WATCH ALBUM TRAILER HERE SOLD-OUT HEADLINE TOUR STARTS APRIL 7th, FOLLOWED BY HOZIER SUPPORTING DATES Cuban-American singer, songwriter, and producer Gigi Perez proudly presents her self-produced full-length debut LP, At The Beach, In Every Life , out April 25, 2025, via Island Records . Alongside the announcement, Gigi unveils a striking album trailer that artfully sets the stage for what's to come -- watch HERE . The passionate, poetic, and powerful body of work centers around themes of grief, love, faith, and religion. Notably, the album processes the aftermath of losing her beloved sister Celene, whose voice memos weave throughout the LP, the motif that glues her debut together. Recorded and Executive Produced by Perez, and with the help of her dear friends and collaborators, Noah Weinman and Aidan Hobbs, the album captures a clear representation of Gigi’s life over the past five years which saw her signing her first major label deal during the pandemic, getting dropped, returning home to her native South Florida to start over again, and how swimming through grief and romance challenge those things. On her third independent release, Perez released “Sailor Song” before signing to Island Records in the fall of 2024. On the album, Gigi stated, “This is the album I needed to listen to when I was twenty years old following the passing of my older sister, Celene. It's taken years to process, and seeing how it's colored everything in my life, it feels like a flag down in the sand at a checkpoint rather than a destination. And there was water everywhere for miles, and a girl met me there every time. I have been loved through my grief.” Rolling Stone recently touted Gigi 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 “Artists to Watch in 2025,” while BBC claims “ it won't be long before Gigi sees her name tattooed on many more arms.” Perez made her debut on the Billboard Hot 100 with “Sailor Song ” in August 2024, where the single has continued to climb for 33 weeks and has generated nearly 1 billion streams. The song has also reached Top 5 on Spotify’s US charts, Top 10 on Spotify’s Global chart.  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 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.. . ”   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

On ERLU BLUE , which was released on April 8, 2025, via Hi-Hat Entertainment, ifeye carves out a vivid, self-assured lane in the alt-pop space, blending playful confidence with internet-age vulnerability across four tightly curated tracks. Where some EPs feel like a sampler platter, ERLU BLUE  plays more like a statement of intent—short, sharp, and brimming with personality, while leaving listeners with the sense of what is yet to come. The project opens with “NERDY,” a bold mission statement that flips the word’s once-derogatory connotations into a badge of honour. ifeye leans into quirky charisma, pairing bouncy production with knowing lyricism that celebrates individuality rather than smoothing it out. The track’s bright energy and sticky hooks immediately set the tone, proving that confidence doesn’t have to be loud to be commanding. “IRL” pulls the EP into more introspective territory, exploring the tension between digital personas and real-world emotions. There’s a subtle emotional weight here, wrapped in sleek, modern pop production that strikes a balance between polish and intimacy. It’s a reminder that beneath the playful exterior, ifeye is deeply attuned to the anxieties and contradictions of living online while trying to stay grounded. That momentum carries into the third track, “BUBBLE UP,” which is arguably the EP’s most effervescent moment. The track lives up to its name, bubbling with kinetic energy and infectious melodies. It feels tailor-made for late-night drives or headphones-on escapism, showcasing ifeye’s knack for crafting songs that are both carefree and meticulously constructed. Closing out the group's first EP is the English version of “NERDY,” which doesn’t feel like an afterthought but rather a clever expansion of the EP’s core theme. Translating the track into English opens it up to a wider audience while preserving its charm, reinforcing how universal its message of self-acceptance really is. At just four tracks long, ERLU BLUE  doesn’t overstay its welcome, instead leaving a strong impression through clarity and cohesion. ifeye demonstrates a sharp understanding of their artistic identity—balancing humour, honesty, and pop sensibility with ease. It’s a compact release that feels purposeful, signalling a group of artists who know exactly who they are and aren’t afraid to have fun proving it. Check out more from ifeye: Twitter: https://x.com/ifeye_official Instagram: https://www.instagram.com/ifeye_official Facebook: https://www.facebook.com/ifeyeofficial/ TikTok: https://www.tiktok.com/@ifeye_official YouTube: https://www.youtube.com/@ifeye

Recently, I had a chat with The Ivy, Tulsa-based duo, Wyatt Clem (vocals/guitar) and Shawn Abhari (synth/bass) about their North American tour and new music. Photo courtesy of Jordan Lynch. Is there a city or venue you’re most excited to perform in? Shawn: I’m super excited to play "Subterranean" in Chicago!   Do you have any essentials that you'll be bringing with you on Tour? Shawn: My two essentials are definitely AirPods and a Nintendo Switch.   Is there anything you're looking forward to while being on tour? We're excited to visit Canada - we’ve never played there as a band before!   Do you have a routine that you stick to while on tour? Every day tends to go pretty much like this: wake up, drive, arrive at the venue, load in and sound check, then eat food, play the show, load out, sleep and repeat!   What songs are you excited to play on tour? Shawn: " Tower of Terror " is quickly becoming a favorite of mine to play onstage. Wyatt: I'm excited to play " Stop on a Dime ."   With Lyncs supporting you on tour, will you be performing "Don’t Fall Asleep To This" together? Yes! We will be, you’ll have to come and watch if you’re a fan of the studio version!   What was the process for creating the "Don’t Fall Asleep To This" video like? We hired two of our friends, Grant Wynn and Benji Osborn, to direct and set up the video shoot. It was great because they were able to take the vision and ideas we had and put them together in a very creative way. We love how it all came together!   What was it like collaborating with Lyncs for "Don’t Fall Asleep To This"? It was really cool working with Lyncs, it felt very natural. Her songwriting style and production fit so well with ours that the song came together so quickly!   Are you currently working on any new music? Yes! We are always working on new music, so definitely stick around for this year! Find out more from The Ivy: Instagram | TikTok | Facebook | Spotify | Soundcloud | Twitter | YouTube

A BEAUTIFUL REMINDER TO CHERISH BROKEN RELATIONSHIPS AND THE PIECES WE CONTINUE TO CARRY LISTEN HERE | WATCH HERE SOLD OUT DEBUT HEADLINE TOUR CONTINUES IN MAY THROUGH JUNE SHOWS IN AUSTRALIA & THE SOUTHERN US – FULL DATES BELOW PLUS BOSTON CALLING FESTIVAL, LOLLAPALOOZA, & MORE Today, Nashville-based singer-songwriter Max McNown released the new single “St. Helens Alpenglow” alongside a moving performance video via Fugitive Recordings x The Orchard x Columbia Records. Listen to “St. Helens Alpenglow” HERE Watch the performance video HERE An ode to old love with resounding lyrics punctuated by guitar and banjo plucks, Max sings, “And you might be over me, you might be gone, but all that I need you to know, is to me you will always be Saint Helen’s alpenglow.” On the meaning of the track, Max shares,   “For better or for worse, every relationship we’ve ever experienced has shaped us into the person we are today. The song ‘St. Helens Alpenglow’ serves as a reminder that just because a past love didn’t make it to the finish line, it doesn’t mean it was all for nothing. There are pieces of one another that we carry far beyond the “end” of our romances. The “Alpenglow” represents those fragments of broken relationships, memories you look back on fondly and will always be grateful for.” This new single follows last month’s release “ Call Me If You Miss Me ” and continues the story of his stunning sophomore album Night Diving (released January 24), a graceful fusion of folk and pop produced by Jamie Kenney (Colbie Caillat, Laci Kaye Booth). Max recently made his TV debut on The Kelly Clarkson Show  with a charming performance of his radio hit “ Better Me For You (Brown Eyes) .” Just one month before, host and singer-songwriter Kelly Clarkson covered Max’s breakout single “ A Lot More Free ,” which recently went GOLD, on her TV show. Watch “Better Me For You” performance on The Kelly Clarkson Show HERE Watch Kelly Clarkson cover “A Lot More Free” HERE His additional accolades include being named a 2025 Amazon Music Artist to Watch  and Billboard’s Country Rookie of the Month for November of last year following his feature as CMT’s Next Up Now artist alongside the release of Willfully Blind . The EP landed as the Oregon-born artist made his AmericanaFest debut, and as we saw another major resurgence of his breakout hit single “ A Lot More Free .” Since the single’s release it has recently achieved RIAA Gold certification , earned Max a top spot as #1 on   Billboard’s Emerging Artists chart , peaked at #1 on the iTunes singles chart and #1 on the TikTok Breakthrough USA chart , climbed the Canadian Hot 100 chart , and was placed on Spotify’s Hot Country and Viral 50 global playlists. One of the “ brightest newly minted stars to come out of Nashville in recent years” ( GRAMMY.com ), Max 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,” Max recently announced a handful of additional shows to officially mark the end of the triumphant tour. The series of southern stops includes Knoxville, Orlando, Richmond, and more. Max is also scheduled to perform at upcoming major US festivals including Boston Calling, Lollapalooza, CMA Fest, and others. Visit www.maxmcnown.com/tour for more information. At 23, Max 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, Max 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 2M followers). After attracting interest from major TV talent shows, Max 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. Tour Dates: May 4 Sun - Auckland, NZ - Powerstation May 6 Tue - Brisbane, QLD - The Tivoli May 7 Wed - Brisbane, QLD - The Tivoli May 11 Sun - Sydney, NSW - UNSW Roundhouse May 12 Mon - Sydney, NSW - UNSW Roundhouse May 13 Tue - Melbourne, VIC - Forum Melbourne May 14 Wed - Melbourne, VIC - Forum Melbourne May 16 Fri - Perth, WA - MetroCity 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 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 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 30 Sat - Aspen, CO - Jas Aspen Labor Day Experience Follow Max on his socials: TikTok  | Instagram  | YouTube  | Spotify | www.maxmcnown.com

