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Country music’s rising voice, Carson Beyer , returns with a track that feels both timeless and urgently of the moment. His upcoming single “ Reason To Stay ” captures the aching push-and-pull of a relationship teetering on the edge. Co-written with hitmaker Jerry Flowers, who has penned chart-toppers for Jason Aldean and Sam Hunt, the song delivers a rootsy gospel-leaning cry for redemption. From the opening chords, “Reason To Stay” is drenched in Muscle Shoals soul. Beyer’s voice is smooth yet raw, carrying just enough grit to make every word feel lived-in. He leans into his lower register like a man shouldering the weight of heartbreak, before climbing into soaring gospel tones that beg not just for forgiveness but for a future. This is not a song about wallowing; it is about reaching for love before it slips through your hands. Thematically, the track zeroes in on that make-or-break moment in love, when someone you care about is a breath away from leaving. Beyer frames that fear not as weakness but as motivation, turning vulnerability into courage. It is a perspective that sets him apart from much of today’s country landscape, where heartbreak often gets drowned in neon lights and whiskey bottles. Sonically, the production is as rich as the story itself. Co-produced by Beyer and Sol Littlefield, whose credits include Carrie Underwood and Luke Combs, the arrangement balances modern polish with organic grit. A steady backbeat anchors the track while layers of guitar, organ, and harmony vocals weave a warm, redemptive texture. The Muscle Shoals influence is undeniable, tying Beyer’s Kentucky roots to a legendary tradition of Southern storytelling. “Reason To Stay” continues the impressive streak of releases from Beyer’s Muscle Shoals recording cycle, which has already earned praise from CMT, All Country News, and Country Minute. What sets Beyer apart is his ability to marry the tradition of George Strait and Keith Whitley with the soul of R&B influences like Usher and Justin Timberlake. That blend creates a voice that is equal parts classic and fresh, comforting yet forward-looking. Carson Beyer is proving that vulnerability is strength, and “Reason To Stay” may be his most powerful moment yet. It is a song built for late-night drives, hard conversations, and the quiet moments when love is worth fighting for.

Some songs scream their heartbreak. Darrian Gerard’s “ Need Her ” stares you in the eye and lets the silence do the damage. It’s not about cheating, betrayal, or some messy blowout. This is about the friendships and relationships that drift away. No big fight, no one to blame, just life slowly pulling people in different directions until one day you realize they don’t need you anymore. And that hurts in a way that’s hard to shake. With lines like “Make your plans, invite our friends, except for me” and “What point did you get to ‘I don’t need her’,” Gerard bottles that quiet heartbreak into something almost too relatable. It’s the kind of grief you can’t really explain to anyone who hasn’t lived it, a mix of loss, acceptance, and strange empowerment. “Need Her” also marks a turning point for Gerard. It’s her first co-write and the first time she’s handed production over to someone else. Teaming up with Kayla Diamond, who produced and co-wrote the track, might seem like a risk for an artist who built her career on doing everything herself. But the gamble pays off. The production is sleek without stripping away emotion, wrapping Gerard’s vocals in a rich alt-pop atmosphere that gives the song space to breathe. It’s still unmistakably her, just with a sharper edge. The timing couldn’t be better. “Need Her” lands the day before Gerard steps onto the main stage at Laketown Amphitheatre, opening for Nickelback in front of thousands. Dropping one of her most vulnerable songs right before hitting a career milestone feels like a power move. It’s personal growth colliding with professional momentum in real time. What makes “Need Her” stick is how it refuses to villainize anyone. It’s self-aware without being self-pitying, sad without sinking into melodrama. If you’ve ever outgrown someone or been left behind by someone else’s growth, this song will feel like it was written for you. Gerard doesn’t just make alt-pop anthems, she crafts the kind of songs you’ll come back to years later when you need a reminder that you survived the quiet, bittersweet goodbyes. “Need Her” isn’t about a blowout fight; it’s about the slow fade. Why do you think those quiet endings sometimes hurt more than the explosive ones? The slow fades sneak up on you. One day, you realize you’re not as close anymore, and it stings because there wasn’t one big reason. Those are the ones that stick with me the most. With the slow fade, it’s almost like mourning something that just slipped away. There wasn’t one thing, so you keep replaying moments in your head, wondering where it shifted, and that can actually cut deeper. You’ve always been fiercely independent with your music. What was the most challenging part about handing over production and co-writing duties for the first time? Just letting go of control. I’ve always done everything myself, the writing, producing, recording, so handing the reins to someone else felt really vulnerable. But at the same time, it taught me to trust the process and realize that collaboration can take a song somewhere I might never have gotten on my own. Kayla Diamond is an amazing producer and even more amazing human being, and she made it so easy for me to hand over the power on producing and made the song into one of my favourites! This track drops literally a day before you open for Nickelback. No pressure, but… how do you mentally prepare for dropping something vulnerable and then walking on stage in front of thousands? Yeah, no pressure at all! Haha. Honestly, I try not to overthink it. I remind myself that releasing music and playing live are two separate moments. With the release, I’m letting the song go and hoping people connect with it. With the show, it’s about being present, having fun, and giving the best performance I can. If anything, dropping the track right before kind of fuels me;  it’s like all the energy and nerves get channeled into the set. And it was the first time “Need Her” was played live, so that was super exciting on its own! Many artists write about romantic breakups. Why did you choose to focus on platonic or non-romantic drift, and do you think we talk about that type of loss enough? I don’t think we talk about it enough at all. Friendships and non-romantic relationships can hurt just as much when they fall apart. Sometimes even more, because those are the people who know you differently. I wanted to shine a light on that kind of loss because it’s something we all go through, but it doesn’t always get the same space in songs. When fans hit play on “Need Her” , what’s the one emotion or thought you hope sticks with them after the song ends? I hope they feel seen. Like, if they’ve gone through a friendship or connection that slowly drifted apart, they’re not alone in that feeling. On a personal level, if I’m going through it and I find a song where someone’s gone through a similar thing, it makes me feel so much less alone and like I can get through it too. I want listeners to walk away feeling like it’s okay to grieve that, but also okay to keep moving forward.

