November 30, 2025 The Park Theatre All photos by Kasper Kolesar.

On January 16, 2026, via Sound Factory Records, breakout pop singer-songwriter Jordi steps fully into her own with Jordi , a self-titled debut that feels less like an introduction and more like a demanding statement of arrival. Across twelve tracks, the twenty-two-year-old Myrtle Beach native captures the emotional whiplash of growing up in real time—the confidence, the confusion, the tenderness, and the moments of clarity that come from learning who you are and who you’re not. A self-titled album is often a bold move, but Jordi  earns its name by feeling deeply personal without ever becoming insular. From the opening moments of “U Know I Know,” Jordi establishes the project’s core strength: emotional honesty wrapped in irresistibly polished pop. The album flows effortlessly between high-energy, dance-ready tracks and stripped-back ballads, showcasing not only her vocal range but her instinct for storytelling. Current favourites—bound to change once her album is released—like “Over Love” and “Pretty Intentions” remain standout moments on the record, their glossy hooks paired with lyrics that explore emotional boundaries, self-worth, and the quiet aftermath of relationships that no longer serve you. Where Jordi  truly shines, however, is in its newer, yet-to-be-released material. Songs like “Blink Twice” and “Time Zones” dig into the complexities of distance—both emotional and physical—while “Keep Driving” captures a restless, forward-looking spirit that mirrors Jordi’s own rapid ascent. On the softer side, “Missing” and “Only Reason” lean into vulnerability, allowing space for reflection without sacrificing melodic strength. Jordi’s background in performance is evident throughout; every track feels intentional, delivered with a confidence shaped by years on stage and a voice that knows exactly when to soar and when to pull back. The closing stretch of the album is particularly strong. The pair of tracks, “Unlearn You” and “Butterflies,” feel like emotional turning points, documenting the slow, often uncomfortable process of letting go and relearning yourself after the loss of love. Whereas, the final track, “Sincerely Not Yours,” serves as a cathartic sign-off—equal parts closure and empowerment—leaving the listener with a sense of growth rather than heartbreak. Jordi  is a debut that understands the power of balance: vulnerability paired with confidence, playful pop energy grounded in lived emotion. What began as viral momentum has evolved into something far more substantial. With this release, Jordi proves she’s not just a social media success story, but an artist with a clear voice, a strong vision, and the emotional intelligence to turn coming-of-age moments into songs that resonate well beyond her own generation. Check out more from Jordi: Instagram | TikTok | YouTube | Snapchat | Spotify | Apple Music

Ov Sulfur have never been a band content with surface-level provocation. From their earliest anti-dogma salvos to their increasingly cinematic approach to blackened deathcore, the Vegas-based outfit has always aimed to challenge—not just religion, but complacency itself. On their sophomore full-length album Endless , out January 16, 2026, via Century Media Records, they continue to crystallize that ambition into something vast, vulnerable, and genuinely defining of their genre. This is not just Ov Sulfur’s next moment—it’s a statement of intent that feels frighteningly complete. Formed in the time-warp haze of the pandemic and propelled by the return of ex-Suffokate vocalist Ricky Hoover, Ov Sulfur initially built their reputation on unflinching, anti-organized religion ferocity. Five years later, Endless  feels like the culmination of everything they’ve learned since—musically, emotionally, and philosophically. Ironically, an album obsessed with eternity was born from creative paralysis. Faced with writer’s block after completing early tracks “Seed” and “Wither,” Hoover and guitarist/vocalist Chase Wilson reframed the struggle into a concept: what happens when emotions never end? That question becomes the album’s beating heart. Rather than focusing solely on blasphemy, Endless  interrogates the psychological toll of unceasing doubt, grief, longing, and even joy. Hoover’s reflections are bleak but incisive—if feelings never fade, sanity erodes. Even happiness becomes meaningless when stretched into infinity. It’s a chilling premise, and one that gives the record a depth that extends far beyond genre tropes. The album’s thematic core is most powerfully realized on “Evermore,” the connective centrepiece and the record’s lead single. Here, Ov Sulfur takes aim at the promise of eternal life, asking whether paradise itself would lose meaning if it truly never ended. Musically, it’s one of the band’s most devastating compositions to date: colossal breakdowns collide with symphonic grandeur, while Hoover and Wilson trade vocals in a gruff, commanding chorus that feels both confrontational and haunting. When everything is special, nothing is—and “Evermore” makes that existential dread feel enormous. Elsewhere, tracks like “Seed” and “Forlorn” push Ov Sulfur into overdrive, layering orchestral flourishes atop crushing deathcore frameworks and surprisingly melodic metalcore choruses. But the album’s darkest shadows emerge on songs primarily written by drummer Leviathvn—“Dread (featuring Josh Davies of Ingested),” “Bleak (featuring Johnny Ciardullo of Carcosa),” and the stunning “Vast Eternal.” These three tracks lean even harder into black metal atmospheres, with war-march rhythms, chaotic blasts, and a sense of total spiritual collapse. “Vast Eternal,” in particular, is chilling: a sonic depiction of consciousness trapped in endless nothingness, inspired by Hoover’s recurring dreams following the loss of his grandmother. There’s no heaven, no hell—just void. That emotional weight is balanced by Endless ’s most unexpected evolution: restraint. For the first time, Ov Sulfur fully embrace Ricky Hoover’s clean vocal ability, expanding melodic moments into entire songs. The pair of tracks, “Wither,” and the closing ballad “Endless//Loveless” strip away the screams entirely, revealing a hard-rock and atmospheric sensibility that still feels earned rather than indulgent. Hoover’s vocal growth—fueled by in-studio coaching from Wilson—adds a new dimension to the band’s sound, recalling the kind of dual-vocal interplay once perfected by Alice In Chains. It’s intimate, personal, and undeniably effective. That sense of expansion is mirrored across the band itself. New members bassist Josh Bearden, who was also the producer of the Oblivion  EP (2021) and guitarist Christian Becker bring added vocal depth to Ov Sulfur’s already imposing live presence, while guest appearances from Johnny Ciardullo (Carcosa), Josh Davies (Ingested), and Alan Grnja (Distant) inject fresh ferocity to a few of the album's tracks without overshadowing the band’s identity. It’s a continuation of Ov Sulfur’s tradition of collaboration—one earned through years of touring alongside genre heavyweights like Lorna Shore, Whitechapel, Shadow of Intent, and Carnifex, capped by a successful co-headliner with Mental Cruelty. Where the band's debut, The Burden ov Faith (2023) ,  felt like a defiant middle finger to critics and skeptics, “The first album was more of a ‘fuck you’ to the people who didn’t understand or fuck with Ov Sulfur,” Wilson states. Endless  is something much more nuanced. As Wilson puts it, “ Endless is more of a love letter to the people who did and stuck around.” That duality—rage and gratitude, hatred and love—is what makes Endless  resonate so deeply. If Ov Sulfur had a flag, it really would feature a middle finger on one side and a heart on the other. By the time “Endless//Loveless” fades into silence, one thing is abundantly clear: Ricky Hoover no longer needs qualifiers attached to his name. This isn’t the return of an ex-anything. This is Ov Sulfur claiming their place in the metal scene, unflinchingly and permanently. Endless  is ambitious, emotionally devastating, and surprisingly vast as it is human—a sophomore album that feels less like a beginning and more like a monument. Check out more from Ov Sulfur: Facebook  | Instagram  | YouTube | X

Today, South Dakota-born, Nashville-based singer-songwriter Tyler Halverson releases his new single “Like The Rodeo” via CMDSHFT - listen here . The song features fellow songwriter Wade Forster, whose roots in the rodeo world mirror Halverson’s own. Grounded in lived experience, the track captures the tension of loving someone who runs just as hard as you do, set against a backdrop of miles, motion, and the pull of the road. The new track comes ahead of Halverson’s debut album,  In Defense of Drinking,  out February 13, 2026. Built on steady acoustics, steel guitar, and Halverson’s rough-hewn vocal delivery, “Like The Rodeo” tells the story of two lives constantly in motion. One chasing stages and showtimes, the other chasing white lines and barrel turns. The song wrestles with whether love can survive when neither person is willing to slow down, asking the question at its core: Are we ever gonna catch up? Talking about the new single, Halverson said: “You don’t make any money sitting still, whether you rope, ride, or sing. This song is about chasing somebody who’s chasing something themselves. A world Wade and I both know well.” On the new track and working with Halverson, Forster said, “Tyler Halverson and I come from similar backgrounds. We know the road and world of rodeo, and for us to do a song together is pretty cool.” Alongside the release of “Like The Rodeo,” Halverson is also revealing his new album artwork for “In Defense of Drinking” for the first time, giving fans and listeners an early visual glimpse into the next chapter of his music. The artwork reflects the same restless spirit and lived-in honesty found throughout the song, pairing classic outlaw imagery with a modern sensibility. Throughout 2025, Halverson steadily built momentum with a series of releases that further cemented his place in the modern outlaw country landscape. Songs including “More Hearts Than Horses,” “Beer Garden Baby” featuring Parker McCollum, and “Mac Miller” showcased his ability to balance raw storytelling with wide-reaching appeal. The single & album artwork have arrived as Halverson prepares to hit the road for an extensive 2026 tour hitting the road with Parker McCollum as well as a mix of festival appearances, major arenas, and select headline dates. As part of the run, Halverson will make a special stop in Queens, NY on February 26 at Gottscheer Hall, bringing his high-energy live show to New York City amid a packed stretch of performances. Known for his evocative songwriting and bold modernization of the outlaw outlook, Halverson continues to carve out a lane that bridges classic country storytelling with a modern edge. Raised in Canton, South Dakota, he grew up balancing ranch work with a wide-ranging musical diet that included Merle Haggard and Garth Brooks alongside Mac Miller and Drake. That blend continues to shape his sound, grounding it in tradition while keeping it firmly contemporary. Following recent recognition from Rolling Stone, including a featured Writer’s Room Session spotlighting the next generation of outlaw country artists, Halverson’s momentum continues to build as he introduces the next chapter of his music with “Like The Rodeo.” 2026 TOUR DATES Jan 5 Mon - Steamboat Springs, CO - The Musicfest Steamboat 2026 Feb 5 Thu - University, MS - Pavilion at Ole Miss* Feb 6 Fri - Lexington, KY - Rupp Arena* Feb 7 Sat - Salem, VA - Salem Civic Center* Feb 12 Thu - Winston Salem, NC - Lawrence Joel Veterans Memorial Coliseum* Feb 13 Fri - Auburn University, AL - Auburn Arena* Feb 14 Sat - Savannah, GA - Enmarket Arena Feb 26 Fri - Ridgewood, NY - Gottscheer Hall *with Parker McCollum IN DEFENSE OF DRINKING TRACK LIST: More Hearts Than Horses Beer Garden Baby (ft. Parker McCollum) 8 Second High Fort Worth Losing Smoke You Out In Defense of Drinking Like The Rodeo (ft. Wade Forster) Cowboy Babies Old Men, Younger Women The Dreamer Son, Brother, Believer Find out more from Tyler Halverson: Website | Instagram | TikTok | YouTube

