Dayseeker have never shied away from their emotions. Over the past decade, the Southern California quartet—Rory Rodriguez (vocals), Gino Sgambelluri (guitar), Ramone Valerio (bass), and Zac Mayfield (drums)—have carved out their own lane of “sad rock,” as the band have called it, a sound that straddles the beauty of melancholy and the brutality of self-reflection. With their sixth studio album, Creature In The Black Night , the band steps boldly into their most haunting and cinematic era yet—one that merges grief, desire, and defiance into a visceral listening experience. Produced by Daniel Braunstein (Spiritbox, Silent Planet) and mixed by Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), Creature In The Black Night  expands upon the lush emotional atmosphere of Sleeptalk  (2019) and the raw vulnerability of Dark Sun  (2022). But where those albums leaned heavily into introspection and loss, this one sharpens its fangs—darker, heavier, and more self-assured. It’s the sound of Dayseeker reclaiming their agency in the face of ghosts both literal and figurative. From the opening notes of “Pale Moonlight,” listeners are immediately submerged into the album’s nocturnal world. The lead single encapsulates everything that defines modern Dayseeker: soaring hooks, introspective lyricism, and dynamic shifts between melodic beauty and cathartic heaviness. “Dancing with the devil in the pale moonlight,” Rodriguez croons, blurring the line between addiction and seduction, between giving in and giving up. The song’s cinematic chorus and pummeling breakdowns set the tone for an album that feels both theatrical and deeply personal. The album's title track, “Creature In The Black Night,” immediately follows, and it solidifies the album’s thematic backbone—a descent into emotional shadow that feels more liberating than oppressive. Braunstein’s production lends an eerie polish to Rodriguez’s haunting vocals, which oscillate between angelic falsettos and throat-tearing screams. This duality—pain and power, despair and desire—threads through the record like a heartbeat. “Crawl Back To My Coffin” might be the album’s most quintessentially Dayseeker song, a poignant metaphor for falling in love only to retreat back into emotional isolation. Its closing refrain aches with the kind of cinematic heartbreak that the band has perfected. “Shapeshift” turns inward, an anxious confession about identity and mental strain, while “Bloodlust” channels pure venom, railing against the people who “drain the blood” from your life. The song’s chaotic energy recalls the band’s post-hardcore roots, but with a maturity and sonic depth that feels hard-earned. There’s a narrative cohesion that binds Creature In The Black Night  together—not through a literal storyline, but through recurring imagery and tone. Tracks like “Cemetery Blues,” “The Living Dead,” and “Forgotten Ghost” all play with death symbolism as a lens for emotional survival. “The Living Dead” in particular stands out amongst these few tracks, translating emotional numbness into something tragically relatable. Rodriguez’s vocals here sound both detached and desperate, a haunting portrayal of the liminal state between feeling and forgetting. “Meet The Reaper,” one of the record’s most explosive tracks, acts as both a confrontation and an exorcism—Rodriguez howling over cascading guitars as if purging every lingering fear. By the time the track “Forgotten Ghost” closes the record, Dayseeker have fully leaned into their cinematic tendencies, crafting an atmosphere that feels like the end credits of a dark, romantic film. What makes Creature In The Black Night  so compelling is its refusal to be one thing. It’s not merely a sad record, nor just a heavy one. It’s romantic, gothic, and emotionally raw—blending beauty with brutality in ways few bands manage without losing focus. Cervini’s mix ensures every scream, synth, and swell feels immense, yet intimate; Braunstein’s production wraps the darkness in a kind of seductive glow. More than anything, this album feels like Dayseeker ascending into their final form—one that fully embraces the dualities that have always defined them. There’s sadness here, yes, but also strength. There’s vulnerability, but there’s also vengeance. Creature In The Black Night  isn’t about succumbing to the darkness; it’s about dancing with it. Check out more from Dayseeker: Website | Facebook | Twitter | Instagram | YouTube

September 12, 2025 Park Theatre All photos by Kat Kolesar.

LISTEN HERE   WATCH THE VIDEO HERE Today, rising singer-songwriter Tia Wood releases “Sage My Soul,” a stirring, emotional pop jam that cements her place as one of Canada’s brightest, most compelling artists.   The breadth of Tia’s songwriting and artistry is on full display on this track, with a crunchy guitar and full choir delivering a lush soundscape. Tia weaves together beautiful imagery, slinky hooks, and impeccable production to create indelible and moving pop music. This track, co-written with Justin Lucas (Khalid), Tabi, and Dan Elkayam, and produced by Justin Lucas, sets a new sonic standard for the rising star.    “Sage My Soul” is also a deeply reflective and honest expression of what it means to be human: to do well sometimes and poorly sometimes, and long for human connection. She sings stirringly about how it feels to be alive: “Growing, unfolding / Stripping down my layers / Take me as I am / Despite my bad behaviour.” Tia delivers a soulful banger and study in vulnerability and beauty.    “This song means so much to me. It’s a reflection of where I am at my highest and lowest,” said Tia. “Ultimately, writing this song and performing this song were hopeful acts. The tradition of saging has so much power and meaning in my community and I love using that as a metaphor in this song.”  2025 has been a meaningful, whirlwind year for Tia, including capturing her first JUNO Award nomination (for ‘Contemporary Indigenous Artist or Group of the Year’), and performing at the JUNO Award Broadcast with Snotty Nose Rez Kids. Last weekend, Tia shared the stage with Shawn Mendes at the Vancouver stop of his On the Road Again tour, performing “Youth” to a rapturous, sold-out crowd. Stay tuned for more from one of Canada’s brightest, most exciting new talents. ABOUT TIA WOOD:   ABOUT TIA Born in Saddle Lake Cree Nation in central Alberta, a community of about 6,000 people in Treaty 6 territory, Tia’s musical journey began at home. Her first experiences on stage were with her family, singing traditional music at powwows, schools, and community events. As a teenager, Tia was drawn to a wide range of artists, from musical legends like Etta James and Amy Winehouse to contemporary stars such as Remi Wolf, Dominick Fike, Leon Bridges, Jessie Reyez, and SZA. In her 20s, she gained a massive social media following as a creator, with many of her videos, which introduced Indigenous sounds to mainstream audiences, going viral and earning widespread acclaim.   Those influences, combined with the music of her Indigenous roots, laid the foundation for her debut EP, Pretty Red Bird , a project rich in style, genre, and spirit, which was released in 2024. Tia’s smooth, stunning vocals thread together a vibrant tapestry of modern music, strengthened by her Indigenous heritage and lush R&B and pop production. The songs on Pretty Red Bird capture the breadth and diversity of the young adult experience, blending classic instrumentation like piano and guitar with contemporary beats and hooks that define modern R&B and pop.   For Tia, songwriting has been a deeply personal and therapeutic journey—one that has allowed her to explore identity, self-expression, and emotional depth. “It’s allowed me to open up and really dig into feelings,” she says. In 2025, Tia was nominated for her first JUNO award for ‘Contemporary Indigenous Artist of Group of the Year,” and performed at the broadcast alongside Snotty Nose Rez Kids.  Check out more from Tia Wood: Website  | Instagram  | TikTok  | YouTube | Facebook