Slovenian sonic anarchists Within Destruction have never been shy about pushing the envelope, and with their sixth studio album ANIMETAL , which will be released on April 11, 2025, via Sumerian Records, they launch headfirst into a world where anime aesthetics, brutal breakdowns, and electronic chaos collide with a refined sense of melody. As the band themselves put it, ANIMETAL  is the culmination of everything they’ve been experimenting with since stepping away from pure deathcore—and it sounds exactly like that: loud, weird, confident, and completely unhinged in the best way possible. Opening with the title track “ANIMETAL,” the band makes their mission statement clear—this is not just an album; it’s a cybernetic fever dream of destruction and self-discovery. With glitchy synths, razor-edged guitars, anime samples, and soaring choruses layered over guttural growls, the track sets the tone for what’s to come: an album that refuses to pick a lane and instead obliterates all of them. The previously released “DEMON CHILD” and “KANASHIBARI” remain standout moments on the album. “DEMON CHILD” is a volatile mix of trap beats and slam riffs, with vocalist Rok Rupnik delivering a masterclass in dynamic intensity. “KANASHIBARI,” on the other hand, showcases the band’s flair for atmosphere, dipping into eerie ambient, trap-esque passages before slamming into breakdowns that sound like they were ripped straight from a boss fight. But what makes ANIMETAL  feel truly special is its total and complete unpredictability. The two tracks like “BITTER EMBRACE” and “SEPARATE” double down on the emotional weight, pairing heartbreak-laced lyrics with infectious clean vocal hooks that wouldn’t feel out of place in a J-rock ballad—yet never sacrifice the band's heaviness in any sort of way. Whereas the track, “CYBERGIRL,” is utterly pure chaos at its core: a futuristic love song from a dystopian virtual world, complete with a breakdown that feels like it might short-circuit your headphones, and a flourishing guitar solo to boot. “INCOMPLETE” and “STAY 4EVER” bring an almost pop-punkish and emo energy into the album's eclectic mix, layering shimmering synths and melancholic melodies over pounding drums and detuned guitars without, once again, sacrificing their metal roots. It’s the kind of thing that might’ve seemed unthinkable on an album like DEATHWISH , but here, it feels earned—a natural extension of the band’s evolution rather than a gimmick. The last two tracks on ANIMETAL , “TORMENT” and “A LOVE THAT SLOWLY DIED,” dig deep into lyrical vulnerability, exploring grief, emotional numbness, and existential dread with anime-inspired narratives and evocative metaphors. There will undoubtedly be listeners who miss the pure slam brutality of Within Destruction’s early days, but for those willing to embrace their ever-morphing identity, ANIMETAL  is a boundary-shattering triumph. It’s cinematic. It’s theatrical. It’s emotional. It’s absurd. And somehow, it all works. ANIMETAL  is Within Destruction’s most daring and cohesive work to date—a futuristic love letter to chaos, heartbreak, and anime tropes, wrapped in distortion and digital noise. It won’t be for everyone, but for those who get it, this is an exhilarating ride worth repeating. Check out more from Within Destruction: Website | Facebook | Instagram

There’s something uniquely disarming about Trousdale’s music—something that settles into the soul like a phone call from an old friend, equal parts gentle reassurance and unfiltered truth. On their sophomore album, Growing Pains , out April 11, 2025, via Zula Records, the Los Angeles trio of Quinn D’Andrea, Georgia Greene, and Lauren Jones, dive headfirst into the messiness of becoming—grappling with heartbreak, burnout, codependency, and self-discovery—emerging not unscathed, but stronger. This is a record of deep feeling and stunning harmony, one that doesn’t offer easy answers, but rather, sits in the tension of change and finds beauty in the ache. If 2023’s Out of My Mind  was their indie-pop calling card, Growing Pains  is a confident expansion of their sonic identity. Co-produced with John Mark Nelson (Suki Waterhouse, Shaboozey), the album leans harder into country textures and live-band energy while still embracing the lush, emotive pop that first earned them praise. Nelson’s big-picture instincts help keep the record cohesive and cinematic, even as each track stands as a little world of its own. The result is Trousdale’s most mature, moving, and musically adventurous work yet. The opening title track, “Growing Pains,” sets the tone—both thematically and emotionally. It's an anthem for anyone trying to balance the dream with the reality, infused with just enough self-aware humour to keep it from collapsing under its emotional weight. “Living the dream / but the dream can be hard,” they sing, backed by warm guitars and swelling harmonies that sound like sunlight through a stormcloud. “Over and Over” follows with its brutal honesty and late-night melancholy. A co-write with John Mark Nelson, the track captures that familiar post-breakup sting—running into your ex just when you’ve barely begun to breathe again. With a mix of grace and grit, Trousdale manages to make heartbreak sound almost beautiful. Throughout the album, the band expertly blends genres and moods without ever losing their emotional throughline. The track “Want Me Back” is just one of many in a masterclass in cross-genre alchemy, weaving pop hooks, country licks, and even some doo-wop into a breakup bop that feels both nostalgic and fresh, but emotively poignant. “Secondhand Smoke,” one of the record’s heaviest and most heart-wrenching songs, is an emotional powerhouse. With sparse instrumentation and haunting lyricism, it unpacks the trauma of loving someone who’s toxic—and the soul-shattering decision to walk away for your own survival. However, not every song on Growing Pains is steeped in sorrow, though. “Don’t Tell Me” brings some sass and confidence; it's a pushback against being underestimated. “Warm Shoulder, Cold Heart” is sharp and simmering, full of tension and restrained fire. "Save Me" brings in a funk flair to their sonic palate. And finally, the penultimate tune “Vertigo” swirls in its own dizzy, atmospheric weight—sonically evoking the disorientation that comes with both heartbreak and healing. Closing track “Last Bloom” leaves us on a hopeful note. It’s a reminder that even in the harshest seasons, new life is always possible—that growth doesn’t always look pretty, but it’s worth it. “From what was, something new can always grow,” D’Andrea says, and this album makes that sentiment feel not just believable, but essential. Growing Pains  is a testament to the power of songwriting as catharsis and connection. It’s for fans of The Chicks and Kacey Musgraves, sure, but also for anyone who’s ever needed to ugly-cry in their car, anyone who’s ever started over, anyone who’s ever felt too much and loved too hard. Trousdale’s harmonies are as flawless as ever, but it’s their vulnerability—braided through every lyric, every note—that makes this record unforgettable. Trousdale’s  Growing Pains  doesn’t shy away from discomfort—it embraces it, learns from it, and turns it into art that aches and soars in equal measure. Check out more from Trousdale: Website  | Instagram  | TikTok  | YouTube  | Spotify  | Apple Music