Music thrives on the unexpected. While some collabs are industry-engineered hype machines, the ones that really shift culture are the surprises, moments where two artists from different worlds, genres, or even generations collide and create something timeless. From rock bands teaming with rap pioneers to pop stars vibing with jazz legends, these collaborations broke rules, smashed charts, and proved that sometimes the best creative sparks come from the least predictable pairings. Run-DMC & Aerosmith – “Walk This Way” (1986) When Run-DMC and Aerosmith joined forces, critics thought it was a gimmick. Instead, it became a watershed moment in music. By mashing hip-hop with rock, “Walk This Way” helped rap crash MTV’s gates and introduced both acts to new audiences. Without it, crossover culture might look very different. Queen & David Bowie – “Under Pressure” (1981) Recorded almost by accident in a jam session, “Under Pressure” fused Bowie ’s experimental cool with Queen’ s operatic rock. The iconic bassline (later sampled in Vanilla Ice’s “Ice Ice Baby”) and soaring vocal interplay proved that two titans could merge without overshadowing each other. Johnny Cash & Nine Inch Nails – “Hurt” (2002) Cash’s weathered voice stripped Trent Reznor’s haunting ballad of its industrial edge and transformed it into a chilling meditation on mortality. Reznor admitted Cash’s version eclipsed his own, a rare moment when a cover collaboration redefined a song’s legacy. Santana & Rob Thomas – “Smooth” (1999) Nobody expected a Latin rock legend and a pop-rock frontman to create one of the biggest songs of all time. “Smooth” didn’t just top charts; it became the anthem of the late ’90s, reviving Santana’s career and solidifying Rob Thomas as a household name. Linkin Park & Jay-Z – Collision Course (2004) Linkin Park’s nu-metal energy fused with Jay-Z’s precise flow to produce one of the most successful mashup projects in history. “Numb/Encore” not only won a Grammy but also proved that rap and rock hybrids could dominate both radio and stadiums. Tony Bennett & Lady Gaga – Cheek to Cheek (2014) When Gaga linked with jazz legend Tony Bennett, many were skeptical. But the album showcased her powerhouse vocals in a new light and introduced a younger generation to jazz standards. It won a Grammy for Best Traditional Pop Vocal Album, proving authenticity transcends genre. Beyoncé & Jack White – “Don’t Hurt Yourself” (2016) Beyoncé shocked fans by blending her soul fire with Jack White’s rock snarl on Lemonade . The track was explosive, proving she could dominate beyond pop and R&B while bringing new grit and rage to her sonic palette. Eminem & Dido – “Stan” (2000) At first glance, Eminem’s raw, violent storytelling and Dido’s ethereal balladry seemed worlds apart. Yet “Stan” fused the two perfectly, creating one of the most influential rap tracks ever recorded — and skyrocketing Dido’s career in the process. Lil Nas X & Billy Ray Cyrus – “Old Town Road (Remix)” (2019) What started as a TikTok meme exploded into a genre-bending juggernaut. Billy Ray Cyrus’s twangy addition gave Lil Nas X credibility with country audiences, while the remix shattered Billboard records and sparked endless debates about genre boundaries. Elton John & Dua Lipa – “Cold Heart” (2021) Few expected Elton John to repackage his classics with a modern dance-pop twist, but his collaboration with Dua Lipa and PNAU created a worldwide hit. “Cold Heart” bridged generations, proving that Elton’s catalog could still dominate streaming-era charts. Miley Cyrus & The Flaming Lips – Miley Cyrus & Her Dead Petz (2015) Psychedelic rock band meets Disney alum? Sounds insane, but it happened. While the project was polarizing, it showcased Miley’s boldest experimentation yet and reinforced The Flaming Lips’ status as fearless sonic explorers. Kanye West & Bon Iver – “Lost in the World” (2010) On My Beautiful Dark Twisted Fantasy , Kanye sampled Bon Iver’s “Woods” and pulled Justin Vernon into the studio. The result was a haunting, genre-defying track blending hip-hop, indie folk, and electronic atmospherics, a sound years ahead of its time. Post Malone & Ozzy Osbourne – “Take What You Want” (2019) When Posty linked up with Ozzy, younger fans thought Post “discovered” him. In reality, it was a savvy, mutually beneficial collab: Post tapped into rock royalty, and Ozzy introduced himself to Gen Z. The hard-edged anthem was proof that musical icons can transcend eras. Why These Collaborations Still Resonate What makes these collabs unforgettable isn’t just shock value; it’s the chemistry. When artists push past comfort zones, they unlock something bigger than themselves. These songs and albums remind us that music is at its best when it blurs boundaries, challenges audiences, and sparks conversations. Whether it’s a jazz legend vibing with a pop provocateur, or a rapper trading verses with a folk singer, the magic lies in the risk. Because sometimes, the most unlikely collabs end up shaping culture forever.

