STREAM "ONE EYE OPEN" PRE-SAVE/PRE-ORDER  SATELLITE Today,   alt-pop sensation Charlotte Sands announces her new album Satellite , arriving March 6, 2026 . Alongside the album announcement, Charlotte Sands reveals her new single “ one eye open ,” offering fans another glimpse into the bold, high-energy world of Satellite . Following in the footsteps of standout singles like “HUSH,” “Afterlife,” and “neckdeep,” the new track showcases her signature mix of emotional intensity and arena-ready hooks.  “‘one eye open’ is about learning that love isn’t supposed to feel like survival,” she shares. “It’s the realization you’ve been mistaking control for care and the breaking point that forces you to remove yourself from their grip and remember who you were before they made you doubt it. This song is about taking your power back and choosing your own peace over their chaos. I hope it gives you the strength to put yourself first and serves as a reminder of just how capable you really are.” Charlotte Sands has cultivated a devoted following with her genre-blurring sound, fearless honesty, and electrifying live performances. On her forthcoming album, Satellite , she pushes her alt-pop sound even further, weaving together soaring melodies, razor-sharp lyrics, and punchy production. “ 'Satellite' was born from a search for meaning, identity, and self worth, ” she says. “ It’s a collection of moments from the last two years of my life — the highs and lows, the joy and the grief. It’s about drifting, discovering, questioning your purpose, and learning to trust the quiet pull that brings you back to yourself. ” Since making her debut in 2018, Charlotte has charted in the U.S. Top 40 for over 15 weeks, won 'Best Breakthrough Album' at the Heavy Music Awards, and has amassed over 300 million global streams. And she’s done it all while remaining a fully independent artist. She’s shared the stage with acts like My Chemical Romance, 5 Seconds of Summer, and YUNGBLUD, and in 2024, she embarked on a highly successful global headline tour in support of her album,  can we start over? . This past summer, she headlined idobi Radio’s Summer School Tour alongside Rain City Drive and Taylor Acorn. With her bright blue hair, Y2K-inspired style, and magnetic presence, the LA-based artist has cemented herself as an alt-pop  it girl . But behind the bold aesthetic is a fiercely hands-on artist. She designs all her own merch, creates her signature makeup looks, and creative directs all her visuals. Fearlessly herself in every detail, Charlotte Sands is a one-of-a-kind artist who continues to defy expectations. Listen to "one eye open" on all streaming platforms: https://sndo.ffm.to/b4bodox Pre-save/pre-order  Satellite (out March 6, 2026): https://charlottesands.com/pages/satellite?view=satellite Satellite Tracklist: 1. Satellite 2. one eye open 3. HUSH 4. half alive 5. Afterlife 6. back to you 7. neckdeep 8. water me down 9. None of My Business 10. Sunday Find out more from Charlotte Sands: Website | Instagram | TikTok | X | Facebook | Spotify | Apple Music | YouTube

November 30, 2025 Commodore Ballroom All photos by Mike Thomas.

Jessie Reyez’s long-awaited first appearance in Winnipeg finally came on November 28, 2025. The Burton Cummings Theatre became a sanctuary, vibrating with the raw honesty, smoky vocals, and fearless storytelling that have defined Reyez’s entire career. For fans who had waited years to see her live, this night felt like both a celebration and an overdue homecoming. RAAHiiM. All photos by Samuel Stevens. Opening the night was rising R&B artist RAAHiiM, whose velvety tone and atmospheric instrumentals warmed the room instantly. His set was a perfect pairing for Jessie’s energy—smooth, introspective, and intimate. RAAHiiM navigated between moody slow burns and soulful grooves, and a couple of covers to boot, earning cheers that echoed surprisingly loudly for an opener. By the time his set ended, the crowd was fully tuned into the emotional frequency Jessie would soon amplify. When the lights dimmed, and Jessie Reyez stepped into the soft glow of the stage, the audience erupted. She opened with the defiant “I NEVER SAID I WAS SANE,” immediately setting a tone of vulnerability mixed with fire. “BEGGIN 4 LUV” and “GOLIATH” followed, showcasing her ability to make even the biggest theatre feel personal—as if she were singing directly to each person there. One of the most unforgettable highlights came during “NYB.” As Jessie moved across the stage, she asked for someone to come on stage to dance with her, then her dad walked onto the stage to join her, dancing with uninhibited joy while the crowd roared. Jessie’s smile said everything—it was a tender moment that made the show feel even more special for her first-ever time in Winnipeg. Jessie’s setlist was a masterclass in emotional pacing. From the spiritual undercurrent of “PALO SANTO” to the psychedelic tenderness of “PSILOCYBIN & DAISIES,” Jessie wove vulnerability into every note. She pivoted effortlessly into fan favourite songs like “Shutter Island” and “Gatekeeper,” songs that still hit with the same righteous fury and emotional weight they carried upon their initial release. The pair of tracks, “Coffin” and “6LESSINGS,” continued the intensity before the night took a soulful turn with “Forever,” “Imported,” and the iconic heartbreak anthem “FIGURES,” which had the entire theatre singing louder than the venue's sound system. Moments of hype broke through as well—“Great One” and “Apple Juice” radiated hope and warmth, while “Mutual Friend” and “L.O.Y.L.” reminded everyone how potent Jessie’s pen is when she’s pulling from the messiest corners of love. Jessie Reyez. All photos by Samuel Stevens. The tail end of the set hit just as hard as the opening: “Sola,” “RIDIN,” “JEANS,” and “CUDN’T B ME” showcased Jessie’s versatility, swinging from sultry grooves to passionate crescendos. What stood out most, though, was her connection to the room—she spoke candidly between songs, laughed with fans, and made the crowd feel like they were part of something she’d remember and something she wanted her fans to forever remember, too. Earlier in the night, on the stage's screen, Jessie had asked fans to vote via a QR code for the encore. The options were “Free,” “Still C U,” or “Tonight We’ll Never Have.” The results were revealed only when she returned back to the stage and the first note of “Free” hit, declaring it the winner of the three. The encore felt almost ceremonial. Under soft lights, Jessie delivered “Free” with aching clarity, turning the theatre into a collective exhale. It was the kind of moment that stays with a crowd long after the final note fades. Jessie Reyez’s debut Winnipeg performance wasn’t merely memorable—it was the kind of show that instantly enters local concert lore. With a powerhouse setlist, a theatre full of devoted fans, and a performance that swung effortlessly between fierce and fragile, Jessie made it clear that the Paid In Memories Tour  is one of her strongest chapters yet. If this is what she brings on her first visit, Winnipeg will be more than ready for her return.

The Strumbellas returned to Winnipeg on November 26, 2025, bringing their Into Dust Tour  to the storied Burton Cummings Theatre—a venue whose warmth and intimacy perfectly matched the band’s signature blend of anthemic indie folk and emotional candour. Paired with an exceptional opening set from Thunder Bay’s The Honest Heart Collective, the night became a heartfelt celebration of community, catharsis, and connection. The Honest Heart Collective. Photos by Samuel Stevens. The Honest Heart Collective set the tone with a performance that felt both earnest and electrifying. Opening with “11/17,” the band immediately showcased the rugged sincerity that has earned them a passionate following. Their set moved like a road map of self-reflection: the steadfast reassurance of “I’ve Got You,” the introspective grit of “I Heard You’re Worried About Me,” and the urgent drive of “Outrun.” Two brand-new songs—“’96 Sunfire” and “Namesake”—offered a thrilling glimpse at where the band may be headed next. “’96 Sunfire” burst with nostalgic energy, while “Namesake” leaned into a more expansive, emotionally heavy direction that resonated strongly with the audience. The band closed with a moving, blue-collar take on Bruce Springsteen’s “Atlantic City,” a fitting tribute that showcased their ability to honour their influences while making the moment wholly their own. By the end of their set, the crowd was fully warmed—both in volume and spirit. With the stage bathed in moody blues and warm ambers, The Strumbellas stepped out to a roar of recognition. They opened with “Hanging Out In My Head,” a fitting introduction to an evening steeped in introspection and release. It didn’t take long for the band’s signature energy to fill the theatre—six musicians moving as one, swapping smiles, harmonies, and instruments with the ease of a well-loved family. From there, the band moved through a sweeping set that bridged their past and present: “Salvation” and “Hold Me” brought early sing-alongs, while “Maybe It’s Me” and “Sailing” carried the emotional weight of their newest material, showcasing maturity without sacrificing melody. “Shovels & Dirt” and “Greatest Enemy” ignited the crowd, their stomp-and-clap rhythms shaking the old theatre floors. Meanwhile, fan favourites like “Diane,” “Steal My Soul,” and “Come Back Around” kept the energy pulsing between reflective and triumphant. The Strumbellas. Photos by Samuel Stevens. The middle stretch of the set—“I’ll Wait,” “Great Unknown,” and “Young & Wild”—felt almost cinematic, the band layering strings, percussion, and soaring group vocals into a sound that seemed to bloom outward into every corner of the venue. But it was the final run that cemented the night as something truly special. “Running Out of Time,” “The Hired Band,” “My Home Is You,” and “Hard Lines” formed an emotional arc that had the audience swaying, singing, and at moments even wiping away tears. The Strumbellas have always been masters of blending vulnerability with hope, and this sequence captured that balance beautifully. As the lights dipped and the crowd erupted, the band closed with two undeniable anthems: “We Don’t Know”—a massive, choir-like moment of unity—and “Spirits,” which transformed the Burton Cummings Theatre into a full-throated celebration. The chorus rang out with hundreds of voices merging into one: a reminder of why this band continues to mean so much to so many. The Strumbellas’ Into Dust Tour  stop in Winnipeg was more than just a concert—it was a gathering of hearts. Their ability to turn vulnerability into strength, melancholy into movement, and personal stories into communal experiences remains unmatched. Paired with The Honest Heart Collective’s compelling and authentic opener, the entire night felt like a welcome embrace—warm, honest, and deeply human. It was a reminder of the healing power of music, and why nights like this stay with us long after the lights come up.

