Today, independent pop artist, DJ, and theatrical visionary Chloe Jane unleashes her new single, “Shut Up (feat. Flyana Boss),” a Y2K-inspired dance-pop track that serves as the next installment of her upcoming project, Princess of the Night . Co-produced by Jeremy Dwyane Brown (Future) and Henry Wade Elkind (Shevya), “Shut Up” channels the confident sound of the early 2000s, reminiscent of artists like Nelly Furtado, Timbaland, and Destiny’s Child. “I wrote ‘Shut Up’ as a female empowerment anthem during a time when a guy was playing with my heartstrings — and I just needed to give him a friendly reminder to shut up.” Chloe added, “The drums are heavy yet cheeky with early-2000s flair — think Nelly Furtado and Timbaland — while the stacked harmonies nod to Destiny’s Child. After writing it, I could instantly hear a fierce female rapper on the track, so I reached out to Flyana Boss. They heard it, loved it, and absolutely smashed their verse.” The official music video directed by Corece Smith also features the iconic hip-hop duo Flyana Boss , known for their single “You Wish.” The cinematic 2000s throwback is set in a Hollywood nail salon and includes an energetic dance performance choreographed by Christopher Aguire (Rhea Raj) , available to view HERE . Coerce gushed about the music video, “I grew up in salons—surrounded by all the drama, beauty, and sisterhood—so we wanted to create a modern take on Bills, Bills, Bills that celebrates the sacred camaraderie of salon life. Visually, I drew inspiration from Edward Hopper and Wong Kar Wai to situate us in Chloe Jane’s new era of pop-R&B and dynamic choreography. It was important to showcase Chloe’s undeniable talent while highlighting her authentic connection with Flyana Boss—an empowering balance of artistry and fun. This might be the most visually stunning piece we’ve both created yet—playful, original, and full of soul. The song and the video will be on repeat for all.” Chloe was raised in New York, landing her first DJ gig at 13, opening for Paris Hilton in Ibiza. Now, she’s blending pop and 2010s-inspired EDM into a melodic, high-energy album that celebrates the dance floor. With recent releases like her “camp” anthem “Famous” and “Oopsie Daisy,” which earned her a live interview on Fox 5 NYC , Chloe is proving herself as a rising force in dance-pop music. Her work has also been recently chronicled in publications like LADYGUNN , Wonderland Magazine , and EARMILK .  Princess of the Night, set to release in 2026, will further solidify Chloe Jane's reputation as a genre-blending artist unafraid to challenge pop conventions and create art that is as intelligent as it is entertaining. Executive produced by Tor Eimon (Ava Max, David Guetta, Faouzia) and featuring collaborators Jakke Erixson, Soulshock, Karlin B, and Maya J'an, the album reflects her diverse influences from Swedish House Mafia to Lady Gaga. Whether headlining Mercury Lounge or showcasing her ice skating skills in stunning visuals, Chloe’s work radiates inclusivity, joy, and fearless creativity. ABOUT CHLOE JANE: Chloe grew up between New York and Ibiza, landing her first DJ gig at 13 opening for Paris Hilton. Now, she’s blending pop and 2010s-inspired EDM into a melodic, high-energy album that celebrates the dance floor. With recent releases like the cheeky anthem “Iconic” and the empowering “Oopsie Daisy,” Chloe balances self-confidence, satire, and emotional depth. A professionally trained pianist, vocalist, and DJ, Chloe brings a unique flair to everything she touches. Princess of the Night, coming out first quarter of 2026 with singles dropping this year, executive produced by Tor Eimon and featuring collaborators Jakke Erixson, Soulshock, Karlin B, and Maya J'an, reflects her diverse influences — from Swedish House Mafia to Lady Gaga. Whether headlining Mercury Lounge or showcasing her ice skating skills in stunning visuals, Chloe’s work radiates inclusivity, joy, and fearless creativity. Keep Up With Chloe Jane: INSTAGRAM  |  TIKTOK  |  YOUTUBE   ABOUT FLYANA BOSS: Hailing from Detroit, MI, and Dallas, TX, MCs and multi-instrumentalists Bobbi LaNea and Folayan met at a Los Angeles music college, immediately hitting it off and forming Flyana Boss (rhymes with Diana Ross). Praised by The Washington Post for their fashion, songwriting, and stage presence, Flyana Boss, embodies the spirit of flyness and bossness, describing their unique concept as the "‘vagina dynasty.’” Bursting onto the scene with their breakout single "You Wish," produced by hitmaker Marky Style, Flyana Boss quickly gained attention, landing the duo a #1 debut on Spotify's Viral 50 in the US and #6 globally. Following the success of "You Wish," they dropped an iconic remix featuring rising it-girl Kaliii and the legendary Missy Elliott. The duo then embarked on their debut tour with Janelle Monáe, followed by a special guest appearance on KE$HA’s “The Only Love” Tour. Flyana Boss remains committed to creating music that reflects their experiences, pushes boundaries, and uplifts others. With their talent, ambition, and unwavering drive, Flyana Boss is poised to become a prominent force in the hip-hop industry, leaving an indelible mark on music lovers worldwide.  Keep Up With Flyana Boss: INSTAGRAM  |  TIKTOK  |  YOUTUBE