How would you describe your music to any person who may have never heard it before? Jocke: We play the kind of music you will hear in a Quentin Tarantino movie. Photo courtesy of Roinefoto. What's the significance of your band's name? Jocke: We’re called The Riptide Rats, and we play surf/rock/twang/western music. Riptide is a surf term, and Rats got a rock/punk vibe to it, and that is what we are. What are your musical influences? Jocke: Sunny beaches, big blue waves, shady German big city backstreets, junk food and bourbon. And when it comes to music, it stretches from early 1960s Californian surf music to 1977 UK punk rock. What are your musical inspirations? Jocke: Personally, I get most inspiration from movies, books and TV shows. It could be a line, or a segment of a song that catches my ear, and then I spin off on that in my head for a couple of hours. Sometimes it ends up as a song, sometimes it just irritates my wife. If given the chance, what musician or musicians would you like to collaborate with? Jocke: We would love to spend some time in the studio with Satan’s Pilgrims. They are one of the best bands out there, and I think we would learn a lot from just sitting there for a couple of days. What's the album about? Jocke: This album is about preserving the feeling of real old school rock’n’roll. The album contains a couple of different musical genres, but they all have rock’n’roll in common. If it makes you foot stomp, we are happy! What's something you hope people take away from the new songs on the album? Jocke: I hope that people understand that this is for real. There is no fake stuff on the record, no AI, no cheating. It is recorded pure and true, in an old-fashioned way. Which songs on the album were the most fun to write, and which were the most challenging to write? Jocke: The twelve-bar rock tracks were the ones I enjoyed the most to record. It sounds like they are the easiest songs to write and record, but to get that old rock’n’roll groove, it must be tight and loud. “Backwater Showdown” & “Straitjacket” are two good examples. “Astrofeet” & “Grease My Board” were the ones that took us most time to finish. Sometimes that happens, you have trouble finding the right sound, or getting stuck on a single note. Do you have any favourite song(s) off the new album? Jocke: My personal favourites are “Breaker,” “Backwater Showdown,” and “Reef Rumblin’.” When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even non-musical sources that help you reconnect with your creativity? As I said earlier, music, TV, movies and books are great sources of inspiration to me. But the best way for us to get out of a creative rut is beers in the shed. We spend some hours talking, drinking beers & Jägermeister, and suddenly a song appears. Every time. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? Jocke: It is a bit cheesy, but we like to end our sets with “Miserlou.” I don’t think we can get bored of that one, it is an amazing song, and even the most bored guy with his arms crossed over his chest at the end of the bar will start moving. If you could perform a show this very second anywhere in the world, where would it be? Jocke: I would like to play the Surf Guitar 101 Festival in Long Beach, California, right now! Is there any particular venue(s) or city/cities that come to mind? Jocke: Madrid & Los Angeles! I think that would be a good start for a world tour. What do you currently have planned for the remainder of the year? Jocke: We are almost done with 2025. We will have some beer rehearsals and write some new music for our next album, and in 2026, we will play shows in Finland, Spain, and Sweden. If your music was a type of food, what would it be and why? Jocke: A chicken burrito. And I don’t know why. What's the funniest thing that's ever happened to you while performing? Jocke: Fun stuff happens on stage all the time… I fell of the stage a couple of times. Maybe not that fun to me, but everyone else enjoyed it and still remind med about it. What's the most random thing that has ever inspired you to write a song? Jocke: Since we don’t have any lyrics, it is kind of difficult to say. When you have lyrics, there is always something there to remind you about when and why you wrote the song. Maybe when we wrote “Astrofeet”. Gustav had a couple of shots too many in the Shed and said it felt like he was walking on the moon. And bang! You got astro feet dude! What's the most useless talent you have, and would you incorporate it into your music if you could? Jocke: I can sound like a bagpipe if I want to. And no, I would not incorporate that into our music. Thanks for the time today, Jocke. Is there anything else you may want to add that I didn't cover before you go? Jocke: Thank you very much for having me! Take care, happy holidays and be kind to each other out there. Cheers from Sweden! The Rats: Gustav Wilhelmsson – Guitar Fredrik Wallgren – Drums Jocke Olsson – Bass Erik – Guitar Follow The Riptide Rats online: www.riptiderats.com https://theriptiderats.bandcamp.com https://www.youtube.com/@RiptideRats https://www.facebook.com/theriptiderats https://instagram.com/theriptiderat

Canadian pop-punk/post-hardcore mainstays Calling All Captains return with The Things That I’ve Lost , a seven-track EP that finds the Edmonton quartet at their most exposed, introspective, and emotionally driven. Out January 9, 2026, via New Damage Records, the release doesn’t just continue the band’s upward trajectory—it sharpens it, distilling years of lived experience into a tightly wound, cathartic statement. Fronted by lead vocalist Luc Gauthier alongside guitarist and vocalist Connor Dawkins, guitarist and vocalist Brad Bremner, and drummer Tim Wilson, Calling All Captains have long excelled at balancing vulnerability with aggression. On the band's latest EP, The Things That I’ve Lost , that balance feels more intentional than ever. These songs don’t hide behind volume or velocity; instead, they lean into discomfort, confronting burnout, grief, fractured identity, and the emotional cost of perseverance head-on. The opening track “Stay Away” sets the tone immediately, pairing urgency with emotional exhaustion. It’s a familiar sonic space for the band—punchy guitars, driving drums, and layered powerful vocals—but there’s a noticeable weight beneath the surface, as if every note carries something unspoken. “Call Me” follows with a more melodic pull, showcasing the band’s knack for hooks without sacrificing sincerity. The push-and-pull between the clean and gritty vocals reinforces the EP’s central tension: wanting connection while simultaneously retreating inward. That tension deepens on “A New Type of Grey,” a standout that captures the emotional numbness that comes after prolonged struggle. Rather than explosive catharsis, the track simmers, letting its melancholy settle in. It’s here that the band’s songwriting maturity becomes most evident—knowing when to pull back can be just as powerful as going full throttle. The emotional core of the EP arrives with “Blood for Blood,” the latest single and arguably its most ambitious moment. Co-written with acclaimed songwriter Tom Denney (A Day to Remember, Pierce the Veil, Neck Deep), the track pushes Calling All Captains into darker, more conceptual territory. Framed as an imaginary confrontation with one’s worst self at the end of life, “Blood for Blood” wrestles with the idea of internal darkness—not as something to be erased, but understood. Sonically, it’s blistering and dynamic, seamlessly blending post-hardcore grit with pop-punk melody, while lyrically, it cuts deep, embracing the discomfort of self-reckoning. “Say That You Hate Me” and “Dark Clouds” continue the emotional descent, exploring themes of emotional distance and lingering heaviness. These tracks thrive on contrast—soaring choruses offset by introspective verses—reinforcing the idea that pain and clarity often coexist. There’s a sense that the band isn’t searching for easy resolutions, but rather learning to sit with unresolved feelings. The Things That I’ve Lost closes out with the track “Salt Lines,” bringing the EP to a reflective close. It feels less like an ending and more like an explosive acknowledgment of everything that’s been lost—and what remains. Rather than offering closure, it leaves space for the listener to fill in their own experiences, mirroring the EP’s deeply personal foundation. Gauthier describes The Things That I’ve Lost  as the most personal release the band has ever put out, and that honesty resonates throughout each of its seven tracks. There’s no posturing here—just lived through emotion, translated through explosive live energy and refined songwriting. Calling All Captains sound louder, sharper, and more self-aware than ever, proving that vulnerability doesn’t weaken their sound—it defines it. With The Things That I’ve Lost , Calling All Captains continue to cement their place as one of modern pop-punk/post-hardcore’s most compelling and emotionally resonant voices. It’s a release that doesn’t just ask to be heard—it asks to be felt as well. Check out more from Calling All Captains: Website | Facebook | Instagram | TikTok