How would you describe your music to any person who may have never heard it before? Our music is a blend of indie folk and pop folk, carried by the contrast of two distinct voices—one warm and powerful, the other delicate and emotive. It’s intimate at its core, often starting from acoustic roots, but it can also grow into something dynamic and cinematic. We write songs that are meant to connect on an emotional level, exploring resilience, love, doubt, and hope. If you enjoy artists who tell stories through melodies—like Damien Rice, Fleetwood Mac, or The Lumineers—you’ll probably find a piece of yourself in our music. What's the significance of your band's band? The name Non Talkers  reflects the idea that not everything can be expressed through words. Sometimes emotions, struggles, or even hope are too complex to explain—and that’s where music takes over. When we rebranded from our previous project, we wanted a name that highlighted this belief: that music speaks louder than words, and that our songs are our true voice. What are your musical influences? We draw inspiration from a wide spectrum of artists. Damien Rice has influenced our approach to raw, emotional songwriting, while Fleetwood Mac and Neil Young shaped our love for timeless melodies and storytelling. Adele and Laura Branigan inspired the depth and power of Evita’s voice, while artists like The Lumineers and Mumford & Sons influenced our acoustic and folk-driven energy. Beyond music, we’re inspired by personal experiences, real-life stories, and the resilience of people around us—those elements often find their way into our songs. What are your musical inspirations? Our inspiration often comes from real-life experiences and emotions—moments of doubt, resilience, love, and hope. Many times, it’s the stories we hear or live that spark a song. Nature also plays a role; being based by the Atlantic coast in northern Portugal, the sea, the mountains, and the quiet of our surroundings often filter into the mood of our music. Above all, our biggest inspiration is the connection with people—the idea that a song can touch someone’s life and make them feel understood. 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. There are so many artists we’d love to collaborate with. Damien Rice would be incredible for the intimacy and honesty he brings into songwriting. Working with The Lumineers or Mumford & Sons would also be a dream, as their energy and folk spirit resonate with our sound. On a vocal level, collaborating with Brandi Carlile, or Jack Savoretti would be amazing—they each carry that emotional power and depth that we admire. Ultimately, any collaboration that feels authentic and allows us to tell a story together would be truly special. What's the new single about? Our new single “Weight of Doubt”  is about resilience, holding on to your dreams and goals even when you’re confronted with uncertainty or self-doubt. It’s a reminder that doubts are part of the journey, but they don’t have to define the outcome. The song encourages listeners to push through those moments of hesitation and trust that every step forward brings more clarity and strength. What's something you hope people take away from the new single? We hope people feel encouraged to keep moving forward, even when doubts creep in. “Weight of Doubt”  is about believing in yourself when things feel uncertain, and we’d love listeners to walk away with a sense of strength and hope—that even small steps can lead to big transformations. What did you allow yourself to do creatively for this song that you haven’t in the past? With “Weight of Doubt,”  we allowed ourselves to embrace more openness in the arrangement, letting the song breathe and build naturally instead of trying to fit it into a strict structure. We experimented more with dynamics, starting from an intimate, acoustic base and gradually expanding into something powerful and uplifting. We also gave ourselves the freedom to test the song live before finalizing it, which brought a new rawness and authenticity that we hadn’t fully explored in past recordings. 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? When we hit a creative block, we usually step away from music for a while. We take time to absorb stories, experiences, or simply life itself, without putting pressure on ourselves. We don’t like to force the process; instead, we trust that inspiration will return. And when the muse finally visits again, we try to capture and make the most of it. Do you have any favourite songs to perform live? It could be your own music or even a cover. Do you have any reason why? The songs in our repertoire serve different purposes. Some are more emotional and take us to that goosebump zone of deep connection with the audience, while others are more upbeat and spread positive energy. We enjoy each song in its own context, and we love having that variation and dynamic in our shows. Songs like “Lovin’” or “You Don’t Remember Anymore” allow us to dive into our souls, while tracks like “You Can’t Be Waiting,” “Fire Burning in My Veins,” and now the new single “Weight of Doubt” stir things up with their uplifting energy. From time to time, we also like to enjoy classic covers such as “Stand By Me,” “Proud Mary,” “Jolene,” “I’m on Fire,” or “Hallelujah.” If you could perform a show this very second anywhere in the world, where would it be? We would choose the Newport Folk Festival in the United States. It’s such an iconic stage in the history of folk music—a place where legends like Bob Dylan helped redefine the genre, and where so many artists we admire have shared their songs. Playing there would feel like being part of that living legacy, connecting our music with an audience that truly values authenticity and storytelling. Is there any particular venue(s) or city/cities that comes to mind? Yes—a few dream venues immediately come to mind. The Royal Albert Hall in London would be an incredible milestone, blending intimacy with grandeur. The Elbphilharmonie in Hamburg is another, with its stunning architecture and world-class acoustics. On a more personal level, performing at the Coliseu do Porto in Portugal would also be very special, since it represents bringing our music to a historic stage in our own country. What do you currently have planned for the remainder of the year? We have a couple more shows left from our acoustic theatre tour in Portugal, and after that, we’ll be focusing on preparing our European tour for 2026. Alongside the touring plans, we’ll also keep working on new songs throughout the rest of the year. If your music were a type of food, what would it be and why? Our music would probably be like a warm, homemade meal, simple at first glance, but full of layers and flavours that stay with you. It’s comforting and familiar, yet there are spices and textures that surprise you along the way. What's the funniest thing that's ever happened to you while performing? We actually have quite a few; our shows often take unexpected turns. Every time we step on stage, we say to ourselves, “This time we’ll behave,” but somehow we always end up going off track. One of the funniest moments was during a song Marco was performing seated. As the music built in intensity, he stood up, carried away by the energy, and started playing passionately with the guitar. Evita thought the chair was getting in his way, so she quietly moved it back to give him more space. The problem was, Marco didn’t realize it. In his mind, the chair was still there. So when he tried to sit down at the end of the song, he completely missed it and fell straight to the floor. The whole band and the audience burst out laughing. Marco, doing his best to keep the show going, finished the song lying on the stage. What's the most random thing that has ever inspired you to write a song? Once, I had one of those dreams that made absolutely no sense. In it, I was having a conversation with an artist I’ve never actually met in real life, and suddenly he started humming a melody, saying it was a new song he was working on. In the dream, I was really struck by how beautiful it was. When I woke up, still half-asleep, I quickly recorded the melody so I wouldn’t forget it. That melody ended up becoming the chorus of our song “You Can’t Be Waiting.” What's the most useless talent you have, and would you incorporate it into your music if you could? I can make a whistling sound with my hands that’s almost identical to an owl. I’d never really thought about it before, but now that you mention it… Maybe I should try to sneak it into a new track one day. Thanks for the time today, Marco and Evita. Is there anything else you may want to add that I didn't cover before you go? We’d just like to invite readers to discover a bit of our music. You can listen here: https://nontalkers.com/visit-us/ Thank you so much for having us!

October 16, 2025 Sidestage All photos by Kat Kolesar.

On a chilly Tuesday night on November 25, 2025, Winnipeg found warmth, catharsis, and community inside The Park Theatre as Aysanabee brought The Way We’re Born Tour  to the city. The packed show felt less like a routine tour stop and more like a powerful homecoming of spirit, amplified by the presence of Manitoba’s own rising Indigenous singer-songwriter Barrin May, who opened the evening with a set that instantly grounded the room in stories, connection, and place. Barrin May. Photos by Samuel Stevens. Barrin May set the tone with a beautiful, introspective performance—gentle and earthy, yet powerful in its emotional resonance. His songwriting, rich with imagery of rivers, loss, kinship, and prairie sky, didn’t just warm up the crowd; it invited them in. May’s voice moved between tender vulnerability and stirring strength, earning the kind of quiet, attentive listening rarely found in a bustling venue. For many in attendance, this felt like a discovery moment—one of those rare opening sets that leaves a lasting imprint. From the moment Aysanabee stepped onto the dimly lit stage and opened with “Embers,” the audience was locked in. His voice—raw, resonant, unmistakable—filled the room with a depth that felt almost physical. There’s a reason Aysanabee continues to be one of the most captivating live performers in the country: he brings not just songs, but stories, memory, and ancestral echoes. “Edge of the Earth” and “Gone Baby Gone” followed, weaving rhythmic urgency with soaring melodic passages. Aysanabee’s signature finger-style guitar work and looping textures created a lush, atmospheric soundscape that felt far larger than the intimate venue. Mid-set highlights included “Long Gone,” “Here And Now,” and “Somebody Else,” each delivered with an emotional clarity that drew cheers, tears, and multiple moments of absolute, breath-held silence from the crowd. His introduction to “Dream Catcher”—reflecting on intergenerational stories and personal healing—was met with nods and murmurs throughout the room, a reminder of how deeply his work resonates with listeners across cultures. Aysanabee. Photos by Samuel Stevens. The back half of the set displayed the full arc of Aysanabee’s artistry. “Good Love” brought a welcome warmth, its groove turning the room into a moving wave of bodies, while “Home” and “Alone” showcased the emotional versatility of his voice. “Nomads” and “Without You” closed the main set with intensity, his band adding dynamic layers that elevated each arrangement beyond its recorded version. The audience erupted into applause the second he stepped backstage, and the encore was all but inevitable. Returning to the stage, Aysanabee delivered “We Were Here.” It was the kind of performance that stops time—gentle, haunting, and steeped in conviction. The song’s reflections on identity, place, and legacy felt especially potent in Winnipeg, a city with deep Indigenous history and vibrant contemporary Indigenous artistry. By the final refrain, many in the crowd stood in quiet reverence before erupting into the loudest ovation of the night. Aysanabee’s The Way We’re Born Tour  stop in Winnipeg was more than a concert—it was a shared experience of storytelling, healing, and profound musicianship. From Barrin May’s gracefully poetic opening set to Aysanabee’s emotionally charged headlining performance, the night showcased the power and importance of Indigenous voices in contemporary music. It was intimate, moving, and unforgettable—one of those rare shows that stays with you long after the final note fades.