On Break from the Bends , out November 14, 2025, via Hall of Fame Artists, Sofie Alise doesn’t just invite listeners into her world—she hands them the key to her dorm room, her diary, and the internal monologues she tries (and fails) to outrun. The Los Angeles–born, UC Berkeley–shaped singer-songwriter arrives with a debut EP that feels startlingly lived-in, gorgeously self-aware, and remarkably confident for an artist still balancing essays, social life, and the emotional hangover of first love. Across seven tracks, Sofie filters heartbreak, obsession, and limerence through her smoky, conservatory-honed vocals and a blend of soul, jazz, and left-of-center pop. Rather than presenting heartbreak as clean or empowering, she leans into the mess—the relapses, the contradictions, the push-pull between independence and longing. It’s no wonder her early singles have built buzz online: these songs feel like late-night voice memos polished just enough to gleam, but never enough to obscure the bruise beneath. The EP’s opener “talk sh!t”—and the song that launched the project—sets the tone with its blend of wit, ache, and emotional self-sabotage. Co-written and produced with Justin Gray (after Sofie interned for him, no less), the track captures the dizzying contradiction of wanting someone back while tearing them down in your head. It’s sharp, melodic, melodramatic, and painfully relatable—the kind of song that sounds like someone talking big with their friends before collapsing into a heap when they get home. If Break from the Bends  has a thesis, it’s on “we both know”: the quiet acknowledgment that two people are tangled in something they can’t name and can’t quit. Sofie sings with a mixture of resignation and yearning, her voice floating delicately over a warm-but-fragile arrangement. It’s the sound of two hearts circling the same truth from opposite sides of the room. The standout of the release—and the boldest swing—“every time” proves Sofie Alise is far more than a diarist with a pretty voice. Crafted from a sushi-fueled demo made in a dorm room, the song blooms into a cinematic, Bond-esque noir-pop moment at the hands of Justin Gray. The ticking-clock motif, the sultry chords, and Sofie’s confessional lyricism (“my knees are black and blue, ’cause that’s just what I do, every time…”) turn the track into a gripping study in self-sabotage. What could’ve been a raw sketch becomes something sweeping, stylish, and elegantly tortured—a perfect encapsulation of Sofie’s knack for pairing unfiltered honesty with moody, high-drama production. Covering Fiona Apple is a risk; Sofie Alise pulls it off by refusing imitation. Her version of “criminal” leans into slinkier, jazzier territory, letting her smoky tone reshape the song’s famous bite into something more languid, bruised, and intimate. Rather than matching Apple’s ferocity, Sofie sinks into vulnerability—and it works beautifully. Playful on the surface but emotionally spiralling underneath, “boy problems” channels the chaos of young adulthood: texting someone you shouldn’t, caring too much, and trying to convince your friends (and yourself) that you’re over it. It’s witty, melodic, and subtly devastating—proof that Sofie can thread emotional complexity through deceptively bright pop moments. The EP's penultimate track, “who’s chasing who,” is a blurred-boundaries rocker through mixed signals and shifting power dynamics. Sofie navigates the quiet confusion of a relationship where neither person wants to admit they’re the one still reaching. Her vocal restraint is striking here—she lets the uncertainty hang, unresolved and haunting. Sofie's debut EP ends with the project's most introspective track titled “closure”. A blistering, open diary page turned into a song as a powerful piano-driven ballad. Sofie allows her voice to soar further than the rest of the songs, showcasing the song's true emotion without ease. Break from the Bends  is the type of debut that feels like a first chapter, not a finished statement. Sofie Alise doesn’t write about heartbreak from a distance; she writes from inside it, elbows-deep in the mess, trying to make sense of cycles she’s still stuck in. That immediacy is what makes the EP so compelling. With Justin Gray’s polished yet emotionally grounded production and Chris Taylor’s mentorship, Sofie’s raw potential is matched by clarity of execution. What began as a thank-you project has grown into a cohesive, vulnerable, and strikingly ambitious introduction to an artist who is too soulful to be boxed into pop, too self-aware to be dismissed as confessional, and too honest to look away from. Sofie Alise bends beautifully, breaks loudly, and turns it all into art. And if this EP is only the beginning, the next chapters promise to be even more thrilling, more cinematic, and even more heartbreakingly human. Check out more from Sofie Alise: Facebook | Instagram | linktr.ee | SoundCloud | TikTok | YouTube

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE .

On Friday, October 17th, Reneé Rapp brought her Bite Me Tour to the Kia Forum in Inglewood, CA. The tour began on September 23rd in Colorado and will run through October 29th in North Carolina. In March, she will be touring in Europe and the UK. The lights dimmed and the curtains opened. In the middle of the stage, there was a draping that was covering Reneé as she was raised on a stand. She opened with "Everything to Everyone". Once the song was over, the draping dropped, and the crowd went wild when they saw Reneé. She went right into "Leave Me Alone". She performed songs from each of her records. Renee Rapp. All photos by Sabrina Shahryar. During "Swim," Reneé walks around the barricade with a phone projecting everything to the screens. It was a really cool part of the show that I wasn't expecting. Fans loved it. After that was "I Think I Like You Better When You’re Gone," and there's a part where everyone screams “Across the fucking country,” which actually became a viral trend on TikTok. She had Jake Shane and Cara Delevingne sing that part from the floor, and they kissed at the end; the crowd went insane. Later on, Reneé brought out Leon Thomas as a surprise guest, and they sang his hit song "MUTT". She ended the night with "At Least I’m Hot" and brought out her girlfriend, Towa Bird, to do her part in the song, and then brought her on stage and danced for the rest of the song. Reneé has bits that she does throughout the show that are really funny. I’ve never been to a concert where I laughed as hard as I sang till this show. She engages with her fans as often as she can. You can see the love she has for her fans, and they have for her. Every person in the room was dancing and singing their hearts out all night. Reneé is a powerhouse performer with one of the strongest voices of her generation. On stage, her energy is magnetic; she doesn’t just perform, she transforms the space around her and creates an unforgettable experience.