Photo by RDNE So, you’re an indie artist with dreams of world domination, okay, maybe not world domination, but certainly some recognition, streams, and fans. You’ve got the talent, the songs, and the drive, but what you might not have is a major label backing you up with a giant budget for promotion. No worries! Promoting music without a label is entirely possible, and we’ve got 10 proven tips to help you rise above the noise and get noticed, without the big record deal.  1. Create a Killer Online Presence In the digital age, independent music promotion begins with your online presence. You need to have a professional-looking website, social media profiles that match your brand, and an active presence across platforms. Post snippets, teasers, and live videos, and engage with your fans regularly. Using an online video recorder is a great way to create polished content quickly, whether you’re announcing a new track or sharing behind-the-scenes moments. Fans will expect to find you on Instagram, Facebook, Twitter, TikTok, and anywhere else people are hanging out online. Don’t just post your music, share your personality, behind-the-scenes glimpses, and relatable moments that connect you with your audience. 2. Leverage the Power of Streaming Services Even without a major label, you can market your music without a record deal by making sure it's available on all major streaming platforms like Spotify, Apple Music, YouTube, and SoundCloud. Getting your tracks on these services increases visibility and allows fans from all over the world to discover your music. Don’t forget to submit your songs to playlists; they are the modern-day radio stations that help promote music without a label. 3. Collaborate with Other Indie Artists Photo: Pavel Danilyuk One of the easiest ways to grow your audience is by teaming up with other artists. Look for fellow indie musicians whose fans would dig your vibe and see if you can collaborate on a track, a music video, or even a live performance. This creates a win-win situation where you share fan bases and promote each other’s music. When you collaborate, you’re not just promoting your  music; you’re amplifying your exposure and building connections. 4. Utilize Social Media for Music Promotion DIY music promotion strategies are most effective when you use social media to your advantage. It’s a free (or almost free) way to get the word out about your latest release. Post snippets, teasers, and live videos, and engage with your fans regularly. Use stories, reels, and posts to keep your audience in the loop about your upcoming shows, releases, or new music. The more authentic and transparent you are, the more fans will connect with you. 5. Build an Email List Email marketing may sound like a thing of the past, but it’s still one of the most effective ways to promote music as an indie artist. Use a service like Mailchimp or Substack to build an email list and send regular updates about your music, upcoming shows, and exclusive offers. Offering a free download of a track or a special behind-the-scenes video in exchange for signing up can help you grow your email list quickly. And trust us, your fans will appreciate the personal touch of direct communication. 6. Play Live Shows and Tours (Even Virtual) Photo: RDNE Nothing beats independent artist promotion like performing live. Whether it’s a full-blown tour or a cozy local gig, playing live allows you to connect with fans in real life, build a community, and create buzz. If a physical tour isn’t in the cards, virtual shows are an awesome way to keep engaging your audience. Live streams, virtual festivals, or Instagram/Facebook live performances are all opportunities to get your music heard and increase your visibility. 7. Get Press Coverage and Blog Features Getting indie music coverage from blogs and websites is another powerful way to market your music without a record deal. Reach out to music blogs, podcasts, and local media outlets to see if they’d be interested in featuring your music. Build relationships with these outlets, offer them exclusive content, or pitch their compelling stories about your journey. Press features can drive traffic to your music and give you the kind of credibility that’ll help you stand out. 8. Engage Your Fans—They’re Your Superpower Fan engagement is your secret weapon. Marketing music without a label requires building a strong relationship with your audience, and that means talking to them, not just shouting your music at them. Respond to comments, ask for feedback, create polls, and let your fans feel like they’re part of the process. Offer exclusive content, sneak peeks, or early access to new music to make them feel like VIPs. Fans who feel valued are more likely to spread the word about you and your music. 9. Submit Your Music to Playlists (and Don’t Be Afraid to Ask) Getting your music featured on curated playlists is one of the most effective ways to gain new listeners and grow your fanbase. There are thousands of playlists out there, both big and small, that can give your tracks the exposure they need. Don’t be afraid to pitch your music to playlist curators, whether that’s submitting to Spotify’s editorial playlists or smaller, independent curators who specialize in your genre. Playlists are the modern radio stations and can be a game-changer for indie artist music marketing. 10. Invest in Your Brand (Without Breaking the Bank) Photo: Tima Miroshnichenko No, you don’t need a huge budget to market your music effectively, but you do need to invest time and resources into building your brand. Think about your image, your visuals, your story, and your music videos. Are they cohesive? Does everything reflect who you are as an artist? You don’t need a big label to create a professional look—just some creativity and consistency. As an indie artist, your brand is just as important as your music, so spend some time developing it. In conclusion, promoting your music without a major label doesn’t mean you’re stuck in obscurity. With the right strategies, independent music promotion tips, smart social media use, creative collaborations, and fan engagement, you can build a dedicated following and grow your music career.

Bermuda’s music scene has always been rich with talent, but few projects have felt as ambitious or as unflinchingly honest as Derek G. and Buzby’s new album A Villain Error. The multi-genre journey does not just entertain. It challenges listeners to sit with uncomfortable truths, to reconsider their own choices, and to explore the fragile line between good intentions and perceived villainy. For Derek G., a producer, musician, and engineer with over 20 years of experience, this project is a natural extension of a lifetime dedicated to sound. His fingerprints are everywhere on the record, from the intricate production choices to the seamless layering of genres that could easily feel disjointed in less capable hands. Buzby, known locally as a “vibe dealer,” brings an emotional depth and lyrical sharpness that make the songs stick long after the beat fades. Together, the duo has created a body of work that is equal parts reflection, experimentation, and bold storytelling. Sonically, A Villain Error is a kaleidoscope. Rap verses collide with the bounce of dancehall, while afrobeat rhythms slip into the smoky textures of R&B. Just as you start to settle into one groove, the project pivots. Acoustic guitars give way to dubstep intensity, or light punk tones bleed into boombap grit. It is daring but never reckless. Instead, the genre shifting mirrors the unpredictability of life itself: highs, lows, reconciliations, and misunderstandings, all woven together into one sonic tapestry. Tracks like “Let Go” showcase Keiran Bradshaw’s stirring guitar work, adding a raw and organic texture that perfectly balances the more electronic-heavy cuts. “Do You Know?” calls on the talents of Derek Simmons Sr. and Leroy Francis, grounding the album with Bermuda’s own musical lineage. Features from Mr. Fotogenik, Matthew Bento, CHINYERE, Hippy X, and GHS expand the palette further, adding new textures without ever overshadowing Derek G. and Buzby’s central vision. The additional mixing and vocal production from Matthew Bento elevate the sound to industry-level polish while still keeping the heart of the project raw and unfiltered. Lyrically, A Villain Error lives up to its name. Many tracks circle the theme of misunderstood motives. When does doing the “right” thing still make you look like the villain in someone else’s story? The duality is haunting, especially as Buzby’s introspective verses balance vulnerability with quiet defiance. There is a running tension between personal reflection and imagined narratives, blurring the line between reality and metaphor. That duality is the beating heart of the album and what makes it resonate beyond Bermuda’s borders. Thematically, the record thrives on contrast. One moment, you are pulled into a heavy, bass-driven rap anthem brimming with energy. Next, you are immersed in a stripped-back acoustic track that feels almost confessional. The push and pull keep listeners on edge, mirroring the constant flux of life’s decisions and consequences. Ultimately, A Villain Error is more than a showcase of genre versatility. It is a bold exploration of identity, intention, and perception. Derek G. and Buzby are not just documenting their own stories. They are holding up a mirror, asking us to see ourselves in the mistakes, the triumphs, and the blurred lines between them. It is rare for an album to feel this layered yet this accessible. Whether you come for the dancehall grooves, the introspective lyricism, or the experimental production, you leave with something deeper. A reminder that in every story, the hero and villain may be two sides of the same coin. A Villain Error blends rap, dancehall, afrobeat, acoustic, and more. How did you manage to balance so many genres while keeping the album cohesive?  