In their decade-long journey through the depths of doom, Italy’s Messa has cemented themselves as one of the genre’s most daring and exploratory acts. With their fourth album, The Spin , set for release via Metal Blade Records on April 11, 2025, the quartet embraces reinvention, refining their signature “Scarlet Doom” sound with a bold infusion of 80s gothic rock and dark wave influences. The result is an album that doesn’t just expand their sonic palette—it reconstructs it with a haunting, cinematic scope that both challenges and enthralls. From the moment The Spin  opens with “Void Meridian,” there’s an immediate sense of urgency. The band’s characteristic mix of doom-laden heaviness and atmospheric beauty is present, but layered with sharp, reverb-soaked guitars and pulsating synths that channel the spirit of early Sisters of Mercy and Killing Joke. The rhythm section of drummer Rocco and bassist Alberto embraces a more streamlined approach, allowing each note to land with precise weight. The gated reverb on the drums—a staple of the 80s—adds an evocative, nostalgic punch that is both unexpected and mesmerizing. A key highlight, “Fire on the Roof,” featuring Andrea Mantione (Nuovo Testamento) on synthesizer, captures Messa’s evolving identity perfectly. The interplay between Marco’s spectral guitar work and the eerie pulsing synth textures creates a vast, almost surreal soundscape. Similarly, “The Dress” introduces a stunning trumpet solo by Michele Tedesco, which later duels with the guitar, evoking a noirish, jazz-infused haze that feels at once timeless and avant-garde. While the track, "Immolation," is a stripped-down ballad performed on an old-sounding, untuned piano that allows vocalist Sara to showcase her powerful, emotive vocals to soar, before the track explodes and Marco delivers a stunning guitar solo, backed up by the entire band. Lyrically, The Spin  is Messa’s rawest and unflinching work to date. Vocalist Sara has always possessed a voice capable of both devastation and tenderness, but here she pushes herself into new emotional depths. “Reveal” finds her tackling themes of self-destruction and ego dissolution with a visceral honesty, her voice floating hauntingly over a minimal yet foreboding arrangement that intertwines some 80s-style southern rock into their repertoire. Meanwhile, “Thicker Blood” serves as the album’s climax—a towering, gothic-doom anthem that oscillates between shadowy melancholy and explosive catharsis. The production choices on The Spin  further showcase Messa’s dedication to authenticity. By utilizing original 80s gear—from chorus effects to vintage synths like the Juno 106—the band fully commits to the sonic aesthetic without ever feeling like a pastiche. Instead, the album is imbued with a richness and depth that feels lived-in, almost as if these songs had always existed within Messa’s DNA, waiting to be unearthed. While previous records, Belfry , Feast for Water , and Close,  each marked distinct evolutionary phases for the band, The Spin  feels like the culmination of everything Messa has built thus far—only to be torn down and rebuilt anew. It’s an album that embraces reinvention with fearless abandon while maintaining the core emotional intensity that has defined their work. For longtime fans, The Spin  may initially feel like a departure, but it ultimately reveals itself as a natural, exhilarating progression. For newcomers, this album serves as a spellbinding entry point into one of doom metal’s most innovative forces. Messa isn’t just looking to push the genre forward—they’re setting it aflame and dancing in the ashes. The Spin  is a mesmerizing triumph and easily one of the most compelling releases of the year. Check out more from Messa: Instagram | Facebook | Twitter

On a chilly April evening in Winnipeg, the Park Theatre was set ablaze—not by pyrotechnics, but by powerful words, raw emotion, and sonic rebellion. Russian protest art collective Pussy Riot and rising Canadian alt-pop artist margø brought an unforgettable night of conviction, courage, and catharsis to the intimate venue. margø. Photos by Samuel Stevens Photography Opening the night was margø, the Los Angeles-based, Edmonton-born singer-songwriter whose music effortlessly blends ethereal pop melodies with lyrical vulnerability. Her set drew heavily from her debut full-length album, who are you when you're alone? , which dropped independently last October. With a smoky stage presence and vocals that cut like glass, margø laid her heart bare through her set, painting vivid portraits of inner battles and self-discovery. Fans of her earlier EPs, cool on the internet  and FAVOURITE FUNERAL , were rewarded with a couple of beloved tracks, as well. Each song carried a quiet strength, a resilient undercurrent that served as a fitting precursor to what would follow. Then came Pussy Riot—a name that reverberates with political resistance and feminist fury. The current touring lineup featured founding member Maria Alyokhina alongside Taso Pletner and Alina Petrova, forming a tight-knit trio of uncompromising defiance. Their show, rooted in Alyokhina’s second book Political Girl: Life and Fate in Russia Today , was split into two parts. The first half, familiar to some from their Riot Days  tour that swept through Canada just over a year ago, was a fierce blend of punk, performance art, and documentary storytelling. With projected visuals, industrial beats, and rapid-fire Russian narration (with English subtitles), it chronicled Pussy Riot’s harrowing encounters with state oppression, numerous arrests, and relentless activism. Even with a few additions of new material, it felt sharp, focused, and chilling in its urgency. Pussy Riot. Photos  by Samuel Stevens Photography But it was the second half—billed as “a work in progress”—that truly stunned. Where Part One delivered fury, Part Two delivered reflection. With deeper theatricality, nuanced visuals, and moments of eerie silence that punctuated the chaos, this segment expanded Pussy Riot’s narrative beyond rebellion, exploring the personal toll of resistance, exile, and the shifting landscapes of Russian identity. Though still evolving, this chapter of their story was anything but incomplete. It felt polished, potent, and wholly necessary. There’s something powerful about watching two very different artists—one carving a path through personal pain, the other waging war against authoritarianism—share a stage in a city not often visited by global protest icons. Together, margø and Pussy Riot didn’t just put on a show—they created a space for reckoning, empowerment, and healing. In a world that often silences or dilutes the voices of dissent and difference, this night in Winnipeg proved that art can still roar.

By shifting gears from the hard-hitting, groove-laden riffs of Lamb of God to the warm twang of country, southern rock, and blues rock, Mark Morton’s sophomore solo album, Without The Pain , is a bold reinvention. To be released on April 11, 2025, via Spinefarm and Snakefarm Records, the record captures Morton at his most authentic and reflective, delivering a heartfelt tribute to the sounds that shaped his musical upbringing. Morton has long hinted at his deep appreciation for southern rock, citing some bands like Lynyrd Skynyrd, The Allman Brothers Band, and Molly Hatchet as formative influences. With Without The Pain , he finally embraces that love wholeheartedly, enlisting an all-star cast of country, blues, and rock artists to bring his vision to life. The result is an album that seamlessly blends the grit of outlaw country with the swagger of blues rock, all while retaining the intricate guitar work and emotional depth Morton is known for. Produced by longtime collaborator Josh Wilbur, Without The Pain  boasts an impressive lineup of guest artists, each adding their own unique flavour to Morton’s compositions. The album opens with “Hell & Back,” featuring Jaren Johnston of The Cadillac Three, a fiery southern rock anthem packed with bluesy swagger and down-home attitude. Cody Jinks lends his unmistakable baritone to two standout tracks, including the hauntingly raw “Brother,” a song about family estrangement and reconciliation that was born out of a late-night writing session with Jinks and Travis Denning. Speaking of Denning, the Georgia-born country artist contributes to two tracks, including “Kite String” and the album closer, “Home,” both showcasing the softer, more introspective side of Morton’s songwriting. Meanwhile, Blackberry Smoke’s Charlie Starr and Americana luminary Jason Isbell join forces on “Come December,” a soulful, bittersweet track that feels tailor-made for a long drive down a dusty highway. For those craving a touch of heaviness, Without The Pain  doesn’t completely abandon Morton’s metal roots. Mastodon’s Troy Sanders makes an appearance on “Nocturnal Sun,” a doom-laden track that rumbles with intensity, while blues shredder Tyler Bryant delivers an electrifying guitar duel with Morton on the psychedelic-tinged “Forever In The Light.” One of the most exciting moments on Without The Pain  is Morton’s take on Lynyrd Skynyrd’s “The Needle and the Spoon,” featuring Clutch’s Neil Fallon. It’s a fitting homage to one of Morton’s greatest influences, delivered with reverence and a gritty, soulful energy. The title track, fronted by Matt James of Blacktop Mojo, is another highlight, fusing soaring melodies with anthemic choruses that beg for a live sing-along. Beyond its impressive guest list and stellar musicianship, Without The Pain  succeeds because it feels deeply personal. Morton’s songwriting is raw and honest, exploring themes of longing, redemption, and self-discovery. Tracks like “Dust,” featuring Cody Jinks and teenage guitar prodigy Grace Bowers, and the melancholic “Home” show an artist unafraid to be vulnerable, allowing his lyrics to take center stage as much as his guitar work. Mark Morton could have played it safe, sticking to the tried-and-true formula of his metal roots, but Without The Pain  is a testament to his artistic growth and fearless creativity. The album doesn’t just dip its toes into country and blues rock—it fully embraces it, crafting a cohesive and compelling journey through Morton’s influences. With top-tier collaborations, masterful guitar work, and emotionally charged songwriting, Without The Pain  is a career-defining statement. Whether you’re a longtime Lamb of God fan curious to hear a different side of Morton or a country-rock aficionado looking for a fresh take on the genre, this album is well worth your time. Check out more from Mark Morton: Website | Facebook | Twitter | Instagram