On their debut album, Ripe Fruit Rots and Falls , out November 14, 2025, via Fearless Records, San Francisco-born duo chokecherry—vocalist/guitarist Izzie Clark and vocalist/bassist E. Scarlett Levinson—deliver a breathtaking, brutally honest portrait of young adulthood in a collapsing world. It’s a record steeped in the friction of coming-of-age amidst social decay, climate anxiety, dissolving futures, and an ever-present ache for a past that no longer exists. The band's debut was produced alongside Chris Coady (Yeah Yeah Yeahs, TV On The Radio), Christopher Grant, and Zach Tuch (Touche Amore, Movements). The album feels like a sonic time capsule of 2025: anxious, empathetic, furious, and defiantly human. Across ten emotionally raw, richly layered tracks, chokecherry build a genre-fluid world where shoegaze fog meets post-rock sprawl, where punk-leaning catharsis collides with the gentle ache of dream-pop and ’90s indie. Their ambition is monumental—they’re not just chronicling heartbreak, but mourning the loss of imagined futures, the theft of stability, the erosion of empathy. “The album isn’t about heartbreak over an individual... It’s about heartbreak over the loss of childhood,” Levinson explains—and Ripe Fruit Rots and Falls  succeeds by channelling this collective grief into something gripping, razor-precise, and deeply personal. The album’s breakout single, “Major Threat,” is a jolt to the system. A nod to Minor Threat in name but spiritually closer to the ecstatic chaos of Turnstile or Mannequin Pussy, it’s chokecherry at their most feral. Clark’s shout-sing delivery—inspired by Brendan Yates (Turnstile) and Zack de la Rocha (Rage Against The Machine)—slices through wiry guitars and a frantic rhythm section. It’s messy, sweaty, electrifying. The VHS-shot video, steeped in DIY grit, perfectly captures the band’s roots: mosh pits, crowd-sprints, tongue-in-cheek humour about modern dating, and the scrappy sincerity that defines chokecherry’s live presence. It’s the most punk rock they’ve ever sounded, yet still unmistakably them. The opening track, “Porcelain Warrior,” sets the tone with a blend of soft disillusionment and poetic resolve. “Pretty Things,” meanwhile, serves as an atmospheric comedown after the ferocity of “Major Threat,” showcasing the duo’s signature harmonies—the kind that feel both feather-light and devastating. These early songs introduce the album’s duality: tenderness and fury, beauty and rot, intimacy and social commentary. One of the album’s crown jewels, “Secrets,” unfurls like a dream descending slowly into chaos. Conceived between a Los Angeles apartment and a San Francisco studio session with Christopher Grant, it chronicles the uncomfortable ecstasy of change—leaving a city, shedding a former self, and starting over. Clark and Levinson’s connection to San Francisco—its fog, its trains, its mythic pull—saturates the song. The train audio in the outro is a particularly gorgeous touch, grounding the track in place and memory. Sonically, it’s all tension: shimmering guitars, layered gloom, and a final explosion that feels like stepping into a new life while still clutching the old. Originally meant for the Messy Star  EP (2024), “Goldmine” blooms fully formed here—and it’s stunning. Clark’s lyrics drip with longing, grief, and naive hope, while Levinson’s harmonies wrap the song in bittersweet, cinematic warmth. Chris Coady’s mix gives it that floating-underwater DIIV-esque shimmer. This is chokecherry’s mastery: weaving heartbreak and hope so tightly they feel indistinguishable. “Goldmine, tastes just like a fire” is the album’s most evocative lyric—beautiful, dangerous, irresistible. “Part of You,” “You Love It When,” and “Oblivion” thread together themes of longing, identity splintering, and emotional erosion. The production dances between intimate whispers and widescreen distortion, never losing the human core beneath the noise. While the track, “February,” arrives like a cold exhale—minimalist, reflective, a quiet breakdown on a rainy day. The album closes with “Ripe Fruit Rots and Falls,” an elegiac, slow-burning poem about impermanence—of relationships, of safety, of youth, of society. It’s both the thesis and the bruise: everything ripens, everything rots, everything falls. But chokecherry refuses to surrender to hopelessness. Instead, they sing through the collapse, insisting that empathy, expression, and connection still matter. Ripe Fruit Rots and Falls  is a rare debut: fully realized, emotionally towering, and fiercely of its time. It captures the angst of a generation raised on broken promises yet unwilling to numb themselves into apathy. It’s an album for anyone who feels like they’re standing in the rubble of a world that was supposed to be different—and is still trying, desperately, beautifully, to feel alive. chokecherry has crafted something vital, vulnerable, and unforgettable. This is not just a debut—it’s a declaration. A stunning, soul-rattling first chapter from a band destined to become a defining voice of their era. Check out more from chokecherry: Instagram | YouTube  | TikTok

re about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE .

More than a decade into their career, Of Mice & Men remain one of modern metalcore’s most consistently evolving acts—restless, ambitious, and never afraid to dig deeper into the emotional marrow of their music. With their ninth studio album, Another Miracle , the Southern California quartet pulls off something few long-running bands manage: a record that feels both like a distillation of everything they’ve learned and a bold new chapter shaped entirely by their own hands. Self-written, self-produced, self-engineered, and even self-mixed and mastered by vocalist and bassist Aaron Pauley, Another Miracle  is the most independent artistic statement the band has ever made. That decision pays off—sonically and spiritually. The album feels lived-in, sharpened by countless hours of collaboration, and intimately connected to the people making it. The band has described it as their most personal and most expansive album yet, and it truly shows: these songs breathe with the immediacy of real life, real struggle, and real catharsis. The album opens with “A Waltz,” a cinematic mood-setter that ushers listeners into a world where grandeur and heaviness coexist. It’s the first sign of the broader palette the band is working with: moody melodies, brooding electronics, and guitars that pivot from atmospheric to punishing with razor precision. The darkness deepens on “Troubled Water,” easily one of the record’s standout cuts. The band’s description—“heavy headbangable riffs paired with pure sci-fi nightmare energy”—isn’t hyperbole. The track churns with resentment and boundary-setting, taking aim at one-sided, parasitic relationships. Sonically, it’s vicious, angular, and eerily cold, yet anchored by the emotional clarity that has always separated Of Mice & Men from their peers. Tracks like “Safe and Sound” and “Hourglass” showcase the band’s ability to fuse massive hooks with metallic bite, showing that raising the bar on melody doesn’t mean sacrificing ferocity. Pauley’s clean vocals soar with newfound vulnerability, while his harsh vocals remain as ruthless as they have ever been. Whereas the track “Wakeup” pushes the urgency even further, tapping into themes of self-reckoning and the blurry lines between survival and stagnation. “Flowers” takes a warmer, more reflective turn, functioning almost as the emotional center of the album. Using live and behind-the-scenes footage in its accompanying video, the song acts as a love letter to the band’s ecosystem—their fans, families, and friends—who “feed the flowers.” The track is a reminder of OM&M’s ability to pivot seamlessly from aggression to celebration, from internal turmoil to outward appreciation. The album's title track, “Another Miracle,” is among the band’s most universal and resonant songs to date. Pauley’s message—that everyone  knows what it’s like to wish for a miracle when life feels impossible—hits with every tangible weight. The song feels like a hand on the shoulder, a shared breath during a moment of crisis. Musically, it swells with urgency and hope, pulling listeners into an immense chorus built to be shouted back at the band in venues around the world. The album’s final act is meticulously crafted. “Contact” and “Parable” weave introspection with crushing heaviness, exploring themes of humanity, memory, and connection. While the track “Somewhere In Between” leans into emotional ambiguity. It is melodic, aching, and beautifully suspended in tension. Then come the hammer blows. “Swallow” and “Infinite” ramp the intensity back up for a finale that feels both climactic and cleansing. The closing number “Infinite” in particular feels like the thesis of the album: expansive, powerful, and emotionally limitless. With Another Miracle , Of Mice & Men are proving they don’t need outside hands—or outside expectations—to push their artistry further than ever. This is the sound of a band fully in command of their identity, sharpening every strength and exposing every nerve. It’s heavier, more melodic, darker, and more hopeful than anything they’ve done in years. OM&M's latest offering is a testament not just to their longevity, but to their continued evolution. It's a gripping, emotionally honest, and sonically expansive chapter in Of Mice & Men’s continued legacy. Check out more from Of Mice & Men: Facebook   |  Instagram   |  Twitter

