with the thumping beat of “Espionage,” the band wasted no time in proving why they’ve cultivated one of the most passionate fan bases in alternative music today. From the first lyric to the last song in the encore, vocalist Ela Melo captivated the crowd with theatricality and charisma, moving like a force of nature across the stage. Her voice—alternating between smooth croons and raspy crescendos—was as much an instrument as the strings and synths that swirled around it. Rainbow Kitten Surprise. Photos by Samuel Stevens. Fan favourites like “Cocaine Jesus,” “Matchbox,” and “When It Lands” drew euphoric sing-alongs, while newer cuts like “SVO” and “Cold Love” proved the band’s ability to evolve without losing their core identity. “Meticulous” and “Fever Pitch” pulsated with rhythmic urgency, but it was “Painkillers” and “Devil Like Me” that struck deep emotional chords, the former unfolding like a sermon and the latter met with almost religious reverence from the audience. The production was equally impressive—tasteful lighting design gave the performance a cinematic feel, while moments of stillness (“Hide,” “Goodnight Chicago”) contrasted beautifully with the chaotic joy of “Dang” and “Wasted.” By the time the main set closed with the anthemic “Run,” the energy in the theatre was uncontainable. Still, the crowd wasn't going anywhere. When the band returned for the encore, the applause was deafening. They launched into the emotionally loaded title track, “Thanks for Coming,” a fitting nod to the tour’s name and the unifying power of live music. Finally, as the haunting first chords of “It’s Called: Freefall” rang out, time seemed to stop. The crowd sang every word with tearful intensity, turning the closing number into a shared catharsis that transcended performance. For their first time in Winnipeg, Rainbow Kitten Surprise didn’t just perform—they connected . With a soul-baring setlist, powerful, yet colourful visuals, and an audience that reciprocated every ounce of energy given, the night felt less like a concert and more like a communal reckoning. New Translations brought the spark. Rainbow Kitten Surprise set the fire. Winnipeg will be burning with that memory for a long, long time.

Old Neon’s new EP, Resolution , out May 23, 2025, doesn’t just live up to its title—it wears it like a badge of honour. The Pittsburgh-based pop punk five-piece pours every ounce of grit, grief, and growth into this ambitious five-track offering, and the result is a bold statement of purpose that bridges throwback emo sensibilities with modern urgency. With production handled by The Wonder Years ’  Matt Brasch and Nick Steinborn, and mastering by scene legend Will Yip, Resolution  is an EP that refuses to sit quietly in the corner. It demands to be felt. Right from the opening notes of lead single “Nobody’s Burden,” Old Neon delivers a familiar yet fresh take on resilience through heartbreak. Drew Sipos’ vocals carry a bruised clarity as he sings about reclaiming autonomy in the wake of abandonment. With tight guitar lines and a chorus tailor-made for fans of Neck Deep and State Champs, to name a few, it’s an empowering anthem for anyone learning to stand on their own again. Things take a heavier emotional turn on “Better Son,” a deeply personal track written by bassist Sean Michael about losing a family member. The song is raw and vulnerable without ever veering into melodrama. There’s a genuine ache in both the lyrics and the layered instrumentation, showcasing the band’s growing maturity and range as songwriters. It’s easily one of the EP’s most affecting moments, confronting mortality and familial grief with heartbreaking honesty. “Blizzard” channels classic 2010s-era pop punk energy with a lyrical focus on mental fog and emotional paralysis. The guitar interplay between Bea Langer and Mike McInnes creates a stormy tension that’s mirrored by Zach Pollack’s frenetic drumming. Meanwhile, “Baby Blue” offers a bittersweet contrast, its hazy melodies and mid-tempo pace evoking a late-night drive soundtrack for unresolved feelings and fading memories. Closing track “People Pleaser” is where Old Neon fully embraces the sonic evolution hinted at throughout the EP. It’s defiant, dynamic, and packed with subtle production flourishes that elevate it beyond standard fare. It feels like the band is releasing themselves from the weight of expectations—internal or external—and stepping