Mexico City’s own LUZER is carving out a space where pop punk and hardcore collide in an exhilarating, genre-defying storm. Their latest EP, La insoportable incrospidez del ser , out April 11, 2025, via Hopeless Records, is a testament to the band’s infectious energy, irreverent humour, and deep-rooted connection to their scene. With a sound that’s as eclectic as it is authentic, LUZER is setting a new standard for Latin pop punk while proving that their reach extends far beyond their hometown. The band's new five-track EP is a raw, emotionally charged ride through themes of frustration, introspection, and youthful defiance. Each of the five songs burst with high-energy instrumentation, catchy melodies, and a touch of the unexpected, blending traditional Latin rhythms with the punch of easycore and the gloss of pop punk. The EP kicks off with the track, “Insoportable (Mejor me echo una chela),” that perfectly captures LUZER's signature balance of humour and rebellion. The title, which loosely translates to “Unbearable (I’d rather just grab a beer),” sets the tone for a song drenched in self-awareness and carefree spirit. With dynamic riffs and an anthemic chorus, this song is bound to become a fan favourite at live shows. Following is the track, “Perdón x no ir a tu cumple,” which translates to “Sorry for missing your birthday.” This track is as playful as it is relatable. Driven by punchy drums and a high-speed punk tempo, it feels like an instant classic in the making. Fer’s charismatic vocals shine as she delivers tongue-in-cheek lyrics that balance between lighthearted storytelling and sincere apology. “Sentirte aquí” leans more into the band’s emotional core, fusing dreamy melodies with a driving beat. The layered instrumentation creates a lush atmosphere, making it one of the more introspective moments on the EP. It’s a sonic shift that highlights LUZER’s ability to blend vulnerability with their signature energetic delivery. Perhaps the most deeply personal track on the EP, “Suficiente” (“Enough”) was born from a difficult period in the band’s life. The raw emotion seeps through every note, making it an emotionally cathartic experience for both the band and the listener. The lyrics capture feelings of self-doubt and existential exhaustion, while the soaring choruses provide a much-needed release. It’s the kind of song that resonates deeply and cements LUZER’s ability to tap into universal emotions. Closing out LUZER's latest EP is the song “Confundido” (“Confused”), and it's a high-energy explosion of frustration and uncertainty. With a chaotic mix of heavy guitar work, ballad-like-inspired pop punk elements, and a relentless pace, it embodies the EP’s central theme: navigating the overwhelming and unpredictable nature of existence. It’s the perfect finale to an already thrilling ride. La insoportable incrospidez del ser  solidifies LUZER as a force to be reckoned with in the Latin pop punk scene and beyond. Their ability to fuse genres so seamlessly while maintaining a distinct identity makes them one of the most exciting emerging acts today. The EP is an electrifying mix of humor, introspection, and defiant energy that will have fans screaming along and moshing in equal measure. If LUZER’s trajectory continues at this pace, they won’t just be the future of Latin pop punk—they’ll be defining it. Check out more from LUZER: Facebook | TikTok | Instagram

North London singer-songwriter and guitarist Maya Delilah recently released her debut album, The Long Way Around , on March 28, 2025, via Blue Note Records. The album consists of a twelve-song tracklist. You were named Spotify's 2025 Artist to Watch. How does it feel to be spotlighted in that way? Maya: Oh my god, it feels incredible. Very surreal. I started releasing music on Spotify when I was nineteen, and it feels like it's taken so many different turns to get to this point. When you start out, it's like let me try and get on playlists and have people try and listen organically. It's such a journey when you get to the point where people start to know who you are, and people in the industry know who you are. It's a very big honor, very exciting. What led you to your guitar playing style only using your fingers instead of a guitar pick? Maya: When I started playing guitar, I was solely just playing fingerstyle acoustic guitar and for that you don't use a pick. From that, I moved on to banjo, and for that, it's five picks. So it's super different, you have a pick on every finger. I decided instead to grow my nails super long and do it that way. So then I was like, well, I don't need a pick for this either. Because I had gotten super used to not using a pick that when I switched to the electric guitar, I was like I'm going to stick to what I know in a stubborn way. I don't want to learn how to use another tool. I found over time that playing electric guitar you get so much more feel out of the guitar and emotion. That's always my aim when I play guitar, to have as much emotion as possible and I find using my fingers that comes through so much more. When it comes to songwriting, are you more deliberate or are you spontaneous? Maya: Whenever I write, I'm always in a room with people. I'm not a bedroom writer, I don't write on my own, I like to write with people. Depending on the people in the room, if they're more instrument-based musicians, it'll start off with a jam like how I do table times and stuff. If I'm in a room with more writers, it will start more in that way, where we think about what we want to write about and build a world around that. It really varies. I like doing both a lot. What message or feeling do you hope listeners take away from your music? Maya: With my album I really hope it feels like home for people. When I was writing it I was listening to a lot of records that I grew up on. For me, it sounds really nostalgic. I really hope with the writing as well, there's a lot of themes of simplicity of life and coming home to yourself. I hope it feels emotional and comforting like music you put on on a chill Sunday morning. What is your favorite song off the new album? Maya: I would say at the moment, and it does change quite a lot, a song that's not out yet, which is called "I’ll Be There In The Morning." How did you decide on the artwork for the album? Maya: I knew that I wanted the album cover to pay homage to Blue Note and classic Blue Note Records that was always in my head. I knew I wanted the fonts to reflect that. I love black and white; I think it usually makes pictures look better. I was really thinking about it, and I saw this hip-hop photo that had a fisheye lens in the middle, and I got the inspiration from that photo. I knew I wanted it to be in the studio and music-based with tape machines in there since half the album was made on tape. I wanted that to be a part of it. We took the photo and I sat down and next to me was this magazine that had this warped swirl of a circle and I was, well, that's sick, lets do that with it. It all came super naturally. Do you have any fan interactions that stick out to you? Maya: I think the best possible thing that I've had said to me at a show is that I inspired them to play the guitar. That's happened a few times and those are always the ones that stick with me because that's just absolutely insane to me. When did you know that album was finished? Maya: That was a journey. I’m such a perfectionist that it was hard to put it down. I feel like the amount of times I thought of times I thought it was finished has actually blurred my actual memory of when it was finished. The final stages, when it goes to master, and you get back all the mastered levels it's quite a technical last part. I lay in bed and listened in my headphones in full, and was like yeah, okay, I need to put it down at some point, now is good. In terms of writing and the songs, I think the last song I made on this record is “Did I Dream It All”. It's the most ballad-y song on the record. I knew it needed that, that's what it was definitely missing, so when that song was done and I was happy with it it felt like that was the missing piece of the puzzle. What is one thing you're most excited about playing your new tracks to fans? Maya: I would say I'm really trying to perform them in the way they were recorded. The difference between these new songs and my old songs is that a lot of these were recorded with a live band straight in the room. Being able to perform them the way they were made is really exciting. It's nice to not need to reimagine them too much with a band. I like doing different arrangements for live, but it's so much easier to be like, well, we all know how to play this,s we all made this. Getting to do it with the people I made it with, I'm playing all my UK shows with the people I made the record with, and that's really nice and exciting. Listen to The Long Way Around HERE Follow Maya on her socials: Instagram | TikTok

