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Seán Griffin For decades, Seán Griffin has been a mainstay of Celtic punk, best known as the frontman of The Ruffians. Now, with his solo debut on the horizon, he’s carving out a new identity—one that draws on his history but pushes into new territory. His latest single, “Rocks Off,” makes that shift unmistakable. Originally shelved years ago, the track resurfaced during sessions with Grammy-winning producer Kenny Siegel, later mixed by Paul Kolderie and mastered by Greg Calbi. Driving guitars and sharper edges give it the swagger Griffin says he always heard in its DNA. “It has always had some rock and roll swagger to it, and it just felt like the right moment,” he reflects. The single arrives with a retro-fueled video directed by Luke Carquillat. It begins in a stalled family minivan, when a pristine 1962 Corvette pulls up alongside—igniting a surreal daydream. Engines roar, a fireside romance flickers, and a rose-petal sequence nods to American Beauty  before reality resets. “It seemed best to treat it as a passing fantasy and to bookend it with my family in the beginning and the end since they are my anchor,” Griffin explains. His solo debut is due soon, with club and festival dates to follow across North America, the U.K., and Europe. For now, “Rocks Off” stands as both revival and reinvention—proof that Griffin’s storytelling continues to evolve while keeping its restless spark intact. For music, news, and tour dates, visit Seán Griffin's official website .

If you’ve ever felt like the odd one out in a sea of spray tans and rooftop rosé, Lindsay Kaye gets it. Her new single, “ Too Country For California ,” is a vibrant, tongue-in-cheek anthem for anyone who’s ever missed home while trying to fit into a place that just doesn’t get them. Blending Nashville twang with California sunshine, the Virginia-raised, L.A.-based singer-songwriter carves out her own lane with playful lyrics and a whole lot of heart. “Too Country For California” tells the story of a girl who swapped wide open fields for palm trees, but never lost her love for Southern charm, sweet tea, and staying grounded in her roots. “ I just hope these songs bring people a little joy ,” Kaye shares. “ Whether it’s a reminder of home or just something to sing along to on a sunny drive. ” The track is part of a sun-soaked release that also includes “ Skinny Margarita ,” a poolside bop that proves Kaye can flex fun just as effortlessly as she drops emotional truths. These aren’t just songs, they’re snapshots of her story, layered with humor, homesickness, and that classic country honesty. Too Country For California feels like a love letter to both coasts, one boot in the sand, the other firmly planted in red dirt. Lindsay Kaye isn’t trying to chase trends. She’s here to make her own, and she’s doing it with charm, confidence, and a margarita in hand. Too Country For California” is such a vibe. Was it based on a specific moment where you felt totally out of place? It’s inspired by a lot of moments where I felt out of place or misunderstood. Sometimes trying to be polite, but it was taken the wrong way, or showing up to a party or event and feeling like I wore the wrong thing.  It's about those times when you just don't feel like you fit in with the crowd.   How do your Virginia roots continue to shape your sound and storytelling, even now that you’re based in California? Growing up in Virginia has greatly shaped who I am, including my values and mannerisms. No matter how long I’m in California, my roots still show up in little ways that remind me who I am.  “Skinny Margarita” feels like the perfect summer anthem. What inspired that one? Thank you! I wanted it to give summer vibes, and I wanted to write a song about my favorite Friday night drink, and then I realized  I don’t think there’s a skinny margarita song out there. I also liked the idea that it matches my personality, and I thought to myself, if I were a drink, I’d be a skinny margarita. I really just wanted to create a poolside vibe that makes people feel good.  Your music blends heartfelt and humorous so well. How do you strike that balance in your songwriting?   I try to write as honestly as possible while letting my personality shine through.   I've always had a playful, childlike side, and tapping into that energy helps me bring in some lighthearted storytelling and lyrics to my music.  What do you hope fans feel when they hear this release from start to finish?  I hope it brings them joy and lets them escape for a little. I wanted to create some music that gives you a moment to let your hair down and just have fun.

