LISTEN HERE | WATCH HERE Floating somewhere in the ocean…. Niko Moon, multi-platinum country artist, takes us on a mental vacation with his breezy new single, “BOAT SONG,” set to instantly increase boat sales in the United States and poised to become an ultimate summer anthem of 2025. Available everywhere now, listen HERE via EMPIRE. Overflowing with country guitars and slick beats that sway like palm trees in the summer breeze, this laid-back coastal banger was co-written by Niko and continues his tradition of crafting good-time music that radiates optimism with a message. “ I was talking to a fan while out on tour and they said, ‘Man, you make the best boat songs.’ That line stuck with me ,” stated Niko, adding, “ As a songwriter, you live for those little sparks in everyday conversation-and as an artist, I don’t think there’s a better compliment than being the music someone plays out on the water. That’s where the memories happen, the energy’s light, and everyone’s just feeling good. So when we started writing this one, we made sure it lived up to that kind of moment. ” The track release follows a breakout performance at Stagecoach festival where Niko performed on the mainstage, and played the song to enraptured fans. For a full list of tour dates, news and announcements, please visit www.nikomoon.com Born and raised in Tyler, Texas, and later relocated to Georgia, Niko Moon has established himself as one of country music’s most exciting and dynamic new voices. He first gained recognition as a co-writer for the Zac Brown Band, contributing to hits like “Homegrown,” “Beautiful Drug,” and “Loving You Easy.” He has also written songs for other major artists including Morgan Wallen, HARDY, and more. In 2020, Niko broke out as a solo artist with his multi-platinum single “Good Time,” which topped the country charts and became an anthem for good vibes. Following his THESE ARE THE DAYS EP  earlier this year, Niko recently released his highly anticipated THESE ARE THE NIGHTS EP , a four-song collection that reflects the magic of life’s simple joys and the energy of life on tour. Tracks like “MONEY CAN’T BUY” and “SUMMER DON’T GO” highlight Niko’s signature blend of positivity and storytelling. Off stage, Niko and his wife, Anna, co-founded the Happy Cowboy Foundation, which supports mental health initiatives and addiction recovery programs. Niko is also the founder of Happy Himalayan, a premium artesian water brand infused with pink Himalayan sea salt, designed to promote health, wellness, and hydration. Through his foundation, water brand, and music, Niko aims to inspire others to prioritize well-being and positivity. Niko is currently out on the road for his These Are The Nights Tour, bringing his uplifting live show to fans across the country. This May, he’ll also host the inaugural Good Timers event in Charleston, a family-friendly day of music, yoga, food trucks, and community connection in honor of Mental Health Awareness Month. More information can be found HERE . As Niko continues to connect with fans through his music, “BOAT SONG” is another vibrant chapter in his feel-good discography—and furthers his mission to spread positivity and celebrate the good times whilst acknowledging and overcoming our challenges with mental health. Niko Moon 2025 Tour Dates: May 2 Fri - Seattle, WA - The Showbox May 3 Sat - Vancouver, CA - Commodore Ballroom May 6 Tue - Calgary, CA - The Palace Theatre May 7 Wed - Edmonton, CA - Midway May 9 Fri - Saskatoon, CA - Coors Event Centre May 10 Sat - Winnipeg, CA - Burton Cummings Theatre May 13 Tue - Atlanta, GA - The Eastern ^ May 15 Thu - St. Augustine, FL - St. Augustine Amphitheatre ^ May 16 Fri - Clearwater, FL - The Baycare Sound ^ May 17 Sat - Fort Lauderdale, FL - FTL War Memorial ^ May 24 Sat - Charleston, SC - Niko Moon’s Good Time Charleston - The Refinery May 25 Sun - Charleston, SC - Niko Moon’s Good Time Charleston - The Refinery May 28 Wed - Boulder, CO - Jam For Good - Boulder Theater May 29 Thu - Vail, CO - Gerald R. Ford Amphitheatre ^ May 30 Fri - Morrison, CO - Red Rocks Amphitheatre ^ May 31 Sat - Casper, WY - The Gaslight Social Jun 5 Thu - New York, NY - The Rooftop at Pier 17 + Jun 6 Fri - Asbury Park, NJ - Stone Pony Summer Stage + Jun 7 Sat - Boston, MA - Leader Bank Pavilion + Jun 12 Thu - North Lawrence, OH - The Country Fest 2025 Jun 13 Fri - Indianapolis, IN - Everwise Amphitheater at White River State Park + Jun 14 Sat - Sterling Heights, MI - Michigan Lottery Amphitheatre at Freedom Hill + Jun 27 Fri - Cadott, WI - Hoofbeat Country Fest 2025 Jun 28 Sat - Brainerd, MN - Lakes Jam 2025 Jun 30 Mon - Gwinn, MI - The Big 3 Summer Concert - Forsyth Township Ballfields Jul 5 Sat - Hot Springs, AR - Magic Springs Water & Theme Park Jul 10 Thu - Hampton, NH - “Country By The Coast” Country Music Fest Jul 11 Fri - Buffalo, NY - Electric City Jul 12 Sat - Fort Loramie, OH - Country Concert 2025 Jul 15 Tue - Virginia Beach, VA - The Dome ^ Jul 17 Thu - Washington, DC - Nationals Park - Plaza Stage ^ Jul 18 Fri - Atlantic City, NJ - Ocean Casino Resort ^ Jul 19 Sat - Sidney, ME - Snow Pond Center For The Arts ^ Jul 24 Thu - Harrington, DE - Delaware State Fair 2025 Jul 26 Sat - Janesville, WI - Rock County 4-H Fair Jul 31 Thu - Crown Point, IN - Lake County Fair Aug 1 Fri - Lake Ozark, MO - Lazy Gators Aug 2 Sat - Wahoo, NE - Saunders County Fair Aug 10 Sun - Billings, MT - First Interstate Arena at MetraPark + Aug 16 Sat - Perrysburg, OH - Boots in the ‘Burg 2025 Aug 21 Thu - Redmond, WA - Marymoor Park Nov 13 - 15 - Miramar Beach, FL - Moon Crush Odies Beach Vacation 2025   +Direct Support for Russell Dickerson ^ Direct Support for Michael Franti Follow Niko Moon online: nikomoon.com | facebook.com/nikomoonmusic | instagram.com/nikomoon | twitter.com/nikomoon | tiktok.com/@nikomoon | youtube.com/@nikomoon