confidently into their next chapter. What makes Resolution  stand out is its sense of earnest struggle . You can hear the long hours, the rewrites, the laughter and tension behind the scenes, all culminating in five songs that sound as tight as they are lived-in. Brasch’s production ensures the band sounds more polished than ever without losing the scrappy heart that made them so compelling onstage. It’s clear that Old Neon is no longer content being Pittsburgh’s best-kept secret—they’re reaching for something bigger, and they have the songs to back it up. In addition, Resolution  is not just a reflection of where Old Neon has been—it’s a promise of where they’re headed. Check out more from Old Neon: https://www.oldneonmusic.com https://www.instagram.com/oldneonmusic https://www.tiktok.com/@oldneonmusic https://bsky.app/profile/oldneonmusic.bsky.social https://linktr.ee/oldneonmusic

OFFICIAL MUSIC VIDEO FOR FOCUS TRACK “GOOD THING” OUT TODAY. WATCH “[WE ARE]” [EP] LISTEN Internationally acclaimed, chart-topping K-pop group i-dle, formerly (G)I-DLE, are kicking off their new era with "[We are]" - the first body of original songs under their newly christened name.   Released today, the six-track mini-album, led by the focus track 'Good Thing,' is a punchy collection of songs that reflect the group's confident and boundary-pushing approach.    Renowned for writing and producing their own songs, the award-winning quintet - made up of MINNIE, MIYEON, SHUHUA, SOYEON and YUQI - has over 6.8 million monthly Spotify listeners, have amassed over 6 billion YouTube views, and have garnered tens of millions of followers across all platforms around the world.   The powerhouse group celebrated their 7th anniversary this month with a name change to reflect the next chapter in their evolution. The "G" was dropped from the name to re-assert that the group's identity can't be defined by gender. The deleted parenthesis in the name also denotes that future music releases and concepts will be 'limitless'. [We are] tracklisting: 01. Good Thing 02. Girlfriend 03. Love Tease 04. Chain 05. Unstoppable 06. If You Want ABOUT i-dle i-dle reshape, refashion, and reimagine what K-pop can be with an immersive, innovative, and independent vision boosted by their own songwriting, production, and curation. Since 2018, the quintet—MIYEON, MINNIE, SOYEON, YUQI, and SHUHUA—haven’t just challenged expectations; they’ve changed the game entirely. They set a precedent by personally helming their music and creative, evolving as a unit over seven years together, selling out arenas, and breaking records. It’s why they’ve consistently expanded their influence and attracted a devout global fanbase of millions whom they’ve affectionately dubbed “Neverland . ” In 2018, they exploded as an international phenomenon with the breakthrough single “LATATA.” Delivering mini-albums and EPs at a breathless pace, their expansive catalogue has notched multiple #1 debuts in Korea in addition to seven Top 10 debuts on the Billboard  World Albums Chart, vaulting to #1 with I Feel  [2023]. Sophomore full-length, 2 , impressively surpassed one million sales in less than two days, cementing i-dle as “the 5th highest-ranking K-pop girl group of all-time for initial release sales . ”  They have also garnered Golden Disc Awards, Asia Artist Awards, and Melon Music Awards. The massive I-dol World Tour  packed arenas in Seoul, Hong Kong, Sydney, and the United States.  USA Today  hailed their  “unique tracks and concepts that underscore the multi-faceted nature of each member , ”  and Refinery29  attested,  “It isn’t simply their bold, sensual concept that sets them apart among budding K-pop girl groups, however — [i-dle] is one of the rare groups who makes its own music.”  Beyond praise from Elle , Teen Vogue , Billboard , and more, GRAMMY.com  put it best: “Breaking stereotypes has always been [i-dle]’s main drive . ” Now, this collective continue to push forward in 2025 with the mini-album [We are] . Find out more from i-dle: OFFICIAL WEBSITE  | INSTAGRAM  | YOUTUBE  | X  | FACEBOOK