Bermuda is naturally a melting pot of cultures. We all grew up listening to Caribbean music here and American mainstream music as well. Bermuda, being a British colony, has British ties, so we hear alot of UK genres as well. As a producer, I have worked within these genres for over 20 years, so it was quite easy to blend them. The concept of misunderstood intentions runs throughout the record. Was there a personal story or moment that sparked this theme?  Derek G.: Between the two of us, we both have real-life stories and projections. It’s a theme we keep within the structure of our music. Storytelling and provoking thoughts are something we feel is integral in our music, individually and collectively.  Buzby: It wasn’t necessarily sparked by just one story; it was something I kept running into over and over. Moments where I felt my intentions were pure but taken in the wrong way, or times when I misread someone else. Writing about it in different ways became a way to work through that frustration and figure out why being misunderstood cuts so deep. The more I explored it, the more I saw how universal it is. We’ve all been in that space, on both sides of it. That realisation turned the theme into the backbone of the album. How did collaborating with Bermuda’s local talent, from CHINYERE to Hippy X, shape the album’s final sound? We’ve worked with all the features before, so everyone was a great fit naturally. We didn’t want to have too many features as we wanted to keep the music as authentic as possible. Mr Fotogenik brought a cool and laid-back energy to ‘First Night’ by setting the tone with the hook. CHINYERE, Hippy X & GHS added different flavours to the songs they were on as well. Bento was involved on the production side as well, so he was the most involved on the project, assisting with sound design and background vocals. Derek, having engineered for global icons, how did those experiences influence your production approach here? Working with global icons is much different than working with homegrown independent talent, but my skill set and knowledge from working at a high level help bridge the gap. I try to incorporate techniques and workflows that established artists tend to use when creating to keep consistent, while at the same time meeting the artist halfway by bringing ideas to life. It helps with the growth of myself and everyone else involved. Buzby, your lyrics often feel confessional. What do you want listeners to reflect on when they hear themselves in your words? I feel as though it’s less about me telling my story and more about giving people a mirror for their own. If someone hears a line and it resonates, whether it comforts them or stings a little, I want them to fully lean into that feeling it gave them. My hope is that listeners realise they’re not alone, and maybe even see that vulnerability isn’t weakness but a kind of strength we all share.

R&B artist Janockeil has always written from a place of vulnerability, and his new single “ On God ” is no exception. After a two-year hiatus, the emerging soul man is back with a heartfelt reintroduction, showing listeners that his pen and his voice remain as sharp, honest, and moving as ever. Since his 2018 debut, Janockeil has carved a steady path through the R&B world, drawing respect from industry heavyweights like Tank and winning over fans with singles and EPs that channel timeless soul through a modern lens. His 2023 release “Heaven For Two,” from the EP Wait for the Day , showcased his falsetto in Prince-like fashion, cementing him as an artist capable of blending old-school flair with new-school finesse. With “On God,” Janockeil not only continues that trajectory but opens a new chapter. The track begins with a direct invitation: “I’d like to take a minute or two, introduce myself to you.” It is a line that carries weight, not just because it sets up the story of the song but because it doubles as a personal statement of renewal. Janockeil is reintroducing himself after time away, stepping back into the spotlight with equal parts confidence and humility. “On God” is built on a foundation of lush instrumentation and a groove that allows his smooth, soulful vocals to shine. The lyrics center on the desire to be the love of someone’s life, to show devotion and tenderness, even from a distance. As the verses unfold, Janockeil leans into the emotion, his delivery alternating between gentle falsetto and deeper tones, painting the picture of love admired but not yet realized. It’s a universal story—longing, vulnerability, and the hope that love will meet us halfway—that resonates deeply because it’s one we all know too well. What makes “On God” stand out is not just the vulnerability of its lyrics but the performance itself. Every note feels intentional, every word weighted with sincerity. Janockeil’s gift is his ability to balance technical skill with raw honesty, and this track highlights that balance beautifully. With a new EP slated for release in October 2025, “On God” sets the stage perfectly. It’s a reminder of who Janockeil is as an artist, and a promise of the soulful depth that is still to come. After your two-year break, what made "On God" feel like the right reintroduction to your artistry? I was very happy with the positive response to my last project, particularly with my song, "Heaven For Two". However, I didn't take the time before putting that project out to really think about what I wanted to say musically and artistically. I wasn't as clear as I would have liked to be about what I wanted to convey musically and artistically. It was important to really live life and reset, and that's when "On God" was created. I knew from the moment I wrote this song that it was the perfect song to put out after being away. It was the first song I wrote for my new project, and everything just built from there. There's a lot more clarity for me this time around. There's just something special about it.  You mention drawing from significant life events—what personal experiences influenced this song most? Reaching a place in my life where I have a better understanding of what love truly is for me has definitely informed my writing of this song, along with other brand-new songs that I've written. I've spent a lot of time alone, reflecting on how far I've come in my life. I've reached a place where life is as close to bliss as it can get for me, and it's a great feeling to experience.  Vulnerability is a key theme in your writing. Why is that important for your music? I am at the core as an artist and as a person. I've always led with my heart and my emotions. I am a person who deeply feels their emotions. For a long time, I've struggled with self-doubt, thinking something was wrong with me. However, over time, I've come to appreciate that side of myself because it's one of the most honest and authentic aspects of who I am. Music is the most honest, authentic, and safest method to express that emotional vulnerability. How did you approach blending your signature falsetto with the deeper emotional tones on this track?  I wanted to experiment with different vocal approaches, both vocally and tonally, particularly in the chorus, harmonies, background vocals, and the various high vocal parts I perform. However, I generally let the music guide my vocal direction, and the final result is what you hear on the track. I always strive to do a better vocal performance than my previous music. There's always room for growth, so I'm working on my voice constantly, trying to get better and better with each release. Also, I just love singing in falsetto; there's such a freedom with that part of my voice that I just love. It takes a lot of discipline to maintain and perfect, but it's one of my favorite aspects of my voice that I really enjoy.  What can fans expect from your upcoming EP this October? Fans can expect the same me at the core, but with more growth and wisdom. I'm excited for them to hear what I've been working so hard on.