Bria Cheri just dropped a track that makes R&B feel alive again. Her new single “Boy Toy” is playful, fearless, and dripping with the kind of attitude that turns heads and makes you hit repeat. Straight out of Jamaica, Queens, Bria’s not new to the grind. She’s been building this moment since childhood, weaving music, dance, and acting into her artistry. Years of sharpening her sound alongside mentors like Donnie Klang and Raphael Gibbs have led to a catalog stacked with EPs such as Before the Music , Silent Siren Vol. 1 , and Phoenix . “Boy Toy” feels like the arrival of someone who has put in the work and is now ready to own the spotlight. The track flips the usual dynamic of relationships on its head, channeling the same tension and electricity as Mr. & Mrs. Smith . Bria and co-writer Kyle Davidson crafted lyrics that swing between sass and seduction, daring listeners to keep up while she calls the shots. The production packs a punch, with pulsing beats made for dance floors, night drives, or blasting alone in your room while reminding yourself who’s in control. Bria herself describes “Boy Toy” as her statement piece, the song that proves she’s leveled up. She encouraged women to dedicate it to their partners while partying, letting loose, and having fun, and also called on men to listen to what women are saying they want. That balance of fun and intent is what makes the track hit harder than just another R&B drop. With “Boy Toy,” Bria Cheri shows she’s not here to play anyone’s game but her own. It’s catchy, clever, and full of confidence, the single that pushes an artist into a new era. Bria’s artistry is sharper, bolder, and more unapologetic than ever, and this release feels like the beginning of something bigger. "Boy Toy" flips the usual power dynamic in relationships. What sparked the idea to turn that tension into a playful, high-energy anthem? The idea to turn the tension into a playful, high-energy anthem stemmed from my co-writer, Kyle Davidson, and me. We always have fun discussing relationship topics and how they relate to what's discussed in the culture. We both felt that there's nothing sexier than a woman who knows what she wants and, through her confidence, attracts the man that she wants like a bee to honey. She intends not to manipulate the man, but rather to have fun with him and see if he can keep up with her. I myself have a very sarcastic, playful personality. So, I wanted to incorporate that into the song as well. Our goal is to bring some fun back into R&B, which is why we made sure to have high-energy production incorporated with this song, and to have an unapologetic anthem for the ladies. The track was inspired by Mr. & Mrs. Smith. What other movies, stories, or cultural moments have shaped how you write about love and power? I draw inspiration from many things, whether it's my personal experiences or life happening around me. I've written songs that talk about things going on in the political sphere. I've written songs loosely based on my experiences with dating and not settling for less than, as seen in my song "On 2 the Next." These different inspirations have shaped my writing because at my core, I love, love. I come from a loving family, and when that surrounds you, it inspires you to seek that in your adult life and try to bring those stories or desires forward to your audience. However, "Boy Toy" is the first song I've written that was directly inspired by a movie. You've worked with heavy hitters like Donnie Klang and Raphael Gibbs—what's the biggest lesson you've carried from those collaborations into your own music today? The biggest lesson I've learned from working with Donnie is the importance of being confident in my vocal ability. This includes knowing how to record my music effectively, understanding exactly how I want my sound to be, and being familiar with the various terminology involved. Additionally, I've gained valuable advice about the industry. In my time working with Raphael, aka rgtheproducer, I learned how to build endurance recording as well as writing songs on the spot in the studio.  You call "Boy Toy" your statement piece. What about this song makes it different from everything you've released before? It's my statement piece because the track is experimental, sexy, sassy, playful, with a splash of empowerment. It has everything, in my opinion, that you would want on a song. From the production to the writing, my vocal performance is at its peak. I'm in a playful headspace. I've tapped into a more mature level than my previous releases, and as always, I make sure to deliver quality music. This song exemplifies where I am in my artistry and shows where I'm going.  Your influences range from Aaliyah to Prince to Toni Braxton. If you could pick one of them to jump on a remix of "Boy Toy," who would it be and why? That is a really tough question. All three are legendary, and I love them deeply. My pick would be Aaliyah, because I know she would go off on this track with crazy melodies, and we'd take the song to another stratosphere. This song is right in her pocket, and we know she loved experimenting on unorthodox tracks. I envision us going back and forth, discussing how we got these guys in check.

Crush season just got its anthem. Los Angeles-based soul-pop newcomer Kait Silva  steps into the spotlight with her debut single, “ Soulmate (For A Minute) ,” and it’s giving all the dreamy, playful energy of falling too hard, too fast, and loving every second of it. The track drips with cheeky lyricism and lush, soulful melodies, hitting that sweet spot between flirty fun and honest vulnerability. Kait isn’t out here writing tortured heartbreak ballads (yet); instead, she’s letting us float with her in that hazy space where fantasy feels almost as intoxicating as reality. Whether you’re a hopeless romantic or just a serial daydreamer, this song is for the lovergirls, loverboys, and every “lover-they” who wears their heart on their sleeve and their head in the clouds. What sets “Soulmate (For A Minute)” apart is Kait herself. A Puerto Rican-American artist with deep musical roots, she’s not some overnight TikTok fling. She cut her teeth singing alongside her uncle’s guitar, leveling up through college choir, a cappella groups, and a jazz trio before channeling her training into a sound that’s both refined and raw. Imagine if Amy Winehouse, Ella Fitzgerald, and Olivia Dean raised a Gen Z soul-pop baby, that’s Kait Silva. Her voice is warm, elegant, and ridiculously easy to fall into. It’s the kind of vocal that doesn’t just sing at you; it sits with you, like a late-night glass of wine or that one friend who knows all your secrets. And while “Soulmate (For A Minute)” feels like a lighthearted fantasy, it also doubles as a mission statement. Kait’s goal isn’t just to make catchy tunes, it’s to make you feel seen, soothed, and empowered. She’s crafting a sonic safe space where you can be your messy, emotional, hopelessly romantic self, no filters needed. With her debut EP already in the works, “Soulmate (For A Minute)” is just the appetizer. If this track is any indication, Kait Silva’s about to be on a lot more playlists, and maybe in a lot more hearts.