SAN FRANCISCO/MELBOURNE ALT-POP ARTIST & PRODUCER ROHAN RECKONS WITH A TOXIC LOVE ON UNINHIBITED POP-PUNK-TINGED "FIZZY" OUT NOW– LISTEN & WATCH FEATURING DRUMS BY THOMAS PRIDGEN (THE MARS VOLTA, LIZZO, THUNDERCAT) Melbourne/San Francisco alt-pop artist & producer ROHAN reckons with a reckless love as it finally fizzles out on the pop-punk-infused "Fizzy," out today with its matching visualizer . On his latest break-up anthem, loud and uninhibited, the artist captures the good, the bad, the calm and the messy of a relationship meeting its dramatic end. Blending pop-punk, alt-pop and R&B, "Fizzy" features drums by celebrated American drummer Thomas Pridgen (The Mars Volta, Lizzo, Thundercat), which came together during a late-night jam session in ROHAN's Melbourne home studio. Reflecting on the track falling into place while working with Pridgen, the artist shares , " He landed on this drum groove that just snapped everything into place. I brought him into the studio to track the drums properly. His energy on it is wild—it brought the whole thing to life." The track was partially engineered by Scott McDowell (Ty Segall, The Head And The Heart), mixed by Brian Cruz (Dominic Fike, Dua Lipa, Giveon) and mastered by John Greenham (Billie Eilish, Gracie Abrams, Lady Gaga). With a nostalgic undertone, "Fizzy" brings ROHAN back to his roots. Speaking on the track's influences, ROHAN says, " The guitars and bass really draw from my punk-pop influences; Green Day, Skegss, Beach Goons and Beach Bunny. Being away from my band in California, I wanted it to feel like I was back in rehearsal, just jamming and letting it bleed." Watch "Fizzy" (Official Visualizer) Working with director Mark Kohr (Green Day, Shakira, Alanis Morissette) was a dream come true for ROHAN. The musician shares , "The concept was simple: Thomas and I jamming in a bar, surrounded by empty wine bottles—a nod to the fights, the highs, the overindulgence. The feeling that something’s about to combust." Last month, after receiving encouragement via TikTok from Beabadoobee, ROHAN shared the confessional " I Wish I Could Tell You " where he yearns for closure over a hooky guitar loop. Several tastemakers praised the track, including Unheard Gems , who wrote, " a refreshingly honest approach to bedroom pop..feels both familiar and uniquely his own." Envi Media added, " Sepia toned distant love crooned from 2000s John Mayer, Gin Blossoms and 2020s keshi, and Dominic Fike. " On the visual, From The Intercom added, “ The visuals match the raw sound of the song with cool tones and nostalgic cinematic views." The track was added to Spotify's Fresh Finds in Australia and New Zealand, and Apple Music's heartache playlist.  Watch "I Wish I Could Tell You" (Official Visualizer) | Listen ROHAN was raised by Indian parents between Australia and Singapore and was introduced to music through Australian Idol and Green Day's  American Idiot . After high school, he moved to California and attended Stanford to continue exploring his love for technology and music. Recently opening for Devon Again proved to be a cathartic moment as the pop artist was a shared love of ROHAN and his former love. Now, out of his own studio in San Francisco and pulling inspiration from Australian indie rock bands like Skeggs, 90s R&B like Lauryn Hill and contemporary pop artists like Dominic Fike, he's ready to officially introduce himself with his own blend of Australian indie rock with R&B, electronic and folk influences that form his self-produced confessional alt-pop anthems. Earlier this year, ROHAN supported Chappell Roan's favorite pop artist, Devon Again at her sold out San Francisco show. Unfiltered and fiery, ROHAN faces a romance that has finally fizzled out on "Fizzy" out now . Connect with ROHAN on Instagram , TikTok and YouTube and stay tuned for much more to come from the rising artist. ABOUT ROHAN  ROHAN was an Australian kid with big dreams. It's thanks to his Indian mum that he picked up the piano; the rest is history. His subsequent love for punk via Green Day's American Idiot led him to exploring computers and fronting bands out of Melbourne & Singapore. He later moved to California to pursue those childhood dreams and dropped out of Stanford to build both his own studio in San Francisco along with a gaming company. The home studio is where he blends the laid-back grit of Australian indie rock with R&B, electronic, and folk into confessional alt-pop anthems. Self-produced and genre-defiant, his songs journal true stories of heartbreak, vices, and self-discovery—fusing raw guitar riffs, sincere vocals, and laptop-crafted loops. Find out more from ROHAN: Instagram | YouTube  | TikTok | Soundcloud | Bandcamp

May 9, 2025 The Park Theatre All photos by Kay Arnal.