Silverstein’s 25 Years of Noise: The Last Chance Tour  is more than an anniversary run—it’s a career-spanning victory lap, a communal celebration, and in many ways, a love letter to the fans who have been screaming along since When Broken Is Easily Fixed . On Sunday, November 23, 2025, that love was on full display as the band brought the tour to Winnipeg’s historic Burton Cummings Theatre—shockingly, the first time in their twenty-five-year career that they’ve played the iconic venue, which was highlighted when vocalist Shane Told joked that "hopefully we have now unlocked the Burton Cummings Theatre" for future shows in Winnipeg. It was the perfect setting for a night steeped in nostalgia, catharsis, and unrelenting emotion. With a multi-generational lineup featuring Bloom, Free Throw, and post-hardcore legends Thursday, the evening felt like a curated timeline of the genres Silverstein has influenced, grown alongside, and helped define. Bloom. Photos by Samuel Stevens Photography Opening the night was Bloom, making their first-ever Canadian appearance. The Australian post-hardcore outfit played like they had everything to prove—and quickly proved everything. Their set was tight, urgent, and emotionally heavy in all the right ways. Tracks like “Out Of Reach” and “Siren Song” showcased their soaring melodic instincts, while “Bound to Your Whispers” and “Withered” carried the kind of aching intensity that instantly commanded the quiet, seated theatre. “Life Moves On Without Us” and “You and I” resonated especially well with a crowd primed for heartbreak anthems. Despite being thousands of miles from home, Bloom was greeted like a new favourite local band. If this was their introduction to Canadian audiences, it was a hell of a debut. Free Throw. Photos by Samuel Stevens Photography Free Throw took the stage next, injecting the night with their signature blend of emo honesty and math-tinged indie rock. The band thrives on raw vulnerability, and it translated flawlessly in the theatre’s acoustics. They kicked off with “The Corner’s Dilemma,” immediately pulling the crowd into their emotional orbit. “Pallet Town” and “My High” hit with youthful nostalgia, while heavier fan favourites like “Randy, I Am the Liquor” and “Two Beers In” ignited the first big sing-alongs of the whole night. The set’s emotional highlight came with “So Yeah, So,” delivered with cracked-open sincerity that had the room locked in. Free Throw delivered a set that felt like a shared diary—loud, honest, and cathartic. Thursday. Photos by Samuel Stevens Photography Then came the moment many longtime fans had been waiting sixteen years for: Thursday’s first show in Winnipeg since Taste of Chaos 2009. The energy in the room shifted instantly—excitement, reverence, and the weight of post-hardcore history vibrating in the air. In addition to making their tour feel more Canadian, filling in for guitarist Tom Keeley was Alexisonfire's Wade MacNeil. The band wasted no time diving into nostalgia with “Signals Over the Air,” sparking immediate recognition and goosebumps. From there, they launched into cornerstone tracks “Cross Out the Eyes” and “Jet Black New Year,” sounding as vital and ferocious as ever. Geoff Rickly’s haunting delivery on “This Song Brought to You by a Falling Bomb” showcased the band’s unique ability to find beauty in collapse, while “Fast to the End” and “Application for Release From the Dream” represented their later-era dynamism. The final stretch—“The Lovesong Writer,” “Understanding in a Car Crash,” and “War All the Time”—felt like a collective emotional purge from the crowd. Thursday didn’t just play songs; they reopened portals to the memories tied to them. For their anniversary set, Silverstein designed something special: a full run-through of their catalogue from newest to oldest—a reverse time machine that guided the audience from the present back to the band’s origins. Beginning with their 2020s material, the band opened with “Negative Space,” “Drain the Blood,” “Stress,” and “The Altar,” showing just how heavy and refined their modern sound has become. The production hit hard—sharp lights, deep rumble, and pacing that filled the entire theatre with momentum. Silverstein. Photos by Samuel Stevens Photography Mid-set favourites like “Infinite,” “Bad Habits,” and “The Afterglow” proved how many era-defining songs they’ve created in recent years. The room exploded for “Je me souviens” and “Massachusetts,” two staples that always sound massive live. Then came one of the night’s most delightful curveballs—their micro-hardcore cover “You Gotta Stay Positive” (Good Clean Fun), played twice  as tradition demands. The band leaned into it with humour, reminding fans that even after twenty-five years, Silverstein still doesn’t take themselves too seriously. As the set wound further backwards, older material stirred older emotions: “The Artist,” “Vices,” and “The End” hit with era-defining force, while the crowd roared every word to “Worlds Apart” and “Your Sword Versus My Dagger.” The late-set stretch of “Already Dead” and “Smile in Your Sleep” was pure early-2000s post-hardcore/metalcore nostalgia—a reminder of just how much Silverstein shaped the sound of an entire generation. The encore began in unexpected stillness as Shane Told returned alone for “My Heroine” to perform it acoustically—a stripped-down, heart-wrenching rendition that held the theatre silent, but Told demanded the audience sing it back as loud as they physically could. Then the band launched back into full throttle with “Smashed Into Pieces” and “Bleeds No More,” stirring the loudest reactions of the night. It was a finale that honoured the band’s roots while celebrating how far they’ve come. Silverstein’s 25 Years of Noise  Winnipeg stop wasn’t just a concert—it was a narrative, a retrospective, and a living history lesson in post-hardcore and metalcore. Between Bloom’s breakthrough introduction, Free Throw’s emotional resonance, Thursday’s long-awaited return, and Silverstein’s monumental reverse-era set, the night moved with a sense of legacy. Twenty-five years in, Silverstein continues to evolve without losing the heart that made audiences connect with them in the first place. And seeing them finally take the stage at the Burton Cummings Theatre felt like a milestone for both the band and the city.