Hip-hop has always been about more than beats and bars; it’s about storytelling, identity, and survival. Klassik Poet. , straight out of White Plains, NY, doesn’t just rap; he digs into the psyche, dragging insecurities and truths into the light like hip-hop’s unofficial therapist. And with his latest single “ADAPT,” he’s flexing more than lyrical ability; he’s mapping out 50 years of rap history in a single track. The song plays like a crash course through the culture. From boom bap grit to today’s melodic wave, Klassik Poet. morphs his delivery and cadence to embody each decade without ever losing his own essence. It’s less about imitation and more about showing respect, proof that he’s studied the craft from every angle. Pair that with a video that mirrors the fashion and energy of each era, and you’ve got more than just a single; you’ve got a love letter to hip-hop itself. But Klassik isn’t stopping there. His upcoming album, Somewhere in the Grey Area , pushes even deeper. Instead of chasing streams or TikTok clout, he’s looking at bigger questions: What’s happiness? What does success even mean when you’re balancing the turbulence of life against the thrill of personal wins? He’s not trying to live in extremes; he’s asking us to sit in the messy, complicated, “grey” space that actually defines being human. With co-signs from legends like Jadakiss, appearances on Sway’s Universe and Shade 45, and a track record of sold-out shows, Klassik Poet is proving he’s more than an underdog; he’s positioning himself as one of New York’s next great narrators. Hip-hop doesn’t need more rappers. It needs more truth-tellers. And Klassik Poet. is filling that gap. His own words sum it up best: “Follow your Grey Area. Do things true to your spirit and find happiness in your decisions. It’s only crazy until it’s done, and then it’s genius.”

Some artists drop songs for clout. Others bleed into the mic. CDOT and Brendan Rush are firmly in the second category. Their new track, “ Switchblade ,” doesn’t sugarcoat the sting of betrayal; it rips it wide open. The song is a raw hip-hop confession about what happens when the person you trusted most flips on you. It’s about the instant when loyalty vanishes, like the snap of a blade. But instead of wallowing, CDOT and Brendan flip the script: heartbreak isn’t the endgame, it’s jet fuel for the grind. “Switchblade” drags you through the collapse of something real and forces you to sit with the discomfort of betrayal. Yet the track doesn’t get stuck in the pain. It builds into resilience, showing how even the deepest wounds can become proof of strength. It’s the kind of record that cuts deep but leaves you walking taller on the other side. CDOT brings a surprising backstory to the mix. Before rap, he was a child actor you might’ve unknowingly grown up with on shows like Paw Patrol , Arthur , and Chucky.  Now, he’s carving out his lane as a hip-hop and R&B artist, describing himself as a “melodic therapist for the dreamchasers who feel too much but say too little.” His music resonates with overthinkers, the quiet strugglers, the people who need a soundtrack when their inner world feels like too much to carry. Brendan Rush has his own legend-in-the-making energy. His career took off after a risky, grassroots move: slapping a QR code flyer onto a DoorDash delivery bag. That stunt pulled in over 700,000 streams, landed him on Spotify editorial playlists, and got him attention from outlets like Lyrical Lemonade and HipHopDX. He turned a side hustle into a spotlight, and he hasn’t stopped building momentum since. Together, CDOT and Brendan are more than a feature pairing. They’re shaping a movement around authenticity and hustle. Their collaboration speaks to an audience that’s tired of gimmicks and just wants the real. As the artists themselves put it, “We want our listeners to know they’re never facing their struggles alone. ‘Switchblade’ captures the feeling of fighting through life when it seems like everything is working against you, and our EP 2 of 2 takes that emotion even further.” At its core, “Switchblade” is more than just another drop. It’s a battle cry for anyone who’s been burned and had to rebuild. CDOT and Brendan Rush prove that pain, when flipped, becomes power. "Switchblade" hits heavy on betrayal—what was the turning point that pushed you to turn that pain into a record instead of letting it eat you alive? CDOT: I had always thought of music as a form of therapy. Speaking about my feelings in conversation isn't something I'm very good at, but when it comes to putting lyrics into a song, it's an entirely different story. I really needed to express myself with everything I was dealing with. And the only way I could personally achieve that satisfaction was to write about it and turn my pain into art.  