On Saturday, September 27, 2025, the Jonas Brothers brought their 20th anniversary tour, Greetings From Your Hometown , to the Honda Center in Anaheim, CA. Supporting them was their youngest brother, Franklin Jonas and the rock band Boys Like Girls. Franklin performed first; it was really nice to see his growth as an artist. I first saw him support Jake Miller a couple of years ago, and the growth is incredible. Franklin found his own personal sound and style, which works really well for him. He also formed a band, Franklin Jonas & The Byzantines. One thing I loved about his set is that he gets off the stage and goes into the crowd and walks around the venue. Franklin has a great voice and stage presence. Boys Like Girls were up next, and they had the crowd on their feet, singing and dancing their entire set. They had such good energy. They closed out with their hit song "The Great Escape," which they performed twice, once with phones out and recording and the second time with no phones. The no phones was a great idea, everyone was in the moment and having fun. The Jonas Brothers hit the stage, and the crowd went wild.​​ Each night on tour, they open with a different song; the night's opener was "Wings". From there, they went into their usual setlist. For each stop on tour, they have been bringing out special guests and singing their hit songs. Their first guest of the night was Christina Perri, and they performed her hit song "A Thousand Years". They went back to their usual setlist from there, and then the next guest they brought out was Phantom Planet, who sang their song "California". Both special guests were such a great blast from the past. Jonas Brothers. All photos by Sabrina Shahryar. Since we were in Anaheim, the home of Disneyland, they played "Play My Music," "Gotta Find You," and "Introducing Me" from Camp Rock and Camp Rock 2 . Following that, they went into their "Versus Mega Mix," where Joe and Nick sing songs from their solo projects. It ended with Kevin singing his new song "Changing". This part of the show was really fun to watch. They closed out their set by bringing out Big Rob to sing his part in "Burning Up". Then the crowd immediately started cheering for an encore. They came back out and sang "Please Be Mine" and ended the night by singing "When You Look Me In The Eyes" with their dad, Paul Kevin Jonas Sr. and brother Franklin Jonas. I loved that they brought them out to sing this song. It was a very wholesome moment between them all, and with it being their 20th anniversary as a band, it was the perfect way to end the show. The Jonas Brothers delivered an amazing performance, bringing high energy and showcasing their incredible vocals. They engaged with the crowd throughout the show, even taking song requests from fans. It was easily one of the most fun concerts I’ve ever attended. If the Greetings From Your Hometown Tour is headed to your hometown, be sure to go; it’s a show that is filled with so much excitement and nostalgia... And you never know who they could bring out.

What does authenticity feel and sound like to you? BJRNCK: It is whatever is true to you. But for me personally, for example , people will send me demos and I'll just take the hook. Usually, it has to feel like something that I've been through or a place that I have been. A lot of times, I'll have my friends in the session, and we will just be having girl talk. Those are kind of the stories I end up writing about. Once we all land on that one thing that we all feel like. Clearly, women as a whole feel like that, that is the story i want to tell. My music tells a story that all women want to say. It doesn't matter what type of woman you are, I try from the emotional aspect, even though we might not always be vulnerable or are scared to say it, but relate to it. What did the process look like for creating your new song "Safety"? BJRNCK: So this song wasn’t supposed to be on the album. It was really one of the last songs we did at the writing camp. I had a group of songs, but I felt like I needed more. I needed inspiration from different writers and producers. I am usually a person of habit, if I work with one producer and writer, I'm locked in. So on the last day of the camp, this girl Ariel, we were vibing, and I did say something about the beat. They were making it for two to three hours, and I didn’t like it. I was listening to Beyonce and Aaliyah, and I loved the beat on their songs, but you can’t just recreate the beat; someone will be like they sound the same. So after tweaking it so many times, Ariel came in and freestyled the hook, and I was like, Oh, I like that and then we wrote the verses together. How did you come up with your stage name BJRNCK? BJRNCK: Well, my first name is Gennae, and there’s already Jhene Aiko, so she kind of took my name. I used to be a huge fan. Then I went by Tiahna Gennae. Tiahna is one of my middle names. It felt really R&B. I didn't want my name to have a box. I wanted something that felt like a brand. I didn’t want someone to make assumptions when they saw or heard the name. Also, my last name always got made fun of so haha to you kids, now the world is saying it. You released three singles for your new project, "Crazy," "Safety," and "Club," which one is your favorite and which was your favorite to create? BJRNCK: I keep asking myself that. The most fun to create was "Crazy," I think 'Safety" and "Crazy" were made on the same day. My producer Tiggy was playing these loops, and I was like, That sounds good. He was making the beat, and by the time he was finished, I wrote the song. I wrote a song last year called "Espresso Martini"; only those two songs are songs I wrote top to bottom, and I didn't have to go into the booth. "Crazy" was the most fun to make, and the video is my favorite. My favorite song out of them all is "Safety." It's a song you can put on at any time. What did you allow yourself to do creatively that you hadn't in the past? BJRNCK: I would say completely write my songs. Most of my songs on the project I wrote by myself, which was new to me. I've been doing this for a long time, my confidence shrunk for a little bit over time. I was trying for so long, and I was like, maybe I wasn’t doing something right. I felt like I needed to have a writer or a certain producer. I had this traumatic experience where I had all my music taken away from me. Someone gave me really good advice: make songs that no one can take away from you. It's songs that I searched for the loop or started myself, learning how to record myself and write myself. Not really caring if people are gonna like it or not. Being genuine in my music. I gained my confidence back; it didn't come till after the music came, and the reactions were like it's the best music we've heard. And I was like Wow, I should have been doing this. The confidence in me and completely writing songs and believing in BJRNCK was different. Check out more from BJRNCK: Instagram  | TikTok