Joey Myron isn’t your standard cowboy strumming three chords under a neon beer sign. He grew up on Johnny Cash and Nina Simone just as much as The Weeknd and Post Malone, and you can hear it. His baritone cuts through like the lovechild of a dive bar and a jazz lounge, and he’s got the Berklee training to back it up. Myron isn’t just dabbling in country; he’s dragging it through the mud, polishing it with R&B, and handing it back to Nashville with a cocky grin. And somehow, it works. His new single “ Smile ” flips one of the most irritating clichés, men telling women to smile, on its head. This time, it’s a hardworking man who gets told to lighten up by a woman who sees husband material under all that grind. The playful vibe, sticky chorus, and genre-fusing production make it feel less like a lecture and more like a flirtatious wink. The track was co-written with Lucky Dog (James Shelley and Michel Heyaca—the same team behind some of the buzzy AI-driven projects making waves in music right now), and together they’ve built something that feels both familiar and disruptive. Plenty of country artists claim they’re pushing boundaries, but often that just means they've added a trap snare. Joey actually does it. He’s not afraid to blend R&B smoothness with honky-tonk grit, and he can pull it off because he’s got the range. Producers in both LA and Nashville have called him one of the most versatile artists they’ve worked with, and when you can channel Johnny Cash one moment and croon like Sinatra the next, it’s not just talk. “‘Smile’ was a fun one to make, blending country music elements with some R&B,” Joey explains. “We wanted to flip the script on that tired saying—this time the woman’s the one telling her man to smile while hinting that he’s marriage material.” If you think country music is only beer, trucks, and heartbreak, Joey Myron is here to mess with your head. “Smile” proves the genre can flirt, groove, and stretch way past its stereotypes without losing its storytelling roots. You’ve been compared to Johnny Cash and Post Malone in the same breath. Be real, do you think country purists are ready for what you’re doing, or are you out here to piss them off a little? I have a lot of respect for traditional country music, so I don’t find the need to piss off country purists by any means! The sound I create is genuinely what comes most naturally to me and is representative of the music I grew up with! Being a baritone is not as common, so it invited comparisons to other baritones for sure. Sonically, artists need to offer up something fresh in general to push music forward. “Smile” flips a tired cliché on its head. What was the moment you realized you could turn a played-out saying into something fresh and romantic without it feeling corny? The moment came in the studio after coming up with the phrase “smile for me” in a cheeky sense to directly counter the old-fashioned, demeaning connotations. Sometimes it’s important to push the envelope lyrically and challenge the listener! Part of being tongue-in-cheek is taking something corny and flipping it on its head. You’ve gone from Berklee to L.A. to Nashville. Which city actually shaped you the most, and which one tried to box you in the hardest? Berklee was fun in the sense of meeting other musicians, collaborating, and really honing in on songwriting and performing. L.A. is that place where I felt most “boxed,” in the sense of music becoming a metric of success rather than a true creative expression. Although I released my first and some of my most successful music there, it wasn’t until moving to Nashville that I tapped into why I started making music in the first place, and truly found my “voice” and sound. Being around country music really enabled me to create the music I was made to create. You’ve got the chops to sit behind a piano and play classical, but you’re out here dropping genre-bending country tracks. Do you ever feel like you’re holding back a “different” side of Joey Myron, or is this the full picture? I truly believe I am offering the full picture - minus maybe some piano solos! That being said, a goal of mine is to include more piano textures in upcoming songs. Music is all about conveying emotion, so if an artist is making music they are not connecting to emotionally, that would result in them holding back.  Are AI collabs the future of music, or just a hype wave Nashville hasn’t caught up with yet? My honest take about AI is that it will become a tool for people who wish to use it, but by no means will it replace true creation. What I love about Nashville is that we respect the roots of music and the importance of human creation and creativity to ultimately capture the human experience. Nowhere else on Earth respects and props up live music, real instruments and voices, and real stories. Like all other technologies, I think AI will be present but not a replacement (like electronic musi

Montreal’s ISHANA is proving that indie-pop can still pack both heart and teeth. Her new self-produced EP, The Answers So Far , feels like an intimate journal cracked wide open, wrapped in shimmering pop textures and raw, vulnerable storytelling. Across its five tracks, ISHANA asks the question we are all haunted by: how do we actually find happiness? She then sketches out possible answers through a mix of self-reflection, empowerment, and wide-eyed wonder. The record opens with “Change the State,” a track ISHANA wrote as a teenager but polished into a fully realized indie-pop anthem. It is a song about refusing to let toxicity dictate your inner world, anchored in the idea of neuroplasticity and the power of reshaping your mindset. Punchy guitar lines and her sharp vocal timbre make it a standout reminder that healing often comes from choosing a different perspective. Next comes “Answers in the Dark,” arguably the emotional centerpiece of the EP. Written on guitar with notebook in hand, the song has a lullaby quality that quickly grows into something universal. It is about breaking free from emotional numbness, reconnecting with your purpose, and finding comfort in vulnerability. Its stripped-down beginnings shine through even in the fuller production, making it the kind of track you will send to a friend who needs to hear, “you are not alone.” “Lebanon, Tn” brings a surprising sweetness to the tracklist, born from an unexpected rap beat that transformed into an acoustic pop gem. It is one of ISHANA’s softest creations, leaning into her instinct for melody while showing her playful side as a songwriter. With “American Bubble,” ISHANA shifts gears, celebrating freedom, road trips, and her fascination with U.S. culture. The track touches on the beauty of American landscapes and the thrill of crossing borders, both literal and metaphorical. It is buoyant and bright, with subtle commentary on cultural bubbles and the longing to belong within them. The closing track, “Good Enough,” circles back to her time in Nashville, where validation from peers gave her the courage to stop doubting her worth. The song explores childhood feelings of invisibility, ultimately landing on the liberating realization that she already has everything she needs within herself. It is tender, uplifting, and the perfect finale to the EP’s arc. What makes The Answers So Far especially powerful is its DIY