RUSH: We chose to channel pain into this record because the emotions we experienced are the same ones felt by many people around the world. I started making music when I was seven years old because I wanted to inspire others — to be someone's outlet, a reminder that they're not alone. We're all in this together, and if my music can help even one person get through a difficult situation, then my mission is complete. You both bring totally different stories to the table—CDOT with your acting background, Brendan with your viral DoorDash moment. How do those experiences shape the way you create music together? CDOT: Even coming from different backgrounds. We still bring such a similar presence to our music together because of the things we've gone through. These are things that many other people have experienced, and Rush and I both have this shared ability to tie all those things into a bow and create congruent art for the world to heal with.  RUSH: Cdot and I share the exact same end goal, and when we met, there was an instant connection. Our relationship has always been natural, never forced. Before working with him, I rarely ever collaborated with other artists; I usually stuck to making music on my own. But with Cdot, the process is effortless. We bounce ideas off each other easily, and always bring a similar energy to every record. Even when a track isn't what I'd usually make, or vice versa, we manage to match each other's vibe. 2 of 2 is just the beginning, one of many projects we plan to share with the world. Your EP 2 of 2 digs into resilience, heartbreak, and hope. What track on the project feels the most personal, and why? CDOT: The track that feels most personal to me off the EP would have to be Switchblade. The topic of having your back turned on you by the person you care about most and being caught entirely off guard describes my exact situation, and it just hits my soul. It's almost as if everything you thought you and this person would be together turned out not to be a shared interest. And that, that hurts. RUSH: For me, it's definitely "Pourin' Up."  It shows a different side of me as an artist. Usually, I lean toward sad, melodic trap songs with heavy 808s, but this one carried a unique energy. Fun fact, while we were making the track, my laptop crashed and we lost the entire session. My fiancée Giovannina, Cdot, and I rushed to Walmart for an external hard drive, praying we could recover it. Unfortunately, nothing was saved. When my computer finally restarted about 30 minutes later, we rebuilt the entire song from scratch in half an hour. I knew it was special, and I wasn't going to let it go. Brendan, that DoorDash stunt blew up in a way nobody could've predicted. Do you think artists have to be this scrappy and innovative today to break through the noise? RUSH: I believe artists today need to be both innovative and scrappy to create a viral moment and truly break through. For me, the craziest part is that I never expected someone to post a picture of the flyer I attached to their DoorDash order on Twitter, let alone for that tweet to blow up the way it did. At the time, DoorDash was my daily grind. I was putting in 8 to 10 hours a day to cover basic living expenses, and my previous manager was doing the same in another state. Still, I also saw it as an opportunity to promote myself. Then, out of nowhere, everything changed. That one post led to over 700,000 streams, calls from Universal, Warner, and UnitedMasters all in a single day, and even direct reactions from Spotify, Lyrical Lemonade, and DoorDash themselves. Afterward, I saw other people try to replicate the same idea, but it never landed with the same impact. That's because you can't manufacture authenticity, you can't fake hunger. At the end of the day, it's about showing people how badly you want this. At its core, your music is about connection, helping people feel less alone in the struggle. What do you want a listener sitting in their room at 3 a.m., headphones on, to feel after pressing play? CDOT: After pressing play at 3 a.m., I genuinely want a listener to know that no matter how alone they feel, other people are going through these things and becoming better at the end of it. There is light at the end of the tunnel, and that's what I want a listener to take away from our music. People go through some painful times, and I wouldn't wish it on my worst enemy, but after that pain comes prosperity. You can't let it knock you down - keep pushing.  RUSH: If someone is listening to my music at 3 a.m., I want them to feel understood, to know that if my lyrics resonate with them, I've been there too. Everything in life is temporary. Growing up, I was bullied, overweight until junior year, and picked on constantly. Music was my escape. When I lost weight, suddenly everyone wanted to be my friend, but the pain of rejection, like not making the basketball team in middle school, became fuel for my fire. Eminem was my biggest influence during those times; he's the reason I started making music. Without him, there would be no me. Now, my dream is to be that same inspiration for someone else, to help them build a dream from nothing. Not all superheroes wear capes, remember that.