LISTEN HERE LA-based queer queen of candid pop Maddie Zahm released a brand new single “Mothers & Daughters” out via AWAL – a beautiful, heartfelt tribute to the complex, ever-evolving relationship between mothers and daughters. The song glimmers with echoey ethereal production buoyed by Maddie’s strong voice, singing about the evolving relationship between her and her mom: “i’m slowly becoming my mother…from screaming i hate you, you’re ruining my life .. to panic attacks about the day that she dies” Maddie says about the new single: Mothers & daughters is without a doubt my favorite song I’ve ever written. There’s something so honest about acknowledging that your mom is also just a girl living life for the first time too. I held a lot of resentment towards my mom in my later teen years as I navigated my relationship with food, god and my body. But the older I get and the closer my mom and I have become, the more I’ve realized she is the greatest friend I have ever had. I sometimes can’t fathom that she had me at twenty-two years old. I am twenty-seven, and the idea of raising a daughter without passing on any of my current burdens seems impossible. As life keeps spinning, I only find more empathy and understanding for my mom. And not only for her, but also my mom’s mom and so forth. We are all a cycle of women learning how to raise other women in a society that tells us that we’re never doing enough. And I know it’s not the case for everyone, but for some of us, one day we wake up and realize our mothers were more than enough. And not only that, but we’re exactly like them. WATCH MADDIE’S ACOUSTIC VERSION OF MOTHERS & DAUGHTERS HERE Maddie Zahm just released (the angry part), a 4-song exploration of different facets of anger – with dance-floor breakup anthems to haunting bedroom pop about toxic men to a powerful ballad about the cannibalism of fame. Listen now.   She also recently appeared on The Terrell Show  – a hilarious and heartfelt episode that finds Terrell and Maddie bonding over religious upbringing, their coming out experiences, as well as Maddie giving stunning performances of some of her own songs, as well as the ABCs. Maddie also recently appeared on 2 Broke Gays , and she was featured in People’s 2025 Emerging Artist List.   (the angry part)  is another deeply personal chapter in Maddie’s musical output – this time, exploring different facets of anger – anger with others, anger with yourself, anger at scenarios beyond your control. Her songs tap into universal truths while laying bare her own stories. Like break-ups, or spreading herself too thin after success, or even putting herself in the shoes of a friend who couldn’t see she was in a deeply unhealthy relationship. In true Maddie Zahm spirit, the feelings are feeling, the voice is giving, and the songs hit right smack in the center of the heart. The release of ( the angry part)  follows a whirlwind of burgeoning success for Maddie Zahm, whose confessional lyrics and powerhouse vocals have landed her attention from the Kelly Clarkson Show, NPR All Things Considered, Billboard, American Songwriter, Consequence, Rolling Stone, People, SPIN, YouTube’s The Spark series, and many more. From the virality of singles “Fat Funny Friend” and “You Might Not Like Her” to her critically acclaimed debut album Now That I’ve Been Honest, to last year’s fan-favorite single   “little me” , which she debuted on the Kelly Clarkson Show , Maddie Zahm has continued amassing a devoted fan base of over 175 million streams and millions of fans on TikTok. In an interview with the Los Angeles Times about TikTok virality, they mentioned her as the rare artist who has been able to transform TikTok fame to a tight-knit community to in-person sold-out shows around the US. Now, with the kick-off of her next chapter of music, Maddie is again inviting fans into her world, where she leads listeners into the most intimate parts of her psyche (and theirs too). Maddie is forever oscillating through the spectrum of emotions and creating a space where audiences can unite and share in the reality that existing is overwhelming. Last year, she took the debut album on tour – selling out shows around the U.S. – and released fan favorite “little me” while on the road. Maddie’s star continues to rise in 2025, with the release of her EP and the sad & sexy tour expanding this fall. ABOUT MADDIE ZAHM: Meet Maddie Zahm, America’s favorite new pop singer. She launched onto the scene when her fan-favorite single “Fat Funny Friend” galvanized TikTok and became an empowering anthem for people experiencing fat phobia, societal pressure, and body dysmorphia. The single came from her 2022 EP You Might Not Like Her, which shared Maddie’s story of leaving her hometown of Boise, ID where she was a worship leader at the tender age of 13, and eventually moving to Los Angeles where she came out as queer and did a lot of living to catch up fast. The EP was a beacon for many listeners, who have flocked to Maddie’s highly personal songwriting and powerhouse voice. Those fans–who sold out her North American tour in Spring 2023 and racked up Maddie’s 175 million streams, 3 billion views, and 250k videos created on TikTok set to "Fat Funny Friend"–quickly became a community. Her debut album, Now That I’ve Been Honest (2023) was critically acclaimed by the Billboard, NPR, Consequence, Rolling Stone, American Songwriter and more, and is a door into the world of Maddie Zahm’s raw, triumphant, honest, and refreshing personal story that signals the arrival of one of music’s most important new voices. Last year, she took the debut album on tour – selling out shows around the U.S. – and even released additional tracks, including fan favorite “little me.” FALL 2025 sad & sexy tour dates: Oct 7 Tue - Phoenix, AZ - The Van Buren  Oct 10 Fri - Dallas, TX - The Kessler Oct 11 Sat - Houston, TX - The Heights Theater Oct 14 Tue - Charlotte, NC - The Underground Oct 15 Wed - Raleigh, NC - Lincoln Theatre  Oct 16 Thu - Washington, DC - Lincoln Theatre Oct 18 Sat - Philadelphia, PA - Brooklyn Bowl Philadelphia Oct 20 Mon - Boston, MA - Paradise Rock Club  Oct 21 Tue - New York, NY - Gramercy Theatre Oct 23 Thu - Toronto, ON - The Opera House Oct 24 Fri - Cleveland, OH - House of Blues Cleveland  Oct 26 Sun - Columbus, OH - The Athenaeum Theatre Oct 27 Mon - Nashville, TN - The Basement East Oct 28 Tue - Indianapolis, IN - HI-FI Annex Oct 29 Wed - Chicago, IL - Metro Nov 1 Sat - Ferndale, MI - The Loving Touch Nov 3 Mon - Minneapolis, MN - Fine Line Nov 4 Tue - Lawrence, KS - The Granada Nov 6 Thu - Denver, CO - Gothic Theatre Nov 8 Sat - Salt Lake City, UT - The Complex Nov 13 Thu - Seattle, WA - Neptune  Nov 14 Fri - Portland, OR - Hawthorne Theatre Nov 16 Sun - San Francisco, CA - Great American Music Hall  Nov 18 Tue - San Diego, CA - Music Box Nov 19 Wed - Los Angeles, CA - The Fonda Theatre Follow Maddie Zahm: Instagram TikTok YouTube Twitter   Facebook

April 26, 2025 The Park Theatre All photos by Kay Arnal.

New Single & Music Video “ Negative Space ” Out Now Following the release of Antibloom , revered rock group Silverstein returns with Pink Moon : the second chapter in their ambitious 16-song double album, conceived and recorded during a transformative stretch in the high desert of Joshua Tree. The album, set to be released on September 12th via UNFD , is available for pre-order / pre-save now.   Along with the announcement comes lead single and music video “ Negative Space ”, offering fans their first glimpse into Pink Moon . Following the critically acclaimed Antibloom , this new track pushes everything further: the chaos, the emotion, the dynamic contrast. With its relentless pace, shifting moods, and massive hook, it captures the disorienting feeling of spiraling out, only to land in a crushing breakdown. The video, a surreal and unhinged sequel to the fan-favorite “ Don’t Let Me Get Too Low ”, was shot guerrilla-style across Las Vegas and delivers on every level. This is Silverstein at their most explosive and cinematic yet.   “ I think the coolest thing about ‘Negative Space’ is how off-balance it makes me feel. It’s almost like it’s slightly too fast so it’s always trying to catch up to itself. That, combined with the fact that it’s always switching vibes and using contrasting tones makes for a really interesting 3 minutes ,” shares guitarist Paul Marc Rousseau.   Adds front man Shane Told : “ This song really has it all. Tons of energy, raw power, a big hook, and a massively heavy breakdown. I also love the lyrics and the photography imagery. On top of it, the video was super fun to make, and I think might be our best video as well. So, needless to say, I am SUPER excited for people to hear this one. The video is the companion piece and sequel to “Don’t Let Me Get Too Low”. The songs were written together over 2 days with our friend Jon Lundin (Point North), and it completes the story of myself playing a madman burying himself in the Las Vegas desert. ”   Born from the same sessions as Antibloom , the songs on Pink Moon were sequenced with intention, offering a distinct yet complementary listening experience. Known for their meticulous attention to flow and emotional pacing, the band crafted both halves to stand on their own while also telling a broader, interconnected story, one that ebbs and crashes like the desert winds that shaped it.   Pink Moon features the only guest appearances on the project, with stunning contributions from Rory Rodriguez of Dayseeker and Cassadee Pope - voices chosen mid-process when the band sensed the need to push certain songs into new sonic territory. The result is a bold and diverse body of work that expands Silverstein’s dynamic range while staying true to their emotional core. By releasing the project in two halves, the band has given every song the room to breathe, resonate, and evolve: a fitting strategy for a year packed with touring, celebration, and reflection. The moon has risen. The story continues.   This year, fans around the world are invited to join Silverstein in celebrating their “silver” anniversary with the 25 Years Of Noise Tour . These shows offer a discography-spanning performance and fans are able to vote for their favorite songs from each record to help decide the setlist. The band recently wrapped up the initial legs in North America and the UK / EU alongside Thursday , The Callous Daoboys , Arm’s Length, and Split Chain .   Silverstein is currently continuing their trek across North America, reaching new markets with support from Real Friends , Broadside , and Greyhaven . For a full list of upcoming shows or to purchase tickets, please see below or visit: https://silversteinmusic.com/ . About Silverstein: Silverstein enters its 25th year with two full-length albums set for 2025. The band that NME calls “ legendary ,” and Loudwire placed among the Most Prolific Rock & Metal Artists of the 21st Century, continues to innovate and inspire on forward-thinking records and at crowd-embracing live shows.   Silverstein songs like “ My Heroine ,” “ Smile in Your Sleep ,” “ The Afterglow ,” and “ Infinite ” are postmodern anthems for a devoted following earned with passionate performances and authentic artistry. As recently as 2024, The Needle Drop called them “emo hardcore legends.” While their 750 M+ streams reflect that, Silverstein grew up in a scene where the music and message come first.   Audiences sing and scream along in packed theaters, at festivals, and on tours around the world with groups like Simple Plan, Rise Against, Good Charlotte, Pierce The Veil, Beartooth, and Underoath.   Silverstein have continued to build on their already-wide-reaching impact. Immersing themselves in new technologies like TikTok, Discord, the metaverse and Twitch (even holding public writing sessions with fans over the latter) during its formation, the band have confirmed their unique ability to adapt and connect in all cycles of their career. Pink Moon Tracklist: 1. I Love You But I Have To Let You Go 2. Negative Space 3. Drain The Blood (feat. Rory Rodriguez of Dayseeker) 4. The Fatalist 5. Widowmaker 6. Autopilot (feat. Cassadee Pope) 7. Death Hold 8. Dying Game North American Tour Dates: (w/ Real Friends, Broadside, Greyhaven) 5/02 – Wichita, KS @ TempleLive 5/03 – Des Moines, IA @ Val Air Ballroom 5/04 – Madison, WI @ The Sylvee 5/06 – Rochester, NY @ Water Street Music Hall 5/07 – London, ON @ London Music Hall 5/08 – Ottawa, ON @ Bronson Centre 5/10 – Columbus, OH @ Sonic Temple * 5/11 – Allentown, PA @ Archer 5/13 – Richmond, VA @ The National 5/14 – Greensboro, NC @ Hangar 1819 5/16 – Daytona Beach, FL @ Welcome To Rockville * 6/6 – Granby, QC @ Festival Au Lac * 6/14-6/15 – Washington, DC @ Vans Warped Tour * 7/26-7/27 – Long Beach, CA @ Vans Warped Tour *   * - indicates Festival Date Check out more from Silverstein: Website: https://silversteinmusic.com/ Facebook: https://www.facebook.com/silversteinmusic Twitter: https://twitter.com/silverstein Instagram: https://www.instagram.com/silverstein/ TikTok: https://www.tiktok.com/@silversteinmusic