ethos. ISHANA produced the project herself, infusing it with an authenticity that cannot be faked. Slide guitars, banjo flourishes, and self-recorded bass lines give the songs a textured, organic quality while her voice cuts straight through with conviction. For fans of indie-pop with substance, this EP is not just an introduction. It is a statement of identity. ISHANA is no longer experimenting. She has arrived. You have said this EP reflects your “true style” more than past projects. What changed in your approach this time around? A few things changed in my approach for this project. Finding the bravery to try and record real instruments again. Acceptance of myself. And getting inspired by tracks that really move me. Not letting fear of technical limitations define me. I stopped trying to be “cool” by making edgy electronic beats. I do love that style, and it helps express a fire that I have inside, but before ever gravitating toward that, I was a soft acoustic girlie. I lacked the technical skills and producer instincts to properly record and adjust real instruments to sound good and full. So this time I tried again, and I think after working on my previous project ( Coconut Cowboy ), which was almost all computerized instruments minus a few, I gained some confidence in my abilities. And also in knowing the software (I use  Logic !). With that confidence, I also researched tricks to produce the sounds that I wanted with the tools that I had. I wanted to dress up this new batch of songs with gut-wrenching guitar slides similar in sound to pedal steel, with banjos, and add guitar licks and a real bass sound. I don’t have a bass. I borrowed a guitar from my friend, thinking I needed to use a different instrument to get the specific tone I wanted. I woke up one morning with the sudden urge to get a banjo and learn it, and I impulsively wanted to buy one as soon as possible. I didn’t even end up using my friend’s guitar, and I didn’t end up buying a banjo because, thankfully, I realized I have all the tools I need and can be creative with them. I have two guitars - one acoustic and one electric. And I made all the different guitar sounds, banjo sounds, slides, and bass lines with them, minus one pedal steel loop that I chopped, reversed, and played with the octaves of. One really cool trick I used to find a banjo sound was to mute the strings on my guitar with a cloth. And with a tip that was offered to me, I drenched the slides from my guitar with reverb - I was so surprised that it worked! I was surprised by the amount of work that was done during the creation process. I was very happy, wide-eyed, and hopeful. Also, seeing a resurgence in popularity of organic instrument productions recently has given me confidence to tell myself, “ok, soft music is acceptable and can be enjoyed by many ears. It’s okay to accept that side of me and the fact that soft expression can be just as impactful as cool, edgy electro beats. So go for it. Be you. All of you.” This collection of songs allows that side to show, and I’m so happy I did it on my own terms, solidifying this part of me. Lyrically, I felt like I was finally able to access and find the words for more vulnerable emotions, and that was a change from my previous projects, too. This one felt a lot more real because of this, too. “Change the State” tackles toxic dynamics and mental resilience. How has your relationship to that song evolved since writing it at 19? My perspective has evolved.   It’s an interesting contrast because I love the song so much more now, while, at the same time,   I think that today, when I sing the line “change the state of my own mind”, a part of me doesn’t fully agree anymore. Because I don’t just rely on myself anymore when I’m struggling. I also rely on God to help me navigate my internal challenges, and over the past two years or so, I’ve also been learning to ask for help from others (family, friends, colleagues). There was also a lot of forgiveness over the years, with the relationship described in the lyrics. Since writing the song at 19, I've processed and released a lot of pent-up anger, sometimes in better ways than others. Ultimately, this has allowed me to acknowledge and feel a lot of negative feelings, which has naturally improved the relationship. Today, it’s an overall positive one where trust has been gradually rebuilt. Time and space have also offered perspective, I think, to both parties, especially the person this was about (they are so very kind now!). Time passes, and you love and lose people, and you see yourself changing. Time keeps flying, and I think that makes people realize things, and in this case, it has made space for a lot of changes. I think that, due to the continuous healing of this relationship and my feelings about it (healing which is not linear, but continues!),  Change the State  is a lot easier to sing now. It used to feel so heavy. I was also less confident in the melodies and structure of the song. I’ve only revisited it this year after a long time, and I’m rediscovering and learning to love it. I sang it while down in Nashville earlier this year and got positive responses. I realized that it’s a valuable song, with unique melodies that I can be proud of and appreciate, and let myself sing wholeheartedly. And I’m so glad I expressed my feelings back then into this song. And I’m proud of younger me for saying, “I’m going to acknowledge the truth of the situation, take some distance, and heal from this. I’m going to be happy.” And the result is a much more healed relationship, which is amazing. “American Bubble” has both lighthearted road trip vibes and deeper cultural reflections. Did you always intend it to carry that dual meaning? The dual meaning was only the result and wasn’t intentional! I usually only discover the concrete meaning of a song once it starts taking shape. I start the process with a line or melody that conveys an initial feeling I have, then I follow my instinct on where it wants to go. In the early parts of the writing process, when a line at my bookstore job inspired me in Jennette McCurdy’s autobiography that I was reading (don’t tell my old boss! lol), and thought of the song’s line “you’re in an American bubble”, I intended for  American Bubble  to point out the impression I get that the US seems, from the outside, like a contained bubble. I find it ironic how it seems like a contained bubble, somehow isolated from the world, yet in other ways highly interconnected and influential upon the rest of the world. And while being contained within itself, it’s highly interconnected with the different parts of itself. During my visit to Nashville, I only met one or two people who were truly born and raised there. Everyone else I met was a transplant, mostly from a different state. There is so much interstate travel, which I find so fun! It seems so easy and normalized to travel within the country, which is amazing and often elicits in me some feelings of longing for that same type of freedom, because I would love to do that without the extra hurdles of visas and borders. It seems like a majority of people follow their whims and travel from state to state to chase their dreams, whether that be school, love, jobs, or retirement dreams like living the good life and daily surfing in Hawaii. Dreams seem more accessible. Only a 50-minute drive across the border from Montreal, and the attitude is different. You overhear conversations of people about their interstate travels. You’re in Vermont, and you hear about a waitress’s cousin who is back and forth between North and South Carolina for school. When you go to LA, you hear about so many artists migrating from Nashville and vice versa to pursue their careers. It’s only 50 minutes away from Montreal, yet sometimes it feels so far and separate. Everything seems amplified in the US, the good and the bad.  