How would you describe your music to any person who may have never heard it before? Maggie: Illusions of Grandeur’s music could be described as a mix of metalcore, industrial, and power metal, as if Korn, In This Moment, Avatar, and Nine Inch Nails had a child. What's the significance of your musical moniker? Maggie: Maggie “The Siren” Carlton. The Siren is my stage persona and the main character in our story “The Siren Saga,” told through our albums and live performances. What's the significance of your band's band? Maggie: The name originated from a time when Maggie “The Siren” was seeking out other musicians to form a band. A lot of the ads said, “No Illusions of Grandeur here,” meaning they just wanted to play music. I thought, “Why no Illusions of Grandeur?” Life is short, go for what you dream and want! What are your musical influences? Maggie: IOG’s influences range from: In This Moment, KORN, Altar Bridge, Evanescence and Avatar to Led Zeppelin and The Who. These bands all influenced us in different way, but mainly as story tells and how they craft songs that carry emotion to the listeners. 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. Maggie: Well, that would for sure be Avatar, Korn, and In This Moment. What's the new single about? Maggie: Our new single “MIDNIGHT25,” it’s for sure an exception in our discography. Lyrically, while the idea for the song stems from and was inspired and written for Netflix’s show Wednesday , there is a deeper meaning behind it. Humans are the true monsters, and while we have seen many portrayals of “monsters” in our culture, people are the truly scarier than the creatures of our stories. It’s a song that would not normally exist in the Illusions of Grandeur writing style. So, while in our writing process for our last record, “The Siren (2022).” While CM was in our recording studio, just warming up, I was walking through, working on some lyrics, just a basic writing process that we have. CM began playing a “riff.” I stopped CM dead in his tracks and said, “Play that again.” It was just a warm-up, not actually in our normal tuning of A, but this time in B. It sparked Maggie to start to write and arrange, and in about an hour, have the bed track for the song “Midnight”. While the 1st version of “Midnight” appeared on “The Siren” album, as Illusions of Grandeur has been evolving over the past few years and changing our sound, we felt “Midnight” needed to come along on this journey. So, we, with our new producers, decided to update the song and release it as a standalone single, “MIDNIGHT25.” What's something you hope people take away from the new single? Maggie: "MIDNIGHT25" is a hard-hitting track filled with lyrical references to the moment of The Witching Hour. It brings to life the characters in the song and brings you into the world of “The Siren.” The composition, instrumentation, production, and the melody are a new direction for Illusions of Grandeur. It is especially fitting that the follow-up release, "Curses," will be released on Halloween as the two songs intertwine. Check them both out! 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? Maggie: Recently, it would be “Her Flag Means Death” from our recent EP, The Siren Rises PT. 1: The Witch , the groove of this song just moves the crowd and the band! If you could perform a show this very second anywhere in the world, where would it be? Maggie: We have been attempting to tour in Italy and trying to make that happen, so I would say anywhere in Italy, IOG’s goal is to play anywhere, anytime for anyone, worldwide. We love touring. What's the funniest thing that's ever happened to you while performing? Maggie: Never really had any very “strange.” I was handed a very young baby on stage once in the Ukraine, which was a bit strange. I handed him back directly, but it was a moment for sure. What do you currently have planned for the remainder of the year? Maggie: 2026 will see the release of Illusions of Grandeur’s new EP, The Siren Rises PT. 2: The Ascension , which will continue The Siren Saga from the previous albums, taking The Siren further into battle with Hades. Check out more from Illusion of Grandeur: Facebook: https://www.facebook.com/IllusionsOG Band camp: https://illusionsofgrandeur.bandcamp.com/ Instagram: https://www.instagram.com/iogmusic/ Twitter: https://twitter.com/iogband TikTok: https://www.tiktok.com/@illusionsog YouTube Music: https://music.youtube.com/channel/UCNb-T_hQo8nglq50v02BVmA

November 4, 2025 Brighton Music Hal l All photos by Dave Shrewsbury.

Ethereal, cinematic, and deeply human— Tainted Silhouettes , set for release on November 7, 2025, is the debut album from Ukrainian-born, Paris-raised, and Los Angeles-based singer-songwriter Ana Luna. Across nine gorgeously textured tracks, Luna turns heartbreak, guilt, and self-reflection into something transcendent in a masterclass in emotional alchemy. It’s an album that doesn’t just document  pain—it transmutes  it, turning fleeting emotion into art that lingers long after the final note fades. From its opening moments, Tainted Silhouettes  establishes Ana Luna as an artist with both a clear vision and a rare vulnerability. Her sound—an intoxicating fusion of dream pop, alt-rock, and cinematic balladry—calls to mind artists like Lana Del Rey, BANKS, and London Grammar, yet her storytelling and vocal intimacy make her work uniquely her own. The album begins with “Fairy Tales,” a wistful overture that sets the tone for what follows: an exploration of illusion, transformation, and the blurry line between reality and emotional projection. Soft piano lines and reverb-soaked bass lines cradle Ana’s voice. One of the record’s emotional pillars follows with the track “Dance in a Trance,” and it showcases Ana’s hypnotic ability to weave intimacy into grandeur. The song’s cinematic swells and ghostly harmonies mirror the emotional vertigo of seeing someone you once loved become a stranger. The line “a caged romance, I danced in a trance”  is devastating in its quiet honesty—a perfect distillation of love’s intoxicating contradictions. It’s heartbreak rendered in widescreen. Following it, “Daddy’s Empire” digs deeper into emotional burnout—the slow exhaustion that comes from carrying a partner’s unfulfilled potential. While its title might suggest confrontation, the song is actually an elegy for misplaced devotion. Its hazy, layered production reflects the emotional fog of loving someone who refuses to grow, with Ana’s vocals floating between tenderness and resignation. “Same Page” marks a turning point—sonically lighter but emotionally complex. Built around shimmering synths and a steady pulse, it captures the moment where disconnection becomes impossible to ignore. Ana’s delivery is understated yet cutting, balancing melancholy with clarity. Then comes the album's fifth track, “Can We Pretend We Just Met at a Bar?”, one of the most haunting songs in her entire catalogue. It’s a meditation on denial and nostalgia, where dreamlike melodies meet piercing self-awareness. The track builds slowly, pulsing like a heartbeat as Ana whispers confessions that feel too intimate to overhear. It’s not just a breakup song—it’s a cinematic moment of self-confrontation. The emotional centrepiece, “Bleeding Pen,” is perhaps Ana Luna’s finest work to date. Swelling strings and piano accompany her ethereal voice as she unpacks guilt and forgiveness with staggering grace. The song leaves a lingering ache that defines the entire debut record. The latter half of the album finds Ana pushing her sonic and emotional boundaries further. “Burn You” is darkly seductive, with sharp production and whispered intensity that channels both rage and liberation. “I’ll Keep My Promise” strips things back to their emotional core—a vulnerable piano ballad about keeping faith in yourself when love fades. Finally, the jazzy number “Love Virgin” closes the record on a note of rebirth. It’s hopeful but haunted, with Ana reflecting on the cycle of breaking and becoming anew. A song that perfectly encapsulates the album’s philosophy: to feel deeply is not a weakness, but a renewal. Throughout Tainted Silhouettes , Ana Luna demonstrates not only her command as a vocalist and songwriter but her instinct as a cinematic architect of emotion. Every track feels like a scene from a larger story—one drenched in shadow and starlight, where heartbreak and healing coexist in delicate balance. In an era where vulnerability is often polished into performance, Ana Luna gives us something rare—an unguarded portrait of feeling too much and finding power in that intensity. Tainted Silhouettes  is not just a debut album; it’s an emotional initiation. Ana Luna arrives fully formed, with a voice that doesn’t just sing about pain—it sanctifies  it. Presave Tainted Silhouettes here Check out more from Ana Luna: Website | Instagram | TikTok | X | YouTube | Facebook | Spotify