Jake Vaadeland and the Sturgeon River Boys turned the Park Theatre into a time capsule on December 22, 2025, delivering a joyous, toe-tapping night of classic country, bluegrass, and Christmas cheer as part of their Goodness Gracious It’s Christmas!  Canadian Tour. With two generous sets and an encore—thirty-four songs in total—the Winnipeg stop felt less like a standard concert and more like a festive gathering where tradition, humour, and musicianship ruled the night. From the moment the band walked out to the opening Intro, it was clear this wouldn’t be a rushed holiday affair. The first set unfolded with an easy confidence, rooted in the warm, front-porch storytelling spirit that has become Jake Vaadeland’s calling card. “The Bachelor’s Life” and “Farewell Blues” (a loving nod to Lester Flatt & Earl Scruggs) immediately set the tone, showcasing the band’s tight harmonies and nimble instrumentation. There’s a comfort to the Sturgeon River Boys’ sound—upright bass lines that bounce just enough, banjo runs that sparkle without showboating, and acoustic and electric guitar interplay that feels both playful and precise. One of the early highlights came with “More And More,” preceded by Vaadeland announcing the band is happy to add songs to the set if you write your request on a $100 bill and toss it onto the stage. Additionally, he then proceeded with band introductions that felt refreshingly sincere. Vaadeland’s rapport with his bandmates is a huge part of the show’s charm; nothing feels overly rehearsed or stiff, even when the musicianship is razor-sharp. That balance carried seamlessly into the sprawling Christmas medley—“The First Noel / It Came Upon the Midnight Clear / Joy to the World / O Come, All Ye Faithful / O Come, O Come, Emmanuel / Auld Lang Syne.” Rather than feeling crowded, the medley flowed naturally, blending reverence with warmth and inviting the audience into the spirit of the season. Originals like “Be A Farmer Or A Preacher” and “Jake Vs Jake” injected humour and personality into the set, while bluegrass staples such as “Flint Hill Special” reminded everyone just how adept this band is at honouring the genre’s roots. Vaadeland’s vocals—clean, expressive, and timeless—never faltered, whether he was delivering quick-witted lines or leaning into something more tender like “Beautiful Star of Bethlehem.” Even the novelty moments, including the “Diet Pepsi Jingle” and “Jingle Bell Rock,” landed with the right mix of charm and cheekiness, earning big laughs and bigger applause. Photos by Samuel Stevens Photography After a brief twenty-minute intermission, the band returned energized, kicking off the second set with a lively “Run Rudolph Run.” The momentum never dipped. “Blue Christmas” and “Dear Old Dixie” added emotional depth, while “I Ain’t Going Back To Nashville” and “Bound to the Road” reinforced Vaadeland’s identity as an artist proudly rooted in tradition rather than trends. The crowd was fully locked in by the time “Jake Vs Jax” rolled around, another playful moment that underscored the band’s easy chemistry. A hush fell over the Park Theatre during “Silent Night,” one of the evening’s most affecting performances. Stripped back and heartfelt, it offered a brief moment of reflection before the set ramped back up with crowd-pleasers like “The Greatest Showman Around” and “Wild Wild Woman.” By the time the band reached “Santa Looked a Lot Like Daddy” and “Christmas Time’s A-Coming,” the room felt unified—smiling, clapping, and clearly grateful for a show that understood how to celebrate the holidays without slipping into cliché. The encore sealed the night perfectly. “Lovebug” paid tribute to George Jones, “Retro Man” felt like a mission statement for Vaadeland’s old-soul approach, and “Blue Suede Shoes” sent everyone out the door buzzing, feet sore from dancing and spirits high. In an era where holiday tours can sometimes feel rushed or gimmicky, Jake Vaadeland and the Sturgeon River Boys delivered something genuinely special in Winnipeg. Their Goodness Gracious It’s Christmas!  stop at the Park Theatre wasn’t just a concert—it was a reminder of the enduring joy found in classic songwriting, heartfelt performances, and a band that truly loves what they do. For anyone lucky enough to be in the room, it was the perfect soundtrack to the season.

With Bargaining , Theo Bleak—the Dundee-based project of Katie Lynch—delivers her most unguarded and emotionally exacting work to date. Framed as a chronological mixtape documenting a year spent deep in the bargaining stage of grief, Bargaining  feels less like a traditional release and more like a private journal left deliberately ajar. Every creak, breath, and hesitation is preserved, turning vulnerability into both the medium and the message. Since debuting with the EP Fragments (2022), Theo Bleak has built a reputation for translating internal worlds into atmospheric soundscapes shaped by alternative rock, emo, and a distinctly visual sense of storytelling. Bargaining  pushes that ethos further. These songs are not polished reflections after the fact—they are captured within  the moment, recorded at the rawest points of emotional reckoning. The result is intimate to the point of discomfort, yet impossibly compelling. The opening track, “End of Bargaining,” sets the tone immediately: sparse, heavy with implication, and quietly devastating. It feels less like a beginning than a reluctant admission that something has already ended. From there, Bargaining  unfolds as a slow excavation of memory, guilt, longing, and fragile hope. The mixtape’s first single, “Megan in New York,” stands as one of its emotional anchors. Lynch dissects destructive dynamics born from passion and emotional dependency with brutal clarity, grounding the song in specific moments—conversations, locations, people—that make the pain feel lived-in rather than abstract. There’s a sense of implosion here, of a life cracking under the weight of its own intensity, mirrored by restrained instrumentation that leaves plenty of space for the words to ache. Tracks like “Finest Work” and “So Glad I Waited” explore self-worth and patience through a bruised lens, while “1994–95” and “NJ Transit” feel like snapshots pulled from memory, small moments imbued with outsized emotional gravity. Theo Bleak has always excelled at making the personal feel universal, and here she does so by refusing to soften the edges. One of the mixtape’s most affecting moments arrives with “John,” a song shaped by Lynch’s connection to her late great uncle through his journals. Inspired by his cycling diaries dating back to 1966, the track carries a quiet reverence, blurring the line between past and present, life and loss. There’s a palpable sense that the veil between the living and the dead feels thin here—grief becomes companionship rather than absence. As Bargaining  progresses, the emotional weight deepens. “The Light in Your Eyes Faded Too” and “Mortified” sit heavy with resignation, while “Leave Me Alone” bristles with exhaustion and the desire for solitude after emotional overexposure. Yet even at its bleakest moments, the mixtape never feels hopeless. There is always a flicker of understanding somewhere, a sense that naming the pain is itself an act of survival. Closing tracks like “My Name Lives in Your Throat” and “To, Hell (Redux)” feel like final reckonings—not neat resolutions, but moments of acceptance earned through discomfort. By the time Bargaining  ends, Theo Bleak hasn’t escaped grief so much as learned how to exist alongside it. For listeners familiar with earlier releases like this year's Bad Luck Is Two Yellow Flowers  and the widely praised single “You Said I’d Feel It All Again,”  Bargaining  feels like a natural, if not a more harrowing, evolution. Where those works balanced dreamlike soundscapes with poetic distance, this mixtape collapses that distance entirely. It is direct, diaristic, and emotionally unfiltered. Bargaining  is not an easy listen—nor is it meant to be. It is a document of pain, love, memory, and the slow, uneven process of coming to terms with change that once felt unsurpassable. In laying herself bare, Theo Bleak creates something profoundly human: a reminder that grief is not linear, healing is not tidy, and sometimes the most meaningful art comes from sitting alone in a creaking chair, trying to reason with your life. Check out more from Theo Bleak: Instagram  | Facebook  | YouTube

Real Love’s Best of Bands as Bands  series has always thrived on creativity, community, and a shared love of pop culture, and the December 20, 2025 edition at Winnipeg’s Park Theatre was a perfect year-end celebration of all three. Turning the stage into a playful, high-energy tribute night, the show featured Ritchot Textiles channelling The Killers, Hera stepping into the glossy pop world of Sabrina Carpenter, and Lotai delivering a full-throttle homage to Chappell Roan. The result was a packed, sold-out room, a singing-along crowd, and a reminder of just how fun live music can be when bands let themselves fully lean into the bit. Ritchot Textiles - Performing as The Killers. Photos by Samuel Stevens Photography Opening the night, Ritchot Textiles took on the monumental task of performing as The Killers—and rose to the occasion with confidence and reverence. From the opening pulse of “Jenny Was a Friend of Mine,” it was clear the band understood the drama and swagger that defines The Killers’ massive catalogue. The singalong momentum never let up through crowd favourites like “Read My Mind,” “Smile Like You Mean It,” and “Somebody Told Me,” with the audience eagerly matching every lyric. Deeper cuts such as “Andy, You’re a Star” and “For Reasons Unknown” added texture to the set, while the emotional release of “All These Things That I’ve Done” turned the floor into a unified choir. Of course, the one-two punch of “When You Were Young” and “Mr. Brightside” closed the set in explosive fashion, instantly transforming the Park Theatre into a full-blown indie-rock karaoke bar. Hera - Performing as Sabrina Carpenter. Photos by Samuel Stevens Photography Hera followed with a shimmering, playful tribute to Sabrina Carpenter, leaning into both her pop polish and tongue-in-cheek confidence. Hera’s performance captured the spirit of Carpenter’s recent eras effortlessly. Songs like “Please Please Please,” “House Tour,” and “Taste” brought a flirtatious bounce to the room, while “Tears” and “Manchild” showcased emotional range beneath the glossy surface. A highlight came with “Nonsense,” which cleverly transitioned halfway through into “A Nonsense Christmas,” earning cheers and laughter from the crowd and perfectly fitting the festive timing of the show. It was a fun, charismatic set that balanced pop theatrics with genuine connection. Lotai - Performing as Chappell Roan. Photos by Samuel Stevens Photography Closing out the night, Lotai as Chappell Roan was nothing short of electric. From the opening notes of “Good Luck, Babe!” through to the euphoric finale of “Pink Pony Club,” Lotai fully embodied the bold, unapologetic energy that has made Chappell Roan such a cultural force. The crowd danced and shouted along to “Hot To Go” and “Red Wine Supernova,” while more intimate moments like “Casual,” “Picture You,” and “The Subway” added emotional depth. Tracks like “My Kink Is Karma,” “Feminimomenon,” and “Naked In Manhattan” turned the Park Theatre into a joyful, queer-pop celebration, with Lotai commanding the stage through sheer presence and passion. By the time “Pink Pony Club” hit, the room felt less like a concert and more like a collective release. Real Love’s Best of Bands as Bands  show once again proved why the series has become such a staple in Winnipeg’s live music scene. By blending homage with personality, December 20’s lineup delivered a night that was equal parts nostalgia, celebration, and pure fun—an ideal way to close out the year at the Park Theatre, surrounded by loud choruses, bright lights, and a community that clearly loves showing up for moments like this.