Chloe Qisha returns with her new single, ‘So Sad So Hot’ , out now via Columbia (UK) / RCA (USA). The new single is the first new music release from Chloe since her sophomore EP, Modern Romance , which was released in May 2025. Accompanying the new single is a music video, which is available to watch below. LISTEN TO ‘SO SAD SO HOT HERE’   On So Sad So Hot , Chloe Qisha delivers another undeniable future-pop gem. The track bursts with vibrant, upbeat melodies, weaving in funk and disco influences from across the decades, yet remaining fresh and firmly rooted in contemporary pop - this intoxicating blend has quickly become Chloe’s signature sound. For the single, she teamed up with Caroline Ailin (Dua Lipa, Charli XCX, Katseye) and her longtime collaborator Rob Milton, resulting in an instant earworm that feels both timeless and cutting-edge.   Speaking about her new single, Chloe Qisha said: “‘So Sad So Hot’ is a playful take on heartbreak - finding yourself in the throes of sadness whilst being the most magnetic person in the room. I wanted to write a song about wearing sadness as an accessory, letting it empower you instead of it dragging you down. I like to think that this song is an assertive reminder that you’re still that bad bitch even if you’ve had your heart broken. This song is the opener to a new era for me, and I’m so excited she’s coming in with a bang.”   Following a run of spectacular shows this summer, including supporting Coldplay at Wembley Stadium for three nights, British Summer Time (Sabrina Carpenter day), All Points East (Raye day), Primavera, and Leeds Festival, Chloe Qisha is now embarking on her UK and EU tour this month, which includes a sold out show at London’s Village Underground tonight, Thursday 9th October. Following her UK and EU tour - with dates in London, Manchester, Bristol, Glasgow, Paris, Brussels, Amsterdam, and Berlin - Chloe will begin her first ever US and Canadian tour in March/April 2026. Dates include New York, Montréal, Toronto, Chicago, San Francisco, and Los Angeles. All tour dates can be found below, and tickets can be purchased HERE .   Chloe Qisha is a truly special talent, and despite only launching her career in July 2024 and having played her first show in October 2024, Chloe has already achieved huge success. She has been featured on the cover of Rolling Stone UK, NME, and KNUCKLE, and has been featured and lauded by a plethora of publications, including British Vogue, The Face, ELLE UK, BBC, CLASH, DORK, DIY, The Line of Best Fit, and CLASH, to name just a few. Chloe has also been acclaimed by BBC Radio 1, Spotify, and more CHLOE QISHA TOUR DATES   05th October, King Tuts, Glasgow, UK 07th October, Gorilla, Manchester, UK 08th October, Exchange, Bristol, UK 09th October, Village Underground, London, UK 11th October, Point Éphémère, Paris, FR 12th October, Botanique Witloof, Brussels, BE 14th October, Bitterzoet, Amsterdam, NL 15th October, Badehaus, Berlin, DE 24th March, Baby’s All Right, Brooklyn, NY, USA 25th March, Baby’s All Right, Brooklyn, NY, USA 27th March, La Sala Rossa, Montréal, CAN 28th March, The Garrison, Toronto, CAN 30th March, Subterranean, Chicago, IL, USA 1st April, Popscene @ B&M, San Francisco, CA, USA 2nd April, The Echoplex, Los Angeles, CA, USA Find out more from Chloe Qisha: INSTAGRAM | X | YOUTUBE | FACEBOOK | WEBSITE

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 .

September 11, 2025 Sidestage All photos by Kat Kolesar.