On A6 , her sixth studio album, out May 2, 2025, via Virgin Music, Canadian electro-pop visionary Lights delivers a stunning, deeply personal collection of songs that traverse grief, joy, self-discovery, and transformation. Entirely self-written and self-produced from her home in British Columbia—with Berlin’s brooding textures and vibrant nightlife as a key muse— A6  is a bold sonic diary, immersive and intricate, wrapped in synth-laden emotion and tinged with nostalgic warmth. Opening with a brief yet atmospheric “INTRO,” the album eases listeners into a soundscape that blends Midwest emo sentimentality with lush new wave and shimmering synth-wave. That genre-bending formula bursts wide open with “DAMAGE,” a pulsating track that embodies the album’s emotional gravity and Lights’ knack for crafting hooks that linger long after the song ends. Anchored by previously released singles like “ALIVE AGAIN” and “WHITE PAPER PALM TREES,”  A6  finds Lights experimenting while staying true to her core artistry. “ALIVE AGAIN” is a standout—a frenetic, cathartic anthem that pairs a catchy new wave melody with soul-searching lyrics about hitting rock bottom and finding clarity in the chaos. Lights' voice soars above the synths, at once vulnerable and defiant, while the accompanying horror-themed music video adds layers of symbolic weight and creative flair. On “WHITE PAPER PALM TREES,” Lights leans into her earlier sounds, evoking the airy intimacy of her Siberia  and Little Machines  eras, but with matured songwriting and richer production. There's also a nod to her fan favourite song, "February Air," on the track. It’s paired with the shadowy “SURFACE TENSION,” one of the most compelling risks on the record. Here, Lights embraces darkwave aesthetics, delivering a hypnotic track complete with German lyrics and icy synth textures—a sonic nod to Berlin’s influence on her. There’s no shortage of emotional nuance throughout the entire thirteen-track album. “YOU’RE KILLING ME” grapples with emotional exhaustion in relationships over delicate guitar plucks and spacey pads, while “CLINGY” flips that vulnerability into a cheeky, self-aware bop with infectious pop-rock energy driven by a gritty electric guitar, before a pulsing bass line comes into the mix. Tracks like “TAKE IT EASY” and “DRINKS ON THE COAST” provide more breathing room, shimmering with a dream-pop sheen that feels like golden-hour introspection. Meanwhile, “THE OTHER SIDE OF THE DOOR” and “PIRANHA” bite harder, laced with tension, grit, and Lights' ever-sharp lyricism—demonstrating her ability to shift moods and tones while maintaining a coherent sonic identity. The album’s closing track, “DAY TWO,” is a masterstroke—gentle yet emotionally dense. It’s a piercingly poetic end to an album that feels like a long walk through the internal wilderness: painful, beautiful, and transformative. What truly sets A6  apart is how alive  it feels—every track pulsing with emotion, curiosity, and creative daring. Lights doesn’t just write songs; she builds worlds. Her visual and sonic storytelling, exemplified through dual music video releases and self-directed visuals, continues to push the envelope of what pop music can be when in the hands of a fearless artist. A6  is a luminous, genre-fluid triumph—equal parts nostalgic and forward-thinking, vulnerable and empowered. It showcases Lights at her most introspective and most inventive, proving once again why she remains one of Canada’s most compelling and consistent alt-pop auteurs. Whether you’ve been there since The Listening  or you’re discovering her now, A6  is a must-listen—an emotional, neon-lit ride through the heart and mind of a true artist. Check out more from Lights: Facebook | Instagram | TikTok | Website | X | YouTube

Los Angeles indie rock band The Wrecks released their new EP, INSIDE , via Republic Records on April 11, 2025. The EP consists of a six-song tracklist. Can you describe your favorite experience making music? What part of the process do you resonate most with? Nick: It’s the pride in "Holy shit, I made that." I’ve pinpointed where my passion for this comes from. It’s at the end of the night or early morning when I finish a song or demo, or whatever it is. Going back and sitting on the couch while it exports and listening back to it. That's the top of the mountain for me. It's the most rewarding feeling when it feels good. Everything after that is just what has to happen when you make music. But that's the part I like the most and feels rewarding and fulfilling. On the way to that is when something feels great, and I start laughing, whether it's a funny lyric or a part that is working. It feels like getting away with something. That feeling of there's no way I get to have this, this idea is ours, it's a good feeling. It's very much the process of doing it that's most exciting, and finishing it. As teasers for the full album came out at the beginning of the year, you announced that INSIDE was the first half of the album, what brought the decision to break the album into two projects and release them at separate times? Nick: As you can deduce, we’re going on the INSIDE:OUTSIDE Tour in a couple of weeks, and there's a back half of the record called OUTSIDE . If I had to deconstruct it, I was writing INSIDE and OUTSIDE at the same time, which was maybe an internal struggle of trying not to come to terms with the fact that I was going through something. I was isolating myself and trying too hard to keep my head down instead of getting outside and experiencing the world. While also being in denial of the fact that I was also writing from this point of view of being out and experiencing the world, and all these things. I was trying to be in both. I realized at one point that I had all of these songs that were gelling different points of view, and they were contradicting and not being honest for how I was feeling. If songwriting was this way for me to make sense of what I was experiencing mentally, then I was confusing myself. I couldn't seem to finish any of them. I’ve never had that problem of having a bunch of half-finished ideas. I had 20 or 30 half-finished ideas. So I took a smaller portion of it. I looked at what do I need to say right now. "What Did I Know" was the most honest for how I'm feeling right now. And what songs match that. So I picked the songs that are on ‘INSIDE’ because they were all representing the self-isolating and confusion that I was going through, and what caused that. I told everyone I can't finish a record right now, but I can do half a record. What song are you most excited for fans to hear and why? Nick: It's the first song, "I Didn’t Use To," it's almost five minutes long. You go through a few journeys in it. It's like the song I was trying to write for a few years, while simultaneously being the song I've been waiting my whole life to write since making music, it ticks all those boxes for me. The answers to it weren't clear to me right away. Usually, it's very sudden. This one took me a minute to figure out. I delivered it to the label, mixed and mastered, and then I realized it needed a bridge. So I just added another minute to the song. The fact that it was a choice that I had to make tells me I got everything out of that song that I wanted, and put everything into it that I wanted too. You are about to release a new project and embark on a tour. What was it like creating the setlist for this tour? How did you decide how much of the new project would go on it versus your older songs that fans are more familiar with? Nick: We actually haven't decided the setlist yet, but I think we're going to play most, if not all, of the new record. Usually, you put out an album so you can play everything, but the fact that we're putting out half, there's a better chance we'll play all of it. We did a debate on Discord with fans about it, and there's some staples on our set that might go out because we were convinced by fans on what we should play. They made some great arguments. It was pretty productive. Being able to ask our fans what are you looking for in a show, and did the set have anything to do with it. We like to tap into that once in a while to get some perspective. But we haven't really decided yet. What are you most excited to get to do on tour this summer? Nick: Sleeping. Seriously, I sleep so much on tour. I turn it off and just do shows and meet and greets. That’s all my job becomes. I’m not joking at all, I'm looking forward to being in my bunk from 1 am to 4 pm every day. Sleeping a gross amount of hours and resetting my brain. It's going to be awesome, the dreams I'm going to have are gonna be crazy. It's so dark and cozy in there. The other guys, I think, are excited to see friends in different cities and visit local shops we've come to love. Seeing fans in different regions, we see everything. But for me, it's the sleep paralysis, am I awake, am I not awake, is what I'm looking forward to. What can fans look forward to on the INSIDE:OUTSIDE Tour? Nick: A good show. Best night of your lives, mostly and a bit of shrubbery on stage. Some tomfoolery if you will. We usually start the tour with a bit of transitions in between songs. After night one, we usually adjust the show and move things around. Listen to INSIDE HERE Follow The Wrecks on their socials: Website | Facebook | Twitter | TikTok | Instagram | YouTube

