Singer-songwriter Em Beihold released her debut album, Tales of a Failed Shapeshifter , on February 27, 2026, via Republic Records. The album has an eleven-song tracklist, which includes her singles, “Scared of the Dark,” “Brutus,” and “Hot Goblin”. What was the intention behind choosing Scared of the Dark, Brutus, and Hot Goblin as the first songs listeners heard from Tales of a Failed Shapeshifter , and how do they set the tone for the album as a whole? Em: I thought “Brutus” was a good peek into the piano world. But also a little bit whimsical, without giving too much Pop information or too much of the songwriting information away. “Brutus” was the first song I wrote coming out of writer's block. It was one that kind of proved to me that I was still able to write. So I wanted to honor that as the first one people heard. “Hot Goblin,” I just thought the song was fun and wanted to give a little flavor of Pop. Those three songs capture the overall feelings musically of the album. “Scared of the Dark,” I wrote the chorus when I was thirteen, and it's been stuck in my head since then. I was like, if it's been stuck in my head since then, maybe there is something in sharing the song with people as a single; it has some catchy legs. You're going on tour this upcoming May. What are some things you do to prepare yourself for the road? Em: One thing I'm going to try and do this time on the road is take a lot of zinc and vitamin C. I always get sick on the road. Making sure I take better care of myself. Also, when you're on tour often, and in the middle of nowhere, all you can eat is Carl’s Jr. Making sure there are some grocery stops along the way. Fruit is a novelty on tour; you would never believe that a strawberry is crazy. I'm going to try and pay more attention to my health on this tour. Were there any songs that were especially challenging emotionally to write or record? Em: I would say a lot of the ways the songs came together were piece by piece. For instance, with “Scared of the Dark,” it truly was a chorus I wrote when I was thirteen, and the rest of it came together years later. Similarly with the song “Lottery,” that one took a few tries to get right, and things were changing even two years later. There are some songs that come out in ten minutes, and some songs that are truly multi-year tweaks. As Tales of a Failed Shapeshifter is about to meet the world, what do you hope listeners feel or understand about you after hearing the album front to back? Em: I think they will continue to understand that I am very blunt. I really have no fear of saying how I feel. Hopefully, it opens up a musical, whimsical side. I think the EP I released after “Numb Little Bug” was very pop-focused, but maybe not the truest reflection of me. I think this one is a lot closer to who I am. Did your writing process change during the album - for example, did you move from writing alone to collaborating more, or the other way around? Em: A lot of these songs came together in different ways. Normally, when I write, it's like I'll start the idea, concept, or chorus alone and then bring it in to my collaborators. That kind of stayed the same throughout the album. But there were some times when I took a piece of a song I wrote two years ago and was like i still remember this, and how can we shapeshift this song. I changed my mindset; instead of in a session, we have to get a song today. It's more like collecting pieces along the way and seeing how they fit into the puzzle eventually. Again, some songs come out in ten minutes, and some are long projects. How did you decide what stayed on Tales of a Failed Shapeshifter and what didn’t? Was there a clear filter you used while building the tracklist? Em: Since “Numb Little Bug,” I probably wrote four hundred songs. Not full songs, but at least half songs with verses and choruses. These are the ones that are most sticking to me and also conceptually carried on the sort of lyrical journey that I feel I started with “Numb Little Bug”. Lyrics are very important to me. Sometimes in sessions, people don't care so much, and it's just catchy Pop. To me, that bores me, and I think it's important to say something in every song. They presented themselves as clear contenders. As far as the track list, it was very much the energy flow with the songs. Also, I think the mental health journey of how you can feel on top of the world and then at the bottom the next day. I think the songs take you through that and how I was feeling. Was there a specific song on the album that helped unlock the rest of the project once you wrote it? Em: “Lottery” was a north star on this album for a long time. It was probably the song that was completed first. I think I finished it in 2022. But I wanted it to have the right body of work around it. I had written a lot of other Pop songs that were fine, but didn't really move the needle for me. “Lottery” was one that was important, so I think that one was a defining song for the album. Follow Em Beihold on her socials: Instagram  | TikTok  | Twitter

February 20, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 20, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 20, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 20, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