With WE GO UP , BABYMONSTER take a decisive step forward—one that feels less like a debut-era victory lap and more like a statement of intent. Across only four tracks, YG Entertainment’s newest powerhouse group sharpen their identity, balancing bombastic confidence with moments of darker introspection. It’s a compact release, but one that wastes no time proving that BABYMONSTER aren’t just living up to expectations—they’re actively reshaping them. The title track, “WE GO UP,” sets the tone immediately out of the gate. Built on thunderous bass, swagger-heavy rap verses, and a chant-ready hook, the song feels engineered for big stages and even bigger crowds. There’s a triumphant, almost defiant energy to it, as BABYMONSTER declare their ascent with unapologetic confidence. The production leans into YG’s signature maximalism, but the members’ charisma keeps it from feeling formulaic. Each verse hits with precision, and the chorus lands like a rallying cry—bold, infectious, and impossible to ignore. “PSYCHO” pivots into darker territory, both sonically and emotionally. Moody synths and a haunting undercurrent give the track a seductive edge, allowing the group to explore obsession, vulnerability, and emotional push-and-pull. Vocally, this is one of the mini album’s strongest moments, showcasing dynamic range and control as the members glide between restrained verses and explosive refrains. The tension built throughout the track makes it one of the most compelling listens on the project, proving BABYMONSTER can thrive beyond just high-energy anthems. Where “WE GO UP” flexes confidence, and “PSYCHO” leans into intensity, the following track, “SUPA DUPA LUV,” brings a playful swagger to the mix. It’s bright, bouncy, and irresistibly catchy, blending pop-forward melodies with flirtatious lyrics and rhythmic flair—an absolute diamond in the rough, sort of speak. The track feels tailor-made for repeat listens, offering a lighter contrast that still maintains the group’s hip-hop edge. There’s a sense of joy here that doesn’t undercut their cool—it enhances it, reminding listeners that BABYMONSTER are just as comfortable having fun as they are commanding attention. Closing out the mini album is “WILD,” a track that ties everything together with fearless energy—and introduces country-pop elements into the fold. With driving beats and an anthemic structure, the song captures the untamed spirit hinted at throughout the release. It feels cinematic, like the closing scene of a coming-of-age film—confident, chaotic, and full of momentum. The group sound fully in sync here, feeding off one another’s energy and leaving a lasting impression long after the final note fades. At just four tracks—totalling just over twelve minutes long— WE GO UP  may be brief, but it’s remarkably focused. Each song serves a purpose, highlighting different facets of BABYMONSTER’s evolving artistry without overstaying its welcome. The mini album reinforces their strengths—stage-ready charisma, versatile vocals, and a bold sonic identity—while also hinting at deeper layers yet to be explored. Ultimately, WE GO UP  feels like a turning point. BABYMONSTER aren’t just rising—they’re solidifying their place in K-pop, and fast, carving out space with confidence and clarity. If this mini album is any indication of what’s next, their trajectory is only headed higher. Check out more from BABYMONSTER: Twitter: https://x.com/YGBABYMONSTER Instagram: https://www.instagram.com/babymonster_ygofficial/ YouTube: https://www.youtube.com/@BABYMONSTER Facebook: https://www.facebook.com/BABYMONSTER.ygofficial/ TikTok: https://www.tiktok.com/@babymonster_yg_tiktok

Canadian pop powerhouse Elijah Woods has never been one to shy away from emotional honesty. Over the past few years, he’s carved out a lane all his own—an artist equally at home crafting sleek, modern pop bangers and baring his heart with disarming sincerity. With the release of his long-awaited debut album, Can We Talk? , Woods proves that his evolution from promising hitmaker to fully realized pop auteur has been well worth the wait. After racking up over one billion streams, selling out headline tours across Canada and Asia, and even sharing stages with Niall Horan, Woods arrives at this moment with an album that feels like both a culmination and a confession. Can We Talk?  is a tightly woven eleven-track journey through love, miscommunication, and the fragile beauty of human connection. Every song feels intentional—every lyric, a piece of an ongoing conversation between heart and mind. The album opens with “So Good,” an undeniable rush of energy that instantly captures Woods’ knack for crafting arena-ready choruses. It’s euphoric and vulnerable all at once—a song about the kind of love that reframes your entire world. With its soaring melody and crisp, layered production, “So Good” is pure pop perfection, and a fitting entry point into the album’s emotional terrain. From there, Woods dives into the complexities of love and longing with “Could You Love Me?”—a track that balances self-doubt with cathartic release. The production pulses with urgency, echoing the tension between wanting to be loved and knowing you deserve more. “Ghost On The Radio” follows, and it's one of the album’s standout moments. It’s glossy, rhythmic, and addictive, but underneath its polished surface lies a deep ache. Woods sings about being haunted by memories of someone who still lingers, even when you try to move on. Nearing the mid-point of the record, songs like “Exercise Your Demons” and “Cutting The Grass” showcase Woods’ ability to stretch his sonic palette. The former leans into darker tones and introspection, while the latter injects humour and playfulness into heartbreak—a reminder that even the most painful experiences can come with levity. The title track, “Can We Talk,” serves as the album’s emotional anchor. It’s simple yet devastating, capturing the quiet desperation of wanting to fix something before it slips away. Woods’ voice—tender, cracked, and real—feels like the embodiment of late-night vulnerability. It’s the moment where the album’s thesis crystallizes: communication, or the lack thereof, can define everything. Elsewhere, “Stay Home” and “Slicked Back Hair” bring warmth and light back into the mix. The latter is particularly charming—a breezy, feel-good anthem about transformation and connection that glows with optimism. Woods describes it as “meeting someone who changes everything,” and that joy radiates through every strum of guitar, every synth line, and every beat drop. As Can We Talk?  approaches its conclusion, Woods turns inward again with “I Miss You,” a song about holding onto faith in love’s endurance, and “Dynamite,” which delivers a spark of emotional intensity that feels cinematic in scope. Then in his closing number, “That’s All Folks,” he ends things on a fittingly reflective note—a huge curtain call on a story that’s both deeply personal and universally relatable. What makes Can We Talk?  such a compelling debut isn’t just its polished pop craftsmanship—it’s Woods’ willingness to let his guard down. He writes like someone who’s lived through the highs and lows of connection and still believes in its worth. Every beat feels alive, every lyric is immensely intentional. The production—handled by Woods himself—strikes a perfect balance between glossy and grounded, offering space for his voice and his emotions to breathe. In a landscape crowded with fleeting viral hits, Can We Talk?  stands out as an album built to last. It’s honest, human, and deeply felt—a statement from an artist who’s no longer just a rising star, but one of pop music’s defining voices. Check out more from Elijah Woods: Website | Instagram | TikTok | Facebook | X | YouTube | Spotify