Photo courtesy of Emile Beaubien. What was the writing process like for “I DON’T DO DRUGS”? Ella: The session for “I DON’T DO DRUGS” was my first time back in the studio since the heartbreak highlighted in this song happened. We wrote the song fairly recently, actually. In music industry time, writing a song and releasing it a month and a half later in the pop scene is a tall order, but I felt so strongly about this song, I changed my whole album release schedule to get it out. I was working with new people whose work I truly admired. I’ll admit I was a bit nervous. I jokingly mentioned to my friend Nicole, who’s a phenomenal writer in Nashville, how funny it would be if she came out for the session. That’s exactly what she did. She hopped off the plane (at LAX… just kidding, the Burbank airport… but close) and Ubered straight to our session. That’s who Nicole is; she shows up for you. Not only is she an incredible talent, but she is a great friend. Joe (one of the producers on the song) had an amazing synth sound (the one you hear at the start of the song) prepared to show me, and I instantly loved it. We played with multiple concepts, but that first melody and lyric, “I put it all out on the table,” kept coming up for me. Once we locked in that first verse and I randomly blurted out how I wanted the song to be called “I DON’T DO DRUGS,” it was off to the races. I didn’t know why yet, I didn’t know how yet, but I knew that’s what the song needed to be. At the time, I was navigating a huge loss and heartbreak in my life, which resulted in me having to rebuild my career while the momentum was starting. As one tends to do when they’re coping, I was seeking external validation through men and accolades, all while grieving my favorite person not being in my life anymore. Staying sober during all of this was a complete nightmare, but also my north star. It’s so like me to include every detail of my life in songs. We wrote and recorded the song that day. It was definitely like every ounce of pity and hilarity in hopelessness splattered into the room and showcased this satirical mirage of trying to move on during heartbreak. I went home that night and knew it had to be released immediately. I thank my collaborators Joe, Dan, and Nicole for holding my experience with so much grace and letting this song turn into what it was while I threw all my darts at the wall. What was the creative process behind the single artwork cover for “I DON’T DO DRUGS”? Ella: I love this question. I am so proud of how the cover photo turned out. As I mentioned, I was so inspired by this song when I came home from the session. I was listening to it non-stop on repeat all night, which is when I came up with the visual concept you see for the song. I wanted to nod at the perfect parts of California and make the visuals centered around this Hollywood/California aesthetic since I talk so much about how California and the Hollywood dream we were supposed to chase together now has to be solely mine. I had always wanted to shoot at this rock boulder in the middle of the ocean; I felt it represented being stranded. I also intentionally picked the colors pink and blue, and white for this almost innocent dress-up feel, and my outfit looks out of place not only for my brand but for me as a person on purpose. I dressed up as this sweet, pretty girl and tried to be all the things you wanted me to be, and you still left me stranded. There’s elements of pity party, tantrum-esque energy, and this frustration held in the body in the photos because there’s nothing I can do. I wanted to emulate that energy of frustration, but the kind of frustration that has nowhere to go. I wanted the delicate nature of my outfits to juxtapose the energy I was giving in the photo, and the more harsh sound design in the song. It’s also intentional that all of the visuals for this song were shot in the light of day, while many of my other songs play in the night time. An added bonus and fun fact is the photographer is Nicole’s cousin, Emile, so we really had the whole family involved for this one, which I think made it even more special. How does it feel knowing your debut album DANGEROUS is about to release? Ella: I feel really proud. This is my first time rolling out an entire album. The commitment to making and releasing a project is like a long-term relationship; it has its peaks and valleys and takes work, but the love and passion is the foundation for a beautiful garden to grow from the investment and care towards it. I am also extremely proud of my vulnerability on this record as well as my unapologetic storytelling. I think there’s a version of me who would have been scared to write these songs, and I’m glad I did because the whole point is to put my experiences into song so somebody else feels seen. At the end of the day, this album is only supposed to reflect my experiences coming face to face with my ego in hopes to reflect the journey of the listener. If it can help empower or enlighten somebody, that would be my hope. How did you decide on the title for the album? Ella: I have a single called “DANGEROUS,” which was the first song I started for this album. At the time, I had no idea that it would end up as the centerpiece for this project, but I knew there was something special about it. In my song “DANGEROUS,” I narrate the exploration and romanticization of the “rabbit hole,” which is my version of the spiral of anxiety that feeds my drive to succeed, perform, overthink, break down, and build up. It can be extremely dangerous when I am in the middle of that rabbit hole, because I don’t have the bandwidth emotionally, spiritually, and sometimes even physically to have any perspective. I can’t see behind or in front of me; my ego takes over. Every single song on this project represents the manifestation of the extremes of the ego, from lust and desire to bitterness and jealousy, to pity, to greed, while also highlighting the thrilling, more “fun” aspects the ego brings to the table. Something “DANGEROUS” sparks adrenaline, quick dopamine, can look shiny and sexy, but also holds long-term power over your detrimental downfall. As an alcoholic who is sober now, I constantly toe the line between extremes and find excitement in them. Exploring these extremes in my music has been a safe way to process my deepest fears and desires, and also almost serves as a warning to the listener that this is what happens when you let the ego drive the bus, which can end up being very dangerous. Are there any songs on the album that haven't been released yet that you’re excited for fans to hear? Ella: YES! One of my most prized possessions is the last song on the project. I think it not only beautifully ties together the project, but it can also stand alone so beautifully. I find the last song on the project is a full circle moment of acceptance; acceptance of all the different versions of who you are, embracing your instincts, because at the end of the day, we are just beastly beings learning how to survive. The last song on the project is called “ANIMAL,” and I started writing it around the same time we wrote “DON’T FOLLOW ME,” which I have been blessed to see how it’s taken on a life of its own because of my fans and listeners. “ANIMAL” is extremely authentic to me and my story and gives me the permission to make mistakes and be as big and loud as I want. I hope it does that for you, too. I hope to also roll out a short film with this song that really represents the culmination of the project and what it means to work and live your dream while balancing the act of caring more than you’d like to say. What was the songwriting/producing process like working with so many great producers and writers? Ella: I always feel like any time I make music, in its purest form, which luckily for this project, I got to experience that the majority of the time, is a divine ordeal. My favorite songs always feel channelled from another place, like God placed the idea into my head, and the producer I’m working with that day’s angel guides helped them understand the vision I can’t explain into words. You never know what you’re going to get when you first walk into the studio that day, and it never ceases to surprise me and encourage me when we crack the code in the studio and leave with the songs we do. Some of my favorite songs on the project were made when I was completely emotionally/physically/and spiritually depleted and burnt out and/or heartbroken, but my collaborators squeezed the magic out of me like getting the final recipes to the lemonade. Every writer and producer I have had the privilege to collaborate with on this project held this project with extreme care; they all knew how important and specific this task of making this album was to me, and they all showed up with the same amount of attention and care. I find that there’s reflections of their own journey’s facing their fears and deepest desires, too, in the songs, which is a key to having multiple perspectives of the depths of this experience. I am blessed for the talent and magic everyone brought to the music and to my soul on this one. Was there a particular order you released each single? Ella: Of course, everything happens for a reason, and every detail was important to me for this rollout. From how I wanted this project to be introduced, to how the journey of humanity and ego is not a straight line, we feel like we’re going up, then we crack and fall completely on our faces, just to get up again. The rollout intentionally takes you through these ups and downs. I started the album in a specific way and ended the album in a specific way. The details in between are up to the listener, because I have my personal reasons for how I best wanted to present the project, which brings me the peace to put the period on the final sentence of the story, but the interpretation, internalization, and receival of each song has been unique to each song, I am so interested to see how this project is received as a whole. I will also add that this has been a huge learning process for me, recording, rolling out, and releasing an album that can professionally show up in the pop world, be taken seriously, and also be digested and consumed in a world so overloaded with algorithmic attention as an independent artist with no label. I have had to really commit and dedicate a lot of myself in many ways to each individual song, but the people who have come together and believed in me to help make this project happen, from a collaborator's standpoint to a team and management standpoint, are the reason the project is even seeing the light of day. Do you have any tips on going out sober? Ella: Funny enough, I did just make a video on this in the spirit of my song “I DON’T DO DRUGS” Which you can watch here . I also wrote them out, of course, these I live by. Ella’s tips for going out sober: DANCE - lose your inhibitions in movement, you’ll be surprised how many people join you. Make sure you have a sweet treat drink or a seltzer, my go-tos: sugar-free Red Bull, Topo Chico seltzer, or a Coke with a lime. Be the most embarrassing at the party. ie, dance the hardest you’ve ever danced, use the photo booth, play in the arcade, hug strangers, no one’s gonna remember anyway, and you’ll realize how fun it really is to be you. Talk to people! Don’t think twice about it, leave your ego at the door. I’ve been able to have some really meaningful conversations that I actually remember. At the end of the day, people are just looking for connection, and you’d be surprised how easy it is to connect with people when you show up in a real way. ^ SOCIAL ANXIETY IS SCARED OF SOBER PEOPLE! ^ If you smoke cigarettes, get the skinny capri magentas. They’re cute and take the edge off in a sober, cute way, plus you can have some really good conversations with people outside, not yelling over the music. When it’s time to leave, it’s time to leave. Don’t stay for one second longer. You’ll be juggling a cute dance party with a 7 am pilates class and 9 am work call with ease and style. Leave the people wanting more. Talk to the doorman, talk to the bar tenders, show them they’re valuable, karma is a fun dance with recognizing other people’s contribution to the environment. Keep it cute: never take a sip of anything anyone’s offering. Did you meditate today? Meditate. Before you go. Keep it grounded, keep it cute. Set an intention for the night, you’ll see how the magic unfolds. Slay your makeup, slay your outfit - neither will get messed up because you’re not messy anymore, and you will get some really good pictures, and feel confident without the mascara running down your face. Always drive yourself. Never Uber. That way, you have control over when you come and go, plus you can safely save money. Reminder: you are cool and normal AND unique without the help from chemical dependence, watch how easy you find dopamine going out like this x What do you hope listeners take away from the song? Ella: I say this in many interviews, but I hope the listeners of “I DON’T DO DRUGS” take away whatever THEY resonate with and need from the song, whether it’s to help them feel validated or get through a breakup, friendship breakup or a transitional period or if it makes them feel seen, confident and hot, or if it’s for another reason I haven’t mentioned here, that’s what music is for. It’s to create space for the listener to have their own experience. Everyone deserves to have that. I am just grateful so many people are listening and resonating. If you could create the perfect environment for fans to listen to the album, what would it be? Ella: This goes hand in hand with my last answer. I really find that the “perfect” environment is up to the individual listener. I don’t wanna put parameters on how this should be experienced. I feel blessed that my music can tend to resonate in multiple different spaces since we come from such a deep place lyrically, but also intentionally create the catchy pop feel that can be danced to, and a sonic world that can be taken in alone or in big rooms. The perfect environment for me is a place where someone feels seen honestly. That being said, I do hope they can be heard many times in a live context, though. I find that performing live is a culmination of everything I do, and that’s where I feel connected to you all the most. Check out more from Ella Collier: INSTAGRAM  |  TIKTOK  | X |  YOUTUBE