American Bubble  focuses on the good. So when I got home, where I finished the rest of the song, I guess I must have been in a different state of mind because I just wanted to write about the fun road-tripping and travel-freedom aspects of being in the US (or wherever I was, I might have been in my car or in the work bathroom! ahah!). The variety, both geographically and geologically, the beauty of nature, the dynamic cities, and the peaceful, never-ending roads all contribute to the fun that can be had, showcasing the variety, such as surfing on the ocean. You can also snowboard in the mountains, and you can do “the wave” with your hand out the window while driving through a flat land. The variety and opportunities are so abundant, and I wanted to focus on that positive perspective. Lastly, I was looking for a chorus. Choruses have never been my strong suit. I realized that the song was missing a personal element to it. It was only mostly descriptive until then. It needed some tension. Something interpersonal and compelling for the heart. So I added the simple chorus line “with me” that just repeats, until the end, where it (very subtly!) repeats “could be with me”. I decided to keep it simple, and I think the simplicity adds to the tension. So it’s like, at first, the listener might be thinking, “Oh, she’s on a road trip with friends, family, or a partner, or a pet! Or her spirit guides? Who knows! But she’s enjoying it with someone.” And then it changes. I’m talking to my friends down there that I miss.  And about the cultural ecosystem that I really vibe with and am longing for. I think you can feel that around the second pre-chorus. The longing comes in more clearly now, inter-blended like layers with the lightheartedness and the cultural reflections being described. And at the very end of the song with the “could be with me” line, it’s like a shock realization, saved for the very end, like a cliffhanger. Like, “Oh, but then she’s longing for someone to be with her. How is she feeling on that road trip? Is she happy? Is she lonely? Was she always feeling like this since the beginning of the song, or did her feelings evolve as her scenery did? Who is she talking to? Is she a temptress seductively inviting someone to join her on the trip? Is she an innocent girl who’s a little scared and intimidated by her lengthy trip in a new environment, despite its beauty, and shyly asking someone to come along?” I think the chorus is simple yet can raise so many questions, making it an interesting story, and I find that really fun! As a self-producing female artist, what challenges or breakthroughs stood out most while making this EP? The biggest challenge was probably self-confidence, especially in my technical abilities. I really had specific sounds in mind. I almost collaborated with others on some songs, but I really felt like I wanted to convey the specific ideas that I had in mind, and I wanted to do it myself first to really build that confidence in myself. I’ve always had these really strong musical ideas, and I’m so glad I trusted myself to follow through with bringing them to life on my own terms, in my own way, and at my own pace. Now, when I collaborate with others, I can be more confident that I can trust my ideas, and it’s not a hit to my ego or anything if my ideas aren’t used or if I have a smaller role in any decisions, because I know I can create beautiful and strong ideas myself independently. And working with others is just an extra now. Increased self-confidence, self-trust, sense of self, and a feeling of joy and fulfillment from the process must have been the biggest breakthroughs. What do you hope listeners feel or discover about themselves when they sit with these songs? I hope that people discover emotional depth. I hope it can be a portal for people to dive deeper into their emotional selves. We often have filters and blocks that prevent us from feeling all our emotions. I know I have mine, and I hope that my music can be a tool for opening the floodgates of raw emotion, while also being something beautiful that people can relax into.

In a world flooded with cookie-cutter tracks, Jerard Rice’s “ C’est La Vie ” stands out as a raw, unfiltered gem, a musical therapy session that hits as hard as it heals. Part of his project Love Shouldn’t Cost A Thing , the track blends his fusion of hip-hop, pop, and world rhythms into a reflective anthem about shedding the weight of experiences that no longer serve us. Rice, an independent music sensation with chart-topping hits like “Juice” and “No Brady,” isn’t just here to entertain—he’s here to connect. In “C’est La Vie,” he offers a brutally honest glimpse into his own battles, from depression and autism to the lifelong process of self-discovery. The line, “I got problems she can’t see,” cuts deep, a reminder that everyone carries invisible struggles. What makes this track powerful is its duality. It’s both a celebration of growth and an acknowledgment of hardship. When Rice raps, “I don fell a couple times, but I cannot fall for you,” it feels like more than a lyric, it’s a mantra for resilience. Life’s obstacles aren’t dead ends; they’re stepping stones, and Rice turns that lesson into art you can carry with you. The sound itself is just as immersive as the message. Vibrant beats meet introspective undertones, creating a sonic atmosphere that mirrors life’s emotional highs and lows. It’s a vibe that makes you nod your head while your thoughts drift inward, the perfect balance of rhythm and reflection. Rice’s story as an independent artist adds undeniable weight to the music. He isn’t another rapper chasing a trend. He’s a global force who has built his career from the ground up, smashing iTunes charts and earning Billboard recognition without sacrificing authenticity. His journey proves that real success doesn’t come from shortcuts; it comes from grit, creativity, and the courage to stay true. “C’est La Vie” is more than a song; it’s a testament to the human spirit. Whether you’re facing heartbreak, wrestling with personal struggles, or just trying to make sense of life, Rice delivers a soundtrack for resilience. As he puts it, “Life is going to happen… we can’t allow the obstacles in front of us to define or stop goals we were meant to achieve.” Jerard Rice doesn’t just make music; he moves mountains. With “C’est La Vie,” he isn’t only taking the global stage by storm; he’s inviting us to stand taller, fight harder, and even dance in the rain. Love Shouldn't Cost A Thing is more than just an album title—it's a statement. What personal experiences pushed you to build a whole project around that message? It is a constant theme in my life. Love shouldn't cost a thing is more than just a theme and more than just a look at the financial cost of loving people. Love can be physically, mentally, and spiritually costly.  