“WANT ME BACK” — STREAM SOPHOMORE ALBUM GROWING PAINS OUT ON APRIL 11 — PRE-SAVE WATCH THE DREAMY, 80s-INSPIRED VIDEO  FOR “WANT ME BACK” TICKETS FOR HEADLINE NORTH AMERICAN TOUR  ON SALE NOW — SEE ALL DATES HERE Arriving partially in light of and partially in spite of Valentine’s Day, Los Angeles’ heavenly harmonic trio Trousdale today release their new single and video “ Want Me Back .” The second release taken from their upcoming Growing Pains album, the yearning ballad draws inspiration from Lady A and finds the trio hoping that an ex might be regretting the breakup. Even if it isn’t true, Trousdale just wants to hear something sweet to temporarily patch the wound — Stream .  “I went into our recording session thinking the song would end up straight country, and Quinn and Georgia thought it would be straight pop,” Lauren Jones explains. “Our bassist worked some doo-wop into the mix, and we found something really special to lean into.” In the official video for “Want Me Back” directed by the trio and Aaron Kohn , Trousdale are clad in their signature colors, but transported back in time to the 1980s for a dreamy, angelic ballad moment — Watch . Trousdale’s upcoming second LP was primarily recorded live in the room and co-produced by the band and John Mark Nelson . With co-writing talent lent to them from Mags Duval , John Mark Nelson , and Lawrence Rothman , the trio utilized a live rhythm section on this record, resulting in a more cohesive and tighter sound than they’ve ever had before. Across 12 remarkable and relatable tracks, Growing Pains points a finger at the weight of life and offers a light at the end of the tunnel.  Last month, Trousdale released the album’s first single and title track “ Growing Pains ” along with its official video . Raking in around 200k streams in its first week alone, a new sense of delight surrounded the band as listeners were treated to a defiant anthem bolstered by ripping electric guitar and masterful country flair. The album will arrive in full on April 11 via I ndependent Co . — Pre-Save .  Trousdale also announced a limited edition vinyl pre-order with Diggers Factory and Good Neighbor . Keeping sustainability at the forefront, the vinyl is made with 100% Recyclable PET in an injection-mold machine, which saves 90% more energy than normal pressing methods. Only 200 copies of this eco-friendly edition will be available — Pre-order .  With their talent shining through the brightest in a live show, Trousdale will set out on the 29-date Growing Pains tour at the end of April. The tour will feature a collaborative opening set from Beane and Nia Ashleigh . The original Boston show already sold out and now sees a second night added, with cities like Atlanta, Portland and Toronto close to selling out.  Following the devastation of the wildfires in Trousdale’s home city, the band is partnering with The Ally Coalition on behalf of The California Community Foundation’s Wildfire Recovery Fund . $1 from each ticket will support both mid-term and long-term efforts to rebuild and restore the lives of California’s most affected and underserved populations. The Troufriends VIP Meet & Greet Experience will include an exclusive pre-show meet and greet, acoustic performance, a signed zine, limited edition merch, and more. See all tour dates here and below.  UPCOMING GROWING PAINS TOUR DATES: April 30 - Philadelphia, PA - Foundry* May 1 - Carrboro, NC - Cat’s Cradle* May 2 - Atlanta, GA - Smith’s* May 3 - Nashville, TN - Basement East* May 5 - Madison, WI - High Noon Saloon* May 6 - Minneapolis, MN - Fine Line* May 8 - Chicago, IL - Thalia Hall* May 9 - Detroit, MI - El Club* May 10 - Toronto, ON - Velvet Underground* May 11 - Montreal, QC - Petit Campus* May 13 - Boston, MA - Sinclair* May 15 - Richmond, VA - Broadberry* May 16 - Washington, DC - 9:30 Club* May 17 - New York, NY - Irving Plaza* May 29 - Dallas, TX - Sons of Hermann Hall* May 30 - Houston, TX - White Oak (Upstairs)* May 31 - Austin, TX - 3TEN ACL Live* June 3 - Phoenix, AZ - Valley Bar* June 4 - San Diego, CA - Quartyard* June 11 - Denver, CO - Bluebird* June 12 - Salt Lake City, UT - Soundwell* June 13 - Boise, ID - Shrine* June 14 - Portland, OR - Mission Theater* June 16 - Vancouver, BC - The Pearl* June 17 - Seattle, WA - Neumos* June 19 - San Francisco, CA - Chapel* June 20 - Healdsburg, CA - Little Saint* June 21 - Los Angeles, CA - El Rey Theatre* *with a collaborative opening set from Beane and Nia Ashleigh All tour info here ! Last year, Trousdale released Out of My Mind Deluxe while touring extensively across North America. Highlights include sold-out headline dates, supporting The Teskey Brothers , Glen Hansard and Lake Street Dive , and festival performances at Bonnaroo , Green River Festival and Whale Jam . Trousdale also released an Audiotree live session and contributed to NOISE FOR NOW’s Songs For Sex , a benefit compilation album in support of sexual and reproductive rights alongside  Jason Isbell and the 400 Unit , Andrew Bird and more.  ABOUT TROUSDALE: For Trousdale—the trio of Quinn D’Andrea, Georgia Greene, and Lauren Jones—the ache of growing through change, of facing down existential anxiety, and matters of the heart are all intimately familiar. “We can acknowledge the strides we’ve made and be grateful, but we’ve talked a lot about how tired we are,” Jones says with a laugh. “We’ve been thinking a lot about the tension that comes with change, wanting it, fighting it, embracing it, but learning to thrive in that moment.” On Trousdale’s upcoming LP, Growing Pains (due April 11th), the band works through those struggles to find strength, courage, and growth in each other. “From what was, something new can always grow,” D’Andrea says. The album was recorded largely live in the room and co-produced by the band and John Mark Nelson, a songwriter who has also co-written and produced songs for Suki Waterhouse and Shaboozey, as well as engineered tracks for the likes of Taylor Swift and Mitski. While working with co-writers like Mags Duval and Adam Yaron expanded the band’s purview, the trio credit John Mark Nelson as a particularly powerful guide. “He’s always thinking about the big picture and staying out of the weeds,” Jones laughs. “We used to live in the weeds. But John Mark helped us focus on the album as a whole.”  Trousdale’s debut album, 2023’s Out of My Mind , earned raves from the likes of the Boston Globe, Consequence, and Atwood Magazine for its powerful songwriting, immaculate harmonies, and ability to bridge gaps between country and indie pop. On Growing Pains , the three songwriters evolved their style, writing rough ideas on their own, then refining and finishing them in the room together. “ We’re all adding to each other’s ideas, drawing from personal experiences and then expanding them into something more people can connect with,” D’Andrea explains. As good as Trousdale sounds when they lean into their gold-hued pop, the group work their country flair into the material more masterfully than ever before. Across 12 remarkable tracks, Growing Pains stares down all the weight of its title, a trio of strong, independent women facing the threats of loneliness, broken hearts, loss, and more, and converting it into transformative, uplifting music. “It's a reminder that even in the coldest moments, renewal is always possible,” D’Andrea explains.  Check out more from Trousdale: Website | Instagram | TikTok | YouTube | Spotify | Apple Music

Los Angeles-based Saphir Levi is stepping into a bold new era. The alt-rock singer-songwriter is thrilled to announce that she has signed to NOWHERE Recordings , in partnership with Pale Chord Records / Rise Records . Along with the news comes Levi’s debut single “ Forget It ”, out now and streaming here: https://saphirlevi.lnk.to/ForgetIt , with the music video available now, here: https://www.youtube.com/watch?v=EeS1kEoQ4CM   Saphir Levi shares, “‘ Forget It ’ is about the magic of self-assurance and seduction. It is warm, witchy, romantic, and most importantly, confident. It feels like such an appropriate first chapter in this brand new story of my musical journey.”   Blending sharp, earworm hooks and evocative vocals with a sound that channels the glory days of ’90s alternative rock in the vein of Mazzy Star, Liz Phair and PJ Harvey, all filtered through a modern, forward-thinking lens, “ Forget It ” is poised to be an instant classic. Produced by NOWHERE2RUN —the powerhouse duo of Jami Morgan and Eric Balderose (both of Code Orange) , “ Forget It ” also arrives via NOWHERE Recordings , the latest joint venture with Pale Chord and Rise Records BMG .   Initially performing under the moniker Saphir , Levi has amassed over 30 million streams globally, captivating audiences with her raw talent and evocative sound. Now, in 2025, she embarks on her next chapter—both sonically and professionally—with the release of her debut single “ Forget It ," her first under her full name.   Armed with a new sound, a fearless vision, and an undeniable presence, Levi is primed to leave an indelible mark on the alternative rock landscape and further cement herself as an artist to watch. Find out more from Sephir Levi: https://saphir.komi.io/ https://www.instagram.com/saphir1996 https://www.tiktok.com/@saphir1996 https://x.com/saphir1996_ https://www.youtube.com/c/Saphir1996/ https://open.spotify.com/artist/4ERRpGwxvfMKNH7Dkr7Zfd https://music.apple.com/us/artist/saphir/257368166