How did you decide on the album title? Leith: It’s a very slightly different version than the title of the song, just without the brackets. I picked it because it has two meanings for me. One is the direct meaning of the song. Half of the album is about me and my interpersonal relationships and my understanding of myself, the world and my place in it. It represents this thing of believing in a better future and what that's going to look like in a political nature. The other one is about myself and my own life. I feel like having a deep understanding of myself allows me to look at both what has happened in the past and understand it better. Also to be able to guess or build on purpose my own future. The song itself is probably my favorite on the record and most special to me emotionally. It felt like the beating heart, therefore good for the title. Is this an album you expect fans to listen to in order? Leith: Yes, definitely, I would love them to. I always design it that way, but it's okay if people don't. The placement was very specific because "(I Can See) The Future" is the only song on the record that isn't from my perspective. I wrote it from a person living hundreds and thousands of years from now that I'm fighting for now. I thought it would be meaningful, metaphorically, to kind of have most of the songs be about grieving and then have "(I Can See) The Future" be an outlier, almost as proof it's separate. Like an homage to the fact that the future will probably happen when I'm dead. It is bigger and beyond me. What is the overall emotion you want fans feeling coming out of listening to the album? Leith: Hopeful, I hope that it feels hopeful. It's an opportunity to feel a bunch of really really hard things, but in the end, be reassured that things will change and be better. Even if we don't get to see it. The world and humanity will continue to evolve and develop, and change. Life will go on. If someone was listening to your music for the very first time with this release, which song would you want them to listen to and why? Leith: Maybe "(I Can See) The Future" or "Stay." I feel like "Stay" would be a gentle intro and kind of a summary of the things that are talked about. Also, the combination of the two extremes of sadness and desperation, which is so present on the record. And also celebration, happiness and joy. When you picture listeners hearing “I Can See The Future” for the first time, what kind of setting or atmosphere do imagine it being played in? Leith: Like you’re on a bike or something by yourself, there's a cool breeze on your face and looking back at your whole life and considering the entire world and what everything means. Or you're on a walk, or maybe driving to a new place, or an old place you haven't visited in a while. Anything that leads to feeling the fullness of nostalgia. Wondering and thinking about the past and future to the fullest extent that you can. Anything that makes you feel romantic, nostalgic and reflective. What kind of atmosphere or experience do you hope fans take away from seeing this new chapter performed live on stage? Leith: I have many dreams, and it can sometimes feel intimidating or difficult to put them in the context of a regular show. I often have these far-off dreams of doing this strange tour where we are all sitting on the floor. Something freaky that will kind of be conducive of this atmosphere of togetherness. I do find it hard to curate that in specific kinds of rooms. We have tried some things in the past to make it more of a communal experience. I definitely want to continue experimenting with how to make that happen. With this record specifically, that's what I dream of fostering for people who listen to it and for me. Definitely for people who come to the shows. We're going to try and bring in some local organizations if we can to connect audience members and give them something to do in the city they live in, and further their relationship with each other. As far as musically, I don’t know. I’m feeling a little intimidated by it, but I'm excited. We're going to try and get in those beeboops and sounds on that stage into people's ears that feels natural. Generally, I hope it's therapeutic and a moment of togetherness in a world that's making us feel like we don't have that anymore. What song on the album are you most looking forward to experiencing with fans on tour? Is there a lyric you're excited to sing together? Leith: I’m gonna go to "Alone" to sing together because of the big moment at the end. It's one phrase that repeats itself over and over again, then gets really loud. I'm hoping we can scream together a little bit and feel good about it. Also, "Point of View" because it's a feel-good love song, and I don't have many of those. To see people in love with each other in all ways and singing that together, will be really touching. "Grieving" is always a pretty special experience live, but also sometimes devastating. It feels good to share that with people. Check out more from Leith Ross: Instagram  | TikTok

October 11, 2025 The Park Theatre All photos by Mikey Jablonski.

There was a special kind of warmth filling the Burton Cummings Theatre on October 9th, 2025, when Max McNown brought his Forever Isn’t Long Enough Tour  to Winnipeg. Despite the cool fall evening outside, the atmosphere inside was buzzing with an energy that felt both deeply personal and widely communal—the kind of show that reminds you music’s greatest gift is connection. Supported by The Jack Wharff Band, McNown delivered a night that beautifully bridged storytelling, introspection, and heartland soul. The Jack Wharff Band. All photos by Samuel Stevens. Kicking off the evening, The Jack Wharff Band set the tone with a mix of Southern rock grit and country charm. Their set began with a track that was simply titled “Intro” on the setlist, which built anticipation before sliding into “Burnin’ It Down,” a bluesy number packed with swagger. “Ole Virginia” and “Picture Perfect” showcased Wharff’s strong vocal presence and the band’s tight musicianship, while “Moonshire Man” and “Messed Up Kid” balanced rowdy energy with earnest storytelling. A surprise moment came when the group covered Pink Floyd’s “Time,” transforming the progressive rock classic into a soulful jam laced with slide guitar and warm harmonies—a reinterpretation that earned loud applause. The band closed out their set with the track, “Washed.” Without ease, the band left the crowd energized and ready for the main act. From the moment Max McNown stepped onto the stage and strummed the opening chords of the tour's namesake, “Forever Ain’t Long Enough,” it was clear he wasn’t just performing songs—he was sharing pieces of himself with the Winnipeg audience. The Oregon-born singer-songwriter’s blend of folk, Americana, and roots rock resonated deeply with the Winnipeg audience, who hung on every lyric as if hearing their own memories sung back to them. “Hotel Bible” and “Turned into Missing You” followed, both drenched in vivid imagery and the kind of emotional weight McNown has built his name on. Between songs, he spoke humbly and often with immense gratitude, mentioning how surreal it felt to be performing in such a historic theatre so far from home and how grateful he is to be able to sing these songs in front of audiences around the globe. Max McNown. All photos by Samuel Stevens. Songs like “Azalea Place,” “Wherever I’m Going,” and “Freezing in November” struck a quiet nerve—the room falling nearly silent as his warm, slightly raspy voice carried through the rafters. The momentum built with “Night Diving” and “The Way I Wanna,” both of which saw the crowd swaying and singing along softly. One of the night’s highlights came when McNown performed “Marley,” seamlessly weaving in a tender snippet of Bob Marley’s hit song “Three Little Birds” that turned into a joyful, communal sing-along, a moment that perfectly captured his spirit as both a performer and a unifier. From there, he powered through fan favourites “Dead Set,” “Fishing Line,” and “Same Questions,” showcasing the full range of his artistry—from introspective to anthemic. “Love Me Back” and “Hindsight and Photographs” closed the main set in spectacular fashion, with the audience giving him a standing ovation that lasted until he reappeared for the encore. Returning to the stage, McNown began “A Lot More Free,” a reflective number that felt almost like a conversation between old friends. Immediately after, he thanked the audience once again for coming and taking time out of their certainly busy lives to come see him perform for a couple of hours, before launching into the heartfelt finale, “Better Me For You (Brown Eyes),” which glowed with hope and vulnerability—the perfect closing statement for an artist whose music thrives on honesty. The Winnipeg stop of the Forever Isn’t Long Enough Tour  was a masterclass in emotional storytelling. Max McNown’s set balanced powerful narratives with subtle moments of introspection, while The Jack Wharff Band set the stage with authentic southern energy. The show’s pacing, intimacy, and communal feel made it one of those nights that linger long after the lights dimmed.