Winnipeg metal fans braved the November cold for one of the heaviest lineups to hit the Burton Cummings Theatre in years, as the Struck Dead Tour rolled into the city with a triple-threat lineup built to pulverize. For Heriot, Jinjer, and Trivium, this wasn’t just another stop—it was a night that felt purpose-built for chaos, catharsis, and a celebration of modern heavy music at its most unrelentingly powerful. Heriot. All photos by Samuel Stevens. Making their first-ever appearance in Canada—and in Winnipeg—UK extreme-metal force Heriot delivered a set that can only be described as scorched-earth. For many fans in the venue, this was their introduction to the band’s devastating hybrid of metallic hardcore, doom, industrial, and sludge. It took less than ten seconds into “Foul Void” for the theatre to feel like it might collapse in on itself. Debbie Gough and Jake Packer traded vocals like they were hurling molten steel back and forth, their dual-frontperson aggression turning “Siege Lord” and “Demure” into violent, breathless avalanches of sound. The crowd—stunned at first—quickly transformed into a writhing mass of energy as Heriot tore through “Commander of Pain” and the crushing dirge of “Mourn.” By the time they closed with “At the Fortress Gate,” Heriot had done the impossible: they made a 1,600-seat theatre feel like an underground sweatbox on the edge of implosion. Their long-awaited Canadian debut was not just welcomed—it was conquered . Jinjer. All photos by Samuel Stevens. Ukrainian progressive metal juggernaut Jinjer followed with a performance that fused dizzying musicianship with emotional depth. Opening with “Duél,” they immediately showcased why they’re one of the most innovative bands on the global metal circuit. Tatiana Shmayluk’s ability to pivot from clean, melodic phrasing in “Green Serpent” to bestial growls in “Fast Draw” remains one of metal’s most awe-inducing live spectacles. The band delivered crowd favourites early, but it was “Teacher, Teacher!” that ignited the venue—the audience shouting every word as the song’s explosive time signature changes rippled through the theatre. “Perennial” brought a moment of collective release, its melancholic tone contrasting beautifully with the relentless grooves of “Rogue” and “Someone’s Daughter.” Jinjer closed with the emotionally charged “Pieces,” a performance full of nuance and precision. Their set proved once again that technical brilliance doesn’t have to sacrifice soul—Jinjer excels precisely because they bring both in overwhelming amounts. Headliners Trivium took the stage to a full-capacity roar, launching immediately into the tidal wave that is “In Waves.” The chorus shook the walls, setting the tone for a set that balanced fan favourites, deep cuts, and powerful material from across their two-decade career. Classic early tracks like “Like Light to the Flies” and “A Gunshot to the Head of Trepidation” hit with nostalgic fury, while mid-era staples such as “Strife” and “Until the World Goes Cold” showed Trivium’s skill at weaving melody through muscular riffs. Matt Heafy commanded the stage with his signature mixture of intensity and joy—few frontmen look like they truly love  performing as much as he does. A major highlight was the tour’s namesake, “Struck Dead,” which landed like a seismic event, its live debut era giving fans a new anthem of pure adrenaline. Trivium. All photos by Samuel Stevens. The emotional peak arrived with “Dying in Your Arms,” which had the entire theatre singing as if it were a rock ballad passed down generations, before the band unleashed the full weight of “Pull Harder on the Strings of Your Martyr.” The pit erupted—a moment of communal chaos that felt like Trivium at their most iconic. The finale run—“The Heart From Your Hate,” “Down From the Sky,” and “The Sin and the Sentence”—formed an encore-worthy climax even without a formal encore, each track reminding Winnipeg why Trivium remains a titan of modern metal. Precision, passion, and pure firepower. The Struck Dead Tour didn’t just bring three world-class bands to the Burton Cummings Theatre—it brought three generations  of heavy music evolution together on a single stage. Heriot’s groundbreaking ferocity, Jinjer’s unmatched technical artistry, and Trivium’s arena-sized mastery created a night that felt monumental. For Winnipeg fans, especially those witnessing Heriot’s Canadian debut, this show will be remembered as one of the standout metal events of 2025—a night where every band played like they had something to prove, and proved it tenfold.

With bunny with tunnel vision , out now via AWAL, indie singer-songwriter Torri Weidinger delivers a riveting and deeply intimate sophomore record that cements them as one of the most emotionally fearless voices in contemporary indie-folk. Where their 2022 debut, all in good Time , thrived in its minimalism and quiet intensity, bunny with tunnel vision  takes that foundation and expands it tenfold—introducing full-band arrangements, cinematic production, and some of Weidinger’s most vulnerable writing to date. As a concept album, bunny with tunnel vision  traces a journey through identity, self-hatred, compassion, and ultimately transformation. Weidinger describes the album as an exploration of their “rabbit hole”—a place of darkness, reflection, and clarity. This theme bursts to life immediately on the opening track, “when that day arrives,” featuring their sister Morgan Weidinger, who adds ethereal harmonies to a warning call for both the listener and the artist: find grace, because the descent is inevitable. The album’s narrative arc is immersive yet universal, with each track painting a portrait of someone—sometimes Weidinger, sometimes the people who shaped them. The result is a record that feels both like a personal diary and a short-story anthology. While Weidinger is known for dark, moody, cello-driven indie compositions, this album builds out those textures with full-band arrangements that feel dynamic without overshadowing their lyrical gravity. Producers Jason Bennett and Nathan Cimino craft a spacious, warm, and sometimes brooding sound that balances vulnerability with power. The album's singles, such as “I’m a bunny with tunnel vision,” “living to work,” and “BIG RED EYES,” showcase some of this new palette. “living to work,” a standout, combines melodic melancholy with quiet fury—its critique of capitalism folded into Weidinger’s signature poetic imagery. “BIG RED EYES” leans into a more expansive, indie-rock territory, brimming with emotional urgency. Meanwhile, the track, “floating,” the record’s debut radio single that entered at # 25 on the SubModern Singles chart, remains one of the album’s most arresting moments. Its glacial beauty and contemplative lyrics earned it well-deserved placements on Spotify’s Fresh Finds Folk  playlist, and here it serves as a calm, dreamlike centrepiece. Weidinger approaches heavy topics—self-loathing, identity crises, emotional labour—with a tone that feels less like despair and more like gentle excavation. Tracks like “one knee” and “didn’t have to” showcase their ability to channel raw emotion into songwriting that feels tender and human. “this too (shall pass)” stands out as one of the album’s thematic anchors, its message balancing existential ache with the quiet promise of resilience. However, it's the album's closing number, “infernal chore,” that brings the record full circle: messy, self-aware, dark, and yet strangely comforting. It leaves the listener sitting in the aftermath of the journey—humbled but hopeful. bunny with tunnel vision  is not a departure from Weidinger’s roots but an expansion—a fuller, richer world that elevates their already distinct artistic identity. Supported by Secret Friends Music Group Management, 33&West Booking, MusicBed, and distributed by AWAL, the album arrives with both momentum and intention. Their recent touring with Girl Named Tom  and multiple sold-out shows at New York’s Mercury Lounge only underline their rising trajectory. This is an album that rewards close listening, emotional openness, and patience. It is vulnerable without being fragile, experimental without losing its core, and conceptually ambitious while still accessible. Torri Weidinger’s bunny with tunnel vision  is a stunning, unguarded, and beautifully realized sophomore album—an introspective odyssey that solidifies them as one of indie’s most compelling storytellers. Check out more from Torri Weidinger: https://ffm.bio/torriweidinger https://www.tiktok.com/@torriweidinger   https://www.instagram.com/torriweidinger https://www.facebook.com/torriweidingermusic/ https://x.com/torricaitlyn

Myles Lloyd has always made music for the feelers—the ones who replay conversations in their heads, who love a little too hard, and who mistake late-night silence for emotional freefall. On I’m Still Thinking , his fourth and most accomplished album to date, the Montreal R&B artist transforms that spiral of overthinking into something cinematic, intimate, and boldly self-aware. It’s a project that doesn’t just chronicle a mindset—it lives inside one. Across thirteen tracks, Lloyd expands on the sleek, nocturnal R&B he’s been honing since Goodbye  (2019) and Forever, Yours  (2022), while delivering the emotional depth that made WHAT MORE CAN I SAY?  (2024) a breakout moment. Here, though, he raises the stakes. The production is warmer, the writing is sharper, and the stakes—heartbreak, healing, identity—feel bigger. I’m Still Thinking  becomes the sound of a young artist stepping fully into the emotional complexity of adulthood. Lloyd describes the album as “the space between holding on and letting go,” and that tension runs like electricity through every track. The opening title cut, “I’m Still Thinking,” sets the stage with swirling synths and a confessional tone—a curtain rising on a mind trying to quiet itself. Up next is the track “Cold,” which slides in with chilled minimalist production driven by an acoustic guitar and an icy falsetto performance that captures the numbness after emotional collapse. It’s Lloyd at his most vulnerable, his voice tiptoeing on the edge of heartbreak. The viral hit “Drive Me Crazy” remains a centrepiece—and rightfully so. The track’s hypnotic beat, featherlight R&B shimmer, and now-iconic falsetto hook earned Lloyd a global audience, a co-sign from K-pop boy band ENHYPEN, and more than twenty million streams before the album even dropped. Placed early in the album's tracklist, the song feels like the moment the album exhales—the calm before the storm of self-reckoning. “I’mNotTheOneYouWant” is a raw standout, a quietly devastating look at unreciprocated love layered over glossy, early-2000s-inspired production. Whereas the track “Scared” digs deeper into emotional paralysis, while “Voodoo” showcases Lloyd’s pop instincts with one of the album’s most contagious melodies. But the heart of the record beats strongest on the album's sixth track, “Grapevine.” Despite its swaggering groove, the song is a study in perception versus reality—how rumours, doubts, and insecurities can unravel someone from the inside out. It’s quintessential Lloyd: smooth on the surface, stormy underneath. Lloyd’s Canadian identity subtly threads through the album, but nowhere more clearly than on the breezy, nostalgic “Are U In MTL?” The track is a melancholic love letter to his hometown and the ghosts attached to it; it feels like driving through familiar streets that no longer mean what they used to. From there, the album stretches into late-night R&B bliss. “One Thirty” leans into sultry, candle-lit textures backed by simplistic strums of a guitar, while the track “Closer” highlights Lloyd’s knack for minimalist, emotion-first arrangements. However, the track “Do The Most” feels like a track you should listen to on a late-night cruise through the city. The record closes with “Different,” a quiet moment of acceptance. Rather than ending with triumph, Lloyd chooses reflection—a soft landing instead of a dramatic conclusion. It’s the perfect final note for an album rooted in self-discovery rather than resolution. At just 27, Myles Lloyd has already carved out a unique lane—one where classic soul sensibilities rub up against futuristic R&B production, and where vulnerability is treated as power, not weakness. With I’m Still Thinking , he doesn’t reinvent himself. He refines, expands, and deepens everything listeners have come to love. The result is his strongest, most cohesive project yet: a late-night soundtrack for the overthinkers, the romantics, and the ones still learning how to let go. In an era of disposable trends, Myles Lloyd isn’t chasing moments—he’s building something meant to last. And with I’m Still Thinking , he proves he’s one of the most exciting voices shaping what modern R&B can feel like. Check out more from Myles Lloyd: Instagram | TikTok | Facebook | Spotify | X | YouTube | Soundcloud

November 20, 2025 Park Theatre Logan Staats. Photos by Samuel Stevens. Julian Taylor. Photos by Samuel Stevens.