“LIGHT LIKE YOU” LISTEN HERE PART 1 OF I THINK I’VE BEEN HERE BEFORE ALBUM OUT MAY 16TH - PRE-SAVE HERE JOINS SUMMER SCHOOL TOUR ALONGSIDE TAYLOR ACORN, CHARLOTTE SANDS, RAIN CITY DRIVE, AND MORE, STARTING JULY 11, 2025, IN DETROIT. Pop-rock trio Arrows in Action releases their infectious, cut-loose track “Light Like You” about dancing, tripping, summer love, and being at peace. The single is off part one of the I Think I’ve Been Here Before album, out May 16, 2025, with part two to follow this Fall. “This song is about briefly meeting the girl of your dreams, only to lose touch when you part ways. She makes you see colors you didn’t know existed and she makes you feel alive again when you needed it most. She’s like a hallucination; too good to be true and slipping just out of reach, but unforgettable nonetheless,” reflects Arrows in Action. Part one of I Think I’ve Been Here Before showcases Arrows in Action’s lighter side, highlighting themes of nostalgia, self-reflection, and breaking old habits. The positive themes, brighter sound, and upbeat lyrics found on part one of the upcoming album are depicted in the previously released tracks “Feel It Again,” an anthemic track about reconnecting with an old flame, and “Cheekbones,” a catchy track about situationships. The latter amassed over 500K streams in its first week of release, proving the band is quickly becoming the new face in the pop-infused rock crossover scene. Follow Arrows in Action on socials for more information on part one of the band’s highly anticipated second album, I Think I’ve Been Here Before. Arrows in Action is thrilled to announce they will be joining the Summer School Tour with Taylor Acorn, Charlotte Sands, and Rain City Drive. The tour, sponsored by Hot Topic and idobi Radio, kicks off July 11th in Detroit and wraps August 10th in Philly. Just before Summer School, the band will perform a handful of EU/UK headline shows in June, while making stops at Download Festival and Rock for People. Then, Arrows in Action will wrap Their year of relentless touring with an appearance at the 2025 Vans Warped Tour in Orlando on November 15th. For more information and to purchase tickets, visit the band’s website HERE . Arrows in Action ‘Lost in The Moment’ EU/UK Tour Dates: June 5 – Paris, FR - Supersonic June 7 – Amsterdam, NL - Melkweg June 9 – Hamburg, DE - Hebebühne June 10 – Berlin, DE - Cassiopeia June 11 – Warsaw, PL - Hydrozagadka June 12 – Hradec Kralove, CZ @ Rock for People Fest* June 15 – Donnington, UK - Download Festival 2025* June 17 – Leeds, UK - Key Club June 18 – Newcastle, UK - Think Tank June 19 – Edinburgh, UK - Sneaky Pete’s June 20 – Glasgow, UK - Nice N Sleazy June 22 – Belfast, UK - Voodoo June 23 – Dublin, IRE - The Grand Social June 25 – Bristol, UK - Exchange June 26 – London, UK - The Dome Summer School Tour: July 11 - Detroit, MI - The Fillmore Detroit July 12 - Chicago, IL - Riviera Theatre July 13 - Cleveland, OH - Agora Theatre July 15 - Newport, KY - MegaCorp Pavillion July 16 - Chesterfield, MO - The Factory at the District July 18 - Kansas City, MO - Uptown Theater July 19 - Denver, CO - Fillmore Auditorium July 20 - Salt Lake City, UT - The Union July 22 - Seattle, WA - Showbox SoDo July 23 - Portland, OR - Roseland Theater July 25 - Sacramento, CA - Channel 24 July 27 - Tempe, AZ - Marquee Theatre July 29 - Dallas, TX - House of Blues July 30 - Houston, TX - House of Blues August 1 - Nashville, TN - Marathon Music Works August 2 - Atlanta, GA - The Masquerade Heaven August 3 - St. Petersburg, FL - Jannus Live August 5 - Silver Spring, MD - The Fillmore Silver Spring August 6 - Pittsburgh, PA - Stage AE August 8 - Sayreville, NJ - Starland Ballroom August 9 - Worcester, MA - The Palladium August 10 - Philadelphia, PA - Franklin Music Hall Nov 15-16 - Orlando, FL - 2025 Vans Warped Tour* *Festival performance I Think I’ve Been Here Before Part 1 Tracklist : 1. Celebration 2. Feel It Again 3. Hello Sunlight! 4. Light Like You 5. Lost in the Moment 6. Déjà vu For Nashville-based pop-rock trio Arrows in Action, nostalgia is both a double-edged sword and the common thread that binds their highly anticipated third album, I Think I’ve Been Here Before . Arrows in Action, which consists of Victor Viramontes-Pattison (Vocals, Guitar), Matthew Fowler (Guitar), and Jesse Frimmel (Drums), have found themselves in a reflective state, looking back on the whirlwind journey they’ve been on since their formation in 2017. With two independently released, critically acclaimed releases — Be More (2021) and Built to Last (2023)—under their belt, Arrows in Action have amassed a legion of die-hard fans captivated by their infectious music, charismatic stage presence, and ability to fuse razor-sharp pop hooks with sincere, evocative performances. Unsurprisingly, they’ve racked up millions of streams, experienced countless viral moments on social media—most recently with their vampire-centric track “Cheekbones”—and embarked on several successful headline and support tours. Armed with a new label, album and energized spirit, it’s only a matter of time before Arrows in Action becomes a household name. With the band’s ability to craft music that resonates on both an emotional and anthemic level, I Think I’ve Been Here Before will undoubtedly inspire vast audiences upon release and continue to solidify their place as one of the most exciting acts in pop-rock today. Check out more from Arrows in Action: Website | Instagram | TikTok | Facebook | Twitter

LISTEN TO "MOVE WITH ME" HERE Rising avant-pop force Sophie Powers is back and bolder than ever with her latest single, " move with me ." Marking the dawn of a new era, the 20-year-old artist sheds the bubblegum neon aesthetic that defined her earlier work, stepping into a darker, rawer, and more nihilistic vision—one that embraces chaos rather than sugarcoating it.  A sonic adrenaline rush, “move with me” surges with pulsating synths, futuristic pop melodies, and Sophie’s signature rebellious spirit. The track captures the struggle of balancing ambition with intimacy in a world that never slows down. It’s about finding someone who doesn’t hold you back but matches your momentum. “ It’s becoming harder and harder to find someone who seamlessly fits into our busy lives ,” Sophie explains. “ As a music artist, fashion designer, and 20-year-old bisexual ‘girlboss,’ my hectic schedule has made dating feel impossible—but it’s not just me. My generation values independence over tradition. Finding a partner isn’t a necessity, but it’s still nice to meet someone who just gets you—who can keep up and move with you. ” Sophie Powers is leading the charge of a new generation of sharp-minded, creative outcasts. Call her sound whatever you want, but one thing is certain: she is on a mission to bring raw, unfiltered emotion back to a pop landscape that often feels detached.  That subversive attitude towards genre is also expressed in Sophie’s visual aesthetic. She designs all of her own outfits, collaborating with a seamstress to create looks as bold and unconventional as her sound. She recently partnered with Harajuku streetwear brand ACDC RAG and Gloomy Bear to design a collection that celebrates individuality, bold expression, and counterculture. Since making her debut in 2022, the Toronto-born, LA-based artist has caught the attention of tastemakers like PAPER, The FADER, and Alternative Press. Following the release of her debut EP, Kerrang! crowned her “the next poster girl for femme attitude”—a title she continues to embody. That same bold energy translates to her magnetic live performances, where she commands the stage with an electrifying presence. This summer, fans can experience it firsthand as she takes over all three dates of Warped Tour and brings her high-octane show to the UK’s Slam Dunk Festival. Through her music, visuals, and unapologetic attitude, Sophie Powers isn’t just redefining what it means to be an artist—she’s creating an entirely new blueprint. Listen to "move with me" on all streaming platforms: https://stem.ffm.to/movewithme Watch the music video for "move with me": https://www.youtube.com/watch?v=es9-YEgzcVI Find out more from Sophie Powers: Website | Instagram | TikTok | X | Facebook | YouTube | Spotify | Apple Music