At just 27, Los Angeles native AUS10 isn’t just stepping into the rap game; he’s building his own universe. As the founder of independent label Official Capital L.L.C., the artist wears every hat in the room: writer, producer, and engineer. His debut album, AUSTRONOMICAL , proves that betting on yourself can create something bigger than life itself. The project isn’t a quick-hit collection of songs; it’s a 13-track odyssey that plays like a movie. Each record comes with its own sound, energy, and story, designed to keep listeners guessing. AUS10 blends ambition, hustle, heartbreak, and resilience into a seamless front-to-back experience. From late nights grinding in the studio to dodging the pitfalls of the streets, the album pulls directly from his journey as an independent artist and label owner. The structure is intentional. Rather than delivering one note over and over, AUS10 wanted to take listeners on a ride with lift-off, turbulence, orbit, and re-entry. No two tracks sound alike, yet together they capture the essence of survival, elevation, and discipline. The project opens with “Better Off,” a reflective cut that introduces AUS10’s unfiltered honesty. It’s not just a warm-up, it’s a mission statement about growth and self-awareness. “Eleven Fifty One” shifts into late-night grind mode, painting vivid pictures of sacrifice when the rest of the city is asleep. By “Don’t Play,” AUS10 unleashes his confidence, cutting through with sharp delivery and undeniable energy. “Medulla Oblongada” showcases his lyrical creativity, while “The Little Spark” captures the ignition point where ambition turns into unstoppable fire. In the middle of the project, personal truths come forward. “Wasn’t With Me” calls out the fair-weather supporters who only show up once success is visible. “Live It Up” answers doubt with celebratory energy. At the same time, “Empty” slows things down for one of the most emotional and haunting tracks, exploring loneliness and vulnerability in a way that strips down the bravado. By the time “Long Run” arrives, the vision sharpens into a declaration of longevity, proof that AUS10 isn’t chasing clout but carving a legacy. “Wanna Play” balances that intensity with a playful bounce, and “H302” serves as an atmospheric detour, adding a cinematic interlude. As the project heads toward its conclusion, “WATTS (We Are Taught To Survive)” roots the narrative in AUS10’s community, grounding the story in struggle and resilience. The closer, “Preserve,” hammers home the core message: protect your future, preserve your life, and never stop growing. Three tracks stand out as defining moments. “Better Off” is a bold opener that sets the tone of resilience, “Empty” strips everything down to expose raw vulnerability, and “Preserve” delivers the ultimate takeaway of discipline, survival, and legacy. Together, they underline AUS10’s ability to switch lanes while maintaining a cohesive story. At its core, AUSTRONOMICAL  is about preservation and growth—protecting your future, staying disciplined, and turning setbacks into stepping stones. AUS10 hopes listeners walk away with seven truths: preserve your life, embrace growth, bet on yourself, stay adaptable, keep the bigger picture in focus, let pain fuel progress, and above all, create your own world. What makes AUSTRONOMICAL  hit harder is the independence behind it. Every track was written, produced, mixed, and assembled by AUS10 himself. There’s no major label cosign or safety net, just raw belief in his vision. That DIY spirit makes the record not just an album, but a statement: artists can own their sound, their stories, and their business without compromise. Released through his own Official Capital L.L.C., AUSTRONOMICAL  is more than music—it’s the foundation of a legacy AUS10 is determined to build. With cinematic storytelling, real-life grit, and the hunger of an artist chasing longevity, AUS10 proves he doesn’t just want a seat at the table; he’s building the table himself. Your debut album feels like a cinematic journey, not just a playlist. When you were building AUSTRONOMICAL, did you already envision it as a “movie” for listeners, or did that structure reveal itself as the songs came together? When I first started creating AUSTRONOMICAL, I didn’t approach it with the idea of making a ‘movie’ for listeners. My focus was simply on crafting authentic songs, one by one. But as the project grew, I began to notice how the music naturally connected and formed a storyline. Listening back, I realized it had evolved into something bigger than a collection of tracks — it became a whole journey that carries you from start to finish. Tracks like “Empty” and “Preserve” show two very different sides of you—vulnerability versus discipline. How do you balance honesty and toughness when you’re writing, and which side of yourself do you think defines you more as an artist? Both sides are equally important to who I am as an artist. With a song like  Empty , I wanted to capture the confidence it takes to keep believing in yourself, even when the person you want doesn’t show the same energy back. On the other hand,  Preserve  is about discipline, making the right choices, and valuing your life enough to protect it. I don’t think one side defines me more than the other — I try to highlight every layer of myself. Vulnerability and toughness go hand in hand, and together they tell the whole story of who I am. “WATTS (We Are Taught To Survive)” really roots the album in your environment and upbringing. What lessons from your city and community shaped the artist and label owner you’ve become today? WATTS (We Are Taught To Survive) is really about perspective — growing up in Los Angeles, I had to constantly analyze my environment and understand what was happening around me. The city has so much beauty, but at the same time, there’s homelessness, poverty, crime, gang culture, and police brutality — realities that can’t be ignored. By the grace of God and with the support of my family, I was able to stay on the right path and find music as an outlet. That balance of surviving my environment while still chasing something bigger shaped me not only as an artist, but also as a label owner who wants to build something positive out of it all. You wrote, produced, and engineered AUSTRONOMICAL independently through your label Official Capital L.L.C. How did wearing every hat affect the final product, and would you ever hand over the reins, or is full ownership essential to your vision? This project was very experimental for me because I really took on every role — writing the lyrics, producing the beats, and engineering the vocals so they blended the right way. It was my first time creating a full body of work from start to finish, and I took the time to ensure every detail was right. Wearing all those hats gave me a deeper appreciation for the craft, and it made the final product feel even more personal. While I’m proud of having full ownership of AUSTRONOMICAL, I’m also open to collaborating in the future. For me, it’s about staying true to the vision — whether that means doing it all myself or working with the right people who can elevate the music. Your core message is about preservation and growth, protecting your future, betting on yourself, and staying adaptable. Looking ahead, what does “elevation” look like for AUS10 in the next few years? For me, elevation means continuing to grow as an artist and as a label owner while staying true to the core values of preservation and self-belief. Over the next few years, I aim to expand my music's reach, connect with more listeners, and collaborate with music legends. It’s about building a legacy that’s sustainable, adaptable, and authentic — taking the lessons I’ve learned and using them to elevate not just myself, but everyone around me.