November 17, 2025 Park Theatre Distodius. Photos by Samuel Stevens. Northern Royals. Photos by Samuel Stevens. Econoline Crush. Photos by Samuel Stevens.

The Pretty Wild’s long-awaited debut album, zero.point.genesis , set for release on November 21, 2025, via Sumerian Records, isn’t just a first chapter—it’s a statement of intent. A line drawn in the sand. A rebirth. From the moment the sister duo exploded onto major festival stages at Welcome to Rockville and Inkcarceration earlier this year, it was clear they weren’t arriving quietly. With over thirty-seven million streams already under their belt and a rapidly growing cult following, the question wasn’t if  they would deliver—it was how loud . zero.point.genesis  answers that with a grin, a snarl, and an open hand reaching toward everyone aching for something real. True to their ethos, The Pretty Wild refuse to pick a lane. This record is a genre-bending collision of alt-metal, industrial pop, dark electronic textures, and emotionally bare lyricism that cuts straight to the nerve. It’s music for misfits and truth-seekers, but also for anyone who wants heavy music with heart—unafraid to be vulnerable, unafraid to be strange, unafraid to be wild . The album opens with a towering, cinematic intro titled "PARADOX" that morphs into a punchy, adrenaline-laced anthem. It establishes the overarching theme: duality. Chaos and clarity. Strength and fragility. The Pretty Wild capture all of it in one explosive beginning. The album's title track, "zero.point.genesis," follows and is a mission statement—mechanical beats collide with serrated guitars as the duo explores the concept of tearing yourself down to rebuild from the ground up. Their vocal interplay is razor sharp, balancing grit with ethereal melody. Whereas the album's third track, "living ded" is a dark-pop banger soaked in nihilism and neon. Think glitchy production, a chant-heavy chorus, and lyrics that feel like an existential spiral set to a breakneck BPM. It’s unsettling in all of the right ways. One of the most haunting songs on the record, "button eyes," leans into eerie, almost fairytale-like imagery to explore emotional numbness. The Pretty Wild’s storytelling shines here—cinematic, poetic, and quietly devastating. However, "priestess" is a fan favourite in the making, and it's one of the album's heaviest offerings. It’s sludgy, fast-paced, and spiritual in tone, drenched in occult symbolism and rooted in empowerment. When the final chorus erupts, it feels like stepping into your own fire and refusing to burn. Keeping it heavy, they offer another one of the record’s heaviest hitters. The track “OMENS” blends alternative metal punches with hypnotic pop vocal lines, but no track from The Pretty Wild is right without some form of metal screams and growls, which turns dread into a danceable, mosh-ready ritual. The production is massive—layered, textured, and explosively modern. The Pretty Wild are at their most theatrical with "The Trial." A distorted narrative about guilt, judgment, and reclaiming one’s narrative, “The Trial” feels like a cross between a rock and metal opera in miniature—complete with swelling dynamics, spoken sections, and a gut-punch finale. The album also has a few radio-ready moments, but the biggest of these tracks comes with "hALf aLiVE." The track bleeds early to mid-2000s alt-metal. Its glitchy capitalization reflects the song’s fractured emotional core. A mid-tempo track with addictive hooks, it’s one of the album’s most radio-ready moments without sacrificing the duo’s trademark edge. "AFTERLIFE," which features Joshua Roberts of the rising alternative outfit Magnolia Park, is a collaboration that feels both natural and electrifying. Magnolia Park injects their melodic emo-pop punch into the Pretty Wild’s darker palette, resulting in a soaring anthem about legacy, longing, and what it means to be remembered. Juxtaposed to "AFTERLIFE" comes the track "INFRARED." A pulsing, electronic-driven track where the duo explores the idea of seeing through someone’s façade—detecting the lies beneath the surface. It's sleek, sharp, and relentlessly catchy. The digital version of the record comes to an end with "persephone," which perhaps is the album’s emotional centrepiece. Drawing on the Greek myth, the track reframes the story not as an abduction but as an awakening. The vocals feel intimate and raw, unfolding over a slow, immersive arrangement that blooms into a cathartic final chorus. If you have a physical copy of the record, it's not over yet. The track "sLeepwAlkeR" is a reward for collectors and physical-media fans; "sLeepwAlkeR" is moodier and more dreamlike than the rest of the record. It’s a drifting, shadowy epilogue that ties the album’s themes together—rebirth, identity, and the ghosts we drag behind us. zero.point.genesis  is a fearless debut—one that proves The Pretty Wild aren’t just participating in modern heavy music, they’re reshaping its edges. By refusing the constraints of genre or expectation, they’ve crafted a record that feels alive, boundaryless, and deeply human. It’s heavy but melodic, dark but hopeful, chaotic but intentional. A paradox. A genesis. And for The Pretty Wild, it’s only the beginning. Check out more from The Pretty Wild: Website | Facebook | Twitter | Instagram | TikTok | YouTube

For nearly three decades, Danko Jones have made one promise and kept it without fail: rock ’n’ roll isn’t dead as long as they’re breathing fire into it. With their twelfth studio album, Leo Rising , Toronto’s tireless power trio delivers yet another adrenaline-shot reminder of exactly why they remain one of the most dependable, dynamic, and downright electrifying bands on the planet. Produced once again by longtime collaborator Eric Ratz, the record crackles with urgency, swagger, and the kind of tight, muscular interplay that only a road-worn, battle-tested band can conjure into existence. From the moment the needle drops, Leo Rising  roars to life. The infectious opening number “What You Need” is a no-frills, all-thrills blast of high-octane rock, built on bulldozing riffs and Danko’s unmistakable snarl. The band wastes no time in reaffirming what fans already know: their formula works because they execute it better than anyone else. The early singles—the beer-soaked party anthem “Everyday Is Saturday Night” and the crowd-pleasing “What You Need”—set the tone for a record that’s all gas and absolutely no brakes. The album’s most buzzed-about moment arrives with the single “Diamond in the Rough,” a stadium-sized homage to classic KISS that summons every ounce of ’70s arena-rock bravado. Ex-Megadeth guitarist Marty Friedman’s guest guitar solo is pure fireworks, slicing through the track with effortless virtuosity while never overshadowing the band’s signature tough-as-nails grit. It’s the kind of collaboration that feels both unexpected and entirely natural—a meeting point between guitar-hero flash and Danko’s no-nonsense, boots-to-the-floor ethos. Elsewhere, the band flex their trademark mix of swagger, humour, and hard rock heaviness. No Danko record exists without a track like “Hot Fox” that leans fully into Danko’s cocky, priapic charisma, all strutting riffs and wink-and-a-grin attitude. “It’s A Celebration” does exactly what the title suggests, exploding with big hooks and an infectious chorus—a song destined for sweaty club sing-alongs. Tracks like “I Love It Louder” and “I’m Going Blind” help bolster the beginning of the album with punchy, airtight arrangements that keep the momentum blazing. Despite another geographically scattered recording process—John Calabrese tracking bass from Finland, Rich Knox flying into Toronto to track his drums, and Danko laying down guitars and vocals with Ratz—the chemistry is unmistakable. If anything, Leo Rising  proves that distance can’t dull the instinctive synchronicity that makes these three musicians so lethal together. The performances are lean, locked-in, and laser-focused; Ratz’s production amplifies everything to a molten-hot shine without sacrificing the band’s raw edges, sounding like the band tracked every track live in the studio. One of Leo Rising ’s greatest strengths is how genuinely uplifting  it feels. Danko’s stated devotion to the cycle— recording, touring, writing, repeat —bleeds through all eleven tracks. There’s joy here, not complacency; hunger, not habit. The album embraces everything that has kept the band thriving since 1996: big riffs, bigger choruses, and a complete refusal to overthink what rock ’n’ roll should be when it’s done right. The back stretch of Leo Rising features some of the band’s most infectious hooks in years. “Pretty Stuff” and “Gotta Let It Go” are energized, shaped with simplicity, and were without a doubt tailor-made for the stage, while “I Can’t Stop” hits with the relentless, pulse-pounding insistence of a band still addicted to momentum. The album's closing cut “Too Slick For Love” leaves the listener with one last jolt of sly charm and revved-up swagger—the final exclamation point on a record built to be played loud, preferably with the windows down and the speedometer creeping upward. Leo Rising  isn’t a reinvention—it’s a reaffirmation. It's a fiery, unfiltered, arena-ready testament to a band that has never stopped giving 110% whenever or wherever. Danko Jones continues to embody everything great about power-trio rock: precision, power, personality, and pure, unrelenting fun. At album twelve, they’re not only still in the fight—they’re swinging harder than ever. This is rock ’n’ roll that sweats, grins, and hits like a jackhammer. And it’s glorious. Check out more from Danko Jones: Website | Facebook | Twitter | Instagram | Youtube