Maryland native Lyn Lapid’s debut album, BUZZKILL , was released on April 25, 2025, via Mercury Records. The album consists of a twelve-song tracklist. Lyn will also be going on the BUZZKILL World Tour starting on May 6th in Berlin and will end on June 28th in Los Angeles. We know that your new album BUZZKILL will delve into themes of loneliness, belonging, self-acceptance, and friendships. Has there been a song that has been most healing for you to write? Lyn: There is one song on the album that I think was really healing because I felt like it was most like a diary entry for me to finish and put out. It’s "floater friend" on the album. That song is just about how I felt living in a new city. It kind of brought me back to my high school days, being the kid that nobody knew. Sitting alone at the lunch table every day for seven to nine months. I felt like it was reminiscent of those days because I remember morphing my personality and myself to fit into certain friend groups to fit in. Was there any song in particular on BUZZKILL that was especially difficult to write because of the personal/vulnerable story behind the lyrics? Lyn: I feel like there were two songs that were hard to write. Coincidentally, they’re the saddest songs on the album. One of them was "floater friend," and the one was "back up plan," and I was writing these songs as I was experiencing the things I was writing about in real time. Being that vulnerable about situations I was going through in a writing room with a co-writer and producer is scary and pretty challenging. Thankfully, I was able to work with co-writers and producers that I loved working with in the past. So I felt very safe to open up about my emotions and feelings about those situations I was going through. These two songs were especially difficult to write because they were centred around very close people in my life. Being that open and vulnerable was a bit challenging at first, but I knew writing these songs would be very healing in the end. I love that the title track for your new album, BUZZKILL, is also the first track! What can you tell us about the meaning behind this title and its placement in the tracklist? Lyn: I feel like when I was writing this album, my brain kept coming back to the word "buzzkill"l because living in a new city by myself and being around everything that was unfamiliar for a long time. I felt like everywhere I went, I was a buzzkill and brought the mood down. I was meeting so many people that I didn't quite click with, but I would hold onto them anyway for the sake of not being alone. I was unsure where I wanted to take the song sonically when we were writing it. I found it fun to take it in a more comedic way. I made light of all of these emotions that I was feeling and poked fun at them. I complain about being at a party with loud music I don't like and wearing clothes I think are weird just so I'm not alone. There’s a lyric in the bridge that goes, “I really want your pity invite just so I can say that I’d rather stay home.” I feel like painting that irony in the first track of the album kind of sets the mood. It's a bit of hypocrisy with me being the narrator. It was a really fun song to write. What track on the album are you most excited for people to hear, or do you think will resonate most with people, and why? Lyn: I feel like I’m excited for all the songs because they are part of a chronological story. Sonically, I’m excited for people to hear the last track of the album, "it doesn’t kill me anymore." I just remember having so much fun writing that song. I really enjoy being super extra with my vocal production on my songs. The producer that I was working with, Oak Felder and I, were in the booth for like three hours laying vocals on vocals on vocals. I just remember having a really fun time doing that. The song itself was really healing to write. It was the way I knew I wanted to wrap up the album. We did that in a very satisfying way. Sonically, it was really fun to make, and I think my fans and listeners will appreciate that as well. With the BUZZKILL World Tour ahead, how are you thinking about translating the album’s emotional depth to a live setting? Lyn: I feel like when I was writing the album, I had intentionally made all of the songs kind of focused on the key instruments in my band setup, which are bass, keys, drums, and guitar. So all of these songs have these instruments as the foreground of the instrumental. I just finished tour rehearsals and I feel like all of these songs translate so well live because of that. Having my band members live and pairing that with the vocal delivery, I waited so long to perform. I feel like that's how we delivered that emotional depth live. What’s a city or venue that left an unexpected emotional mark on you, and did it influence your music? Lyn: I really enjoy playing in San Francisco just because there's a huge Asian population. For some reason, they're just so loud and so present. Not to hate on LA, but usually how my tours go, we play San Francisco and then Los Angeles, and a lot of times I feel disappointed with LA as my last show. San Francisco just tops all the other cities for me with their energy. Especially because they have a Filipino population there as well. Being surrounded by so many people who are like me culturally is just really full circle and feels like a really big high five as a community. You've previously had national headline tours, but you're about to start your first world tour. What are you most excited about? What do you anticipate about performing for audiences of different cultures? Lyn: I’ve never been to Europe before, so just being there is really exciting for me and my band. Being around people who speak different languages will be really cool. I'm already learning ways to speak German for Berlin and Cologne, and Dutch for Amsterdam. I want to be as immersive as possible in my live shows. Immersing myself in their culture in that way, by learning a little bit of phrases in their language, will be a fun way to do that. What message or feeling do you hope fans take away from your new album? Lyn: I feel like this album as I was writing it, I was learning these life lessons. The title of the album BUZZKILL resonated with me so much. The beginning of the album illustrates that I felt like a buzzkill everywhere I went because I knew nobody in all these places I went. I realized I was fighting for so many people who didn't care about me, and I didn’t care about them. Letting go of the want to be liked by everybody was the moral of the album. That's why it's called BUZZKILL . I learned that yes, you are a buzzkill, and yeah, I felt like one with all these people, but I only felt like that with the wrong people. I just need to find that sense of community with the small circle of people that truly valued me in the same way I valued them. Listen to BUZZKILL Here Follow Lyn Lapid on her socials: Instagram  | TikTok  | YouTube  | Spotify

LISTEN HERE   ALBUM INCLUDES BILLBOARD HOT 100 HIT “ SAILOR SONG ”   2025 INTERNATIONAL HEADLINE TOUR UNDERWAY + UPCOMING HOZIER DATES   TODAY SHOW DEBUT WATCH HERE Platinum-certified Cuban-American singer, songwriter, and producer Gigi Perez uncovers her much-awaited self-produced full-length debut LP, At The Beach, In Every Life , available now via Island Records . Listen HERE .   These twelve tracks traverse a living and breathing soundscape stitched together by unfaded memories and true confessions of loss, lust, heartbreak, sorrow, anxiety, joy, and, ultimately healing. Among many highlights, upbeat strumming flows through “Sugar Water” with wavy strings and swooning harmonies. Reaching for emotional clarity, she proclaims, “It’s hard to ever feel intact. It’s hard to never want it back . ” On “Normalcy , ” guitar comes into focus out of the haze as her high register warbles, “I guess it’s been nice hearing from you . ”   A pulsating beat evocative of old-school industrial surges on the interlude “Survivor’s Guilt . ” Echoes of minor chords boost her vocals during “Please Be Rude . ” Bringing the audience into the moment, she recalls, “I stared at you the way I do when I want something else from you . ” The title track, “At The Beach, In Every Life , ” encapsulates all of these feelings—like tucking away a message in a bottle and waiting for it to find its island. A swinging rhythm seethes, and she promises, “If my dreams come up empty and I wash up on the shore. You would find me at the beach in every life, through every door . ”   This passionate, poetic, and powerful body of work opens up her world; holding nothing back, she processes the aftermath of losing her beloved sister, nostalgically recalls her childhood by the beach in Florida, wrestles with faith, belief, and religion, and grows accustomed to love. She not only recorded the album in the cozy confines of her home studio in Royal Palm Beach, but she also served as its Executive Producer, helming the entire vision. Providing a sense of cohesion, real voice memos from Gigi ’s late sister Celene thread together the record’s themes and stories.   The buzzing singer-songwriter, a New York/New Jersey native raised in West Palm Beach, Florida, made her debut on the Billboard Hot 100 with “Sailor Song . ” The single made its debut on the chart in August, where it has continued to climb for a total of 35 weeks and global streams have surpassed 1 billion. The song has also reached Top 5 on Spotify’s US charts, Top 10 on Spotify’s Global chart, and TOP 5 at AAA Radio. ” Billboard hailed it as “a stirring, emotionally raw ballad,” while HOLLER. proclaimed, “As she launches into the infectious hook, the composition becomes more built-out, with the introduction of a more empathic guitar riff and an additional injection of energy and vehemence into Perez 's delivery .   In less than a year, Gigi is at the forefront of culture on her own terms. Rolling Stone touted her among “2025 Pop Acts to Watch , ” asserting, “ Gigi Perez is on track to become a household name this year . ” Billboard chronicled her rise, placing her among its “10 LGBTQ+ Artists to Watch in 2025,” going on to predict, “Perez is on the precipice of having an even bigger breakthrough in 2025,” while BBC put it best, “And with that ability to reach people in their most vulnerable moments, it won't be long before Gigi sees her name tattooed on many more arms.”   In February, Gigi made her debut on The Tonight Show Starring Jimmy Fallon on NBC with a stunning rendition of “Sailor Song. ” HOLLER. professed, “ Gigi Perez's captivating performance on The Tonight Show Starring Jimmy Fallon consolidates her position as one of the most exciting new voices in the folk-pop genre, with the sense of anticipation continuing to sky-rocket.. . ” Earlier this week, she took the TODAY Show stage, leading up to album release, to perform “Sailor Song” once again.   Earlier this week, Gigi set off on an extensive global headline tour in 2025. It marks her biggest international run yet. After performing across Germany, The UK, France, The Netherlands, and Switzerland in April 2025, she returned to North America for a show at Irving Plaza in New York, NY, and will make stops at major markets throughout the country, wrapping at Fonda Theatre in Los Angeles, CA on May 7. Impressively now averaging over 30 million monthly listeners on Spotify, inciting tastemaker applause, and selling out shows, it’s just the beginning for Gigi Perez .   TRACK LIST:   1. Sailor Song 2. Sleeping 3. Sugar Water 4. Normalcy 5. Nothing, Absolutely 6. Chemistry 7. Survivor's Guilt 8. Crown 9. Fable 10. Please Be Rude 11. Twister 12. At The Beach, In Every Life Next up, Gigi will embark on a sold-out global headline tour, performing in Germany, The UK, France, The Netherlands, and Switzerland. She returns to North America in April for a headline run including shows at Irving Plaza in New York, NY on April 23 and the Fonda Theatre in Los Angeles, CA on May 7. TOUR DATES: 4/7 ​Cologne, Germany - Buergerhaus Stollwerck 4/8 ​Amsterdam, Netherlands​ - Paradiso 4/10 ​Paris, France - Trabendo 4/12​ Zermatt, Switzerland - Zermatt Unplugged 4/15​ Dublin, Ireland - Academy Green Room 4/17 ​London, UK - Koko 4/18 ​Glasgow, Scotland - SWG3 Studio Warehouse 4/23​ New York, NY - Irving Plaza 4/26​ Atlanta, GA - Terminal West 4/27 ​Charleston, SC - High Water Festival 4/29​ Washington, D.C. - The Atlantis 5/1 ​Philadelphia, PA - The Foundry 5/3 Charlotte, NC - Lovin Life Music Fest in 5/5 ​San Francisco, CA - The Independent 5/7 ​Los Angeles, CA - Fonda Theatre 6/10 Camden, NJ - Freedom Mortgage Pavilion* 6/12 Ridgedale, MO - Thunder Ridge Nature's Arena* 6/14 Manchester, TN - Bonnaroo 6/18 Columbus, OH - Historic Crew Stadium* 6/20 Milwaukee, WI - American Family Insurance Amphitheater* 6/21 Saratoga Springs, NY - Broadview Stage at SPAC+ 6/23 Boston, MA - Fenway Park* 6/24 Boston, MA - Fenway Park* 7/18 St Paul, MN - Minnesota Yacht Club 7/20 Commerce City, CO - Dick's Sporting Goods Park* 7/24 Tinley Park, IL​​ - Credit Union 1 Amphitheatre* 7/25 Tinley Park, IL - Credit Union 1 Amphitheatre* 8/1 Chicago, IL - Lollapalooza 8/2 St Charles, IA - Hinterland Music 8/7 South Lake Tahoe, NV - Lake Tahoe Outdoor Arena at Harveys* 8/8 South Lake Tahoe, NV - Lake Tahoe Outdoor Arena at Harveys* 8/12 Portland, OR​​ - Moda Center* 8/14 Seattle, WA - T-Mobile Park* 9/10 Toronto, ON - Rogers Stadium* 9/13 Asbury Park, NJ - See.Hear.Now 9/16 Bristow, VA​​​ - Jiffy Lube Live* 9/17 Bristow, VA​​​ - Jiffy Lube Live* 9/19 Hershey, PA - Hersheypark Stadium* 9/28 Bridgeport, CT - Sundside Music *Supporting Hozier + Supporting Mumford & Sons ABOUT GIGI PEREZ: Gigi Perez invites everyone behind the curtain. When you peel back the layers of her songs, her questions of faith, memories of loved ones gone-way-too-soon, visions of ecstasy, and premonitions of romance bubble up to the surface. All of these emotions feel familiar because they’re delivered without filter in poetically blunt lyrics stitched into the fabric of her soft production and naked acoustic guitar. However, she doesn’t tell anybody what to think or how to feel; she simply holds up a mirror. Her story has twisted and turned with the unpredictability of your favorite novel. After leaving Berklee College of Music mid-pandemic, the platinum-certified Cuban-American singer, songwriter, and producer built an audience and parlayed the excitement for her original material into a major label deal. 2021’s “Sometimes (Backwood)” exploded to the tune of over 153 million Spotify streams, paving the way for shows alongside everyone from Coldplay to Noah Cyrus and setting the stage for her fan-favorite How to Catch a Falling Knife EP [2023]. Leaving her label and expectations in the rearview, she took control of her destiny in 2024. Grabbing the reins tighter than ever, she taught herself how to record and produce on her own and made the most of her newfound freedom by issuing “Please Be Rude” independently. Gigi only further engaged listeners with “Normalcy” before taking flight with the breakout “Sailor Song.” Find out more about Gigi Perez here: Instagram | Twitter