On February 23, 2026, the historic Burton Cummings Theatre played host to an evening steeped in grit, grace, and raw storytelling as the pair of Canadian singer-songwriters Matt Andersen and Mariel Buckley delivered a masterclass in roots music to a captivated Winnipeg crowd. Opening up the night, Buckley brought a quiet intensity that gradually swelled into something deeply stirring. She immediately established the tone—moody, reflective, and steeped in prairie realism with the Winnipeg audience. Songs like “Vending Machines” and “Anvil” showcased her knack for pairing haunting lyricism with understated yet powerful instrumentation. There’s a lived-in quality to Buckley’s voice—smoky, weathered, and vulnerable—that feels tailor-made for songs like “Shooting at the Moon” and “Driving Around,” both of which resonated deeply in the ornate theatre. By the time she reached her set closing tune, “Lucky,” Buckley had fully drawn the audience into her world of small-town longing and hard-earned resilience. It was a set that felt both intimate and expansive, the perfect tonal primer for what was to follow. Mariel Buckley. All photos by Samuel Stevens. When Matt Andersen and his band took the stage, the atmosphere shifted. The room seemed to contract around his towering presence and unmistakable voice—an instrument as forceful as it is tender. Launching into “Wayaheadaya,” Andersen wasted no time flexing the muscular synergy of his band. “You’re Here to Stay” followed with a groove-heavy warmth that highlighted his ability to balance blues swagger with heartfelt sincerity. A standout moment came with “Atlanta Moan,” a nod to early blues legend Barbecue Bob. Andersen’s interpretation was reverent yet revitalized, breathing fresh life into the vintage tune. “Rolling Down the Road” and “Coal Mining Blues” leaned into working-class storytelling, each lyric delivered with conviction and grit. His cover of “Rescue Me” by Hot Toddy injected a surprising dose of funk-inflected energy, while “Tonight Belongs to You” and “The Hammer & The Rose” brought the set back to his signature blend of blues-rock power and emotional depth. “The Cobbler (Good for My Sole)” closed the band portion with playful charm and technical finesse. Matt Andersen. All photos by Samuel Stevens. Midway through the evening, Andersen dismissed the band, and he stood alone. This is when the theatre fell silent in anticipation of what was next. “Home Sweet Home” and “Always Be Your Son” felt almost confessional in their vulnerability. With just his guitar and that immense voice of his, Andersen commanded the room effortlessly. His rendition of “Steamroller” by James Taylor was a particular highlight—less polished than the original, perhaps, but brimming with bluesy bravado only he could deliver. “Only an Island” and “Magnolia,” the latter originally by J.J. Cale, further demonstrated Andersen’s deep appreciation for roots tradition. By the time he reached “Free Man,” “Honest Man,” and the stirring “My Last Day,” it was clear the audience was witnessing something special: a performer fully immersed in his craft, holding nothing back. For the encore, Buckley returned to the stage to join Andersen for a moving rendition of “I Shall Be Released” by Bob Dylan. Their voices blended beautifully—Buckley’s smoky restraint complementing Andersen’s thunderous warmth. The song’s themes of hope and liberation felt especially poignant, serving as a fitting close to a night rooted in authenticity and emotional truth. In a city that appreciates honest, hard-working musicianship, this show felt like a perfect match. From Buckley’s brooding alt-country landscapes to Andersen’s commanding blues and soul, February 23 at the Burton Cummings Theatre was more than a concert—it was a reminder of the enduring power of roots music when delivered with heart.