Credit Sean McGee Lauren Presley  has never been afraid to bleed on the mic. From the viral heartbreak of People Leave to the gritty edge of her debut EP, Hanging In The Balance , the Texas-born, Nashville-based pop-alt star has built her name on raw honesty and powerhouse vocals. But with her brand-new single  Trade Secrets she’s finally letting us in on a different side of herself, the unapologetic lover. “I’ve always been scared to write a love song,” Lauren admits. “But this is the happiest song I’ve ever written.” And it shows. Packed with early 2000s nostalgia, driving guitars, anthemic drums, and vocals that soar sky-high, Trade Secrets feels like the perfect balance of pop-rock shimmer and alt-pop edge. Think Fletcher’s lyrical intimacy fused with Benson Boone’s anthemic punch, all run through Lauren’s signature unfiltered lens. It’s also the boldest shift in her catalog so far. Known for darker, rock-leaning energy, Presley leans into something brighter here without losing her authenticity. The result? A summer anthem built for sunlit drives, late-night playlists, and anyone who remembers falling in love for the first time. And if you’ve been watching, you know Lauren’s rise isn’t slowing down. With over 50 million views, 10 million streams, and love from outlets like Wonderland, Notion, SPIN, CLASH, Earmilk, tmrw, and more, not to mention playlist covers on both Spotify and SoundCloud, she’s proving that staying true to your heart pays off. “Trade Secrets is me showing the lighter, more romantic side of myself,” she says. “At the end of the day, you just have to make what you love and not overthink it. The right people will find it.” Trade Secrets  is your first real "love song," and you've said it's the happiest thing you've ever written. What finally pushed you to embrace that vulnerability in such a different way? I had written and talked about a lot of tough and heavy things during my EP, which I'm glad I did because it was so healing, but I just needed a lighter song, like a 'breather'. I'm also married to someone I'm very in love with, so it might be a good time to write about that! Sonically, the track could sit on a 2000s coming-of-age movie soundtrack. Who or what inspired you to tap into that nostalgic pop-rock energy? I think it kinda just happened, honestly! My only reference was Fletcher, and that was pop-rock, but the 2000s nostalgia just came out, which fit the song perfectly because lyrically, we were going for a carefree, young love kind of vibe! You're known for darker, rock-leaning sounds on Hanging In The Balance . Were you worried fans might not vibe with a brighter, more pop-driven track? 100% yes, I was worried people who loved the EP wouldn't vibe with this song. But I think as an artist, when you feel strongly about a song, you need to put it out, regardless of whether it's a little different from your previous work. Artists are constantly evolving and going through different phases of life just like everyone else. Most importantly, if the artist loves it, most people will love it too! And even though it's definitely lighter, it still has a little rock influence. Lyrically, you always wear your heart on your sleeve. What was the hardest line to write in Trade Secrets, the one that felt like, "Okay, now I'm really exposed"? What a great question! I think 'Like just another time bomb, that'll run away if I show you too much, every ugly part of me' is the one. It just shows everyone that behind the curtains, I have insecurities too, like everyone else, and haven't always felt wanted. So that's kinda a tough thing to just put out in the world for everyone to hear! With over 50M views and 10M streams already under your belt, you're building serious momentum. What's the next chapter for you after Trade Secrets, more light, more darkness, or something in between? I'm a big fan of Halloween, so I do have a darker song coming out around that time! I'm currently working on some more rock-heavy songs, and I also have another pop-rock sad song that I really love and want to put out. So a little bit of both, but I'd say all of them are darker than 'Trade Secrets' for sure! But I'm SO excited for people to hear all of them.