STREAM "FLOWN AWAY" Pop singer-songwriter Laura Pieri  makes a bold return with her new single, " Flown Away ," the latest chapter in her evolving sonic journey. The track arrives as part of her upcoming project, ' Frankie On The Dancefloor ,' out May 30, 2025 . An expanded edition of her 2024 EP, 'Frankie,' the project will feature four fresh remixes alongside this electrifying new original track. Though originally written for 'Frankie,' “Flown Away”  found its own path. “ For a while, she was a misfit ,” Pieri reflects. “ Sonically, she didn’t quite fit with the rest of the project. But stepping away gave me the space to reimagine her. Frankie’s story wasn’t over, and ‘Flown Away’ felt like the perfect way to keep her spirit alive while pushing the sound forward .”The single marks a turning point for Pieri as she leans into dance-driven influences. “ I love a more traditional pop sound, but lately, I just want to move—to dance !” she shares. “ Leaving this song tucked away never felt right. Now, nearly a year after 'Frankie,' it finally feels like the right time to share it .” Released in May 2024, 'Frankie'—alongside its accompanying short film—told the story of a woman reclaiming her voice and power. The EP was born at a crossroads for Pieri, as she contemplated walking away from music altogether. What emerged instead was a project of resilience, self-discovery, and artistic revival, co-written with an all-female team and executive produced by Skyler Cocco. 'Frankie' didn’t just mark a creative rebirth—it solidified Pieri’s place as an artist ready to make her voice louder than ever. Born in São Paulo, Brazil, and relocating to the U.S. at 16, Pieri now splits her time between New York and Los Angeles. Balancing the demands of an MBA program by day and the high-energy world of pop music by night, she is the embodiment of ambition and artistry. With a sound that fuses her Brazilian roots and pop sensibilities, Pieri has captivated tastemakers and fans alike—crafting music that moves people, both emotionally and on the dancefloor. Find out more from Laura Pieri: Instagram  |  TikTok  |  Facebook  |  Spotify  |  Twitter  |  YouTube Photo courtesy of Nat Goldie ( @artbygoldie )

For over two decades, Caliban has stood tall as a cornerstone of European metalcore, fearlessly evolving while remaining faithful to the emotional gravity and raw aggression that defines the genre still to this day. With their thirteenth studio album, Back From Hell , scheduled for release on April 25, 2025, via Century Media Records, the German titans prove once again that they’re not just survivors of the scene—they're architects of its continued relevance. This time around, the band emerges with a reinvigorated fire. Founding members Andreas Dörner (unclean vocals) and Marc Görtz (guitar) are joined by a fresh force in Iain Duncan, who has taken up the mantles of bass and clean vocal duties. Duncan’s addition marks a pivotal shift for Caliban—his melodic sensibilities and emotive vocal range elevate the band’s dynamic, bringing a new depth to their signature sound. His presence is immediately felt on tracks like “I WAS A HAPPY KID ONCE,” “INSOMNIA,” and “GLASS CAGE,” where his haunting choruses intertwine with Dörner’s guttural delivery to create something both brutal and beautiful. The opening track “RESURGENCE (Intro)” sets a cinematic tone—eerie, slow-building, and foreboding—before launching into the blistering “GUILT TRIP” featuring Mental Cruelty, a sonic avalanche that melds Caliban’s tight riffage with deathcore ferocity. It's a statement piece about reclaiming autonomy and shattering the chains of toxic relationships, delivered with both vulnerability and rage. The title track “BACK FROM HELL” featuring Jonny McBee of The Browning, is a mechanical monster of industrial-infused metalcore—combining pounding breakdowns, blast beats, and searing clean-sung choruses. It embodies defiance and resurrection, capturing the thematic spine of the album: survival through suffering. Where Back From Hell  truly stands out is in its emotional candour. “DEAR SUFFERING,” which features Joe Badolato of Fit For An Autopsy, is a devastating, slow-burning behemoth that leans into doom-laden melodies and sludge-thick guitar riffs. Joe’s savage guest spot adds visceral weight to an already immense song about accepting the shadows rather than outrunning them. Where the song “ECHOES,” a previously released single, remains one of the album’s most introspective cuts, churning with dissonance and desperation as it explores the cyclical torment of intrusive thoughts and mental struggle. The mid-album tracks—like the German-language “ALTE SEELE” (“Old Soul”) and the thrashy, urgent “OVERDRIVE”—showcase Caliban’s songwriting versatility. “ALTE SEELE” in particular feels like a nod to their homeland and heritage, blending brutal honesty with dark poetry, while “INFECTION” and “SOLACE IN SUFFER” pulse with apocalyptic energy, perfecting the blend of chaos and catharsis with different sonic styles. Production-wise, this album is Caliban’s sharpest to date. The collaboration between Drave, Buster Odeholm, Matthias Tarnath, and Nahuel Lozano results in a devastatingly crisp and modern mix that still retains the grit Caliban has always embraced. The mastering, courtesy of Olman V. Wiebe at Hertzwerk Studios, adds polish without sterilizing the intensity. Every breakdown lands like a seismic wave, and every atmospheric layer adds emotional complexity without bloating the tracks. Lyrically, Back From Hell  is as confessional as it is confrontational. Whether it’s wrestling with trauma, exploring self-worth, or confronting the ghosts of gaslighting and grief, the album refuses to shy away from the darkness. Instead, it charges headlong into it, emerging scarred but stronger. There’s a maturity here—born from years of creative evolution and personal pain—that makes the album feel like a deeply human experience. Caliban has always been a band that walks the line between destruction and redemption. With Back From Hell , they don’t just walk it—they dance on it with bloodied feet, screaming into the void and daring it to scream back. This is a career-defining record: emotionally unflinching, musically unrelenting, and sonically groundbreaking. It’s not just a return—it’s a rebirth. Caliban doesn't just come Back From Hell —they bring a piece of it with them, and it's glorious. Check out more from Caliban: Website | Facebook | Instagram

On their fourth studio album, Joyride The Pale Horse , set for release on April 25, 2025, via Many Hats Distribution, Cleveland’s Heart Attack Man delivers their most thematically bold and sonically diverse record to date—a record that’s just as existentially heavy as it is melodically infectious. With a newfound willingness to dive headfirst into the shadowy waters of mortality, impermanence, and identity, the trio of Eric Egan (vocals/guitar), Adam Paduch (drums), and Ty Sickels (guitar) embrace the absurdity of life and death with a smirk, a scream, and a singalong chorus. From the opening track “One More Song (Imposter Syndrome),” the band sets the tone with buzzing guitar hooks and biting lyrics that confront the creeping dread of self-doubt and creative burnout. It’s an anthemic start that perfectly introduces the album’s key motif: the tug-of-war between dread and drive. “Spit” is the album’s most venomous and confrontational moment—a snarling takedown of the rising reliance on generative AI, framed as a death knell for authentic creativity. Egan’s barked chorus, “Spit in the face of humanity,” cuts through a wall of distortion, dripping in sarcasm and frustration. It’s a battle cry in defence of human messiness. Then comes “Laughing Without Smiling,” a standout track which is power chord-fueled and hits like a massive gut punch. The line “it looks a lot like laughing without smiling”  is a lyrical gut-check—subtle and devastating, showcasing the band’s knack for darkly poetic introspection. Elsewhere, “Call Of The Void” embraces more dynamic time signatures and swirling fuzz, channelling a '90s alt-rock flavour that nods to Hum or Failure without ever feeling derivative. Meanwhile, “The Gallows” balances swagger with sentiment, exploring the bleakness of young adulthood while sounding like a deranged graduation speech from the edge of the abyss. But it’s the title track, “Joyride The Pale Horse,” that truly ties the whole project together. Egan's eerily upbeat vocals over dreamy, reverb-soaked guitars underscore the absurdity of death itself. “I’ve got a secret handshake with Elvis,”  he croons, embracing the surreal and unknowable with a wink. It’s theatrical, abstract, and strangely comforting—the perfect closer to a record that never shies away from hard truths. Throughout the eleven tracks, Heart Attack Man walks a razor-thin line between despair and defiance. Songs like “Lay Down and Die” and “Quit While I’m Still Ahead” flirt with nihilism but never give in completely. Even when the lyrics lean bleak, the music remains alive, propulsive, and completely energized. Produced by longtime collaborator Brett Romnes, the record thrives on tension—between the brutal and the beautiful, the cerebral and the visceral. The incorporation of '90s fuzz, irregular grooves, and textured guitars elevates the band’s already potent pop-punk foundations into more experimental terrain. And yet, nothing feels out of place—each sonic risk feeds the record’s greater narrative. Joyride The Pale Horse  is the kind of album that sticks with you—not just for its cathartic riffs and scream-along hooks, but for its unflinching look at what it means to be alive, and what it means to know that you won’t be forever. Heart Attack Man’s most ambitious and emotionally resonant release yet. Joyride The Pale Horse  is a morbidly life-affirming banger; it's death served with a grin, and life lived loud. Heart Attack Man may be joyriding the pale horse, but they’re doing it with the top down and a full tank of fuel. Check out more from Heart Attack Man: Website  | Facebook  | Twitter  | Instagram