Fifteen years into their career, VOLUMES sound anything but tired. If anything, Mirror Touch  feels like a band staring directly at its own reflection—scars, triumphs, contradictions and all—and deciding to push forward with renewed clarity and purpose. Out December 12, 2025, via Fearless Records, the Los Angeles quartet’s fifth full-length album is both a culmination of everything they’ve been building toward and a confident step into new emotional and sonic territory. Since emerging with Via  in 2011, VOLUMES have quietly but consistently carved out a lane that belongs solely to them. Their blend of polyrhythmic prog metal, hardcore aggression, and left-field experimentation has influenced a generation, even as trends shifted around them. With over 167 million U.S. streams, critical acclaim, and a fiercely loyal fanbase, Mirror Touch  feels less like a comeback and more like a reckoning—an album that understands its legacy without being trapped by it. From the opening moments of “Sidewinder,” VOLUMES make their intentions painfully clear. The track detonates with angular riffing, punishing low end, and the unmistakable chemistry between vocalists Michael Barr and Myke Terry. Barr’s description of the song as “an unapologetic hate letter to a world gone mad” is no exaggeration. There’s no false hope here—only bile, frustration, and a visceral sense of collapse. It’s a bruising opener that immediately reestablishes VOLUMES as a band still willing to bare its teeth. “Bottom Dollar” and “Bad Habit” follow, showcasing the album’s defining strength: contrast. Where the former leans into thick grooves and serrated edges, it also interweaves rap and hip-hop influences with their core progressive metal sound. “Bad Habit” swerves hard into another unexpected territory. Trading screams for clean vocals, layered synths, and an almost hypnotic melodic structure, the track is one of the band’s boldest risks to date—and one of its biggest payoffs. It’s an alt-metal gem that proves VOLUMES’ songwriting has matured without losing its bite. “California” taps into a familiar VOLUMES theme—identity shaped by environment—but does so with a newfound sense of restraint. The song breathes, allowing its chilling atmosphere and subtle tension to do the heavy lifting. The album's fifth track, “Adrenaline,” pushes deeper into the album’s emotional core, weaving an uneasy sadness and profound vulnerability into tightly wound compositions. Meanwhile, the pair of songs “Stitch” and “S.O.A.P.” snap back with ferocity, delivering the kind of kinetic energy that has made VOLUMES a staple of sold-out rooms for over a decade. One of Mirror Touch ’s most striking moments comes with “Dream,” a track that leans heavily into mood and texture. It’s haunting, introspective, and oddly beautiful, blending metal with components of pop music—proof that VOLUMES’ sonic assault is just as effective when it whispers as when it screams. “Worth It” builds on that emotional weight, offering a sense of reflection that feels earned rather than forced. The album closes with “Suffer On,” featuring both Black Sheep Wall vocalist Brandon Gillichbauer and ex-Black Sheep Wall vocalist Trae Malone, and it’s an appropriately devastating finale. Crushing, oppressive, and unrelenting, the collaboration feels like VOLUMES staring into the abyss and daring it to blink first. It’s a reminder of the band’s hardcore roots and their continued ability to sound absolutely feral when they choose to. Production-wise, Mirror Touch  is massive without being over-polished. The riffs hit hard, the rhythm section is airtight, and the dual-vocal approach—featuring both vocalists doing screams and cleans—remains one of the most compelling in modern heavy music. Michael Barr and Myke Terry’s voices don’t compete—they collide, complement, and elevate each other, forming the album’s emotional backbone. Ultimately, Mirror Touch  feels like the sound of a band that has survived the long haul. It acknowledges the past— Via , No Sleep , Different Animals , Happier? —while refusing to coast on nostalgia. Instead, VOLUMES double down on growth, experimentation, and honesty. This latest album from the metal greats is a nod to where they’ve been while confidently charting where they’re going next. Against all odds, VOLUMES are still here—and Mirror Touch  proves they’re not just surviving. They’re thriving. Check out more from VOLUMES: Website  | Facebook  | Twitter  | Instagram

On December 12, 2025, Mac DeMarco turned the Burton Cummings Theatre into a warm, woozy living room for night one of two completely sold-out shows in Winnipeg. Additionally, his first time performing in the city in just over ten years. It felt fitting that a venue known for its elegance and history would host an artist whose music thrives on intimacy and imperfection—songs that sound best when shared with a room full of people ready to sway, smile, and sing along. Vicky Farewell. Photos by Samuel Stevens. Opening the night was Vicky Farewell, kicking off her very first show of the tour—and her first run through Western Canada—with a set that quietly commanded attention and playing some of her own tunes that have gained some traction online like "Are We OK?" and "Kakashi (All of The Time)." Her understated presence and gentle songwriting served as a soft exhale before the main event, easing the crowd into the evening rather than trying to overwhelm it. There was a palpable sense of curiosity and goodwill in the room, as fans leaned in, clearly aware they were witnessing the start of something new for the tour. When Mac DeMarco and his band finally took the stage, the reaction was immediate and deafening. Launching into “Shining” and “For the First Time,” DeMarco set the tone early: relaxed, sincere, and effortlessly charming. The setlist spanned nearly every era of his career, rewarding longtime fans while remaining inviting to newcomers. Songs like “Sweeter,” “On the Level,” and “Phantom” flowed seamlessly, each met with loud sing-alongs that filled the ornate theatre from floor to balcony. Mac DeMarco. Photos by Samuel Stevens. The heart of the show leaned heavily into nostalgia without feeling stuck in the past. “Salad Days” and “Still Beating” landed with particular weight, reminders of just how deeply DeMarco’s music has embedded itself into people’s lives over the years. Tracks like “Passing Out Pieces,” “Home,” and “Heart to Heart” slowed the pace, allowing the crowd to collectively breathe and soak in the moment. As the night wore on, the energy ebbed and surged naturally. “Freaking Out the Neighbourhood” jolted the room back to life, while “Moonlight on the River” stretched out beautifully, showcasing the band’s patience and chemistry. Closing the main set with “My Kind of Woman” and “Chamber of Reflection” felt almost ceremonial—two songs that have transcended their original recordings to become defining moments in DeMarco’s live shows. The encore, a pairing of “Nobody” and “One More Love Song,” was understated yet deeply satisfying, sending the audience home on a gentle high rather than a bombastic finale. Night one at the Burton Cummings Theatre wasn’t about spectacle—it was about connection. Mac DeMarco proved once again that his strength lies in creating a space where thousands of people can feel like they’re all part of the same quiet, shared moment. With another sold-out show still to come, Winnipeg was more than ready to do it all over again.