In a time when the world feels increasingly fractured, London-based Egyptian artist Layal is using her voice and her art as resistance. Her latest single, Fanana , is a genre-defying neo-soul and Egyptian folk fusion that serves as both a personal declaration and a wake-up call to listeners everywhere. From the opening line, translated from Spanish as “the more I know the less I feel in charge,” Fanana  makes its intentions clear. This isn’t background music; it’s a confrontation. Layal wastes no time diving into the unsettling state of the world and the complicated reality of existing as a woman within it. Instead of collapsing under the weight of it all, she chooses art as her form of survival, painting her truths in sound and lyric. “The values you recall are the architects of your fall,” she sings in the chorus, a striking reminder that many of the cultural norms and values we inherit might actually be the very structures keeping us unhappy and controlled. It’s the kind of line that stops you mid-listen, forcing you to question not just the system around you, but yourself within it. But Fanana  isn’t all grief and reckoning; it’s also empowerment. In the second chorus, Layal sharpens her heavy eyeliner like a sword, gearing up for the storm ahead. It’s imagery that blends beauty with battle, showing resilience as both ritual and rebellion. By the song’s close, she emerges victorious, scarred but alive, authentic, and free. Layal’s artistry doesn’t fit into tidy boxes. Rooted in the sounds of Cairo but expanded by the cultural crosscurrents of London and beyond, her music is instinctive, intentional, and unafraid of contradiction. She’s already graced stages at Wireless and Latitude, with support from BBC Introducing, Balamii, and Foundation.fm , but Fanana  feels like a line in the sand, her boldest statement yet. Reflecting on the release, Layal explains: “We’re definitely living in a very contradictory time. There’s so much to be happy and grateful for, yet so much grief and darkness. It’s important to be kind to ourselves. It’s not a linear journey at all.” With Fanana , Layal doesn’t just give us a song; she gives us an anthem for navigating contradiction, a sonic mirror for a generation caught between gratitude and grief, fear and freedom. Fanana  feels like both a personal reflection and a social critique. When you were writing it, did you see it more as a diary entry or as a message to the world? I definitely saw it as a message to the world. As a writer, you want your words to impact people in a good way or make people feel seen, and I find that music facilitates that connection with others. There's no doubt we have all been going through a storm collectively in the last few years, and it's no surprise that we are affected by it deeply.  Ultimately, these thoughts stem from my personal diary, conversations with others, and my surroundings. Truthfully, politics has become a part of everyone's conversation now, and it intertwines with our personal lives, so it's hard to talk about one without the other. The chorus line,  "The values you recall are the architects of your fall" , hits hard. What specific values or norms were you challenging when you wrote that lyric? I was thinking of the ideas we believed growing up, where we all had to be like cookie cutters in the hopes of achieving happiness at the end, but that takes away from understanding your authentic self, the self has its own identity before any influences from the media, culture, and society. I believe it's so important to chase what you desire; living someone else's dreams doesn't mean ultimate happiness. You always end up with a missing piece of the puzzle. Your use of imagery, like sharpening eyeliner into a sword, is so striking. How do you balance metaphor with honesty when you write? I have become a method actor over time. I let my life pour into my music and vice versa. When I'm writing, I'm taking inspiration from my identity and interests, and I exaggerate it and then try to live up to it, and it's such a joyful process. I get to make my music, and as a result, my music defines me.  It's crazy to me how I could write something, and by the time the song is out, I'll listen to it and it will inspire me in a completely different way. In a way, it feels like a continuous rebirth of the words I felt. You've performed at Wireless and Latitude, and your sound blends neo-soul with Egyptian folk. How has your identity and cultural background shaped the way you approach live performance? Oh, it has completely shaped me, and of course, it has, because it's what I grew up around and what I got so familiar with. It feels like home to me because it is. I can't imagine making music that isn't influenced by Egypt. I believe we have such beautiful sounds & instruments across the SWANA region, it's infectious! Even our language can describe things so beautifully that I wouldn't be able to translate it into English and have the same weight behind it.  I'm so happy to see the music scene thriving in our region; it's truly inspiring. I look at other people who look like me or come from the same place, make it to places I've dreamt of since I was a kid, and even in new ways that I hadn't even imagined, which in return inspires me so much. It feels like it gives me the space and courage to explore and dig deeper with my sound, and that's the effect of representation, I guess! I feel so grateful to be an Arab artist in this period. You've said we're living in a very contradictory time. What does resilience look like for you personally, and how do you think music can help people navigate that contradiction? Resilience to me looks like going through hardships and coming out stronger and wiser. Always looking at the lessons learned and not the losses. I believe everything happens in a certain order for a reason, and I try to learn and see the positive in every situation I'm facing. Music triggers something in people and maybe helps them express things they didn't know how to articulate or even address before, and I think music really does help people.