It was a night of poetic lyricism, captivating harmonies, and heartfelt performances as the Everywhere We Go  North American Tour rolled into Winnipeg at the storied Burton Cummings Theatre — a venue the band revealed they wanted to headline for some time. Marking Wild Rivers’ sixth visit to the city and Anna Graves’ triumphant return since her local debut, the Burton Cummings Theatre transformed into a glowing haven for indie folk lovers on Saturday evening. Anna Graves. Photos by Samuel Stevens Photography Opening the night was Los Angeles singer-songwriter Anna Graves, who instantly captivated the crowd with her signature blend of rich vocals and raw emotionality. Returning to Winnipeg for only the second time, Graves brought a confident intimacy that felt like a warm conversation with an old friend. Launching into the night with “Obsessed,” she set a passionate tone, balancing haunting melodies with a subtle power in her delivery. “When the Love Is Gone” and “Fly” soared with an atmospheric elegance, while “Made to Love Someone” offered a soul-baring moment that silenced the venue in awe. But it was her rootsy, reflective songs like “Trail Horse” and the wistful “Minnesota On My Mind” that felt like love letters to the open road and lost moments of home. She closed with “Bluebird,” a fitting finale that fluttered delicately between hope and heartbreak. Graves continues to cement her place as a rising force in the folk-pop/alt-country scene, and Winnipeg was clearly ready to welcome her back again. By the time Toronto-born Wild Rivers took the stage, the theatre was buzzing with anticipation. The band, now six performances deep in Winnipeg, was greeted like hometown heroes. Opening with the energetic “Never Better,” they quickly reminded fans why their bond with this city runs so deep. The setlist was a carefully curated journey through the band’s expansive discography, from the nostalgia-tinged “Bedrock” and fan-favourite “Wandering Child” to the emotionally rich “Amsterdam” and the reflective “Speak Too Soon.” Newer tracks like “Anyways, I Love You” and “Backfire” showcased the band’s continued evolution, blending their folk-pop core with genre-fluid ambition. Wild Rivers. Photos  by Samuel Stevens Photography A special moment arrived mid-set, or as the band dubbed, "Part two," when the band unplugged for a stunning acoustic rendition of “Neon Stars,” casting a serene hush over the crowd. The intimacy deepened as the band honoured fan requests in lieu of a fan vote on Instagram, with stripped-down versions of “Howling” and “Long Time,” the theatre lit only by stage lights and phone flashlights—a breathtaking reminder of the communal magic live music can conjure. The show’s emotional peak came with “Still the One” and the slow-burning ache of “Heart Attack,” leading perfectly into the encore. Returning with “Freezing” and their breakout hit “Thinking 'Bout Love,” Wild Rivers left the audience swaying, singing, and entirely satisfied. The Everywhere We Go  tour stop in Winnipeg wasn’t just a concert—it was a testament to the emotional power of honest songwriting and the rare beauty of artist-audience connection. Whether it was Anna Graves’ intimate vulnerability or Wild Rivers’ polished yet poignant performance, the night felt like a conversation between hearts. For both acts, Winnipeg was more than just a stop on the map—it was a musical homecoming.

LISTEN TO “BLACK MAMBA”  HERE. WATCH THE VIDEO FOR “BLACK MAMBA“   HERE. For the first time in over 50 years, the original  Alice Cooper group  has reunited to release a brand-new studio album, " The Revenge of Alice Cooper ," set to release on July 25, 2025, via earMUSIC. This highly anticipated album is heralded as the successor to their iconic records "School's Out," "Billion Dollar Babies," "Love It to Death," and "Killer." The first single from the album, " Black Mamba ," is out today, featuring the legendary  Robby Krieger of The Doors . This track serves as a venomous introduction to the new era of Alice Cooper, packed with familiar classic riffs and electrifying energy. "The Revenge of Alice Cooper" is a high-voltage journey into vintage horror and classic '70s shock rock, capturing the sound, energy, and mischief that made the original Alice Cooper band legendary. In a truly special moment, the album features a posthumous appearance by Glen Buxton, the band's original guitarist who passed away in 1997, through an unreleased recording that seamlessly blends the past with the present on  "What Happened To You,"  featuring his original guitar part. If that isn’t cool enough, one of the bonus tracks (box set & limited smart format) also includes a long-lost gem from 1970 - a raw, alternate take of  "Return of The Spiders"  (not the version heard on  Easy Action ) - recently unearthed from original multi-tracks missing for 50 years and now enhanced and mixed by  Bob Ezrin . Alice, Neal, Michael, and Dennis, reunited with their producer Bob Ezrin in an old-school recording studio in Connecticut, rekindled the magic from the 70s. This album is a celebration of friendship, nostalgia, and the timeless sound that solidified Alice Cooper as a rock icon. Fans can expect a powerful and nostalgic experience that bridges the gap between the band's storied past and their vibrant present. From the venomous bite of “Black Mamba” to the rebellious charge of “Wild Ones,” and the soft, haunting melodies of “See You on the Other Side,” every track feels like a rock ‘n’ roll classic. The album is set to be released on July 25 via earMUSIC in a wide variety of formats and limited vinyl colours.  The release will also be available as a limited box set and as a limited art print (smart format), featuring exclusive access to two bonus tracks from the start, plus the full album automatically delivered as a high-definition download on release day. PRE-ORDER THE ALBUM “THE REVENGE OF ALICE COOPER”  HERE. About The Alice Cooper Group: The original Alice Cooper group - Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass), Neal Smith (drums), and Glen Buxton (guitar) - redefined rock in the early 1970s, blending raw, hard-hitting music with shocking theatricality. With Bob Ezrin at the helm, they pioneered shock rock, delivering rebellious anthems, dark storytelling, and over-the-top stage shows featuring guillotines, snakes, and macabre theatrics.   Albums like  Love It to Death  (1971),  Killer  (1971),  School’s Out  (1972), and  Billion Dollar Babies  (1973) turned them into superstars, producing legendary hits like “I’m Eighteen,” “Elected,” “School’s Out,” and “No More Mr. Nice Guy”. Their mix of hard rock, glam, and horror made them one of the most influential and controversial bands of their era, leaving a permanent mark on rock history. Alice Cooper has sold countless millions of records worldwide and shaped rock history forever. Inducted into the Rock & Roll Hall of Fame in 2011, their music remains as powerful and relevant as ever. Now, with  The Revenge of Alice Cooper , the original band reunites for one more epic chapter, reclaiming the sound and legacy that made them legends. Find out more from Alice Cooper: Website  |  Facebook  |  Instagram  |  YouTube  |  TIkTok

I sat down with trumpeter, composer, and producer Milena Casado to discuss her debut album,  Reflection of Another Self , which will be released on May 16, 2025. Photo courtesy of Melissa Isabel Quiñones. How did you come up with the title of the album? Milena: The title, Reflection of Another Self , captures the essence of the album deeply. It’s a journey of introspection and self-discovery, about seeing parts of yourself that maybe you hadn’t fully faced before. Sometimes, we realize we’ve become a version of ourselves that doesn't represent who we are - shaped by fear, expectations, and insecurities...That version becomes “another self,” and what we see in the mirror isn’t the whole picture. This album is about recognizing that, reflecting, and finding a way back to yourself. What was the process like for creating the cover art for the album? Milena: The cover art came together through a collaborative process. We experimented with different photos, angles, fonts… I wanted to represent the idea of how we perceive ourselves versus who we truly are. Something that invites people to reflect, just like the music does. Is there a song you’re most excited for fans to hear? Milena: It’s hard to pick just one, but I think “O.C.T (Oda to the Crazy Times)” and “Lidia y Los Libros” are special to me. They both carry a lot of emotional weight and mark a turning point in the album. After navigating chaos and confusion, it’s a moment for strength and clarity. “Lidia y Los Libros” is especially meaningful - it’s dedicated to and features my mother and grandmother. When did you know the album was done? Milena: I had a deadline! [Laughs]. Honestly, I feel like there are always things I could change, but at some point, you just have to let it go and breathe. Can you describe the album using three words? Milena: Introspection. Courage. Resilience. What was the writing process like? Milena: Very personal. Some pieces came from improvisation. It's just me processing something in the moment. Others needed time and space to evolve. Sitting on the piano, playing my trumpet, or singing melodies. It wasn’t always linear, but every song came from something personal. Writing this felt like therapy. You composed, produced, and performed on the album. Did you face any challenges on any part? Milena: Definitely! This is my first album, and it was such an incredible learning experience. I had to figure out how to use Pro Tools and Ableton, learn about the mixing and mastering process, and buy my first synth… I just had to trust the process. I was also lucky to have amazing people around me who helped and believed in the vision. Were there any influences that helped inspire this album? Milena: Yeah, both musical and just life in general. Artists who are honest and fearless in their expression. Miles Davis, Wayne Shorter, Radiohead, Milton Nascimento, Stevie Wonder, and many more. But also conversations, my family, joy, solitude, and fear. If you could set up the perfect environment for fans to listen to the album, what would it be? Milena: Somewhere that feels like your space, with good headphones - or on the train! Just somewhere you can be present and let the music take over. But also, in your living room with the speakers up, blasting “O.C.T (Oda to the Crazy Times)”! Pre-order Reflection Of Another Self HERE FOLLOW MILENA CASADO: instagram.com/milena.casado