Over the past decade, Arizona indie rock quartet Breakup Shoes has mastered the art of turning emotional turbulence into shimmering, sun-drenched confessionals. With their latest album, Standing Still , released on October 10, 2025, the band takes that introspection to new heights, expanding their sonic palette while staying rooted in the heartfelt storytelling that has defined their catalogue since 2016’s Nicotine Dream . Produced by Charlie Brand, the frontman of the indie pop band Miniature Tigers, Standing Still  is a record about discontentment—the uneasy space between comfort and change. Frontman Nick Zawisa’s lyrics read like a personal journal entry of his last few years: filled with self-doubt, yearning, and the need to break free from stagnation. The result is Breakup Shoes’ most emotionally raw and musically adventurous project yet. The album opens with “Moving On Is Hard...,” a fitting prologue that captures the paradox of growth—the excitement of new beginnings weighed down by the ache of what’s left behind. It sets the stage for Standing Still’s emotional journey: one foot in nostalgia, the other stepping into the unknown. The album's lead single “Brainwash” quickly follows, wrapping existential self-loathing in infectious, indie-sleaze energy. “ Clear my mind, a blank slate would be fine ,” Zawisa sings over glimmering guitar lines and a danceable rhythm section. The contrast between the song’s buoyant production and its darker lyrical core is quintessential Breakup Shoes—a reminder that even the brightest melodies can hide a bruised heart. Elsewhere, “Malaise” finds the band channelling frustration into groove. Originally written as a darker, shoegaze-inspired cut, it evolved into an atmospheric, disco-imbued indie jam with pulsing basslines, bongo flourishes, some glockenspiel, and reverberated tom fills. It’s an irresistible reflection of the album’s themes—motion and stagnation colliding in real time. Whereas tracks like “The Suburbs” and “Universal” explore feelings of displacement and longing, painting vivid scenes of suburban ennui and quiet introspection. The keyboard-driven number “Anti-Social Socialite” adds a sardonic twist, poking fun at isolation in an era of constant connection, while the emo-tinged track “Midwest Goodbye” delivers one of the record’s most bittersweet hooks—a love letter to fleeting moments and the people who pass through them. The album’s emotional centrepiece comes in the track, “Copacetic.” The single is a wistful daydream of escapism. Driven by warm acoustics, dreamy synths, and sparkling guitars, it imagines a world where peace and contentment feel within reach—even if only it's in fantasy. “We tried to push our boundaries on this one,” says Zawisa, and it very much shows: the song radiates a nostalgic indie rock warmth that feels both familiar and brand new, that meets somewhere in the realm of modern emo and pop punk. “Infinitely Sweet” serves as a slow moment of gentle reflection before the closing track, “…But So Is Standing Still” hits. The title track ties the record’s narrative together, acknowledging that while movement often feels necessary, there’s also meaning to be found in stillness—in recognizing where you are before deciding where to go next. Across its ten tracks, Standing Still  showcases a band fully in tune with both their craft and their emotional center. The production from Charlie Brand enhances their sound with richer textures—shimmering synths, layered harmonies, an assortment of other instruments, and subtle percussive details that breathe new life into their familiar dream-pop sensibilities. Ultimately, Standing Still  is a meditation on change, comfort, and the quiet panic of adulthood. It’s Breakup Shoes’ most cohesive and mature work to date—not because it has all the answers, but because it’s unafraid to admit it doesn’t. Check out more from Breakup Shoes: TikTok | Facebook | Instagram | YouTube