So I had that theme just as a constant reminder as I made the music that's on this project.  Tracks like Starvin and Petty Love dive into grief, hunger, and heartbreak with no filter. When you're creating, how do you decide what to keep personal and what to share with the world?  Honestly, it's just a vibe.. I'm the vibe! When I make music, I don't think about what I need to keep away from people. It's just a feeling based on how I'm feeling and my truth in what I've been through or am currently going through. Being genuine and going deep is what makes the story come to life! You've performed everywhere from grassroots UK festivals to Fenway Park. How does performing to 100 people in a small venue compare to rocking a stadium crowd?  I mean, in all actuality, it makes no difference when you're comfortable, but you always have to bring the energy and make it a show.  Truly though nothing compares to that feeling of over 1000 people it could be a festival, or at Fenway either way there's no way to express the feeling you get when they're rocking with you, when they're singing along with you or when it gets louder than you could handle… but the silence when you're voice booms over the noise is just one of those moments that still gives me goosebumps.  You've spoken about turning your autism diagnosis into a strength instead of a setback. How has that shaped your writing process and the way you move in this industry? Honestly, I can't tell you how it has, but I don't let it limit the creation, and if anything, it becomes part of the process or even just a motivator.. I think I've been fortunate enough to advocate not only for the Flutie Foundation but also as a person with autism, showing people that we are different and talented, which is a great way to represent the autistic community.  You often say music is a catalyst for unity and social change. In a world drowning in trends and algorithms, what keeps you grounded in authenticity? Just the idea that more people like me really want more than a bunch of yes men and computers who decide what is "cool" or the new "vibe"! I can't really put more emphasis on the fact that I'm a genuine dude who wants to be around authentic energy. I can't fake it till I make it. I show people who I am in real life, no likes needed

There’s something about a Nate Currin song that doesn’t just tell a story, it lets you feel the weight of it. With “ The Highway ,” the folk-rock troubadour marks his return with a track that’s equal parts vulnerable confession and timeless ballad. Currin has always been a writer who digs beneath the surface, but this latest release finds him sharper, more raw, and unflinchingly honest. The track is pulled from his upcoming record Ghost Town , and it plays like an open journal entry, one that’s equal measures love letter, prayer, and resignation. “If she would have me, I’d be here to stay,” he admits, the lyric trembling like it barely made it out of his throat. But then comes the gut-punch: “I’m still out there on the highway, searching for that one who will forever pull me off for good.” It’s brutal in its simplicity, but devastating in its truth. Musically, “The Highway” is understated, and that’s exactly why it works. The gentle piano anchors the track, while shuffling snares and ghostly harmonies hover like fading memories. The arrangement never tries to overshadow the words, instead, it leaves space for them to sink in. Currin knows the value of restraint, and it shows. The accompanying video amplifies the song’s aching honesty. Filmed on a snowy drive from Nashville to Michigan, it captures the in-between moments, the stillness, the anticipation, the endless miles of road that mirror the uncertainty of love. The soft cinematography makes it feel like you’re sitting in the passenger seat, watching Currin chase after something he can’t quite hold. The mysterious woman who lingers in his thoughts isn’t just a person, she’s a symbol of what it means to yearn for something just out of reach. What makes “The Highway” stand out isn’t just its narrative, it’s the way it encapsulates the paradox of love and loss. It’s a song that aches, but it also glows with hope. Currin doesn’t wallow, he surrenders, trusting that the road, in all its twists and detours, will lead him where he’s meant to be. “The Highway” isn’t just another folk-rock track, it’s proof that Nate Currin is back, stronger and more honest than ever. Nate, what drew you back into music after stepping away, and why was  “The Highway”  the right song to mark your return? For me, it was less of a “decision” to come back and more of a pull I couldn’t resist. After a few years off the road, I started feeling that old itch to tell stories again, to sing about the things I’d been living through. I’d been writing quietly, but when “The Highway” showed up it felt like a door swinging open. It’s a song about movement and searching: two things that have always defined me. It felt like the perfect way to say, “I’m back out here. This is still who I am.” And putting my heart back out on my sleeve, I guess.  The lyrics feel deeply personal. Was there a specific moment or relationship that sparked this track? Yes, I wrote this song after a long drive back to Florida from Michigan, after spending time with a woman that I love very much. But at the same time,  I’d been carrying around a lot of memories, grief, and hope from the past few years: relationships ending, friendships surviving, long nights driving through the desert. “The Highway” is really a composite of those feelings: the ache of letting go and the strange hope of what’s next. The video captures the loneliness and anticipation of the road. How closely does that imagery reflect your own journey? Very closely. I’ve spent countless nights on empty highways, headlights reflecting off my guitar case in the back seat, wondering if the next town would feel like home or just another stop. That solitude is real, but so is the anticipation: the sense that something meaningful is waiting just around the bend. We tried to film the video in a way that showed both the isolation and the hope I feel when I’m out there. With  Ghost Town  set to release soon, how does  “The Highway”  fit into the larger story of the record? Ghost Town is out now... It came out August 1st.  Ghost Town is really about what’s left after the noise dies down: about loss, faith, resilience, and the pieces of yourself you find along the way. “The Highway” is a large part of that journey. It’s the song that sets everything in motion: leaving the familiar, stepping into the unknown, trying to make sense of what’s been lost while moving toward something new. After writing over 400 songs, how has your perspective on storytelling and songwriting evolved? When I was younger, I chased clever lines and big choruses. Now I’m really more interested in honesty and depth. I’ve learned that the simplest lyric, if it’s true, will land harder than a dozen metaphors. Over the years my writing has become more cinematic but also more vulnerable: less about creating an image and more about inviting people into a real moment. I still want listeners to think and feel, but I want them to see themselves in the song, not just me.