The Head and the Heart will be releasing their new album, Aperture , on May 9, 2025. The album consists of a twelve-song tracklist including their singles “After The Setting Sun,” "Time With My Sins,” "Arrow," and "Blue Embers". The group is set to go on their Aperture Tour starting on May 31, 2025, in Michigan, and it runs through October 10th in Tennessee. What does Aperture as the title of your next record mean to you, and what was your thought process in choosing that name? H&H: It started because we had a song that Matty had written the lyrics to. It summed up the themes we were creating for this record. Throughout the whole album, it's an idea of getting back together, of widening the perspective of what these six people can accomplish together. It's a journey between light and dark and all the emotions in between. The idea was trying to let the light in. The more open you are, the more light gets let in. In general, that speaks to where we have been lately and being more vulnerable with each other. We were all in a really good place, making this record with that being the primary intention of being as open as possible. What song from the new album are you most excited to perform live? H&H: I feel like we all have different favorites. There is a song called “Jubilee,” which when I was growing up and even now, pop punk was huge in my life. To see that resurgence right now is awesome. We weren't aiming for that, but somehow “Jubilee” turned into that, and I got to relive all those memories of playing along to bands I loved back then. For me, there are a ton of songs I'm excited to play live. There is a song called “West Coast” that I sing on, but I'm not a singer. Even the idea of trying to sing for a recording or a room full of people was nerve-wracking. Just the thought of performing that song live sends goosebumps down my spine. But it is also a really exciting idea. I’m excited to play the title track “Aperture” just because we haven't touched it since recording it. It’s so anthemic. For any new fans listening to your music for the first time, what song off the album would you recommend they listen to first to get to know you best? H&H: I would say “Arrow.” I think there was a reason we put that song out first. It really feels like a mission statement of the place where we are now. It also has so many elements of our other records in it. “Time With My Sins” for similar reasons. It seems like a song that spans different eras of the band, with the songwriting and sound. Are there themes in your music you feel you guys haven’t explored yet? H&H: I feel like this collaboration element, this could go anywhere. I feel like we're just getting started. We jokingly almost named the album The Head and the Heart 2 . It feels like such a fresh start. The world is limitless. There are so many things we can talk about and have inside of you that don't get opened up until you unlock that door. I'm excited to see where it'll take us. Follow The Head and the Heart on their socials: Website | Instagram | TikTok | Twitter | Facebook | YouTube

Stephen Stanley’s second full-length album, trustfall , is more than a record—it’s a confessional, a lifeline, and an invitation to sit with your emotions in the space between brokenness and healing. Set to be released via Capitol Christian Music Group on April 25, 2025, the Mansfield, Georgia-born singer-songwriter delivers an intimate, genre-blurring collection that fully embodies the album’s title: an artistic leap of faith built on vulnerability, trust, and spiritual grounding. From the first note, trustfall  makes one thing abundantly clear—Stephen Stanley is not interested in surface-level storytelling. The opening track, “gonna have to trust you,” sets the tone with sweeping melodies and a raw, understated vocal performance that balances spiritual surrender with human uncertainty. Stanley doesn’t shy away from the messiness of life or faith; he leans into it with open arms and a steady, powerful voice. Songs like “hell or high water” and “not by sight” channel the pop-leaning sensibilities of artists like NEEDTOBREATHE or Ben Rector, blending chill alt-pop production with lyrics that grapple with perseverance and unseen grace. There’s a lived-in wisdom here, rooted in Stanley’s own story—a childhood accident that left him deaf in his left ear and pushed him toward music by picking up his mom's guitar as both refuge and calling. The album's standout track, “this far down,” serves as an emotional centrepiece of the project. Haunting yet hopeful, it’s a full-blown guitar-driven explosion that explores rejection, self-worth, and the light that breaks through even the darkest inner storms. Stanley’s voice is immense as it trembles on the edge of heartbreak, but never loses strength—a delicate balance only a truly seasoned storyteller can pull off. “don’t wait on me,” featuring the ethereal Fleurie, is another high point of the album. While turning the knob from eleven down a few notches, their two voices intertwine like a whispered prayer, bringing a cinematic dimension to the record. Fleurie’s presence adds a ghostly softness that enhances the song’s themes of delayed healing and grace that arrives in its own time. While faith is a subtle undercurrent throughout the twelve tracks that make trustfall , Stanley never preaches. Instead, he invites listeners into his process—into his doubts, his surrender, and his ultimate hope. Tracks like “i still have you,” “your heart,” and “find some peace of mind” feel like journal entries, blurring the lines between devotional and diary. Even the closing title track, “trustfall,” feels more like an embrace than a conclusion—a commanding reminder that letting go can be its own form of strength. Clocking in at just under forty minutes, trustfall  is a cohesive and emotionally potent record that positions Stephen Stanley as not only a breakout talent in the Christian pop/alt sphere but also as a compelling songwriter with universal appeal. He’s not just making music for believers; he’s making music for anyone who’s ever felt like they were free-falling, unsure of what comes next in their life. In a world desperate for authenticity, trustfall  is exactly what it sounds like—a beautifully human, soul-deep surrender. Check out more from Stephen Stanley: Website  |  Instagram |  Facebook |  TikTok | YouTube

The air at the Butler Machinery Arena in Fargo, ND, was thick with anticipation on April 18, 2025, as G-Eazy’s Helium Tour  rolled through the Red River Valley Fairgrounds for a night of throwback hits, fresh cuts, and unforgettable collaborations. With support from Canadian alt-pop/indie folk misfit Goody Grace and R&B smooth operator Marc E. Bassy, the evening was a carefully curated rollercoaster of moods—from introspective to rowdy to downright romantic. Opening the night was Manitoba’s own Goody Grace, who brought a moody, emotional charge to the arena early on. Dressed in his signature rocker-meets-emo attire, Goody set the tone with “Numb” before easing into the haunting, stripped-down, aching cover of Cage the Elephant’s “Cigarette Daydreams.” Which gave the crowd a moment of collective sway, and by the time he closed with fan-favourite “Scumbag,” his short set had successfully made a quiet but lasting impression. Marc E. Bassy elevated the energy with a polished, feel-good set that blurred the lines between R&B, hip-hop, and alt-pop. “You & Me” had the crowd singing along from the first note, while tracks like “Drip” and “Reminder” showcased Bassy’s vocal flexibility and swagger. “Some Kind of Drug” was a standout, bringing a sensual, smoky vibe to the arena, foreshadowing the later on-stage reunion with G-Eazy. The highlight? Bassy inviting Gerald out on stage to perform “Slide” with him before turning the stage into a party zone. Their chemistry was undeniable—and Fargo knew it. G-Eazy strutted onto the stage dressed to kill, launching his two-part headlining set with “One of Them” and diving headfirst into a tight run of career-defining bangers like “Random,” “Pray for Me,” and the evergreen “I Mean It.” His charisma filled the cavernous arena as he bounced between the cocky, fast-talking Bay Area bad boy and the brooding, reflective storyteller he’s grown into. The first half leaned hard into the hits, with “Tumblr Girls,” “Lotta That,” and “You Got Me” pulling the crowd deeper into his orbit. “Provide” and “1942” lit up the room with their hooks, and a rapid-fire mid-set freestyle showed off G-Eazy’s underrated mic skills. All photos by Mikey Jablonski. But it was in Set Two  that Gerald opened up the world of his new material—melancholy, luxe, and inward-looking. “In My Head,” “South of France,” and “Midnight In Paris” showcased his last album’s cinematic tone, and the intimacy grew palpable during “GRWM” and “Kiss the Sky.” Marc E. Bassy returned to the stage for the lush renditions of “Some Kind of Drugs” and “You & Me,” offering some of the night’s most heartfelt moments. Old-school fans were rewarded with deep cuts like “Far Alone” and “Marilyn,” while “Him & I” had couples swaying under neon lights. “Had Enough” and “Me, Myself & I” wrapped the second act in catharsis, highlighting G-Eazy’s ongoing tug-of-war between fame and loneliness. However, the encore was pure fire. He mashed up “Lady Killers II” and “Lady Killers III” into a high-octane finale, before closing with “Anxiety”—a raw, honest exhale that brought the night full circle. G-Eazy’s Helium Tour  stop in Fargo wasn’t just a concert—it was a layered, emotional narrative told in two acts. With strong openers, seamless collaborations, and a setlist that honoured both past glories and new experiments, the show proved why G-Eazy remains one of hip-hop’s most genre-fluid showmen. Equal parts stylish, reflective, and electric, Fargo got a front-row seat to an artist who continues to evolve—without ever forgetting where he started.