Country music met party anthems and heartfelt storytelling when Cooper Alan brought his To The Bar Tour  to the Burton Cummings Theatre in Winnipeg on October 8, 2025. With support from rising artist Jake Banfield, the night delivered a rowdy, crowd-pleasing blend of traditional country spirit, pop crossover energy, and southern charm. Jake Banfield. All photos by Samuel Stevens. Opening the night, Jake Banfield eased the crowd into the evening with his warm vocals and emotional range. Highlights from Jake's set included “Whiskey Tasting” and “Take This Pain,” both of which showcased his ability to channel heartbreak into authenticity. During his opening set, Jake also performed two cover medleys, which gave the audience a taste of his versatility, smoothly transitioning between genres and artists, but it was before diving into a second medley that started with “Something in the Orange,” which really had the audience drawn in. Banfield’s set closer, “Lasso,” drew one of his biggest reactions of the night, its catchy hook and lively energy bringing the early arrivers to their feet. His ability to balance introspection with easygoing charisma made him an ideal opener for the night ahead. When Cooper Alan hit the stage, the Burton Cummings Theatre instantly transformed into a full-blown country bar sing-along. Opening with “First Rodeo” and “This Ain’t Country,” Alan wasted no time setting a playful, high-energy tone. His charisma and crowd connection were undeniable—every moment felt like a conversation between old friends, just with thousands of voices singing along. The night’s title track, “To the Bar,” served as both a rallying cry and a mission statement. Alan’s band brought a rock-driven punch that carried into “Jesus Saves” and “Can’t Dance,” balancing humour with sincerity. A particularly touching moment came during “Dale Dickens (RIP)” and “Holy Ghost,” where Alan’s storytelling and vocal depth grounded the set in real emotion. Cooper Alan. All photos by Samuel Stevens. Alan’s talent for mashups and genre-bending shone brightest throughout the night. His medley of “Save a Horse (Ride a Cowboy),” “Fishin’ In the Dark,” “Fight for Your Right,” “Drift Away,” and “Your Man” sent the crowd into a frenzy—proof of his ability to unite country, rock, and pop fans alike. Later, his rendition of “Wake Me Up” (Avicii cover) and a creative country twist on Afroman’s “Colt 45” had the audience dancing and laughing in equal measure. As the night wound down, Alan delivered crowd favourites “Plead the Fifth” and “Feel Like Hell Today,” balancing introspection and bravado before closing with a rapid-fire medley of “Sold (The Grundy County Auction Incident),” “Without Me,” and “Get Low.” The fusion of country storytelling and hip-hop swagger perfectly encapsulated his genre-defying appeal. When Alan launched into his “Crowd Favorite Artist Mashup” for the encore, the theatre roared with approval. Each snippet—drawn from fan requests and viral moments—felt like a shared celebration between artist and audience. The To The Bar Tour  stop in Winnipeg proved that Cooper Alan is more than a social media sensation—he’s a bona fide entertainer with a knack for bringing people together. With Jake Banfield’s soulful opening and Alan’s dynamic blend of humour, heart, and showmanship, the Burton Cummings Theatre became the liveliest “bar” in the city for one unforgettable night.

There was nothing pitiful about the energy at The Park Theatre on October 7, 2025, as Vancouver indie rockers Hotel Mira and local, rising singer-songwriter Zach Riley rolled through Winnipeg for the Pity Party Tour . What unfolded over the course of the night was a dynamic mix of heartfelt storytelling, high-octane rock, and cathartic sing-alongs that perfectly captured the tour’s tongue-in-cheek name—equal parts melancholy and celebration. Zach Riley. Photos by Samuel Stevens. Winnipeg’s own Zach Riley kicked off the evening with an intimate yet powerful performance that showcased both his vocal finesse and emotional range. Opening with “With You,” Riley immediately drew the crowd in with his blend of alternative rock warmth and pop sensibility. His voice carried an aching sincerity, soaring over crisp guitar tones and understated percussion. Tracks like “Rewind” and “Hero” demonstrated Riley’s knack for crafting melodies that stick, while “Your Touch” and “Long Way To Go” introduced more vulnerability, painting portraits of love and longing with an earnest touch. His surprise cover of KALEO’s “Hot Blood” was a standout—gritty, passionate, and perfectly suited to his raspy vocal edge. He closed his set with “Kiss Me,” a heartfelt anthem that left the audience swaying and cheering, setting an emotional tone for the night ahead. When Hotel Mira took the stage, the mood shifted from introspection to exhilaration. Led by the endlessly charismatic Charlie Kerr, the band exploded into “America’s Favourite Pastime,” igniting the packed Park Theatre with their signature mix of swagger and sincerity. Kerr’s stage presence was magnetic—one moment strutting across the stage with confidence, the next reaching out to fans in moments of genuine connection. Hotel Mira. Photos by Samuel Stevens. Their set was a masterclass in balance—a seamless blend of infectious rock bangers and emotionally charged slow burns. “Right Back Where I Was” and “Fever Pitch” radiated energy, while “Jungle” and “Runner” offered moments of tension and release, driven by tight instrumentation and Kerr’s theatrical delivery. Midway through, the band leaned into their more reflective material with “The Eyes on You” and “Silver Lake,” both of which showcased Hotel Mira’s evolution from indie upstarts to one of Canada’s most compelling modern rock acts. The emotional apex came with “This Could Be It For Me” and “Cowboy,” as the crowd belted every word back—a testament to the deep connection their music has built with fans. The main set closed with “Speaking Off the Record” and “Dancing With the Moonlight,” two anthemic tracks that had the entire venue moving in unison. But the night wasn’t over yet. After a roar of applause, Hotel Mira returned for a three-song encore that perfectly encapsulated the spirit of the evening. “Son-In-Law” brought humour and bite, “Southern Comforting” delivered heartfelt nostalgia, and by the end, the room felt transformed—an emotional release shared between band and audience alike. The Pity Party Tour  stop in Winnipeg was a night that reminded fans why live music matters. Zach Riley offered an intimate glimpse into his artistry, setting the stage with authenticity and heart, while Hotel Mira proved once again that they’re one of the most exciting live acts in Canadian music today. Their performance was equal parts electric and emotional—a perfect “pity party” where everyone left feeling a little lighter than they came in.

October 6, 2025 Sidestage rosecoloredworld. Photos by Samuel Stevens. MEST. Photos by Samuel Stevens. Boys Night Out. Photos by Samuel Stevens.