The first of two back-to-back sold-out nights at Winnipeg’s Burton Cummings Theatre proved that The Beaches and Valley are not just two of Canada’s biggest modern pop-rock exports—they’re cultural powerhouses redefining what it means to connect through music. The No Hard Feelings Tour  landed in Manitoba for a weekend of cathartic sing-alongs, euphoric anthems, and a palpable sense of community, marking one of the most unforgettable live doubleheaders the city has seen all year. Valley. All photos by Samuel Stevens. Opening the night, Toronto alt-pop quartet Valley delivered a set that radiated warmth and honesty, pulling the crowd into a sonic embrace of glowing synths, crisp harmonies, and glittering guitar hooks. They kicked off with “Bass Player’s Brother,” setting the tone with infectious energy before flowing into the tender “Water the flowers, pray for a garden.” Each song shimmered with the heartfelt storytelling that has made Valley one of Canada’s most endearing acts. The crowd erupted when the band dove into their viral hit “Like 1999,” turning the vintage-inspired anthem into a full-throttle singalong. Their cover of MGMT’s “Kids” turned into a communal moment, where generations collided in shared nostalgia under soft, neon stage lights. Frontman Rob Laska’s charismatic stage presence made the performance feel intimate, even in the packed theatre. New material like “Baby is a Cowboy” offered a glimpse into the band’s evolving sound—playful yet poignant—while the closing number, “When You Know Someone,” left fans swaying arm-in-arm, bathed in pastel hues and sentimental euphoria. Valley’s set was a masterclass in emotion-driven performance, effortlessly blending danceable pop rhythms with introspective lyricism. If Valley were the calm before the storm, The Beaches were the thunderclap that shook the foundations of the Burton Cummings Theatre. The Toronto rock quartet—Jordan Miller, Kylie Miller, Leandra Earl, and Eliza Enman-McDaniel—tore onto the stage with “Last Girls at the Party,” igniting a frenzy that never once let up across both nights. Armed with attitude, confidence, and a catalogue of hits that walk the tightrope between empowerment and vulnerability, The Beaches commanded every inch of the stage. “Touch Myself” and “Cigarette” came early, pairing swagger with sharp riffs and infectious choruses that had fans screaming every lyric. The chemistry between the band members was undeniable—Jordan’s playful banter, Kylie’s razor-edged guitar work, Leandra’s magnetic synth lines, and Eliza’s powerhouse drumming created a symphony of charisma and chaos. The Beaches. All photos by Samuel Stevens. Mid-set standouts included “Shower Beer,” a cheeky anthem that’s quickly becoming a fan favourite, and “Fine, Let’s Get Married,” which had the crowd dancing like it was their own reception. The band balanced their high-octane numbers with moments of emotional resonance, particularly on “What Doesn’t Kill You Makes You Paranoid” and “Edge of the Earth.” Then came the show-stopping medley—a seamless blend of “T-Shirt,” “Fascination,” “Blow Up,” “Give It Up,” “Lame,” and “Money”—a dizzying celebration of The Beaches’ evolution from indie darlings to full-fledged rock icons. Closing with “Blame Brett,” the band turned heartbreak into pure triumph, with the entire theatre chanting the hook back at them in gleeful defiance. For the encore, The Beaches returned with “I Wore You Better” and “Sorry for Your Loss,” delivering two emotional gut punches that encapsulated their raw honesty and razor-sharp songwriting. But the true highlight came during “Last Girls at the Party (Reprise),” when Valley walked out to join The Beaches onstage. The collaboration brought the house down—two of Canada’s most beloved modern acts sharing the stage in one joyous, full-circle moment of musical camaraderie. Across two nights, The Beaches and Valley transformed Winnipeg’s Burton Cummings Theatre into a living, breathing love letter to Canadian music. The performances were loud, heartfelt, and unapologetically human—proof that pop and rock can coexist, collide, and create something utterly transcendent. The No Hard Feelings Tour  didn’t just bring two powerhouse acts to Winnipeg; it brought catharsis, connection, and a celebration of where Canadian music stands today—fearless, fun, and full of feeling.

One Bad Son, who hails from Saskatoon, Saskatchewan, started the night with the most appropriate song, "Made In The Name of Rock N Roll." The song shares the name of their brand new studio album and the band’s current Canadian fall tour. One Bad Son’s brand new LP, Made In The Name of Rock N Roll, was released back on October 13th, 2017, through 604 Records. Photos by Samuel Stevens Photography. One Bad Son performed a very impressive set at The Garrick, featuring many new songs from their newest album and such singles as "Raging Bull," "Satellite Hotel," "Retribution Blues," and "Scream For Me," to name a few. The band also performed their infamous cover of the Talking Heads’ 1977 hit, "Psycho Killer" and Soundgarden’s 1994 hit "Spoonman." One Bad Son’s Seattle grunge influence shines through their sound prominently. Shane Volk’s powerful vocals are essential in One Bad Son’s unique sound, which makes them stick out in the huge cluster of the current rock bands. The band tries to push the envelope on the rock genre with their thirteen years of experience as a band, especially heard on their newly released album. Notability in the front row at the show were a few young fans which vocalist Shane Volk made a remark that "Rock N Roll isn’t dead," and the younger fans at the show are proof of it as they will keep the music genre alive for the next generation. One Bad Son will be going on tour in the new year in the United Kingdom, Europe, and the USA, which was talked about on stage after Shane said the Made In The Name of Rock N Roll Fall Canadian Tour was great and that the band wants to take Canada with them everywhere they go on this tour. In conclusion, I personally think rock n roll isn’t dead, especially in Canada. As much as those kids at the show are going to be a part of it not dying. I believe One Bad Son is part of many bands currently in Canada, honestly the whole world even, that creates massive proof that Rock N Roll isn’t dead.

October 3, 2025 Hampton Beach Casino Ballroom All photos by Dave Shrewsbury.