On her gripping debut EP, My Darkness Is Not Pitch Black , Indianapolis-based artist FRANK (a.k.a. Sydney Elliott) steps boldly into the spotlight with a collection of seven songs that slice through the haze of modern alternative music with both razor-sharp candour and cinematic ambition. Seamlessly fusing grunge’s grit, industrial’s edge, and indie rock’s introspection, this is a project that thrives in contrast, where vulnerability and power aren’t at odds, but partners in crime. The title My Darkness Is Not Pitch Black , which is out May 20, 2025, via Absorb., is more than a poetic turn of phrase—it’s a mission statement. It encapsulates the EP’s central theme: that even in the deepest shadows of personal pain, dysfunction, and uncertainty, there exists an intrinsic hope, a flicker of light that keeps pushing forward. FRANK never shies away from the raw or the uncomfortable, but her delivery is drenched in self-awareness and emotional intelligence. Opening track “Prelude” sets the tone with ethereal production—a haunting overture that introduces the emotional landscape we’re about to explore. From there, the EP roars into life with “Sick Of Yourself,” a standout moment of biting self-reflection disguised as a catchy grunge-pop banger. The track gets a second life later on the EP with an electrifying feature from Zayna Youssef of Sweet Pill, whose chemistry with FRANK adds even more punch to an already blistering anthem of disillusionment and self-respect. “Purified” and “Overdose” dive into the push-pull of addiction—both chemical and emotional. The former feels spiritual and cleansing, with soaring melodies and industrial undercurrents, while the latter is chaotic, pulsing with intensity as FRANK examines the line between obsession and collapse. Both tracks are co-produced with Owen Thomas (Kishi Bashi, The Band Perry, Dream Chief), whose work brings a crisp yet volatile texture, allowing FRANK’s voice to shine without sacrificing sonic danger. Then there’s “Stuck In Reno,” a beautifully off-kilter moment that slows things down with a driven groove from an acoustic guitar without losing intensity. Part road song, part emotional limbo, the track captures a snapshot of aimlessness and longing in a place that feels forgotten. It’s a testament to FRANK’s lyrical skill—she turns a roadside town into a metaphor for being trapped between versions of yourself. “Stupider” plays like a letter to a past self or a former flame, equally devastating and cathartic. “I wish I were stupider / So I’d never feel this way,” FRANK croons with aching sincerity, a chorus that manages to feel both ironic and equally heartbreaking. And finally, the track “Naturally” closes the core tracklist with a sense of grounded clarity. It’s the sonic equivalent of morning light after a long night—still a bit uncertain, but unshakably real. Throughout the EP, FRANK’s vocals are the anchor. She delivers her lyrics with a soul-baring quality that feels simultaneously vintage and new—a nod to her love of artists like Annie Lennox and Mazzy Star, while staking her claim among modern torchbearers like Hayley Williams or Sharon Van Etten. The mixing from Geoff Swan (Charli XCX, Caroline Polachek) and Micah Tawlks (COIN, The Brook And The Bluff) brings a lush, cinematic polish to even the grittiest of moments, allowing the EP to feel expansive and intimate at once. FRANK’s personal story—battling Ehlers-Danlos Syndrome (EDS) while crafting music that refuses to be pitied—adds a layer of resilience and realness to My Darkness Is Not Pitch Black . This isn’t just a debut; it’s a declaration of identity, artistic power, and emotional depth. With this EP, FRANK doesn’t just join the conversation of modern alt-rock—she kicks the door in. Check out more from FRANK: https://linktr.ee/talkaboutfrank

FOLLOW UP TO “SEE ME CRY” FROM THE FILM ‘OFF THE RECORD’ HINTS AT A DEBUT ALBUM LATER IN 2025 STREAM + SHARE “HORSE” VIA ALL DIGITAL PLATFORMS Rainsford , aka Rainey Qualley , returns with her latest single, “ Horse ,” a first taste from her debut album due later this year on Sparta Distribution . The defiant track about falling for the wrong person was co-written with and produced by Michael Kamerman (Smallpools). “ I am so excited that ‘Horse’ is finally out, ” notes Rainsford. “ It’s been a favourite song of mine since Michael and I wrote it over two years ago. At the time, I was really struggling in a toxic cycle of falling in and out of love with someone. I felt like I had lost all control, having my heart broken over and over again, and that’s what I put into the music. Like a ‘horse in a trailer on the way to a stall’. To me, the song is full of restlessness and eagerness and longing for someone who hurts .” “Horse” arrives hot on the heels of Rainsford’s “See Me Cry,” from the feature full-length film Off The Record , starring Qualley and Ryan Hansen, and directed by Kirsten Foe, which arrived in theatres this month. Together, they point to a new creative period for Rainsford after taking some time to focus on being a new mom. Performing under her full name, Rainsford, Qualley has shown her impressive versatility across a genre of projects rooted in film, television and music. Multi-hyphenate in every sense, she’s a musician, actress, model, writer and creative director. She was hailed by PAPER as “t he minimalist weirdo-pop star of your dreams ,” carving out her own place amongst the musical landscape over the course of two EPs and numerous singles since 2016. She has topped a variety of Ones to Watch lists and garnered notice from the likes of Billboard , Complex and Vice , firmly securing her as a unique emerging voice in pop and reaping over five million streams all as an independent artist. Her influences range from indie, pop, R&B and soul and share the qualities that are most evident in her own material - honesty and authenticity. Find out more from Rainsford: Website | Instagram | YouTube | X | Facebook | Spotify | Apple Music | Soundcloud