How would you describe your music to any person who may have never heard it before? Two people making a lot of sound. Dynamic, from soft and intimate to big and heavy. Guitar-based with driving rhythms and at times almost symphonic, building the scenery around the lyrics. Our music is a blend of many different genres, but it's got a solid foundation in rock and indie (both indie as in independent, as well as indie as it has become known as a genre). We blend things we like from folk-rock, singer/ songwriter style songs, to almost metal, heavy rock sounds. We don't like being held back by categorizations or being put in boxes. We blend sounds and vibes we like, no matter what genre anyone would call it. On our latest album, you can even hear a slight country/roots influence, but always with a focus on the song. What's the significance of your band's band? Back when we started, we spent a long time considering many different band names, trying to come up with something cool and exciting. After a while, we realized that the answer was right there, in front of us: our names! Carol and Ask. Ask Carol. Oh, and Ask is a really Norwegian name, by the way. It comes from the old viking age, from the Norse Mythology. Ask was the first man, together with Embla, the first woman, created by the god Odin from two pieces of Ash wood, as the saga goes. It's a long story; there's plenty of more information online. And you know, if you have any questions, you can always just ask Carol! What are your musical influences? Both of us started out as guitarists. Therefore, Jimi Hendrix has been one of our mutual influences. His extraordinary guitar playing and cool sound is awesome. Outside of music, we may be influenced by everything from a good movie or TV show to the trips and adventures we have had. What are your musical inspirations? There are so many things that inspire us! From listening to some good old music we've heard a million times before, to discovering something new and really exciting, from watching a movie or TV show to travelling through the vast, breathtaking landscapes and experiencing the wonderful beauty of nature. If given the chance, what musician(s) would you like to collaborate with? Rather, this is to either write a song or be featured on a track. Would love to have collaborated with Jimi Hendrix. We would have had so much to learn. What's the album about? The album, AC II: Desert Sky , is based around our song "Desert", inspired by the vast and beautiful desert landscapes of the American Southwest. Both after playing SXSW in 2023, and many times on our big US Tour last year, we travelled through those magnificent landscapes. There's a feeling of hope and a feeling of freedom in that huge open space, paired with the harsh reality of that dry and inhospitable environment. Those feelings inspired the album, as well as current events and relevant historical events. What's something you hope people take away from the new songs on the album? That's up to each listener; all our songs can be interpreted in many different ways. But our hope is that it can mean something to someone, make them feel something, maybe help them go through their day, or maybe it puts words to feelings they find hard to describe. Or maybe it just makes them feel good, a good vibe. Ask Carol is about much more than just the music, too; we do drawings, artworks, animations, design our merch ourselves, and of course, our videos. It's the Ask Carol world, and hopefully, some people will enjoy taking a peek into it. Which songs on the album were the most fun to write, and which were the most challenging to write? "Desert" was probably one of the most fun ones, although they were all fun to work on. The biggest challenge came from the fact that this album was in the works for the last few years, all the while we were out and about on some long, intense tours. This meant that it could go months between studio and writing sessions. Touring life as an independent DIY band is super hectic, with action 24/7; there is not even a single second to sit down and work on anything else while on tour. Unfortunately. So, the challenge was to find back to that frame of mind that we had when we last worked on the material and not lose the thread. It took a little longer than our previous album, but in the end, we are very happy with the result! What did you allow yourself to do creatively for this song that you haven’t in the past? This was our first-ever song with an acoustic guitar. When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even nonmusical sources that help you reconnect with your creativity? Putting on a good TV show or movie, with an interesting story and an immersive vibe, may help, or searching the web for new exciting music (new to us, could be old) that we haven't heard before. Something that piques our interest and challenges our pre-existing beliefs. AKA, usually not what you get with the safe-bet algorithm-driven services. Do you have any favourite songs off the new album? "Cold July." It says what we want to say about certain situations; you'll know when you listen. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? That would be "Tonight", because it’s uptempo and energetic and always gets the crowd going. We improvise a lot, it’s got looping, grooves and guitar solos, it’s so much fun to play! If you could perform a show this very second anywhere in the world, where would it be? Probably in the US or in the Philippines. That's where we've had some of the most amazing crowds ever; they're the most excited and welcoming audiences, and it's so cool to play for them! Also, in Latin America, we've heard great things about the audiences there, and they've been asking for a long time! Especially in Mexico and Brazil, they've been asking for a long time, and would love to do a show in all of the countries south of the US! Is there any particular venue(s) or city/cities that come to mind? Well, not really, but one venue that a lot of people have talked about that would fit us perfectly is the Red Rocks Amphitheatre in Colorado. We didn't understand why everyone were talking about that one venue, but then we saw the pictures, and yes, we agree, it would be awesome to play there! What do you currently have planned for the remainder of the year? The Holiday season is upon us, Christmas is right around the corner, so we're gonna try to get as much done as possible before we take some time for our families. We're currently booking new tours for 2026, getting started on a promo campaign for our new album, as well as preparing for a new studio period and working on new material. Oh, and we're packing and shipping out vinyls and CDs, we're doing it all ourselves! What's the funniest thing that's ever happened to you while performing? There's been a lot of weird and funny things happening over the years, haha, but one thing that really stands out and that's a moment we will forever remember, is that time during the lockdown of COVID, when we played outside in our backyard. We were minding our own business, just jamming, playing, having fun, when suddenly we heard trampling beside us, and what do you know, there was this big herd of cows coming running over! It was all of the neighbours' cows, they loved the music, and looked at us with their curious eyes. There was something about it, the vibe, it was so much fun and a memorable moment. Because of the fact that it was in the middle of lockdown, all our big tours had been cancelled a few months earlier due to Covid, the world was in disarray, and we hadn't seen another person in months, it made the moment all the more impactful. Thanks for the time today, Ask and Carol. Is there anything else you may want to add that I didn't cover before you go? We got lots of exciting stuff coming up next year! The official album 2 vinyl release in January, and US tours later, to name a few things. Stay tuned! And by the way, subscribers to our newsletter will be the first to know! You can also get a free download of our new album if you sign up now !

Today, the genre-blending independent pop artist and lyricist, Ella Collier , unleashes “ SLEEPWALKING ,” the eighth and latest track to emerge from her infectious debut album, DANGEROUS . Co-written and produced by Sam Vendig (Chromeo, Ryman Leon) and Stefano Pigliapoco (The Kid LAROI), the song delves deep into the emotional purgatory that grips an individual when they refuse to surrender the memory of a profound absence. Listen to "SLEEPWALKING" here . “SLEEPWALKING is the emotional purgatory you feel in the aftermath of someone’s absence, with the determination that you will meet again, even if it’s just in your dreams.” Ella shares, “This painful realization causes a spiral that we can only get out of once we let the person go, but in this song, I refuse to let that be an option. I originally wrote this song from the initial loneliness we feel after the end of a significant relationship, but have come to find that this can also apply to the grief of losing a loved one to death or to a life without you in it.” The accompanying Vevo music video, set to release on December 19, 2025, utilizes the cinematic landscape of the production to explore the interior world of grief. The visuals translate the track's brooding, R&B-leaning soundscape, built on delicate keys and trap-infused drums, into a compelling journey through the subconscious, reflecting the song's exploration of being perpetually caught between reality and memory. DANGEROUS is Ella's forthcoming 12-song opus, a fearless sonic journey into the shadow self that confronts themes of ego, lust, impulsivity, and fear.  It’s a breakout project that wraps listeners in intoxicating choruses and striking sound design, creating a world that feels both familiar and futuristic. Following “SLEEPWALKING,” the rollout will continue with her next single, “17," set to release in early 2026. Ella’s trajectory continues to soar, recently earning a spotlight in Vanity Fair . Her appraised singles from the DANGEROUS project have dominated the independent market, with "I DON’T DO DRUGS" landing in Apple Music’s New in Pop (#9), and her Lizzo-cosigned track "DON’T FOLLOW ME" hitting #5 on Spotify’s SALT playlist. Ella has been making high-profile media rounds, recently appearing on CBS News to promote her music and live performances, including the "SLEEPWALKING" debut at her Grant Knoche opening set at The Moroccan Lounge in LA. She also notably appears in Frankie Grande ’s latest music video, “ I Don’t Remember It . ” Ella's work continues to be lauded across publications like Wonderland and GALORE and featured in major sync placements, including Love Island and NBA 2K. About Ella Collier: Ella Collier is an independent artist, songwriter, and producer, weaving dual worlds—raw vulnerability and fearless power. Blending pop, trap, acoustic, and hyperpop into a cinematic sound where heartbreak meets heat, she’s earned praise across all major streaming platforms, landed front-page placement on Apple Music, and hit #6 on Spotify’s “SALT” playlist. With syncs in Love Island , NBA2K , and X Games , editorial love from Wonderland and GALORE , and a rapidly growing fanbase hosting Zoom calls and building fan pages in real-time, Ella is redefining what it means to create art that’s both intimate and explosive. Check out more from Ella: INSTAGRAM  |  TIKTOK  | X |  YOUTUBE