GIRLSET is a bold new four-member global girl group—consisting of members Lexi, Camila, Kendall, and Savanna—who are redefining what it means to be fierce, fearless, and feminine in the modern pop era. Blending slick harmonies, empowering lyricism, and genre-fluid production, GIRLSET deliver a sound that’s as unapologetic as it is addictive—where pop hooks meet R&B grooves and electronic textures meet unfiltered emotion. Jumping back in time, they originally formed in 2023 as a six-member outfit out of Seoul, South Korea, under the name Vcha. However, in August of 2025, after a tumultuous couple of years, through their collaboration between JYP Entertainment and Republic Records, the group pushed onto the future and rebranded to the now four-member group known as GIRLSET, and additionally, they're now based out of Los Angeles. "This transition is a huge step for us and really being involved in incorporating ourselves and fully resonating with what we want to release and what we want our sound and our concept to be. It's been super big and important to us,"  Lexi shares. "Basically, it means that we're setting who we want to be, no matter what anyone says. We're our own person and we decide who we want to be, and that's the message that we wanna convey for others too," Camila shares. Their new name embodies their commitment to setting the standard in the global music scene while taking control of their own artistic direction. "Changing our name was definitely a big decision before even coming into this new era. We weren't sure if that was the step to do, but we felt at some point that if we're really rebranding, if we're really changing and going into a new era, we wanted to also change the name," Camila further conveys. The girl group has also quickly built a loyal fanbase through their electrifying performances and confident, outspoken attitude. With that, each member brings her own unique background and personality to the mix—creating a dynamic sisterhood that celebrates individuality while standing stronger together. "We're just so united in every aspect, I would say. Our drive and determination, and just the fact that we can really rely on each other and support each other and share that common goal, you know? I think it's just a big thing for us," states Savanna. "Our vision too. For the path that we wanna create for ourselves as well is all very united," Lexi continues. "I think about the strengths. I feel like everyone brings something to the table. I feel like the fact that we were all experienced in certain aspects before joining the group, that's a really, really big help because we pretty much help each other," Camila ends off. Their debut single, "commas," which was released on August 29, is the first statement of this new chapter; bold, polished, and unapologetic. It captures GIRLSET's renewed spirit and hints at what's to come, debuting a more Western pop influence to their sound versus their heavy K-pop influences during their time as Vcha. "I think in this new era, we're really stepping into more of the Western sound, and so it was really nice to work with, you know, those icons in the music industry today, especially in the West, it was great working with them and sharing our creative input and what they have already know in their careers. So I feel like it was great to just mix that together," Savanna declares. The group has been working with a few notable American-based producers on their new songs, such as Theron Thomas (Kim Petras, Lizzo) and Tommy Brown (Ariana Grande). "To have such iconic people come together and just tap into something for us was honestly amazing and so much fun," Lexi adds. With songs that explore themes of self-worth, independence, heartbreak, and power, GIRLSET’s music resonates with anyone learning to own their truth. Whether they’re serving high-energy anthems or stripped-down vulnerability, GIRLSET’s message is clear: you don’t have to fit in when you were born to stand out. "We view 'commas' as even more than just that. I think it's a song that shows and really relays the message of self-worth and really just not needing validation from anyone else, just knowing who you are and staying true to who you are, no matter what. And I think that's an even deeper message that we feel like this song conveys," Savanna confesses. Another huge aspect of being in a global girl group for the four members is the representation they bring to the world stage. "It's a big responsibility because that's our main goal, we wanna represent our culture. And I feel like I see, like I imagine myself when I was younger and trying to find people from my culture and my backgrounds in the music industry, and I feel like being able to do that right now is really inspiring. I know there's a lot of little girls, Latinas, you know, that are looking at us and being like, Oh wow, if they're doing it, I can do it too. So I think that's one of the most beautiful things about being in a global girl group," Camila spills openly. Looking ahead to 2026, the members of GIRLSET have performing, touring, and releasing much more music at the forefront of their minds. In terms of performing as GIRLSET, while as Vcha they notably were an opening act on Twice's fifth world tour, Ready to Be , but not yet performing as a four-person group under the GIRLSET name, Savanna proclaims: "I think in the future, the year to come, most likely we for sure will [perform]. 'Cause we're gonna be releasing a lot more songs, so we'll have a lot to show. We're super excited to finally get to perform as GIRLSET." While also not allowed to divulge too much into the future of their music besides their previous single, "commas," and their forthcoming single, "Little Miss," GIRLSET are ready to take 2026 by storm with all the music they have been working on and how they feel it is going to change people's views of them for the better. "Obviously, we can't spoil too much, but I do have to say that there are a few songs that we worked on that are really special to us, and I feel like people are finally gonna get to see our side and how we feel about everything. It's gonna make people connect with us more and kinda understand us more and see how we write like our artistry through our music," Camilla states. While GIRLSET does take K-pop influences and blend them with Western styles of pop music, their music from the past and present showcases a vast amount of sub-genres clearly blended into their sound, and it's something they want to dive deeper into in the future. Camila shares, "The idea of making this group was obviously initially to blend, kinda like the K-pop and the Western style by bringing girls from different backgrounds and train them with the K-pop system. So I think obviously, that's a big part of our story. Sound-wise, we definitely wanna go more towards the Western style, but obviously, we still keep a lot of aspects from K-pop, like the performance side and the choreography, which is very important for us." Lexi adds, "I feel like it's just a whole hybrid that kind of makes it so like beautiful and makes the creation what it's supposed to be." Something else in the future, the group wants to incorporate is a lot more cultural sounds into their music, which already is a staple of their vision creatively. "I think we have a lot of different vibes and genres to us already. So I think while remaining our own, you know, creative input and everything, we already do that. So I think that is nice for us," Savanna shares. "We definitely do want to incorporate more cultural sounds and be able to really show that we can represent and bring everyone in the world together," Lexi continues. "I've seen our fans wanting and saying that they want us to try more cultural sounds, and we do too. So that's definitely gonna happen," states Camila. "I mean, we all have such like different backgrounds too, so there's so much to just put into it, if we ever would," Lexi concludes. From viral singles to captivating visuals, GIRLSET are clearly carving their own lane in today's pop climate—united by ambition, authenticity, and a shared belief in the power of women’s voices. Make sure to stream "commas" now and to stream their upcoming single "Little Miss," out November 14, 2025. Pre-save "Little Miss" here Check out more from GIRLSET: Instagram  | TikTok  | YouTube  | Spotify

How did you decide on the album title, Tainted Silhouettes ? Ana: It took me a while to figure out the title. I wanted something that truly embodied the album as a whole. ‘Tainted Silhouettes’ is actually a line in the track “Bleeding Pen,” but it didn’t actually come to me as an idea for the title until I was shooting the teaser visual for the album. Tainted Silhouettes is all about relationships, discovery, triggers, and the “flaws” that make us who we are. Tainted Silhouettes represents people marked by heartbreak, by the past, by behaviors and patterns that linger. It’s not about love between two perfectly healed people, but rather between those still learning how to love despite their scars. What was the writing process like? Ana: I didn’t really have a set process, but I do usually start with lyrics. I usually get out the first few lines and then start to write a melody on the piano and go from there. I went into many of these songs knowing exactly what I wanted to write about, but sometimes a certain lyric would pop up that would inspire me to go a different direction. How long did it take to create the album as a whole? Ana: I wrote most of these songs in 2023, one in 2022, and two of them in 2024. We started production on the songs in March 2024. All in all, it took about a year and half to create the entire album. What was the creative process like for creating the album cover? Ana: I had a lot of ideas for the album cover. The image of a body covered in paint was something I’d been envisioning for a while. It represented vulnerability and the messiness of love and heartbreak. To me, those experiences are full of lessons, growth, and emotional extremes. They’re not one color; they’re a mix of everything, a rollercoaster of feelings. The hand in the image symbolizes a lover. I wanted it to feel larger than me, to show how small and powerless I felt in the face of love and heartbreak. Love can make you feel like you’re not fully in control of your own emotions. The snow globe element came later. When I visited my old college campus last March, I realized that when all those stories were happening, everything had felt huge and dramatic. Looking back, it felt like I’d been confined inside a snow globe—trapped in my own world and unable to see beyond it. There were a lot of ideas at first, and I had to figure out what to keep and what to let go of. I knew the final concept might be hard to interpret, but it made sense to me. I also like the idea of people finding their own meaning in it. My friends helped paint my body, and my photographer, Noah Hoffman, captured and edited the images. Was there a particular order you placed the songs in on the tracklist? Ana: I wanted the order of songs to tell a story and follow the progression of emotions. I always knew “Fairytales” would open the record. From there, the songs move through different emotional stages. It starts in a place of anger and questioning—calling out what I didn’t like in the other person. Then it shifts toward reflection, looking at the relationship as a whole and expressing what I wish had been understood. After that come the “closure” songs that dive into being honest about needing to leave, admitting guilt, and finding hope for what comes next. The track “Stranger” explores my tendency to look for replacements, to escape the past by finding someone new in a cycle I keep repeating. From there, the story moves toward acceptance and acknowledging the hurt, but refusing to let it change me. And finally, the album ends with “Love Virgin,” where I’m confronting my own perceptions of love. How do you feel knowing your debut album is releasing? Ana: It feels good! I was so nervous about releasing the individual singles, but there’s something about putting the whole album out that just feels freeing. It’s out of my control now so there’s no point in overthinking it. I’m enjoying seeing how people respond to the album. It’s making me want to make even more music and perform more live shows. Are there any songs you are looking forward to fans hearing? Ana: “Bleeding Pen” and “Can We Pretend We Just Met at a Bar?” were the two songs I was most eager to have people hear, which is why I released them as singles ahead of time. Truthfully, I’m just excited to see how people respond to any of the songs or to the album as a whole. What do you hope listeners take away from the album? Ana: I hope they feel, introspect, relate, and maybe learn something. I hope that people can find a connection in my songs in whatever way they need or want to. If you could set fans up with the perfect environment to listen to the album in, what would it be? Ana: Oooh! I think the perfect environment would be laying down on soft cushions with dim lights, candles everywhere, and a glass of red wine (or a cup of tea). I think the album is best enjoyed in a cozy environment where you can really give it your full attention and have the space to feel. Check out more from Ana Luna: Website  | Instagram  | TikTok  | X  | YouTube  | Facebook  | Spotify