I sat down with indie-pop singer-songwriter Maddie Regent to talk about her debut album, On the Phone with My Mom, which is out now. The album consists of a fourteen-song tracklist, including her singles “the wolf” and “You could break my heart.” How did you come up with the title for the album? Maddie: ‘On the phone with my mom’ was a lyric in my song “You could break my heart,” and when I sang it for the first time, I felt like it really captured the theme of the album. It reflects both the emotional growth I’ve gone through and the support I’ve been fortunate to have while growing up. What was the writing process like? Maddie: I wrote the album with my boyfriend, Cade Hoppe, who’s also a producer and artist. We usually started with a piano line and a theme, and built from there. It was a really cool process because I was able to go much deeper than I normally would with another co-writer, simply because he knows me so well. The title track, "On the phone with my mom," starts the album off strong with a short instrumental piece. Can you talk about the process behind the song and the choice to introduce the album with it? Maddie: That track was originally written as an intro to the second track on the album, “Any day now,” but I felt like it would be cool to separate them and have them fade into each other. A lot of my favorite albums have instrumental intro tracks, and I always think it makes it more of a connected story. It feels very theatrical to me. Did you face any unexpected challenges while making the album? Maddie: I think the most unexpected challenge was figuring out whether a song was too long, too short, or just right. And as you can see from the track lengths, we didn’t end up cutting anything short — and I love that. It’s my first album, and I have a lot to say. I didn’t want to overthink things just to make the songs more “commercial.” Are there any songs you’re most excited for fans to hear? Maddie: My answer to this changes a lot, but right now I’m excited for my fans to hear “Cutie.” It’s a happy, lovey song, and it’s also pretty funny! Describe the album in three words? Maddie: Charming, hopeful, and cathartic. What was the process like for creating the album cover? Maddie: We shot it outside at the home of the photographer, Anna Koblish. I wanted it to feel like a dream, or like something out of my imagination. To me, it represents girlhood. When did you know the album was done? Maddie: I think we knew it was done after we made the song “Cutie.” At that point, I knew that I’d said everything I needed to say. We started making a track list and ordering the songs, and it just became so clear that the album was complete. How does it feel knowing your debut album is almost out? Do you have any memorable moments from the entire process? Maddie: Honestly, I’m just really proud of myself for finishing it. Cade and I were the only ones setting and enforcing deadlines, which wasn’t always easy—especially since making an album takes both time and money. As a small independent artist, there were moments when I questioned whether it was even the right time to make an album. But now that it’s finished, I know this project was meant to be put out into the world. I really hope it finds the people who need it. If you could set fans up with the perfect environment to listen to the album, what would it be? Maddie: On their bed, no overhead lights, and only lamps turned on. Or even better, basking in the blue glow of a TV screen with all the lights off. Headphones on. Staring at the ceiling. Read our review of On The Phone With My Mom HERE Check out more from Maddie Regent: Website | Instagram  | Twitter  | TikTok  | Facebook  | Spotify  | YouTube  | Soundcloud

LISTEN HERE Pop disruptor Sophie Powers teams up with genre-defying artist and producer RJ Pasin on " XO ," an explosive new single that plunges into a chaotic, cinematic soundscape where hyperpop’s frenetic energy collides with the raw power of metalcore. " XO " captures the emotional volatility of a generation overwhelmed by societal pressure but unwilling to stay silent. With piercing, unapologetic vocals and a sharp lyrical perspective, Sophie cuts through the noise with fearless clarity. The result is a track that feels both defiant and cathartic, grounded in Sophie’s emotionally unfiltered delivery and signature melodic punch. "'XO' is pure femme fatale energy—like kissing destruction on the mouth ," Sophie shares. " Working with RJ Pasin unlocked this wild sonic tension I’ve been chasing for a while. It’s the sound of me stepping into womanhood, claiming my power, and still