On October 3, 2025, the Burton Cummings Theatre in Winnipeg was transformed into a decadent, high-voltage playground of sensuality, satire, and self-liberation as the Hush Hush Tour  rolled through town, featuring DIY, indie pop provocateur Lilyisthatyou! and the ever-outrageous Geordie Kieffer. Together, the two brought a night that was equal parts confessional and chaotic—a glorious collision of electro-pop, alt-funk, and unapologetic honesty that left the crowd breathless, blushing, and begging for more. Lilyisthatyou!. Photos by Samuel Stevens. Opening the night, Lilyisthatyou! delivered a magnetic performance that fused pop allure with emotional vulnerability. Dressed in her signature bold style—playful yet commanding—she kicked off her set with “Fool,” instantly drawing the audience into her world of heartbreak, hedonism, and healing. Her vocals were as piercing as they were tender, weaving through tracks like “FMRN” and “How Could You” with both bite and charm. Midway through, the mood shifted as Lily slowed things down with “Relax After Work With A Drink” and “Siren,” her voice drenched in longing over atmospheric beats. Her live rendition of “Hard To Love” showcased both her vocal control and her charisma—effortlessly balancing self-awareness with swagger. Songs like “Canadian Idol” and “Professional” highlighted Lily’s clever lyricism, turning self-doubt and societal pressure into glitter-covered empowerment anthems. The emotional centrepiece came with the song, “For Eve,” a song dedicated to self-acceptance and loss, where the crowd swayed in near-silence under the soft glow of stage lights. As the set closed with “All About Me,” Lily turned the theatre into a dancefloor one last time, blending confidence and catharsis in one explosive finale. Her ability to make vulnerability feel rebellious and freedom feel intimate made her set a triumph—one that blurred the line between performance and personal revelation. Then came Geordie Kieffer—and with him, pure chaos in the best possible way. A natural showman and provocateur, Kieffer stormed the stage to “Swinger,” instantly electrifying the room with his outrageous energy and tongue-in-cheek swagger. His set was a wild, genre-bending spectacle—blending elements of funk, rock, and electronic sleaze with theatrical flair. Geordie Kieffer. Photos by Samuel Stevens. “The Car Song” and “Banana Bag” had the crowd laughing, dancing, and shouting every word, while “ICON KILLER” and “Bad Boy” amped up the adrenaline, transforming the theatre into a sweaty celebration of chaos and charisma. Between songs, Kieffer’s banter was equal parts absurd and endearing—part rockstar, part stand-up comedian. The encore, “Sex Party,” was a raucous grand finale—part carnival, part sermon—complete with flashing lights, crowd chants, and Geordie’s signature blend of chaos and control. It was the kind of performance that felt dangerous, hilarious, and undeniably magnetic all at once. The Hush Hush Tour  in Winnipeg wasn’t just a concert—it was a declaration of artistic freedom. Lilyisthatyou! offered the raw emotional honesty of a pop poet learning to thrive in her own skin, while Geordie Kieffer embodied the wild spirit of absurdist rebellion. Together, they made vulnerability and absurdity coexist—two sides of the same, fearless coin. By the end of the night, as the lights dimmed and fans spilled out into the cool autumn air, one thing was clear: the Hush Hush Tour  didn’t whisper—it shouted, seduced, and soared.

October 1, 2025 Canada Life Centre Kardinal Offishall. Photos by Samuel Stevens. Flo Rida. Photos by Samuel Stevens.

How would you describe your music to any person who may have never heard it before? Anders: My music is rooted in Americana and singer-songwriter traditions, with touches of blues and rock woven in. It’s more personal and reflective than my work with Ohmwork, focusing on storytelling, mood, and atmosphere. I try to write songs that feel honest and human—music that can connect whether you’re listening closely to the lyrics or just letting the sound carry you. What's the significance of your musical moniker? Anders: I chose to release my solo work under my own name, Anders L. Rasmussen, because this project is very personal. Unlike my band work with Ohmwork, where the sound is heavier and more collective, this music is about expressing my own stories and influences more directly. Using my name felt like the most honest way to present it. What's the significance of your band's band? Anders: My name. L. Stands for Ljosdahl and is my mom's surname. What are your musical influences? Anders: My influences are pretty broad, but they often circle back to strong songwriting and authentic expression. I draw inspiration from the storytelling tradition of Americana and folk, the soul and grit of the blues, and the energy of rock. What are your musical inspirations? Anders: My inspiration often comes from real life—personal experiences, observations, and the emotions tied to them. I’m inspired by the stories people carry, the landscapes I live in, and the moments that make you stop and reflect. Music for me is about honesty, so I’m always chasing that feeling of capturing something true, whether it’s joy, loss, or just the beauty in everyday life. 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. Anders: That’s a tough one, because there are so many. I’d love to write or share a track with artists who value strong storytelling and authenticity—someone like Jason Isbell would be amazing. What's the new single about? Anders: "Skyward" is about striving toward something beyond yourself—whether it’s hope, freedom, or just the courage to keep moving forward when life gets heavy. It’s a song about lifting your gaze, even when the ground feels unsteady. What's something you hope people take away from the new single? Anders: I hope listeners feel a sense of openness in it. That even in the struggles we go through, there’s always a way to rise above. If the song can give someone that little push to keep going, then it’s done its job. What did you allow yourself to do creatively for this song that you haven’t in the past? Anders: With this track, I allowed myself to lean more into atmosphere and space, letting the song breathe instead of filling every corner with sound. 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? Anders: When I hit a creative rut, I usually step away from the music for a bit. Going for long walks, spending time in nature, or just observing everyday life helps me reset. Often it’s those small, ordinary moments that spark new ideas. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? Anders: My own songs, always. How about the single, "Skyward"? If you could perform a show this very second anywhere in the world, where would it be? Anders: New York. Love that city. Is there any particular venue(s) or city/cities that comes to mind? Anders: Playing a smaller, intimate venue in New York would be a dream—somewhere the audience is close, and you can really feel that connection. Beyond that, I’d love to take the songs to other cities with a strong live music culture, places where people come to really listen. What do you currently have planned for the remainder of the year? Anders: I’ll be releasing at least a couple more singles leading up to my debut solo album in November. I’m really excited about that. Along the way, I’ll also be playing shows to share this music live and connect with people face-to-face. If your music was a type of food, what would it be and why? Anders: I think my music would be something like a hearty stew. It’s rooted in simple, honest ingredients—Americana, blues, and rock—but simmered together over time so the flavours blend into something deeper. It’s warm, down-to-earth, and made to be shared, but there’s also a richness there if you take the time to really taste it. Thanks for the time today, Anders. Is there anything else you may want to add that I didn't cover before you go? Anders: At the end of the day, "Skyward" is about looking up, moving forward, and daring to dream a little bigger. I hope listeners can take that feeling with them when the song ends.