Do you have a favorite lyric from your upcoming project? Meels: Yes, it’s one line from my song “Vultures,” it’s “I’d be doing jail time if it was a crime to be small and alive”. Every time I sing it, it makes me laugh. It's silly, but it also brings me into the story of the song as the writer. It's cheeky and fun. I'm singing about a fly being hit by my car. That's probably one of my favorites. You’re going on tour this year. Is there a song you're eager to perform? Meels: I’ve been performing this EP a lot on tour, actually. But I have to shout out “Vultures” again, especially when my mom is in the audience. She gets up to the barricade anyway she can and is literally singing the song at me the entire time. It's her favorite song I've ever written. So that is really special when I get to have that moment with her. When do you know your work is complete? Meels: I would have to say when the song is out. Before then, there are so many possibilities the work can morph into. But when it's finally out to the public, that's when I'm officially like, okay, she's done, and now she's in the hands of the audience. In your own words, how would you describe your sound? Meels: I've been calling my music critter country or folk country critter songs. I think that's because I use animals as metaphors a lot in my songwriting. When I was in college, I went to NYU at the Clive Davis Institute. I took a branding class, and I remember all my peers had such great, catchy little names for the genre they would put themselves into. Back then, I didn't really know what kind of music I wanted to make yet; I was still absorbing everything. I finally fell into this genre that was so personal to me and felt so good and I was like I wonder what I could call that and then I was like critter country. Across The Raccoon Strait feels like its own little universe. What was the emotional starting point for this record, and how did you know these songs all belong together? Meels: I would say the emotional starting point for the record was my eagerness and my longing to move back to California. I never felt creatively inspired in New York when I was living there. I was just in school and absorbing everything I could. When my boyfriend and I decided to move back to California. The floodgates opened creatively. I ended up writing most of the songs on the record in my New York apartment. I was like I'm moving back to California! I felt so inspired again. Which song felt most vulnerable for you to write, and why? Meels: I would have to say, probably “The Wizard” was very therapeutic for me to write. It's about my lifelong struggles with OCD. In a way that was fun and digestible. It made it easier for me to work through those issues. At all my shows before I sing it, I say, Hey guys, this is the deal with the song. Show of hands, who has OCD? In places like LA, I'm getting 20 hands up, and in places where mental health is more stigmatized, I get a couple of people. I feel it's important to bring it up and talk about what the song is about to make people feel less alone. I know little me, who was dealing with those issues, would have loved to be like oh my god, this person feels the same way too. What is your favorite song on the EP? Meels: I really do love them all. It's like asking who your favorite child is. I would have to say “Marsha June,” the one I wrote about my 86-year-old grandmother. We’re so close. I had the privilege of living with her on and off while I was touring. Learning so much about her life. It just inspired me to write this song; she's had such a wild life. Everything in the song I'll say is true. So I'm excited about that one. Follow Meels on her socials: Instagram   | TikTok

February 16, 2026 Whittier Park - Tente des Neiges Photos by Samuel Stevens Photography

February 10, 2026 The Great Hall All photos by Syd Deneau.

February 16, 2026 Whittier Park - Tente des Neiges Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Tente Forest Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Tente des Neiges Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Tente Forest Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Sugar Shack Photos by Samuel Stevens Photography

Today, Montreal-based R&B artist Myles Lloyd reveals his new single, “ DMC ,” featuring Gemini , Karencici , and JUNNY . The track is a K-pop reimagining of his breakout hit “ Drive Me Crazy ,” born out of the song’s unexpected rise in South Korea. The original release has earned over 26 million streams, a co-sign from K-pop superstars ENHYPEN, and landed a spot on South Korea’s Top 200 charts, inspiring Lloyd to reimagine the track alongside some of his favourite artists from the K-pop scene. " Seeing all the love coming out of Korea really reignited my passion for the high-energy feeling that K-pop brings ,” Lloyd shares. “ I went back and revisited a lot of the songs I used to love and discovered some newer artists along the way like Karencici, JUNNY, and Gemini. Even though it felt like a long shot, I knew I had to find a way to bring them all together on one record. " "DMC" arrives as Lloyd tours alongside JUNNY, one of the single’s featured artists. The tour kicked off in Montreal this week, and Lloyd will join JUNNY for the remaining Canadian tour dates.  Infused with nostalgic textures, pop precision, and smooth falsetto melodies, Myles Lloyd’s music is both vulnerable and infectious. Drawing from classic soul, modern R&B, and early 2000s pop, he crafts songs for the overthinkers, romantics, and anyone navigating the chaos of feeling too much. From festival stages like Lollapalooza Berlin and Sol Blume to major editorial support from Complex, PAPER, Teen Vogue, and Wonderland Magazine, Lloyd has established himself as an artist to watch. At just 27, Lloyd has spent the past few years steadily building his name through projects like  Goodbye  (2019),  Forever, Yours  (2022), and  WHAT MORE CAN I SAY?  (2024). He closed out last year with the release of I’m Still Thinking , a 13-track album that captures the restless inner world of a young artist learning to make peace with his past and himself. Raw, reflective, and unfiltered, the album underscored why Myles Lloyd is one of the most exciting voices shaping the future of modern R&B. Listen to "DMC" on all streaming platforms: https://ffm.to/myles-lloyd-dmc Find out more from Myles Lloyd: Website Instagram TikTok Facebook Spotify X YouTube Soundcloud

February 15, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 15, 2026 Whittier Park - Tente Forest Photos by Samuel Stevens Photography