recklessly chasing chaos like it’s love. As Hannah Montana said, sometimes you really do get the best of both worlds—and this song is proof. My voice wraps around RJ's guitar in a way that feels both raw and hypnotic, but it’s that mysterious, unhinged energy that gives 'XO' it's heartbeat." Driving the track’s sonic intensity is RJ Pasin, the multi-hyphenate producer known for fusing cinematic metalcore with emo rap and electronic math rock. RJ injects “XO” with glitch-heavy textures, punishing breakdowns, and a jolt of unpredictability. With over 300 million solo streams and credits alongside Sexy Redd, Flo Milli, Bring Me The Horizon, and more, RJ brings both subcultural grit and forward-thinking precision to the collaboration, amplifying Sophie’s voice without ever overshadowing it. Sophie Powers is a sonic disruptor, a style innovator, and an unfiltered voice for a generation that refuses to be boxed in. At just 20 years old, the Toronto-born, Los Angeles-based artist is carving out space for sharp-minded, creative outcasts. Since her 2022 debut, Sophie has earned acclaim from PAPER, The FADER, Alternative Press, and Stereogum for her boundary-pushing sound and bold visuals. Listen to "XO" on all streaming platforms: https://broke.ffm.to/xo SOPHIE POWERS TOUR DATES: May 24 - Hatfield, UK @ Slam Dunk Festival May 25 - Leeds, UK @ Slam Dunk Festival June 14-15 - Washington, D.C. @ Vans Warped Tour 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 Find out more from RJ Pasin: Instagram | TikTok | YouTube | Spotify | Apple Music

Arrows in Action have always had a knack for wrapping emotional candour in irresistibly catchy hooks, and with I Think I’ve Been Here Before (Side A) , out now via Nettwerk Music Group, the Nashville-based trio delivers their most confident, colourful, and sonically expansive work to date. Clocking in at six tracks, this first half of their ambitious two-part album is a jubilant celebration of growth, nostalgia, and the subtle magic of second chances. Produced by longtime collaborator Dan Swank—whose polished, radio-ready touch is felt in every gleaming riff and shimmering chorus— Side A  marks a distinct tonal shift for the band. Where 2023’s Built to Last  leaned more into alt-rock grit and emotional turbulence, Side A  beams with optimism and a fresh sense of self-discovery. This is Arrows in Action at their most open-hearted and adventurous, leaning into brighter melodies, uptempo rhythms, and a pop-rock glow that feels tailor-made for long drives and late-summer festivals. The opening track “Celebration” sets the tone with an explosive sense of joy. It’s a fist-in-the-air anthem that feels both earned and effortless, reflecting the band’s journey from DIY beginnings to a global fanbase. The song pulses with the euphoria of making it through hard times, landing squarely in the territory of All Time Low meets WALK THE MOON. “Feel It Again” dives headfirst into bittersweet nostalgia, where emotional scars and fond memories coexist in a dance of tentative hope. With its soaring chorus and lines like “What’s the worst that could go wrong?” , it perfectly captures the album’s central motif: looking back without regret and embracing the urge to try again—whether it’s love, life, or passion reignited. “Hello Sunlight!” brings pure serotonin in musical form. It's bright, bouncy, and unapologetically pop-leaning, showcasing the trio’s chemistry and tight musicianship. The sun-drenched guitar tones and infectious groove feel like a morning after the storm—fresh, clean, and full of promise. The standout moment arrives with “Light Like You,” a gorgeously written ode to fleeting connection and romantic idealism. Victor Viramontes-Pattison’s vocals radiate warmth and wonder as he recounts an almost-love that changed everything, if only for a moment. It’s a testament to the band’s ability to make big emotions feel intimate and real, and the song’s wistful, dreamlike quality is nothing short of spellbinding. “Lost in the Moment” keeps the momentum high with crisp percussion and a hook that feels destined to be screamed back by festival crowds, just like the previous track. It’s the kind of song that reminds you to savour the present, even when it’s fleeting. The album's closing track, “Déjà Vu,” brings everything full circle. With layered harmonies and swirling instrumentation, it explores the strange comfort of repetition, of seeing familiar signs in unfamiliar places. It’s a fitting bookend for a collection of songs that’s all about revisiting the past to reclaim the joy we might’ve missed the first time around. With I Think I’ve Been Here Before (Side A) , Arrows in Action have crafted more than just a set of feel-good anthems—they've distilled a feeling. The songs are both deeply personal and widely relatable, rooted in the kind of optimism that only comes from having been through the darkness and choosing to dance in the light anyway. This is the sound of a band who knows exactly who they are—and who they’re becoming. If Side B  continues the arc with the same emotional intelligence and sonic vibrancy, I Think I’ve Been Here Before  could very well cement Arrows in Action as one of the defining voices of modern pop-rock. Check out more from Arrows In Action: Website | Facebook | Twitter | Instagram | YouTube