Winnipeg has long been a city that rewards artists who make the trek north, and on November 15, 2025, the Burton Cummings Theatre did what it does best: embraced two rising country storytellers with open arms. The Welcome Back To The Plains Tour  rolled into town for its final Canadian date, marking the first-ever Winnipeg performances for both Noah Rinker and Wyatt Flores—and the packed, completely sold-out theatre made it clear that their arrivals were overdue. Noah Rinker. All photos by Samuel Stevens. Oklahoma-bred rising artist Noah Rinker set the tone early with “Tumbleweed,” easing the crowd in before flipping the room’s energy with a run of rugged fan favourites. His voice—dusty, muscular, and steeped in frontier grit—cut through “Red Bandana” and “Hand on My Gun” with confidence beyond his years. By “Matches & Gasoline,” Rinker had the whole room locked in, his band firing on all cylinders while he stalked the stage like someone with something to prove. Yet he balanced that intensity with warmth, slowing things down beautifully on “After Dark” and “The Bend,” both of which showcased a vulnerability that clearly resonated with the crowd. One of the night’s standout surprises was his sharp, moody take on Tears for Fears' 1985 smash hit “Everybody Wants to Rule the World”—a bold and atmospheric reimagining that felt tailor-made for his voice. He closed his set with “Save My Soul,” a charged, aching performance that left the audience buzzing and fully primed for the headliner. If this was Winnipeg’s introduction to Noah Rinker, it was a memorable one. When Wyatt Flores stepped onstage to the opening strums of “Welcome to the Plains,” the theatre erupted. Flores’ relationship with his fans has grown rapidly in recent years, but this Winnipeg crowd felt especially hungry—singing nearly every word immediately from the jump. The first portion of the set—“West of Tulsa,” “Running Out of Time,” and a rousing “Oh Susannah,”—showed Flores at his most energetic. But as the night progressed, his gift for confessional storytelling took center stage. “Little Town,” “Break My Bones,” and “3/13” landed with heavy emotional weight, while the room fell nearly silent during the heart-wrenching “Stillwater” and “Losing Sleep.” Wyatt Flores. All photos by Samuel Stevens. Flores also gave Winnipeg a rare treat with the spiritual swell of “I Believe In God,” followed by the poignant “Forget Your Voice.” The crowd roared for “John Deere Green,” his playful Joe Diffie cover, before he plunged into a devastating mid-set run: “When I Die,” “Holes,” and “Half The Man”—three songs that encapsulate his raw, unfiltered approach to songwriting. The late-show highlights didn’t stop. “Orange Bottles” hit like a confession whispered into the void, and his dramatic cover of The Fray's “How to Save a Life” filled the theatre with a cathartic hush. The main set closer, “Don’t Wanna Say Goodnight,” lit up the room, sending everyone to their feet. Returning to the stage, Flores delivered a stunning, intimate version of “Bird Hunters” that instantly became one of the night’s peak moments. Immediately after came the night's final song, “Wish I Could Stay,” a bittersweet and fitting finale—not just to the concert, but to the Canadian leg of the tour. Given the crowd’s response, it’s fair to say Winnipeg wishes he could stay, too. The Welcome Back To The Plains Tour  made its mark in Winnipeg, offering an unforgettable night of heartland grit, emotional transparency, and world-class songwriting from two artists who are only just beginning to hit their stride. For a city known for embracing storytellers and song-driven artistry, this tour closer felt like the start of a long, welcome relationship—one that fans will be eager to continue the next time Noah Rinker and Wyatt Flores return to the prairies.

How would you describe your music to any person who may have never heard it before? Elvis: It’s a mix of heavy groove, melody-driven dream state, with some world-music filters here and there. What's the significance of your band's band? Elvis: Stone Sea represents duality—weight and fluidity, the grounded and the airy. Plus, it’s short and sounds cool [Laughs]. What are your musical influences? Elvis: Almost everything that stems from Black Sabbath, plus '70s psychedelia, bluesy licks, classical harmony, and anything slightly odd. I’m also very drawn to traditional music from all around the world. What are your musical inspirations? Elvis: Probably being alive itself—and not having a clue of what’s going on [Laughs]. The search for truth is a creative vein I keep returning to. 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. Elvis: I’d imagine Kenny Hickey would be a great person to create something with. His tone and riffs are very much what I love, so I can’t imagine it going wrong. What's the album about? Elvis: Ad Astra means “to the stars,” and it’s also the name of the final track. I wrote it at a time when my mind was full of thoughts about existence and meaning—or the lack of it. Writing that song gave words to what I felt, and in a way, I found my own meaning, daring myself to leap. The record is about ascension through adversity—throwing myself into the unknown, finding light again through fire and action. Each song represents a different face of that journey. What's something you hope people take away from the new songs on the album? Elvis: To face discomfort—because that’s where real change happens. The album invites listeners to face the unknown, whether that’s within themselves or somewhere beyond. Which songs on the album were the most fun to write and which were the most challenging to write? Elvis: “Alien” was great to write—it took time and demanded creative freedom to reach its final form, but it’s such a unique and fun song to play. “Age of Tears,” on the other hand, was a little tough. It took a few long nights and a lot of rehearsing, but when it finally came together, we had sonic orgasms [Laughs]. What did you allow yourself to do creatively for this song that you haven’t in the past? Elvis: Not much has changed in terms of freedom—I’ve always allowed myself to go wherever the music leads. But I did mature lyrically and harmonically this time around. Do you have any favourite song(s) off the new album? Elvis: Each one carries a different energy, but I’d say “Age of Tears” is probably my favourite song to date. What's the new single about? Elvis: It’s about letting old dreams go and reshaping expectations—when realizing that something you held onto no longer serves you. The song is heavy and harmonically complex, tense and a little sad, yet there’s a quiet beauty in that release. What's something you hope people take away from the new single? Elvis: Some things need to be destroyed for others to exist. There’s strength in allowing things to fade so new ones can take shape, and letting go doesn’t mean giving up—it’s a form of growth. 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? Elvis: Silence is key. I love being surrounded by nature, taking long walks, and practicing yoga or capoeira. Sometimes not trying is the best way to find it again. The mind needs to breathe without constant input. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? Elvis: “Mystify” has always been one of my favourites to play live—it’s got everything: it’s slow and heavy, punchy, groovy, jazzy in moments… It’s a whole trip in one song. If you could perform a show this very second anywhere in the world, where would it be? Elvis: Somewhere open—maybe in the desert at night, under endless stars. That’s the perfect setting for Ad Astra. Is there any particular venue(s) or city/cities that comes to mind? Elvis: I’ve heard Greece has an amazing stoner-rock crowd. Playing outdoors there would be incredible. What do you currently have planned for the remainder of the year? Elvis: We’re preparing the release of Ad Astra  on January 10th, 2026 , and planning live recordings, shows in Spain and beyond. This album feels like a new chapter for Stone Sea —and we’re ready to share it with everyone who’s been part of the journey so far. If your music was a type of food, what would it be and why? Elvis: Brazilian pizza. It’s not your average pizza—it’s chunky, full of flavour, and everyone loves it. Though I’m not sure the Italians would agree. What's the funniest thing that's ever happened to you while performing? Elvis: A guy once kept shouting “HEY!” on literally every single bar during “Prelude” at Siege of Limerick. I couldn’t stop laughing on stage—it was hilarious. What's the most random thing that has ever inspired you to write a song? Elvis: A preset from my guitar pedal that had this strange underwater noise, like someone trying to talk from the deep. That ended up becoming “Flow Upstream.” What's the most useless talent you have, and would you incorporate it into your music if you could? Elvis: I have this oddly large muscle between my thumb and index finger. No idea if it came from playing guitar or not—but who knows, maybe I’ll enter a fitness competition to attract some new fans [Laughs]. Thanks for the time today, Elvis. Is there anything else you may want to add that I didn't cover before you go? Thank you very much and peace! Check out more from Stone Sea: https://linktr.ee/stonesea