Stream “Forever” Here Watch the Visualizer Here Indie alt-rock band, Your Favorite Color, has released their latest single, "Forever," today, delivering a pulse-pounding anthem for those who live life without hesitation. Returning with their signature high-energy sound, Your Favorite Color captures the rush of reckless abandon in "Forever." Fueled by soaring melodies and an electrifying beat, the track paints a vivid picture of late-night drives, neon-lit highways and the unrelenting desire to never slow down. The lyrics dive deep into the thrill of the moment—speeding past fear, chasing the high, and refusing to say goodbye. “Forever” and the official visualizer video are now available on streaming platforms. "Forever" embodies the spirit of those who live fast and dream big, blending raw energy with anthemic hooks that demand to be played loud. From its infectious rhythm to its unforgettable chorus, the song is an anthem for the restless, the reckless and anyone who believes the night is theirs to own. “‘Forever’ is everything we love about making music—it’s about chasing the moment, feeling invincible, and never looking back. We wanted this track to capture the rush of endless nights, the thrill of the unknown, and the electricity of living without fear. It’s a song for anyone who refuses to slow down, and we're excited to share this experience with fans." – Your Favorite Color The release of “Forever” follows a milestone year for the band. From their cover of the Thompson Twins’ 1984 hit “Hold Me Now,” to their single “Medicine” going viral on Instagram, to the release of their debut album For You, their rapidly growing fan base has solidified their undeniable appeal. Throughout all of this, Your Favorite Color wrapped up a whirlwind tour as part of the opening lineup for The Driver Era’s ‘X Girlfriend’ tour across Europe. Over the course of 26 shows in 14 countries, including stops in Lisbon, Madrid, Paris, London and Oslo, the band captivated audiences with their dynamic performances. Enlisted by The Driver Era, the sibling duo of Rocky and Ross Lynch, Your Favorite Color brought their signature blend of gritty alt-rock and nostalgic melodies to thousands of fans. The tour significantly expanded their global fan base and earned them praise from The Sun, which highlighted their standout performances. ABOUT YOUR FAVORITE COLOR From Huntington Beach, CA, Your Favorite Color is a rising indie alt-rock band featuring lead vocalist Matt Warren and keyboardist Nicky Neighbors, along with Cameron Pearson on bass, Matthew Fosmire on drums (aka "Foz") and guitarist David Silveria. The band crafts a unique blend of hyper-alternative rock and 80s dream pop that carries deep melancholic undertones. United by a shared love of music and the ocean in Orange County, they've evolved into lifelong friends and musicians. After over six years of honing their craft and delivering dynamic performances along the California coast, Your Favorite Color is poised to make their mark on the international stage. Along with their evolving musical journey and dedication to pushing boundaries within the indie music scene, the band is set to shine with previously released singles, “Stained,” “Back to the Bottom,” “I Know Better,” “Boy Toy,” and “Medicine.” Following an electric debut at SXSW 2024 in Austin, Texas and notable performances in Costa Mesa, California, The Driver Era’s ‘X Girlfriend’ Europe Tour solidifies the band’s reputation, further cementing their status as one of California’s most promising musical exports. Find out more about Your Favorite Color: Instagram | TikTok

STREAM/WATCH "CHOKE" HERE After a musical hiatus marked by introspection and artistic redefinition, Alicia Moffet makes a bold return with Choke , a hard-hitting track about one-sided relationships and the power of saying, “enough is enough.” Balancing vulnerability and inner strength, the song encapsulates the painful yet liberating realization of having been used, drained, and then discarded. The first single from her upcoming album No, I’m Not Crying , set to release on May 30, Choke went through multiple transformations before reaching its final form. Originally titled Emergency Room , the song had a completely different vibe and narrative. Despite its undeniable potential, the team struggled to fully capture its essence. It was only by starting from scratch, under the creative guidance of producers Harper Gordon and Sam Avant, that the track finally found its true identity. This bold decision proved to be a breakthrough, leading to one of the album’s standout tracks. “We’ve all had that moment where we think, ‘Wow, was I just a snack for you?’ It starts off in that raw, frustrated place, but by the end, it’s more of a shrug – like, ‘Alright, karma’s got this one.’ And look, I don’t actually wish for anyone to choke.. but if they were to stub their toe a few times? I mean, that’s just life keeping things balanced.” — Alicia Moffet With No, I’m Not Crying , Alicia Moffet embarks on a new chapter in her career, marked by renewed artistic freedom. Now backed by a fresh creative team at Cult Nation—a collective of bold, innovative talents such as Charlotte Cardin and Lubalin—she collaborates with producers and songwriters Jason Brando, Sam Avant, and Harper Gordon to shape a deeper, more mature, and audacious musical universe. This partnership allows her to push artistic boundaries and solidify an even stronger musical identity. Together, her management and creative teams are orchestrating a new phase in her career, bringing forth a revitalized vision and exciting upcoming projects. Defying conventions, the album showcases an artist unafraid to explore the duality of her emotions. Shifting between intimacy and sharpness, Alicia navigates vulnerability and confidence, balancing melancholic ballads with striking rhythms. Choke is a piece of a larger story—a sincere confession carried by sounds as captivating as they are powerful. Choke is just a glimpse of this ambitious project, promising to unveil a more authentic and unapologetic Alicia Moffet than ever before. With its raw emotion and refined production, Choke marks a significant artistic evolution for the singer, standing at the crossroads of alternative pop and heartfelt storytelling. This new single sets the tone for a bold and deeply personal project, where Alicia explores a richer sonic palette and even more compelling lyrics. ABOUT ALICIA MOFFET: Alicia Moffet has established herself as one of the most prominent figures in contemporary pop in her home province of Quebec. Discovered as a teenager, she has evolved with authenticity and boldness, forging a path that is uniquely her own—far from the beaten track. Following the success of her debut album  Billie Ave.  (2021) and her EP  Intertwine  (2022), which have accumulated over 17 and 15 million streams respectively, Alicia is now entering a true artistic turning point with  No, I’m Not Crying . Over the years, Alicia has developed a distinctive approach, with spontaneity and sincerity at the heart of her craft. Through introspective and cathartic songs, she shapes a world where every emotion has its place. With millions of followers on social media, Alicia navigates the space between public image and artistic authenticity, proving that it’s possible to be both a media personality and an artist deeply committed to her creative process. Find out more from Alicia Moffet: https://www.aliciamoffet.ca

Australia’s genre-blurring heavyweights Thornhill have returned with their third studio album, BODIES , out April 4, 2025, via UNFD, showcasing the band at their most immediate, raw, and explosive. Following the cinematic grandeur of Heroine  (2022), BODIES  shifts gears into an unfiltered, electrifying soundscape, balancing unrelenting intensity with moments of cathartic energy. While Heroine  was a carefully curated concept piece, BODIES  thrives on spontaneity and uninhibited expression. From the moment BODIES  kicks off with "DIESEL," it’s clear Thornhill are here to shake things up. The track barrels forward with crushing riffs and urgent vocals, setting the tone for an album that’s equal parts celebratory and destructive. "Revolver" continues the onslaught, blending pulsating rhythms with hypnotic and atmospheric melodies, reminiscent of Thornhill’s knack for blending post-hardcore and alternative metal in a fresh, forward-thinking way. The pre-released singles, "Silver Swarm," "TONGUES," and "nerv," are among the album’s most immediate standouts. "Silver Swarm" is a high-energy whirlwind, fusing technical precision with anthemic hooks, while "nerv" pulsates with an industrial edge, its minor electronic elements interwoven seamlessly with dynamic guitar work. "Tongues" brings in a sinister bassy groove, injecting a sense of danceable chaos into the mix, reinforcing the band's intent to craft music that feels equally at home in the mosh pit and on a neon-lit dance floor. Thornhill’s fearless approach to songwriting shines on tracks like "Only Ever You," where soaring choruses crash against some heavier moments, but showcases the softer side of Thornhill. While the track, "CRUSH" is a full-blown alt-R&B track, driven by a pulsating bassline, further showcasing their fearless songwriting approach. "Obsession," first released as a standalone single in 2023, finds new life within the album's context, its infectious melodies anchoring one of the more emotionally resonant moments of BODIES . One of the album’s heaviest hitters—but not in the sense you would think—"under the knife" leans into absorbing every sound you hear on the record prior and blending it into one cohesive, powerful unit, and with a crushing breakdown to boot. Further pushing Thornhill's heavier influences to the forefront, while keeping their lighter ones in frame. Closing out BODIES is the track, "For Now," which serves as a poignant finale, offering a moment of reflection amidst the record’s relentless energy—a reminder that beneath the band’s experimental shifts and explosive sound, there remains an emotional core that defines their artistry deep down. With BODIES , Thornhill have crafted an album that feels alive and unpredictable. It’s a record that doesn’t just demand attention—it commands it. Stripping away the over-polished nature of their previous work, they’ve embraced a raw, spontaneous energy that makes for an exhilarating listen. This is Thornhill at their most visceral, most unfiltered, and perhaps most thrilling yet. Check out more from Thornhill: Website | Facebook | Instagram | Twitter