How would you describe your music to any person who may have never heard it before? Lauren: As a band, we describe our sound as alternative pop/rock — a label that casts a pretty wide net, and honestly, that’s perfect for us. When you listen to our music, you’re never getting the same song twice. We write from a place of authenticity, not from a formula, and we never want to box ourselves into one sound. Some tracks lean softer and more pop-driven, while others dive into a moodier, edgier rock space. The goal is simple: keep listeners hooked, surprised, and never bored. I love the idea of an album or EP that keeps you guessing what’s coming next. What did you allow yourself to do creatively on Preserve Love Here that you haven’t in the past? Lauren: I’ve never been one to rewrite a song once it’s finished — until Preserve Love Here . The opening track, “Love Yourself,” actually started out completely different. The original version had a sad, sappy energy — more of an “I’m heartbroken because you don’t love yourself” vibe. But that emotion didn’t feel true to me anymore, and that disconnect sparked the rewrite. This time, I wanted it to feel empowering instead of heavy — more of a confident “goodbye” than a questioning “what if?” — and that shift changed everything. What is something you hope people take away from the new songs? Lauren: I hope people feel connected to these songs and are able to relate from their own personal experiences. I hope people feel the authenticity that I expressed when writing these songs and truly enjoy listening and singing along with them. If any one of these tracks can make it onto someone’s playlist, I consider that an accomplishment. 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? Lauren: My creative rut is usually self-induced. Sometimes I can get in my own head, which can cause me to fall into writer’s block. The best medicine I have found is to go for long walks, get connected with nature, meditate, and practice actively slowing myself down. It’s in these simpler moments that I find clarity and wisdom and ultimately a song seed that can turn into a fully-formed idea. Do you have any favourite songs to perform live? Lauren: One of my favourite songs to perform live is “Hated” from our album From Within. Our guitarist, Rhet, absolutely crushed it with the guitar work on this track, and Zack (bass) and Jim (drums) locked in to create a massive, hard-hitting chorus. Playing it live is such a rush — the moment that chorus drops, you can feel the shift in the room. Watching the crowd’s faces light up with that “whoa” reaction never gets old. If you could perform a show this very second anywhere in the world, where would it be? Lauren: Being that I am a nature lover and a total sucker for amazing scenery, I would love to perform at Red Rocks someday. It would be a dream to grace that stage with the beautiful scenery all around and have it captured on video. What do you currently have planned for the remainder of the year? Lauren: For the rest of 2025, we are playing several local venues and plan to release a music video for our song “Here With You”. Along with promoting our newly released material, we are excited to jam, write, and plan for next year's endeavours. Check out more from LaureNichole: https://www.instagram.com/laurenicoleofficial/ https://www.facebook.com/LaureNicoleOfficial/

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE .

PRODUCER DUO 2DUMB REIMAGINE SEVEN SONGS FROM WOLF’S 2025 LP PRESSURE WITH GUEST APPEARANCES FROM BBY GOYARD & CR1TTER TOUR DATES SUPPORTING MGK BEGIN NOVEMBER 18TH Breakout alt-pop artist Julia Wolf has surprise-released 2MUCHPRESSURE , a new remix EP helmed by producer duo 2DUMB. Available today across all streaming platforms via AWAL, 2MUCHPRESSURE reimagines seven songs from Wolf’s 2025 album PRESSURE , and includes guest appearances from BBY GOYARD and cr1tter. Elaborating on the project Wolf shared, “When I first heard the remix 2DUMB did on TikTok, I immediately knew I needed them to make more remixes! And to be able to get two of my favourite artists, BBY GOYARD and cr1tter on was an even better bonus!” PRESSURE arrived earlier this year via AWAL and features Wolf’s viral single “ In My Room ,” which has now surpassed 65 million streams worldwide. With executive production by Scro, PRESSURE is Wolf’s most fearless and fully realized work to date, channelling vulnerability into power, confronting self- doubt, comparison, and rejection head-on. Wolf recently broke down the lyrics of “In My Room” for GENIUS’ ‘Verified’ series (watch HERE ), and also stopped by the Zach Sang Show to discuss her breakout success (watch HERE ). Just last month, Wolf made her Billboard Hot 100 debut for her guest appearance on Drake’s single “ DOG HOUSE ,” which is taken from his latest studio album ICEMAN. Up next, Wolf is set to embark on a run of arena dates supporting MGK. The upcoming trek is set to traverse North America this November and December, and pick up again in Europe in February and March 2026. The new dates follow worldwide headline touring as well as dates with Halsey, Artemas, and PVRIS. For tickets and more information on Julia Wolf’s upcoming tour dates visit www.girlsinpurgatory.com . Tracklist: 1. Kill You Off (2DUMB remix feat. BBY GOYARD) 2. Pearl (2DUMB remix) 3. Fingernails (2DUMB remix) 4. Loser (2DUMB remix) 5. FYP (2DUMB remix) 6. Jennifer’s Body (2DUMB remix) 7. In My Room (2DUMB remix feat. cr1tter) JULIA WOLF LIVE 2025 / 2026: November 15—Vans Warped Tour—Orlando, FL November 18—Desert Diamond Arena—Phoenix, AZ* November 20—Kia Forum—Los Angeles, CA* November 23—Ball Arena—Denver, CO* November 25—CHI Health Center—Omaha, NE* November 29—Scotiabank Saddledome—Calgary, AB* December 1—Rogers Place—Edmonton, AB* December 4—Allstate Arena—Rosemont, IL* December 6—Fiserv Forum—Milwaukee, WI* December 8—Hamilton Arena—Hamilton, ON December 10—Bell Centre—Montreal, QC* December 12—TD Garden—Boston, MA* December 13—Barclay’s Center—Brooklyn, NY* December 14—Xfinity Mobile Center—Philadelphia, PA* December 16—Bridgestone Arena—Nashville, TN* December 19—Benchmark International Arena—Tampa, FL* February 15—Unipol Arena—Bologna, IT* February 17—Olympiahalle—Munich, DE* February 18—Stadthalle D—Vienna, AT* February 20—Taurona Arena—Krakow, PL* February 21—O2 Arena—Prague, CZ* February 24—Uber Arena—Berlin, DE* February 25—Barclays Arena—Hamburg, DE* February 27—Adidas Arena—Paris, FR* March 2—Lanxess Arena—Cologne, DE* March 3—Ziggo Dome—Amsterdam, NL* March 5—The O2 Arena—London, UK* March 7—Co Op Live—Manchester, UK* March 8—OVO Hydro—Glasgow, UK* March 10—Utilita Arena—Birmingham, UK* March 12—3Arena—Dublin, IE* *mgk support