How would you describe your music to someone who has never heard it before? Our music sits somewhere between haunting melodic rock and gritty soul with touches of blues and heavy atmosphere. It moves from soft, emotional moments to loud , cathartic ones. It is moody, melodic, heavy, spacious, and artistic. It pulls from vintage rock, modern metal, psychedelic textures, and a good dose of weird. What is the significance of your band name? Famous Strangers started as a simple spark. Jeff was driving while listening to Perfect Strangers (Deep Purple) and passed a restaurant called Famous Donair. The two ideas collided. Over time , the name grew into something much bigger. Everyone is famous in their own way, yet everyone is a stranger. People carry stories, talents, and histories that others never see. When fans come up to us and say, “What’s up, stranger?” It makes the name feel alive. What are your musical influences? Influences shift from day to day. Some days it is rock and roll, some days metal, some days jazz or blues, some days EDM. Amanda pulls from Billie Holiday, Aretha Franklin, Slipknot, Emma Ruth Rundle, Agnes Obel, Tool, and Alice in Chains. Jeff is all over the map and searches for anything that gives him a feeling. Beej sits between blues, jazz, heavy funk, metal, and classic drumming greats. Braden leans into grunge and modern alt-country. We draw from everything because every genre carries something powerful. What are your musical inspirations? Life, emotion, and the people around us. Jeff is inspired by friends and musicians who push him to grow. Amanda was shaped by seeing bands thrive on the road and the raw experience of touring for twenty years. Beej is powered by anyone who brings real energy and elevates the room. Braden pulls inspiration from people who make him a better human and a stronger player. Everything from heartbreak to weather to random moments can spark a song. If given the chance, what musicians would you like to collaborate with? The list is endless. Jim Morrison, Pink Floyd, Led Zeppelin, Tool, Deftones, Battle Beast, Unleash the Archers. Jeff’s current pick is Arctic Monkeys. We love the idea of collaborating with artists who bring strong emotion, unusual ideas, or completely different perspectives. What is your upcoming album about? The record leans toward themes of self-worth, self-love, inner fire, and the space between darkness and light. Some songs push confidence and empowerment. Some explore vulnerability. There is a hint of political tension, a touch of fantasy, and even some space and alien-inspired imagery. At the core, the album is about reminding people of their value. What do you hope people take away from the new songs? Motivation, love, inspiration, and a sense of inner strength. A lyric from "Rain" says, “Give yourself the love that you deserve.” That line captures the heart of the record. We hope listeners walk away feeling lifted. Which songs on the album were the most fun to write, and which were the most challenging? "Rain" and "Please Her" were some of the most fun to create because they were fully collaborative and full of energy. "Home" was also a blast because it pushed us in a new direction. The most challenging songs were "Fire Inside," "Relic," and "Rain" for Amanda, since singing softly rather than belting required real growth. Every challenge made the songs stronger. What did you allow yourself to do creatively on this album that you have not done before? We finally embraced the softer side of the band. We let things breathe. We experimented without fear, took feedback openly, changed parts that had been set for months, and stepped into new sonic territory. No one got precious about old ideas. We let every song evolve. That creative openness became one of the strengths of the record. Do you have any favourite songs off the new album? Yes. "Rain," "Home," "Relic," and "Please Her." Every song is someone’s favourite. They are all our kids. When you find yourself in a creative rut, what helps you reconnect? Sometimes stepping away for a few days resets everything. For Jeff, playing different types of music in his day job pulls him out of ruts. For Amanda, even a chaotic day can flip into inspiration once she gets into the jam room. For Beej, some songs take time to click, and patience is part of the process. Braden turns to different genres or plays with different people to recharge. Taking breaks, listening widely, and returning with a clearer head always helps. Do you have favourite songs to perform live? "Rain" has become a standout because the reaction has been overwhelming. "Stars" gets the crowd singing. "Please Her" always hits hard. Different songs come alive in different rooms but "Rain" has been a special moment every night. If you could perform a show anywhere in the world right now, where would it be? Red Rocks, Brixton Academy, Brighton Beach, Starlight Room, and the London Forum. Anywhere that supports live music. Line up every city from A to Z, and we will play them all. What do you have planned for the remainder of the year? Recording, recording, more recording. Tracking drums and bass, finishing pre-production, eating too much candy, and getting everything ready for 2026. And hopefully getting a visit from Santa. If your music were a type of food, what would it be and why? Goulash. A mix of everything good. Also, Christmas dinner because it is warm, heavy, comforting, chaotic, and full of surprises. Dim sum also works since it comes in many flavours. What is the funniest thing that has ever happened while performing? One time, Beej fell off the back of Festival Place, and his brother Troy caught him mid-fall and threw him back on stage with the seat still in place. Braden once cheered someone, and the bottom of the pint fell out, dumping an entire beer on him. Amanda once had porn accidentally blasted into her in ears during a show on a European tour thanks to a prank by Battle Beast’s sound tech. What is the most random thing that has ever inspired you to write a song? A breakup. A sudden rainstorm in England. A trip to the bottle depot revealed that someone was famous in that tiny world. Old history books turned to random pages. Randomness is not the problem. Inspiration shows up when it wants to. What is the most useless talent you have, and would you incorporate it into your music? Amanda can make a weird mouth sound that goes "da da da da," and yes, she would absolutely use it in a creepy intro someday. Braden can curl his toes and walk on them, which is useless for music unless we do a barefoot video. Beej refuses to admit that any talent is useless. Anything else you want to add? Thank you, Crucial Rhythm, for having us. We appreciate the support and the platform. To everyone listening, sharing, and showing up to shows, we love you. You keep this band alive. Find everything at famousstrangersband.com .

Singer-songwriter Benee’s, Ur An Angel I’m Just Particles , was released on November 7, 2025, via Republic Records. The tracklist consists of twelve songs, which include her singles “Cinnamon” and “Off The Rails.” Her viral hit song “Supalonely” featuring Gus Dapperton, went 2x Platinum. This album is described as your most experimental and emotionally grounded. What is the biggest difference between the BENEE who made Supalonely and the artist you are now? Benee: It’s kind of cliché, but honestly, growing up and waking up. I keep saying it's the frontal lobe fully developing. I feel wiser, or maybe I'm asking bigger questions, and everything is feeling more real. Which track do you feel reflects the whole album the best? Benee: I have two answers, one is “Chainmail”; it doesn't portray the whole album, but it ties into the sculptural armor I've been using as a motif. We made custom pieces of armor throughout the whole project. It's a response to the chaos of the world and feeling like you have to put up with so much. Having to put up this tough exterior. The second is “Doomsday.” It's in response to COVID and has an apocalyptic vibe. You seem to have found a beautiful way to lyrically express the intersection between your inner and outer worlds, is there a song (or songs) on this album that you found emotionally cathartic to write? Benee: “Heaven,” the last song on the album. It's different from all the other songs because it's the first time I've written about losing someone. Everything else is more broad and not as sentimental. It gave me a weird release after writing it. Now I listen to it, and it feels so comforting. It was a deep sense of relief after writing it, and to conclude the album with. You’ve developed relationships with a plethora of underrated artists all over the world. What’s an artist you’d love to collaborate with on a future project? Benee: There are so many people I would love to work with. I love collaborating with artists. It brings a different light to a song. I want to work with The Gorillas. This new album feels like such a reflective and experimental evolution for you—what inspired the title “Ur an Angel I’m Just Particles”? Benee: I took the name from a lyric I wrote in a demo a few years ago. I found myself always singing that line. When I wrote it, it felt really smart. When it came to picking a name for the album, I was struggling for a while, then I thought back to i,t and it made perfect sense. The angels part of it, ties with the ethereal world that I've been building. The particles side makes me think of science and the existential vibe that I was feeling. Was there any song on your album that was particularly challenging, either emotionally, vocally, or technically? How did you overcome it? Benee: “Underwater,” which was a single, was actually pretty hard to finish. It took a long time to get the production right. It was too muffled. It was a challenge, but a good challenge, trying to get it right. When you started writing for the album, did you know what direction you were heading in artistically, or is it something that falls into place during the process? Benee: It kind of fell into place for sure. I didn't know what I was going to do at the start. You have to ride the wave, and everything makes sense as things unfold. It taught me a lot of patience. I learned a lot of lessons making the album. You’ve released five of the songs from your new album as singles, but you also just had the song “What” come out as part of the Nobody Wants This season 2 soundtrack. How does your creative process or mindset differ when you’re making music for your own project versus for a show or another type of media? Benee: With the soundtrack, it was actually a pre-existing demo that I had. Which I was potentially going to put into the album. It's cool that songs that you may not have used end up in a film or show. It's a different challenge and way of expressing to write for someone else. Find out more about Benee: Instagram  | TikTok  | X  | YouTube | Spotify

On December 8, 2025, in Winnipeg, the Burton Cummings Theatre pulsed with intensity as Grandson’s INERTIA  Tour made its long-awaited stop in the city. Known for turning stages into battlegrounds of political fire, personal catharsis, and communal rebellion, Grandson delivered a performance that left the crowd buzzing long after the final notes faded. With rising act Dumb Crush opening the evening, the show offered a dynamic spectrum of moods—from noir-tinged indie grit to explosive alt-rock activism. Dumb Crush. Photos by Samuel Stevens. Rising Canadian alt-rock/indie rock trio Dumb Crush kicked off the night with a set that felt like a fever dream dipped in neon shadows. Running through tracks both known and unreleased, the band balanced shoegazey ambience with moments of snarling punk intensity. They opened with “Get Away,” a dark, swirling introduction that set an atmospheric tone. “Moon in Pisces” floated with cosmic melancholy before the band switched into heavier, more aggressive territory with “Ratboy Fuck,” which shook the room with distorted bass and sneering vocal grit. Two as-yet-unreleased songs added an air of unpredictability—both brimming with potential and met with eager energy from the crowd. The biggest moment of the set came during “Annihilation,” which grew from a simmer into a full boil, snapping the audience fully into Dumb Crush’s world. They closed with the visceral one-two punch of “Take You to the City” and “Witches in the Dark,” the latter bringing the set to a haunting, fiery finish. As the lights dimmed, it was clear Dumb Crush had done far more than warm up the room—they’d taken complete command of it. Grandson exploded onto the stage with “AUTONOMOUS DELIVERY ROBOT,” immediately sending the theatre into chaos. Backed by sharp lighting, he wasted no time shifting into the gut-punch combo of “BURY YOU,” “We Did It!!!,” and “Oh No!!!” Each hit landed with the kind of ferocity that reminds you exactly why Grandson shows feel like political rallies disguised as rock concerts. The new era’s material blended seamlessly with fan favourites. “BELLS OF WAR” and “Stigmata” erupted into sing-along moments, while “GOD IS AN ANIMAL” and “PULL THE TRIGGER” pushed the room into a frenzy of moshing, jumping, and cathartic yelling. Grandson. Photos by Samuel Stevens. One of the night’s most emotionally charged moments came when Grandson paused before “WHO’S THE ENEMY.” He revealed that UK punk rap duo Bob Vylan had originally been slated to open the Canadian dates, but government delays in processing their visa—stemming from their outspoken political messaging—prevented their entry. Before performing the song, Grandson played a recorded clip from Bob Vylan, who thanked fans for supporting and wished they could be there to perform. The crowd erupted with both frustration and support, turning the moment into a rallying cry against censorship and political fear. From there, the set only climbed higher. The midsection of the show featured some of Grandson’s darkest and most introspective tracks. Performing “Overdose,” “6:00,” and “LITTLE WHITE LIES,” he brought sharp emotional edges. However, it was the track “SELF IMMOLATION” that burned with raw, ritualistic intensity. Finally, a chilling take on Bob Dylan’s “Masters of War” connected past and present in a sobering reminder that the world’s cycles of violence continue to this day. But Grandson also made space for tenderness. “Heather,” performed acoustically, melted the room into a hush—a rare quiet moment, but a powerful one. The closing run of the set was nothing short of devastating in the best possible way. “Drones,” “YOU MADE ME THIS WAY,” and “Blood // Water” brought the theatre to its boiling point. The crowd shouted every word, embodying the chaos, resistance, and raw emotion that Grandson builds his identity around. By the final chorus of “Blood // Water,” the room was unified in a cathartic wave of noise and defiance. As Grandson walked offstage, sweat-soaked and grinning, the theatre felt electrified—a room full of people who had been pushed, challenged, and empowered. Grandson’s INERTIA  Tour stop in Winnipeg was more than a concert—it was a communal exorcism of rage, hope, and truth. With a fiercely engaging opener in Dumb Crush and a setlist that spanned the full emotional spectrum, the night proved once again that Grandson isn’t just performing music. He’s facilitating movement, momentum, and moments of reckoning. Winnipeg showed up, Grandson showed out, and INERTIA  lived up to its name—unstoppable, uncontainable, and unforgettable.