WATCH HERE Amassing over 150 million streams to date, provocative, genre-bending artist SkyDxddy is making her mark as a young woman in today’s industry—set to release her debut full-length album, TRAUMACORE (RAW & UNCUT) , on May 16, 2025. The album’s release in May aligns with Mental Health Awareness Month, emphasizing SkyDxddy’s overall commitment to providing a platform to discuss mental health struggles and fostering a sense of understanding and solidarity through her music. Unafraid to confront the darkest parts of the human experience and turn them into something inspiring for her listeners, the 13 tracks on the upcoming record touch on vulnerable, yet relatable, topics of body dysmorphia, addiction, abuse and more. As anticipation builds for TRAUMACORE (RAW & UNCUT) , “Choker” is a powerful testament to SkyDxddy’s resilience and artistry. SkyDxddy adds, “I wrote ‘Choker’ about what it feels like to live in survival mode and still smile through it. It’s about looking fine but barely breathing. People with anxiety get really good at hiding it. ‘Choker’ is my way of saying ‘I see you’ to the ones who are struggling silently.” On the latest single, SkyDxddy shares, “I wrote ‘Choker’ about what it feels like to live in survival mode and still smile through it. It’s about looking fine but barely breathing. People with anxiety get really good at hiding it. ‘Choker’ is my way of saying ‘I see you’ to the ones who are struggling silently.” TRAUMACORE Tracklist: 1. Choker 2. Strings 3. Mortal Kombat 4. Not Guilty 5. God Of War 6. Bring It On 7. Sirens 8. ARKHAM 9. Medusa 10. Damsels 11. Dead Butterflies 12. HER 13. Best Part of The Story SkyDxddy’s early exposure to a wide range of music genres is directly responsible for their passion for cultivating a diverse sound that discusses hard-hitting topics. Their relatable, compelling lyrics and dynamic vocal delivery is bound to have any fan willing to follow them through the dreamy worlds of future-pop to the abyss of alternative rock. Following the release of TRAUMACORE (RAW & UNCUT) on May 16, 2025, SkyDxddy will embark on a summer headline tour. Details to follow! Find out more from SkyDxddy: Website | Instagram | Facebook | YouTube | Spotify | TikTok Photo courtesy of Samantha Levi.

There’s a new storm brewing in indie rock, and it goes by the name of Sawyer Hill. With the release of his explosive and emotionally raw sophomore EP, Heartbreak Hysteria , set for release on April 18, 2025, via AWAL, Hill proves he’s not just another name in the algorithm—he’s a voice for the disillusioned, the heartbroken, and the hopeful all at once. Emerging from the dive bars of Northwest Arkansas with a voice that’s all gravel and gravity, Sawyer Hill has crafted an EP that is both unflinchingly personal and arena-ready. Heartbreak Hysteria  plays like a battle cry for a generation that feels everything too much and not enough at the same time. Produced by music producing heavyweights Chris Greatti (Willow, Yungblud, Poppy, MGK) and Suzy Shinn (Fall Out Boy, Panic! At The Disco, 5 Seconds of Summer), the seven-track project feels sharp-edged and fully realized, brimming with guitar-driven angst and lyrical vulnerability. With a vocal tone that lands somewhere between the haunting baritone of Matt Berninger (The National) and the urgency of early Kings of Leon, Hill carves out a space that feels both familiar and completely his own. “Closed Eye Fiction” kicks off the record with a mid-tempo churn, driven by reverb-drenched guitars and an undercurrent of anxiety. It sets the tone with lyrical introspection, exploring escapism and the stories we tell ourselves to survive emotional chaos. “One Shot” ratchets up the tempo with a gritty, almost Brit-rock influence—blending the spirit of Arctic Monkeys with an alt-American edge. It’s a no-frills, crowd-ready anthem that feels destined to tear through festival grounds across the world. “For the Hell of It” shows off Hill’s gift for writing an earworm without sacrificing emotional weight. Hill's emotive, gravelly vocals are on full display. Additionally, there’s a devil-may-care attitude masking a deeper yearning here, a theme that resonates throughout the EP. “Need Me Now” is the gut-punch. It’s a scathing yet sorrowful breakup ballad driven by a poignant, yet powerful sounding piano arrangement, about the push-pull dynamic of toxic relationships. The chorus aches with truth: "You only knock when your world burns down / And I’m the last one around."  It’s the kind of song that makes you clench your jaw and sing at the top of your lungs. Where the track “Aiming At My Head” stands as the emotional apex of the entire seven tracks. Hill’s baritone cuts through pounding drums and searing guitar lines like a saw blade. It's an arena-ready anthem for anyone who's had a friendship implode in silence. Hill has stated, "'Aiming At My Head' is a fuck you letter to friends you let you down. The people who will act completely indifferent to your face, but then go behind your back and tear you down.”  With the raw sonic intensity of early Brand New and the lyrical storytelling of Phoebe Bridgers, this track doesn’t ask for catharsis—it completely demands it. “Hear From Me” and “High On My Lows” close out Heartbreak Hysteria with contrasting energies. The former is a glimmer of hope—melodic, warm, and reflective—while the latter is a chaotic descent into the beautiful mess of emotional whiplash with a psych-rock daze. It's a perfect closer: loud, loose, and immensely unforgettable. Heartbreak Hysteria  is exactly what the title promises—an unfiltered collision of pain, reflection, and survival wrapped in indie rock’s finest threads. It captures the emotional turmoil of young adulthood with poetic precision and the sonic palette of someone raised on both gospel and grunge. Sawyer Hill isn’t just baring his soul on his latest effort—he’s setting it on fire and letting us warm our hands over the embers. This isn’t just an EP; it’s the next chapter of what’s bound to be a defining voice of a new wave in rock music. Find out more from Sawyer Hill: Website  | Instagram  | TikTok  | Facebook  | YouTube

PRE-SAVE "POPSICLE" NOW HERE Photo courtesy of Joshua Shultz. Through fire and flames, Lilith Czar found herself reborn. Now she prepares to emerge from the shadows with a spellbinding new single. “ POPSICLE ” is set to be released on April 25, 2025, and marks Lilith’s first-ever independent release. It’s a song of rage and reclamation, of resilience and resolve.   “‘ POPSICLE’ is the breaking point - the moment you stop shrinking, softening, and reshaping yourself into something that isn’t you just to fit someone else’s agenda ,” shares Lilith. “ It’s a song for every person who has been told their worth is dependent on anything other than their own force. At its core, it’s about obliterating the box you’re told to fit inside and rejecting the expectation to conform. ”   She finishes: “It’s a fuck you song, and above all, it’s about refusing to compromise your integrity. ”   Fans can pre-save the new song now at https://orcd.co/lzpopsicle . About Lilith Czar: Rejection, manipulation, and attempts to control are potent motivators for creative artists with the endurance and determination to rise above. Sometimes, you must burn it all down and build again.   When a record label executive suggested she sit astride a giant popsicle in a bikini on her album cover, Lilith Czar bet on herself instead. Burning with passion derived from a strong-willed authenticity built on her terms, she doubled down on her core identity, standing up for herself with undeterred resolve.   “ The only way forward was to stop listening, tear it down, and build something new on my terms ,” she says. “ It wasn’t a reinvention; it was a revolution of self. Songs like ‘King’ and ‘Anarchy’ were direct rejections of the limitations imposed on me, declarations of who I was and where I was headed .”   Independent, resilient, and brimming with more vibrant creativity than ever, she is unbeaten by those who told her she was too young, too old, too chubby, too thin, too sexy, too plain. Or that her music needed to be safer, more palatable, and more like the mainstream. “ Who I truly am never seemed enough for them ,” she says. “ No matter what I offered, they made every effort to change me .”   Lilith Czar first rose like a dark phoenix from the ashes of Juliet Simms. Her debut album, Created From Filth and Dust , announced her arrival with an otherworldly thunder. “ Anarchy ” shot to No. 1 on Billboard’s Mainstream Rock recurrent chart. Songs like “ Lola ” and “ 100 Little Deaths ” gave a literal voice to every girl and boy who ever yearned to beat the odds and be a “ King .”    Propelled by her soulful and timeless voice, Lilith’s confessional and confrontational hard-edged rock songs began to resonate worldwide. Major rock festivals were conquered. Crowds sang along in theaters and clubs, whether on tour with Evanescence; or Halestorm, The Pretty Reckless, and The Warning; or the Trinity Of Terror Tour with Black Veil Brides, Motionless In White, and Ice Nine Kills.   But with each victory came the familiar obstacles, the same opposition that inspired the ambitious Warped Tour heroine and The Voice finalist to transform into Lilith Czar in the first place.   Lilith gathered a handful of trusted collaborators to start work on a batch of new material. Those allies include Erik Ron (Godsmack, Staind, Panic! At The Disco), Curtis Peoples (Pierce The Veil), kodeblooded (Sueco, Magnolia Park), and Scott Stevens (who produced Created from Filth and Dust ).   This second era of Lilith Czar channels all the struggle, adversity, opposition, and resistance, sharpening it into a weapon of empowerment and unbridled creativity. “POPSICLE” isn’t just a song. It’s a declaration. Created from Filth and Dust saw Lilith Czar stepped into her power, but the story is far from over. 2025 pulls back the curtain on Lilith Czar, the superhero, revealing the person behind her.    As an artist and human being, Lilith Czar stands in opposition to external pressures. Her art and music are a call to adventure, a complete assertion of power and control over one’s own life.   One of the driving forces that kept her from succumbing and made her fight instead was her determination to use her story to help others. “ If my story can empower even just one girl picking up a guitar for the first time to believe she belongs in this space or give another artist the courage to stand their ground, then every battle I fought means something bigger than myself. It becomes about us .”   Lilith Czar’s journey continues with more truth, fire, and fearlessness than ever before. Find out more from Lilith Czar: www.lilithczarmusic.com www.facebook.com/LilithCzar www.x.com/lilithczar www.instagram.com/lilithczar/   www.tiktok.com/@lilithczar www.youtube.com/lilithczar