After nearly a decade of carving her own path as an independent artist, Nashville-based pop-punk singer-songwriter Taylor Acorn finally steps into her well-earned spotlight with Poster Child —her long-awaited sophomore album and first release under Fearless Records. The album not only marks a new chapter for Acorn’s career but also cements her place among modern pop-punk’s most compelling voices, joining the ranks of contemporaries like Maggie Lindemann, Charlotte Sands, and Stand Atlantic. Acorn’s previous releases, Certified Depressant (2023), Survival in Motion (2024) ,  hinted at her potential, but Poster Child  is the full realization of her vision—a cathartic, nostalgic, and unfiltered collection that bridges her early 2000s influences with her distinctly modern storytelling. Teaming once again with longtime collaborator Dan Swank (Arrows In Action, Cassadee Pope), Acorn channels the spirit of Avril Lavigne’s Under My Skin  and Paramore’s Riot!  while still sounding undeniably current. The record opens with the perfect opening track, “People Pleaser,” which is fueled by gritty guitars and infectious hooks; it’s a candid declaration of self-liberation from the need to appease others—a theme that threads through much of the album. From there, “Crashing Out” delivers a melodic gut-punch, finding Acorn caught between growth and burnout, a feeling all too familiar to anyone navigating adulthood. The album's spotlight single, “Hangman,” stands out as one of Acorn’s finest moments to date. Beneath its soaring chorus lies a clever metaphor for emotional stagnation—feeling like the universe itself is toying with you, one wrong guess away from defeat. Acorn’s vocals balance grit and grace as she laments, “I'm screaming into the abyss / What did I do to deserve this?” It’s that mix of vulnerability and power that defines her songwriting. Elsewhere, “Poster Child,” the album’s title track, doubles as both a mission statement and an act of reclamation. Acorn embraces her flaws, doubts, and triumphs with a wink to her past—she’s not just surviving the expectations placed on her; she’s redefining them. “Home Videos” slows things down, reflecting on childhood innocence and the bittersweet ache of nostalgia, while “Cheap Dopamine” calls out the fleeting highs of social validation in an age of endless comparison. Nearing the midway point of the record, the fiery “Goodbye, Good Riddance” bursts in with a sneer and a smile—Acorn herself calls it one of her favourite songs she’s ever written, and it’s easy to hear why. It’s bold, empowering, and certainly built to be performed on the stage in front of crowds of fans. “Sucker Punch” and “Vertigo” continue that energy, leaning into crunchy guitars and anthemic choruses tailor-made for festival sing-alongs. Some of the album’s most emotional moments come with “Theme Park” and the stripped-down “Masquerade.” The former reflects on the dizzying highs and lows of chasing dreams, while the latter offers a raw, intimate finale that spotlights Acorn’s powerhouse vocals and emotional nuance. It’s a quiet reminder that behind all the noise and distortion, her greatest weapon is her honesty. Poster Child  is more than just a debut—it’s a culmination of nearly a decade of hustle, heartache, and hope. Acorn has always written from a place of truth, and here she delivers her most confident, cohesive, and emotionally resonant work yet. Her music speaks to the inner teenager who never quite outgrew their eyeliner and the adult still learning to love themselves out loud. With Poster Child,  Taylor Acorn isn’t just revisiting pop-punk’s golden age—she’s redefining it for a new generation. Check out more from Taylor Acorn: Website: https://www.tayloracorn.com Twitter: https://twitter.com/tayloracorn Instagram: https://www.instagram.com/tayloracornmusic/ Facebook: https://www.facebook.com/tayloracornmusic TikTok: https://www.tiktok.com/@tayloracorn1

Photo courtesy of Alexander Bemis. Hey Kami! Thanks for taking the time to do this. What are your main music influences, and how did you decide you wanted to get into the metalcore/post-hardcore genre? Kami: I’ve always pulled inspiration from a lot of different artists, such as Joan Jett, Miley Cyrus, Mac Miller, Green Day, Paramore, and Cage the Elephant. I’ve never really boxed myself in. My genre is rock at its core, but I love blending other sounds and influences. I think that mix is what keeps it fresh and true to me. How would you describe your music to someone who's just discovered it today? Kami: Emotional, powerful, and honest. My music lives in the rock world but pulls from so many genres. It’s raw, energetic, and always comes from real experiences. You recently dropped your brand new EP, KANDY . I love it so much, by the way. How has the response been so far from fans and the media for it? Kami: Thank you! The response has been amazing. Hearing people connect to the songs and message means the world. It’s been cool to see fans relate to it in their own ways. I make music because it heals me, and I release it because I want to heal others.  What's something you have been noticing that fans are taking from this EP compared to your previously released music? Kami: I think people are connecting more to the honesty and emotion in KANDY. It’s darker and more personal, and I think fans can really feel that this one came straight from the heart. And I think anyone that has gone through or is going through a similar situation understands exactly how I’m feeling, so they’re able to connect with the songs on a different level.  How was the overall writing and producing process for this EP compared to your records REVIVED and DRAMA QUEEN ? Kami: DRAMA QUEEN was definitely my pop era. I wrote and produced a lot of it on my own. REVIVED was when I first really started getting back into rock, but I feel like making KANDY was when I truly found my voice and my sound. It leans a bit darker and heavier than my previous projects, and is more rock and drum-driven. I made “KANDY” with my incredible producer, Curt Martin. Looking bac,k I love and appreciate all my eras because it’s crafted me into the artist I am. Did you have any inspirations while you were writing the songs for the new EP? Kami: A lot of the songs came from personal experiences of heartbreak, healing, and finding strength again. I was inspired by the idea of turning heartbreak into something more.  What’s your favourite song on the EP? Kami: " DOPAMINE." It’s one of the most emotional songs I’ve ever written, and it came from a really low point in my life, and that song helped me feel something again. How's the overall process of making new music? Do you plan on doing it on the road, wait until the tour is over, or do you like to do the proper, full-blown sessions? Kami: I’m always writing, I’ll make music anywhere I can. But for recording, I like having those full sessions where I can really dive in. On the road, it’s harder, but I’m always jotting ideas down. If you can have your listeners and fans remember one thing about yourself, what would you want them to remember you by and why? Kami: I’m human too. And I go through shit just like everyone else. And if you listen to my music and are feeling the same way just remember I’m right there with you. And you are not alone. Life isn’t easy. I would love to encourage anyone to find a healthy outlet. Music has saved my life countless times, and all I want to do is help anyone who needs it. If my music can save one person, that’s all that matters.   If there was one band that reached out to you right now that wanted to have you on tour, who would that dream band be right now? Kami: There are so many amazing artists, like Joan Jett, Miley Cyrus, or Billie Eilish. Honestly, anyone in the rock or pop world that pushes boundaries. That’s the kind of energy I love. You're going to tour on a really cool run in the fall supporting Seether and Daughtry. What city are you looking forward to the most, and do you have anything that you typically forget at the last minute before going on tour? Kami: Honestly, I’m excited for every single city. I’ve never played a tour this big before, so every show has been incredible. I’m just happy I get to meet all my fans after my set, and I’m honoured to be on stage with these rock legends. I don’t typically forget anything before going on tour lol I write down a list of things and check it off like 100 times so I don’t forget anything haha.  What are your tour essential stops while on the road? Kami: Honestly, I have to hit a gym or I’ll go insane. Working out keeps me grounded on tour. How do you like to spend your days off on tour? Kami: I try to make music or edit my own content when I can, but usually off-days end up being travel days. I like staying creative even when things are hectic. Finally, what are your plans for the rest of 2025? Kami: I’m working on releasing new singles and finishing an album I’m really excited about. I’m experimenting even more with blending genres and just letting the music evolve. I can’t wait to share it with the world. Check out more from Kami Kehoe: Facebook  | Instagram  | TikTok  | YouTube