On a frigid Winnipeg night, two of Canada’s most electrifying live acts turned the Burton Cummings Theatre into a pressure cooker of sweat, catharsis, and communal chaos. PUP and Snotty Nose Rez Kids—each at the top of their game, each ferocious in completely different ways—joined forces for a cross-country co-headline tour that felt less like a pairing and more like a collision of scenes, sounds, and cultures. The result? One of the most exciting, eclectic tour stops Winnipeg has seen in years. Snotty Nose Rez Kids. Photos by Samuel Stevens. Snotty Nose Rez Kids opened the night with the kind of confidence that only comes from years of building something entirely their own. From the very first notes of “Run for Cover,” they had the entire theatre on their feet. The duo moved like lightning—sharp, synchronized, and constantly feeding off the crowd’s growing frenzy. The set was stacked with knockout punches. “BURNING MAN” and “DEVIL’S CLUB” hit with jagged precision, while “MURDER SHE WROTE” and “Real Deadly” had the room shaking as fans shouted every line. Their genre-blurring energy—part hip-hop, part punk ethos, all swagger—translated beautifully inside the historic room, which rarely sees this level of movement. The medley of “Rebirth / PAINT THE TOWN RED” kicked the pace up even further, making the theatre feel like a house party on the edge of spilling over. But Snotty Nose Rez Kids balanced playfulness with purpose—tracks like “DAMN RIGHT” and “NO DOGS ALLOWED” hit harder in a live setting, amplifying the duo’s lyrical bite and unshakeable identity. The back half of the set felt like a rapid-fire greatest-hits run: “I Got Paid Today,” “LET YA HAIR DOWN,” “Uncle Rico,” “I Can’t Remember My Name,” “’96 Bulls,” and “BBE” each brought a different flavour, from celebration to nostalgia to full-throttle bravado. By the time “Sink or Swim” closed their set, the duo had the entire crowd chanting, fists raised, as if they were rallying a team in a championship final. Snotty Nose Rez Kids didn’t just warm up the room; they detonated it. Where Snotty Nose Rez Kids tore through the stage with precision and power, PUP followed by turning the theatre into the happiest mess imaginable. From the opening blast of “No Hope,” the Toronto punks reminded everyone exactly why their shows are borderline religious experiences: joyful, emotional, unhinged, and relentlessly communal. Fans screamed every word of “Olive Garden,” fueling PUP’s trademark back-and-forth between nihilism and humour. The band tore through “My Life Is Over and I Couldn’t Be Happier” and “Dark Days” with a speed that seemed to defy physics, drummer Zack Mykula playing like he was trying to shatter the floorboards. “Robot Writes a Love Song,” “Free at Last,” and “Paranoid” offered some of the night’s loudest sing-alongs, while the fan-requested performance of “Mabu” was a highlight—proof that PUP thrives on unpredictability as much as precision. PUP. Photos by Samuel Stevens. The energy turned feral for “Morbid Stuff,” “Kids,” “Scorpion Hill,” and “Hallways,” each met with total chaos in the pit and catharsis in the balconies. The emotional gut-punch of “Sleep in the Heat” hit just as hard as ever, followed immediately by the concrete-cracking fury of “Concrete.” As the set approached its finale, the band delivered blow after blow: “Familiar Patterns,” “Shut Up,” “If This Tour Doesn’t Kill You, I Will,” and its immediate counterpart “DVP,” which nearly blew the roof off the theatre. “Hunger for Death,” “Reservoir,” and “Old Wounds” kept the pace frantic, with the crowd somehow growing louder with each chorus. And then came the moment everyone will be talking about long after the tour ends. Instead of a traditional encore, PUP invited Snotty Nose Rez Kids back to the stage for a joint cover of the Beastie Boys’ “Sabotage.” This unexpected moment had the room erupt. Snotty Nose Rez Kids’ sharp delivery and PUP’s explosive instrumentation fused into something that felt both nostalgic and completely original. It was the kind of crossover moment that felt symbolic of the night itself—a meeting of two scenes, two communities, two wildly different energies converging into pure, chaotic joy. It was the perfect closer to a night that celebrated collaboration, catharsis, and the best of what live music can be. PUP and Snotty Nose Rez Kids delivered a show that was equal parts overwhelming and unforgettable. The pairing was unexpected on paper but absolutely electric in execution. Winnipeg audiences can be notoriously tough, but on December 2, 2025, the Burton Cummings Theatre felt like a homecoming—one where fans moshed, danced, screamed, and celebrated two of the country’s most essential acts of their genres. This wasn’t just a concert. It was a reminder that Canadian music is thriving, evolving, and louder than ever.

Three pillars of Canadian rock walked into the Canada Life Centre on December 1, 2025—and walked out having delivered one of Winnipeg’s most triumphant, high-octane spectacles of the year. The Tea Party, Headstones, and Finger Eleven brought their cross-Canada three-way co-headline tour to town, transforming the arena into a living, breathing celebration of decades-deep rock legacies. With no “true” headliner and each band performing like they owned the night, the show felt less like a standard triple bill and more like a heavyweight round-robin, each act raising the bar for the next. Finger Eleven. All photos by Samuel Stevens. Finger Eleven opened the evening with precision, power, and the unmistakable sense of a band rediscovering their swagger. Launching straight into “Above” and “Adrenaline,” they immediately pulled the packed arena into their gravitational field. Scott Anderson’s vocals cut sharp through the mix, while the band’s rhythm section—always Finger Eleven’s secret weapon—hit with a muscularity that translated effortlessly to an arena setting. The crowd ignited during “Falling On” and “Quicksand,” with fans from multiple generations singing every word. There was something particularly special about hearing “One Thing” echo through the rafters, its emotional weight amplified by thousands of voices harmonizing its chorus. But Finger Eleven are at their best when they’re loose  and leaning into their alt-rock instincts, and the run of “Slow Chemical,” “The Mountain,” and “Good Times” reminded Winnipeg exactly why they’re staples of Canadian rock radio. The set closed with a playful, electrifying medley—“That’s All / Paralyzer / Back in Black”—with the band singing the lyrics of "Paralyzer" over AC/DC’s iconic riff. The arena absolutely devoured it. If there was any doubt, Finger Eleven are still a dominant live force… Winnipeg got their answer. Headstones. All photos by Samuel Stevens. Then came the Headstones—equal parts snarling punk energy and blues-soaked rock ’n’ roll swagger. Hugh Dillon hit the stage like a grenade with the pin already pulled, tearing into the Travelling Wilburys’ “Tweeter and the Monkey Man” with a punchy, bar-band-on-steroids intensity. From there, it was off to the races: “Leave It All Behind,” “When Something Stands for Nothing,” and a fiery “Devil’s On Fire / Blow at High Dough” mash-up that paid tribute to their fellow Canadian icons while still dripping with the Headstones’ signature grit. What made their set unforgettable, though, were the medleys—ambitious, scrappy, and brilliantly unhinged. The centrepiece was a wild ride through “Oh My God! / New Orleans Is Sinking / House of the Rising Sun / Sympathy for the Devil / Time / Oh My God!”—a genre-spanning, decades-spanning detour that showed off the band’s musicianship and Dillon’s charisma in equal measure. The crowd roared for “Cemetery” before the band launched into another medley—“Unsound / People Are Strange / Unsound”—and then wrapped things up with the shouted-along catharsis of “Smile & Wave.” The Headstones didn’t just perform; they took over . Closing the night was The Tea Party, the perfect counterbalance to the Headstones’ grit and Finger Eleven’s explosive alt-rock polish. The trio stepped into a darkened stage bathed in deep red and gold light, setting a cinematic atmosphere before unleashing “Writing’s on the Wall.” Where the Headstones were feral, and Finger Eleven were kinetic, The Tea Party were mythic . “The Bazaar” and “Psychopomp” landed with hypnotic force, Jeff Martin’s voice booming like an incantation while the band’s Middle Eastern-infused rock surged through the arena with near-ritualistic intensity. The Tea Party. All photos by Samuel Stevens. The night’s emotional core arrived with “The Messenger,” seamlessly weaving in a breathtaking nod to The Tragically Hip’s “Bobcaygeon.” Winnipeg responded with one of the loudest sing-alongs of the entire show. From there, the set only grew more transcendent. “Save Me,” “Heaven Coming Down,” and a thundering “Temptation” showcased a band as locked-in and theatrical as ever. After a serene “Winter Solstice,” they closed with a sprawling, dramatic “Sister Awake / Paint It Black / Sister Awake” medley—a final reminder of The Tea Party’s unmatched ability to turn rock music into a spiritual spectacle. Winnipeg has seen plenty of stacked rock lineups, but this one felt special. Three beloved acts—each with their own legacy, their own following, and their own distinct sound—sharing one stage, each treating each of their sets like a headlining performance. Finger Eleven brought the fire. Headstones brought the fury. The Tea Party brought the mystique. Together, they delivered a night that proved Canadian rock is not only alive—it’s thriving, evolving, and still capable of bringing multiple thousands of people to their feet in collective, cathartic release. A tour like this doesn’t just celebrate the past—it reinforces why these bands continue to command arenas nationwide.