Sydney/Eora-based band Kitty of the Valley prove themselves one of Australia’s most exciting rising acts with the release of their debut EP Second Nature . Across six tracks, the band unravels the complexities of memory, identity, and transformation, delivering a project that feels both urgent and timeless. At its heart, Second Nature is about rediscovery. It explores the return to childhood selves, the protective habits that calcify over time, and the contradictions we learn to wear as we grow. The EP pulls at those threads with striking honesty, asking where our old selves go when they fade and how we reconcile the versions of identity we have shed. Rather than searching for neat resolutions, Kitty of the Valley revels in contradiction, finding beauty in the mess of it all. Musically, the EP is as shape-shifting as its themes. The opening track, “Rumpus,” captures humid nostalgia, painting adolescent chaos in burnt orange hues before spilling into improvisation. The closing track, “Changes,” answers with dawn-light clarity, a cyclical resolution that embraces transformation without forcing closure. Together, they form a dialogue about memory’s shifting landscapes. Elsewhere, the band channels punk fury and shoegaze heaviness. “Ask for It” is submerged and frustrated, a track that wrestles with masks, mistranslation, and misunderstood identity. Its counterpart, “Boys,” spits that frustration back with irony and brash noise, mocking reductive ideas of femininity with a sardonic bite. “Take the Time to Be” offers an atmospheric reflection on the themes of belonging and alienation, while “Rip Myself Apart” refracts empathy and anger into a powerful reconstruction of self, amplifying stories of sacrifice and erasure into cathartic defiance. The band’s maximalist ethos, placing softness beside noise and playfulness beside fury, makes the record dynamic and unpredictable. No track sounds alike, yet together they form a cohesive journey through contradiction. Onstage, Kitty of the Valley is known for their cathartic energy, and Second Nature bottles that immediacy, allowing moments of improvisation and rawness to bleed through the structure. “ Second Nature is about wearing all your selves at once,” the band explains. That ethos echoes throughout the record, permitting listeners to see themselves in all their contradictions: messy, nostalgic, angry, playful, hopeful. With this debut, Kitty of the Valley deliver a project that does not just tell stories but invites you to step inside them. Second Nature  explores identity and rediscovery. Which song on the EP feels most personal to you, and why? That’s a difficult one, because both Changes and Rumpus feel like different sides of the same coin for me. Rumpus is really personal because it’s voicing the uncertainty. Asking the messy questions about identity and how you fit into the world when things feel chaotic. Then changes feel like the response, but not in a neat or resolved way; it’s more of an ambiguous answer. Perhaps a form of radical acceptance. The kind you have to sit with rather than something that ties everything up. Together they capture that push and pull I’ve felt within myself - the searching, the questioning, the small steps towards an understanding.  - Allegra The EP moves between improvisation and structured songwriting. How do you decide when to let a track sprawl versus when to tighten its form? We usually start with the feeling we want the song to carry, and that sometimes dictates the approach. Lyrically, sometimes the emotion is clear straight away and the song writes itself - it makes sense to keep it loose and let it sprawl itself out, because the improvisation captures the rawness. But other times, the feeling we’re chasing might be more elusive, so we break it down and are more methodical and deliberate about the structure and composition. It’s less about a strict set of rules and more about listening to what the song is asking of us.  “Ask for It” and “Boys” feel like companion pieces. What conversations were you hoping to start with those songs? I definitely see Ask for it and Boys as companion pieces stylistically, but lyrically, I would argue there’s more of a conversation between Boys and Rip Myself Apart. Rip Myself Apart is more inward; it’s ironic and understated, almost deceptively so. If you’re not listening closely, it might come across as apologetic, but really it’s seething with anger, just buried under restraint. Boys flip that energy outward. It’s brash, loud, and deliberately heavy-handed in the way it dismantles the construction of “woman” in relation to “man.” The violent, grotesque imagery is kind of a “stuff you” to the idea that I should be compliant and complacent. Together, they’re having a conversation, one is the quiet rage turned inward, the other is that rage breaking out and refusing to be polite anymore. - Allegra You describe your sound as living between chaos and euphoria. How does that philosophy translate to your live shows? For us as a band, that balance between chaos and euphoria is all about energy exchange. Live, we want to connect in a way that gives the audience something to hold onto and take home with them while also keeping them on edge. We don’t want them to know what’s coming next. Instead of politely asking for attention, we demand it, but not in an alienating way; it’s about drawing people in, giving them permission to let loose, and hopefully making them feel comfortable enough to be fully themselves and in the moment. The chaos in unpredictability and the collective release is where the euphoria comes about.  What do you hope fans carry with them after listening to Second Nature  from beginning to end? We hope people come away from Second Nature feeling like they’ve been on a journey that’s both disorienting and grounding…It gives them permission to sit with uncertainty but also to find joy in rediscovery. Reconciling the versions of yourself can be so difficult and isolating. But, if there’s one thing we’d want fans to carry with them, it’s that identity isn’t fixed or neat; it’s messy, fluid, and constantly evolving. And this is something you should celebrate, not fear - give yourself some grace.