I had a chat with Bill Payne, leader of the rock band Little Feat, ahead of their new album and tour. Their new album, Strike Up The Band , will be released on May 9, 2025. Their upcoming tour begins on May 5th in Vermont and ends on October 26th in New Jersey. Photo courtesy of Fletcher Moore. Is there anything you guys are looking forward to while being on tour? Bill: Believe it or not, we still enjoy each other’s company. This includes the band and everyone on our crew. It’s a great collection of people who day in and day out are going after the same goal to present the best show possible. Lots of shared interests, as well: sports, finding great places to eat, to name a few. Just great camaraderie.   Do you guys have essentials you’ll be bringing with you on tour? Bill: Great question! Essentials can cover a wide area, but I’ll reduce it to this: Food on the bus! Our road manager and guru, Vid Sutherland, and our lovely assistant, Michele Cochrane, both make sure the bus is well stocked. It adds a level of comfort to traveling that is really important. Is there a venue or city you are excited to perform in? Bill: We all wear in-ears for performing so the venues and the acoustics are not as important a consideration to the question as it was years ago. The people who attend matter. Many of them we’ve known for years. Always good to catch up with folks. We have a good following throughout these days that is bringing in new fans. Trying to choose a city is difficult, as well. That said, I’m personally fond of the Santa Barbara Bowl. We recently played a concert there with Tedeschi Trucks Band. Susan and Derek are friends of ours. I grew up in the area north (Santa Maria) and south (Ventura) of Santa Barbara. Lots of great memories. We added another one the night we played. Are there any songs from the album that you all are excited to perform on tour?  Bill: Every song on Strike Up the Band is under consideration to play. Out of the thirteen songs on the record, we will probably narrow it down to nine or so. On any tour, songs evolve as the band plays them. I’m looking forward to “New Orleans Cries When She Sings.” Vince Herman from Leftover Salmon and I wrote it. Another song I think will resonate is “Bluegrass Pines,” I wrote with Robert Hunter. “Too High to Cut My Hair” is a fun song to play. Scott and Fred Tackett put that song together. Again, every song that is on the album is worth playing or they wouldn’t have made the record. How did you come up with the title for the album, “Strike Up The Band”?  Bill: The title and song came from Scott Sharrard. He wrote it to convey bringing people back together after the pandemic. It also serves as a metaphor to Little Feat coming back as a band with a new line up. What was the creative process like for the album cover? Bill: Our resident artists and longtime friends Dick and Linda Bangham of Rip Bang Pictures conferred with Brian, Scott and me on a direction. A field drum was mentioned. The Sailin’ Shoe, one of our major logos, was brought in. Dick showed us several versions, and we chose one after going back and forth with some of the design details. Colors are important. Looking for an image that pops! Mission accomplished.    What was the writing process like for this album? Bill: I went to NYC to write with Scott Sharrard and Tony Leone. We came up with “4 Days of Heaven, 3 Days of Work.” We worked on a few songs while I was there. Fred and Scott wrote “Too High to Cut My Hair.” Tony contributed a cool song, “Running Out of Time with the Blues.” I went outside of the band to write with Charlie Starr from Blackberry Smoke a song called “Bayou Moma.” I was also pleased to write “When Hearts Fall” with John Leventhal. And Vince Herman, whom I mentioned earlier.   How did you know when the album was done? Bill: Strike Up the Band was unusual for us. We normally don’t write more songs than will go on the record. We had at least four or five songs that didn’t make the album this time. There wasn’t enough room. Narrowing down the selection to thirteen was not easy. I knew the album was done once we had whittled the list down. Well, that, and all of the overdubs were checked off the list! Are there any songs you guys are excited for fans to hear? Bill: It’s fair to say that Little Feat has an extensive catalog. My hope is not only to play the new songs from the album, but from our Blues album Sam’s Place , featuring Sam Clayton. Also, from time to time, we’ll play songs not written by Little Feat. Recently we played the John Hiatt song, “Slow Turning.” that took the roof off. That’s the direction we’re excited about, and I’m quite sure the fans will be, as well.

“SECONDHAND SMOKE” — STREAM OFFICIAL VIDEO COMING THIS FRIDAY ONE MORE TASTE OF UPCOMING ALBUM GROWING PAINS  BEFORE RELEASE NEXT WEEK — PRE-SAVE HEADLINE TOUR COMING TO NORTH AMERICA  AND EUROPE — SEE ALL DATES HERE Los Angeles harmonic trio Trousdale today surprise fans with one more single ahead of their new album with the downtempo and stirring “ Secondhand Smoke .” With the release of Growing Pains just days away (April 11) the group decided to showcase the depths of how rousing their singing can be when they come together over a lightly strummed guitar and fan the flames to the heights of emotion — Stream . “‘Secondhand Smoke’ is a song that dives into the emotional weight of being in an abusive relationship and the devastating push-and-pull it creates,” shared Quinn D’Andrea. “For us, this song is about loving someone who is battling their own destructive traits—traits that are slowly harming not just them, but also you.”  “The metaphor of secondhand smoke reflects how their pain and actions seep into your life, leaving you as collateral damage. It’s a song about wrestling with the impossible decision to leave someone you love in order to save yourself, even though it feels like abandonment. Ultimately, it’s about facing the hard truth that you can’t save someone who won’t save themselves—and the courage it takes to walk away from the fire before it consumes you both.” Trousdale’s upcoming second LP was primarily recorded live in the room and co-produced by the band and John Mark Nelson , with co-writing talent lent to them from Mags Duval and Lawrence Rothman . The trio utilized a live rhythm section on this record, resulting in a more cohesive and tighter sound than they’ve ever had before. As good as Trousdale sounds when they lean into their gold-hued pop, the group work their country flair into the material more masterfully than ever before. Across 12 remarkable and relatable tracks, Growing Pains points a finger at the weight of life and offers a light at the end of the tunnel.  Beginning in a few short weeks, Trousdale will set out on their headline tour of both North America and Europe. And beginning in September, Trousdale will once again join their friends in Lake Street Dive for six East Coast shows. See all tour dates here and below.  UPCOMING GROWING PAINS TOUR DATES: April 30 - Philadelphia, PA - Foundry* May 1 - Carrboro, NC - Cat’s Cradle* May 2 - Atlanta, GA - Smith’s* May 3 - Nashville, TN - Basement East* May 5 - Madison, WI - High Noon Saloon* May 6 - Minneapolis, MN - Fine Line* May 8 - Chicago, IL - Thalia Hall* May 9 - Detroit, MI - El Club* May 10 - Toronto, ON - Velvet Underground* May 11 - Montreal, QC - Petit Campus* May 13 - Boston, MA - Sinclair* May 15 - Richmond, VA - Broadberry* May 16 - Washington, DC - 9:30 Club* May 17 - New York, NY - Irving Plaza* May 29 - Dallas, TX - Sons of Hermann Hall* May 30 - Houston, TX - White Oak (Upstairs)* May 31 - Austin, TX - 3TEN ACL Live* June 3 - Phoenix, AZ - Valley Bar* June 4 - San Diego, CA - Quartyard* June 11 - Denver, CO - Bluebird* June 12 - Salt Lake City, UT - Soundwell* June 13 - Boise, ID - Shrine* June 14 - Portland, OR - Mission Theater* June 16 - Vancouver, BC - The Pearl* June 17 - Seattle, WA - Neumos* June 19 - San Francisco, CA - Chapel* June 20 - Healdsburg, CA - Little Saint* June 21 - Los Angeles, CA - El Rey Theatre* *with a collaborative opening set from Beane and Nia Ashleigh All tour info here ! ABOUT TROUSDALE: For Trousdale—the trio of Quinn D’Andrea, Georgia Greene, and Lauren Jones—the ache of growing through change, of facing down existential anxiety, and matters of the heart are all intimately familiar. “We can acknowledge the strides we’ve made and be grateful, but we’ve talked a lot about how tired we are,” Jones says with a laugh. “We’ve been thinking a lot about the tension that comes with change, wanting it, fighting it, embracing it, but learning to thrive in that moment.” On Trousdale’s upcoming LP, Growing Pains (due April 11th), the band works through those struggles to find strength, courage, and growth in each other. “From what was, something new can always grow,” D’Andrea says. The album was recorded largely live in the room and co-produced by the band and John Mark Nelson, a songwriter who has also co-written and produced songs for Suki Waterhouse and Shaboozey, as well as engineered tracks for the likes of Taylor Swift and Mitski. While working with co-writers like Mags Duval and Adam Yaron expanded the band’s purview, the trio credit John Mark Nelson as a particularly powerful guide. “He’s always thinking about the big picture and staying out of the weeds,” Jones laughs. “We used to live in the weeds. But John Mark helped us focus on the album as a whole.”  Trousdale’s debut album, 2023’s Out of My Mind , earned raves from the likes of the Boston Globe, Consequence, and Atwood Magazine for its powerful songwriting, immaculate harmonies, and ability to bridge gaps between country and indie pop. On Growing Pains , the three songwriters evolved their style, writing rough ideas on their own, then refining and finishing them in the room together. “ We’re all adding to each other’s ideas, drawing from personal experiences and then expanding them into something more people can connect with,” D’Andrea explains. As good as Trousdale sounds when they lean into their gold-hued pop, the group work their country flair into the material more masterfully than ever before. Across 12 remarkable tracks, Growing Pains stares down all the weight of its title, a trio of strong, independent women facing the threats of loneliness, broken hearts, loss, and more, and converting it into transformative, uplifting music. “It's a reminder that even in the coldest moments, renewal is always possible,” D’Andrea explains.  Check out more from Trousdale: Website | Instagram | TikTok | YouTube | Spotify | Apple Music