Alt-rock’s newest force doesn’t just arrive with his brand new EP, which releases on December 5, 2025, via Oxide Records; he crashes through the ceiling. Don’t Look Down  is a blistering, cinematic, deeply personal statement from Houston-born artist Nate Vickers, marking his boldest and most cohesive chapter yet. After years of building momentum through viral covers, high-octane singles, and a growing cult fanbase, Vickers steps into full command of his identity: dark, emotionally charged, obsessive in craft, and unafraid to get loud. At its core, the EP is a confrontation with loss, with identity, with the ghosts of past relationships and the pressure to rise above them. Across five tracks, Vickers channels the emotional grit of Deftones, the shadowy atmosphere of The Neighbourhood, and a modern alt-metal punch, creating a sound that’s equal parts cinematic and cathartic. The EP opens with its namesake, “Don’t Look Down,” a gripping, thunderous introduction that sets the bar high. Driven by churning guitars and a vocal performance that feels both wounded and defiant, Vickers uses the track to turn the ruins of a once-life-saving relationship into something explosive and empowering. If Don’t Look Down  is the thesis of the new era, it’s this: pain can be fuel, and Vickers has learned how to burn with precision. The depth continues with “Falling Away From Heaven,” a soaring, moody track that expands on the darker tones Vickers explored earlier in his career. His vocals feel weightless one moment and tonally crushing the next, reflecting the slow drift away from innocence and self-trust. The song feels like drowning in slow motion—beautiful, bleak, and brutally relatable. If any track defines Vickers’ transformation, it’s “Parasite.” Written at a moment when he nearly lost sight of who he was, the song serves as both confession and reclamation. He describes this era as one where outside voices clouded his instincts, leaving him creatively unrecognizable to himself. That inner battle translates into one of the EP’s most gripping performances. Guttural guitars and a sharp alt-metal edge collide with soaring hooks as Vickers unpacks toxicity—both external and internal. It’s painful, raw, and triumphant, capturing the exact moment he chose to trust his own voice again. “Parasite” is more than a song; it’s the pivot where the past collapses and the new Nate Vickers emerges. On “Deja Vu,” Vickers leans into hypnotic rhythms and noir-tinted melodies, weaving a track that feels like being trapped in an emotional loop you can’t escape. The push-and-pull of desire, memory, and self-sabotage makes this one of the EP’s most intoxicating moments. It’s a masterclass in slow-burn tension, the kind of song that lingers long after the final note. The EP closes with “Feels So Wrong,” a standout track that strips away the bravado to reveal the loneliness behind rising success. The accompanying music video—an empty room cluttered with balloons and decorations—visually underscores the emotional disconnect he’s grappling with. Vickers sings about fake friends returning only when the spotlight grows brighter, about the hollowness that follows milestones, about accomplishment that doesn’t quite feel like victory. “It feels so cool to be successful, but it feels so wrong at the same time,” he reflects—a statement that defines the song’s quiet ache. With its blend of introspection and alt-rock grit, “Feels So Wrong” is both a gut-punch and a perfect closing chapter. What makes Don’t Look Down  remarkable isn’t just its sonic heaviness—it’s the sense of total artistic clarity. Vickers approaches his work with uncompromising discipline: eight vocal sessions if necessary, perfection only when earned. That obsessive dedication bleeds through every riff, scream, whisper, and crescendo. This is the sound of an artist who nearly lost himself and came back sharper—a songwriter who felt the sting of doubt and used it as fuel. A performer who now knows exactly what he wants—and finally has the courage to execute it without apology. With Don’t Look Down , Nate Vickers doesn’t just enter the alt-rock landscape; he plants a flag, he levels the ground, and demands attention. And he gets it—fully, loudly, undeniably. Find out more from Nate Vickers: Facebook  | Instagram  | TikTok  | Twitter  | YouTube

Winnipeg was more than ready for a night of nostalgia, powerful vocals, and undeniable Canadian pop excellence as the Back To Life Tour made its stop at the Club Regent Event Centre on November 30, 2025. With Jamie Fine opening and Shawn Desman closing out the evening, the show delivered a seamless blend of heartfelt storytelling, high-energy choreography, and the kind of crowd engagement that turns a concert into a full-blown celebration. Jamie Fine. Photos by Samuel Stevens. From the moment Jamie Fine and her band stepped onto the stage, the audience was locked in. She opened with “you're like,” immediately showcasing the emotional clarity and raw authenticity that have made her one of Canada’s most compelling vocalists. Follow-up track “wait for forever” carried that same confessional energy, pulling the crowd deeper into her orbit. One of the night’s early highlights was a brilliantly constructed cover medley: “Umbrella / Crazy in Love / The Middle.” Fine transitioned effortlessly between Rihanna’s swagger, Beyoncé’s ferocity, and Jimmy Eat World’s pop-rock nostalgia, giving the mashup her own distinctive edge. She brought the room to a hush with the tender “If Anything’s Left,” then fired up fans of her early collaborations with “Ain't Easy,” the hit she originally released with Elijah Woods x Jamie Fine. It marked a big sing-along moment and reminded everyone how many emotional touchpoints she’s had throughout her career. Fine’s ability to merge vulnerability with artistic creativity shone brightest during “Fix You / give me one more night,” a stunning Coldplay cover that transitioned into an original track with grace and power. Her voice soared, cracked, and soared again—an intentional emotional arc that drew some of the loudest cheers of her set. As she moved through the dreamy “Homesick,” the confident “bulletproof,” and the heartfelt closer “For You,” Fine set the perfect tone for the night: honest, uplifting, and deeply human. After a brief reset, it was time for Shawn Desman—one of Canada’s most iconic pop performers—to reclaim the stage. And he wasted no time  doing so. He launched straight into “Electric,” one of his signature hits and a recurring motif of the night. The energy spike was instantaneous. That momentum continued with “Let's Go” and “Get Ready,” both of which spotlighted Desman’s razor-sharp choreography and stage presence. Backed by polished visuals and his always-tight dance crew, he worked the crowd with the confidence of someone who’s been delivering hits for over two decades. A smooth transition into “Never Fall in Love Again” and the sultry “Shiver” brought out his R&B roots before an unexpected but fun medley of “Heels on the Ground / Red Hair / Movie Star” reminded the room of just how deep his catalogue runs. Six songs in, the concert kicked into another gear. “Sexy,” “Dum Da Dum,” and “Maniac” kept the room moving before Jamie Fine returned for a standout duet on “Body.” Their chemistry was effortless—two artists with powerhouse vocals feeding off each other’s momentum to the delight of the crowd. Shawn Desman. Photos by Samuel Stevens. Another major moment followed as Desman merged his original track “Spread My Wings” into a smooth cover of Michael Jackson’s “Human Nature.” It was a bold, soulful homage that showcased his vocal range and childhood inspirations. He kept the nostalgia flowing with fan favourite “Nobody Does It Like You,” then raised the roof with a vibrant Ladies of the ’80s medley—weaving Janet Jackson, Madonna, Belinda Carlisle, Paula Abdul, and Whitney Houston into one dance-heavy performance that electrified the room. The back half of his main set—“Miami,” “Shook,” “Love Me With The Lights On,” and an unforgettable “Night Like This” where Desman actually waded into the crowd—was pure adrenaline. Fans danced, shouted lyrics, and filmed the moment feverishly as he sang, surrounded by a cheering sold-out theatre of people. The lights dimmed briefly before Desman reappeared for an encore that felt equal parts triumphant and intimate. He performed his portion of “One Good Life,” his latest collaboration with Canadian country singer-songwriter Dallas Smith, delivering the song with warmth and sincerity. Then he brought the night home with “Electric” one last time—a clever bookend that brought the show full circle and sent the crowd out buzzing. The Back To Life Tour stop in Winnipeg was more than a concert—it was a celebration of artistry, longevity, and Canadian pop excellence. Jamie Fine brought vulnerability and vocal precision; Shawn Desman brought nostalgia, charisma, and a masterclass in live performance. Together, they created a night that felt both fresh and familiar, reminding Winnipeg why live music still matters so much. For fans old and new, this show wasn’t just back to life—it was alive in every sense.