Rising pop provocateur Laura Pieri caps off a month of Halloween-inspired storytelling with the release of her new single, “ Just a Little ,” out on all streaming platforms today. Throughout October, Pieri reimagined iconic songs through a series of darkly cinematic covers— Lady Gaga’s “Marry the Night” (The Vampire), Charli xcx’s “party 4 u”  (The Siren), and Rihanna’s “Disturbia” (The Werewolf)—each exploring a different archetype of feminine power. The project extended beyond music, coming to life through immersive visuals, stories on her new Substack , and her annual Halloween party in New York at The Box. Now, with “ Just a Little ,” Pieri brings her month-long creative world to a feverish climax. The hypnotic, seductive new single explores the tension between temptation and control. It’s about the thrill of flirting with danger without completely surrendering to it. “ Sweet and sour, playful and self-aware, ‘Just a Little’ carries the belief that desire and shame are two sides of the same coin, ” Pieri shares. “ I’ve always struggled with feeling like I'm too much, like I don't belong, like being this way made me broken. ‘Just a Little’ became a kind of reclamation, not just of desire, but of self-permission. It’s the moment I stopped trying to edit my instincts to fit someone else’s moral architecture. Because aren’t we all, just a little sinful?” “Just a Little” marks the beginning of a bold new era for Pieri, following the release of Frankie (ON THE DANCEFLOOR) , the high-energy companion to her acclaimed 2024 EP, Frankie. Featuring club-ready reimaginings of her earlier work and a brand-new single, Frankie (ON THE DANCEFLOOR) turned Pieri’s story of survival into one of celebration. Born in São Paulo and now living in New York City, Laura Pieri has been chasing music for as long as she can remember. There was never a single moment of realization; music has simply always been part of her identity. Over the last few years, Pieri has carved a distinct path in pop, earning features in outlets like FLAUNT, Mundane Magazine, and Northern Transmissions. A true multidisciplinary artist, Pieri approaches every project with a fully realized vision. She not only writes and performs her music, but also immerses herself in the visual world surrounding it.  Listen to "Just a Little" on all streaming platforms: https://unitedmasters.com/m/just-a-little-4 Find out more from Laura Pieri: Instagram  |  TikTok  |  Facebook  |  Spotify  |  Twitter  |  YouTube

Few bands have mastered the art of fusing darkness and beauty quite like The Pretty Reckless, and this holiday season, they’re unwrapping a surprise that no one saw coming. Taylor Momsen’s Pretty Reckless Christmas  EP finds the chart-topping rock band embracing the spirit of the season—without sacrificing their trademark edge. Released digitally on October 31, 2025, via Fearless Records, this seven-track EP proves that holiday music can still smoulder with distortion, attitude, and soul. The centrepieces of the record are a full-circle moment twenty-five years in the making: a reimagined version of “Christmas, Why Can't I Find You?” and “Where Are You, Christmas?”, a pair of songs Taylor Momsen first performed as a child actress playing Cindy Lou Who in How the Grinch Stole Christmas  (2000). No longer the wide-eyed girl wondering about the meaning of the season, Momsen now approaches the tracks as a weathered storyteller. On “Christmas, Why Can't I Find You?” Taylor Momsen and crew deliver a full-blown piano ballad with it ending with Momsen's present voice crossfading over to her original recorded vocal take from twenty-five years ago. Whereas on “Where Are You, Christmas?”, her voice is husky, powerful, and filled with lived-in emotion. What was once a tender ballad is now transformed into a cathartic rock anthem, complete with soaring guitar solos and a stormy rhythm section that builds to a cinematic crescendo. The two tracks are reverent to the original’s heart but reframed through the lens of Momsen’s journey—from child star to rock icon. Beyond the nostalgia-driven centrepiece, the EP boasts four brand-new originals that showcase the band’s range and charisma. “Blues on Christmas” opens the EP with soft strummed, bluesy acoustic guitar before a smoky guitar solo rings out, and a sultry vocal delivery that feels like Joan Jett fronting a winter blues revue. The follow-up track, “Christmas Is Killing Me,” captures the chaos of the holiday grind with a biting sense of humour and punk-rock snarl—proof that even seasonal stress can sound good when filtered through The Pretty Reckless’ distortion pedals. “I Wanna Be Your Christmas Tree” injects a playful, doo-wop-infused swagger, turning flirtation into a sleigh bell-laced classic rock number. Meanwhile, the very brief acoustic tune, “When We Were Young,” brings the EP to an emotional peak, a reflective slow-burner that channels the bittersweet nostalgia of the season. Momsen’s vocal performance here is one of her finest—gravelly yet delicate, filled with the ache of memory and the warmth of gratitude. But it’s the thematic throughline that makes Taylor Momsen’s Pretty Reckless Christmas  more than just a novelty release. Beneath the sleigh bells and distortion, the band explores what the holidays mean to a generation that’s grown up, faced loss, and found solace in music. Momsen described revisiting “Where Are You, Christmas?” as “coming home to a part of myself I hadn’t seen in a long time,” and that sentiment bleeds through every note of the EP. It’s about rediscovering wonder in a world that’s tried its best to harden you. Sonically, the production—handled once again by longtime collaborator Jonathan Wyman alongside the band—strikes a balance between grit and gloss. The guitars shimmer like tinsel; the drums hit like thunder in the snow. And through it all, Momsen’s voice remains the guiding star—commanding, vulnerable, and unmistakably authentic. With Taylor Momsen’s Pretty Reckless Christmas , The Pretty Reckless deliver a rare gift: a holiday album that feels both nostalgic and defiantly modern. It’s festive without being saccharine, heartfelt without losing its bite. For fans, it’s a bit of a celebration of everything they love about the band; for newcomers, it’s a perfect entry point wrapped in holiday lights and feedback fuzz. Check out more from The Pretty Reckless: Website | Facebook | Twitter | Instagram