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The Tarzana International Film Festival (TZIFF) is set to light up Southern California with a weekend of world-class cinema, Hollywood icons, and groundbreaking technology. Running September 5–7 at Regal Cinemas in the historic Sherman Oaks Galleria, the festival will feature more than 95 films from around the globe, including the nominated work of The Star Prairie Project , recognized among this year’s standout selections. Adding to the star wattage, Lou Ferrigno, the legendary bodybuilder and iconic “Incredible Hulk,” will serve as an Awards Presenter alongside Dee Wallace (E.T.), Wolf Larson (Tarzan), Isaac C. Singleton Jr. (Transformers One), and acclaimed actor-impressionist Jim Meskimen (War of the Worlds). The festivities open with a red-carpet reception hosted by Porsche of Woodland Hills, followed by the West Coast premiere of Gunner, a high-octane thriller starring Luke Hemsworth and Morgan Freeman. The celebration will close with an elegant awards gala at the Braemar Country Club, honoring this year’s filmmakers, including nominees like The Star Prairie Project, with sweeping views of Tarzana as the backdrop. This year’s festival also honors legacy and innovation. Edgar Rice Burroughs, Inc. returns to the spotlight to celebrate the 150th anniversary of Burroughs’ birth, with Lou Ferrigno presenting a tribute to TV’s Ron Ely (Tarzan) and author Kevin J. Anderson (Dune) receiving the prestigious Edgar Rice Burroughs Legacy Award. In a historic first, TZIFF is joining forces with the Artificial Intelligence Media Festival (AIMF), showcasing three full blocks of AI-created films, music, and visual art. This partnership makes TZIFF one of Los Angeles’ first film festivals to embrace AI as a frontier in cinematic storytelling. Festivalgoers can also experience a Pop-Up Digital Art Show in the Regal lobby, while sponsors, including Regal Cinemas, Keller Williams Luxury Realty, Legacy Mortgage, and Braemar Country Club, ensure the event remains a hub for creativity and culture. Tickets and full festival schedule available at www.itsmyseat.com/TZIFF

Trinity Reyes isn’t interested in selling you a fairy tale. She’s not chasing playlists with surface-level hooks or pretending healing comes with a straight line. On her debut EP, the road i’m taking , she drops the unfiltered GPS of her twenties, wrong turns, breakdowns, detours, and all, and it’s exactly the kind of honesty indie folk has been starving for. Born in the Coachella Valley and now based in L.A., Trinity threads her Central American roots into songs that carry both weight and vulnerability. Imagine Arjona filtered through a Gen Z lens, or Jesse y Joy stripped of polish and thrown into the middle of a quarter-life crisis. Pair that with the intimate, confessional style of artists like Dodie, and you’ve got an EP that’s painfully pretty, stripped bare, and completely unafraid to sit in the mess. The project began with a single, “i thought we’d get married,” but quickly grew into something bigger as Trinity realized her whole life was spilling into music whether she wanted it to or not. The final product is a six-track spiral through heartbreak, chronic illness, moving cities, and the existential exhaustion of trying to figure yourself out before you’re ready. Each track plays like an entry from a diary you weren’t supposed to read, except she’s brave enough to let you. Highlights like “drop dead” and “next year,” co-written and produced with her boyfriend JP Dewey, don’t soften the blows. “Next year” in particular captures the brutal honesty of self-sabotage, the quiet shame of realizing you’ve been the one standing in your own way. The EP’s title comes straight from its opening line, “don’t know what road to take," a sentiment that perfectly captures the uncertainty of early adulthood. If you don’t relate, you’re probably lying. What makes the road i’m taking  so striking isn’t polish or perfection but honesty. Trinity doesn’t try to tie her pain into neat conclusions or Instagram-ready affirmations. She lingers in it, allowing space for the contradictions, the confusion, and the quiet resilience that comes with admitting you’re not okay. And that’s what makes the project resonate, it’s not about skipping to the glow-up, it’s about finally saying out loud what so many of us feel in silence. With the road i’m taking , Trinity Reyes isn’t just introducing herself, she’s carving out a space for anyone fumbling through their twenties, making it clear that imperfection is not just inevitable, it’s worth listening to. There’s a brutal honesty in your lyrics. Was there ever a moment you were afraid to share too much? I would say that a lot of the things I’m too afraid to share with others often come out in my writing. Most of the time, I feel safer singing about it than having a conversation. I think any fear that I might have from singing a particular lyric comes from me worrying about what the listener’s perception will be, and not necessarily oversharing.  Out of all the songs on the EP, “i thought we’d get married” was the song I was maybe most afraid to put out into the world. It’s the only one on the EP that really ties back to my teenage years, and I think admitting that a past relationship meant so much to me felt almost embarrassing. But any emotions you have at sixteen are so heightened -  you experience so many things for the first time, so I try to cut my younger self some slack. I’m glad I felt safe enough to love so hard at sixteen, even though it quite literally felt like a near-death experience when it ended. Hearing “i thought we’d get married” makes me almost giggle now because so much has happened to me since then. I’ve experienced real love, and it is a little funny that I was so heartbroken (sixteen-year-old me would spit at me if I told her this).  In my eyes, this song is more about me and all the healing I went through to realize that I deserved more rather than the person I was with when I was sixteen. People can have their own opinions regardless of my intention. I cannot control people’s perception, and that is okay!  How did working with your boyfriend as producer change the emotional depth of the EP, if at all? Working with JP comes very naturally, both as a co-writer and a producer! For a really long time, writing with other songwriters was very daunting, but he’s helped me become more confident in my writing, and we’ve really found a rhythm that works for us. We’ve been together for almost four and a half years, but we didn’t start regularly working together musically until about a year and a half ago.  All the love songs on the EP are about him, so it’s extraordinary to have had him produce those. Because we both worked from the same feeling on “your name” and “you light up my world,” there’s an added depth that I hope comes across to anyone who listens. It’s almost like his production is his response to my songwriting. I think it heightens the giddiness and swooning that I sing about in these songs. I absolutely love love, and I’m very grateful that I get to collaborate with him, especially when the songs are about him. Outside of “i thought we’d get married,” the song is either about him or he’s witnessed the event that inspired each song. We co-wrote “drop dead” and “next year” on the EP. “drop dead” is about the medical gaslighting I experienced while trying to get my endometriosis diagnosis. He was there throughout that entire process, and because there’s no cure for endometriosis, it’s something I still deal with. He’s there when I have my monthly flare-ups, so having him help me finish this song was very easy. I originally wanted the song to be very stripped back, but it quickly became a combination of the type of music we both enjoy. The production behind “drop dead” brings out the anger that comes with being dismissed for so long, while also showcasing the hopelessness and sadness that come with living with chronic pain. I was having a tough time last year, and I truly felt like no matter what I did, I was going to end up stuck in the same dismal place. “next year” was the first song of mine that we co-wrote, and it will always hold a special place in my heart. My lyrics tend to be more straightforward and it’s exciting to see how his metaphorical songwriting meshed together with mine in “next year.” You talk about losing the fearlessness of your teenage years. What are you doing now to reclaim it? I’m still consciously fighting to regain that fearlessness, but I feel like I’ve made so much progress in the last year and a half! After nearly two years away from the stage, I performed in front of an audience for the first time last year, and while it was absolutely terrifying, it was exactly what I needed to slowly get that sense of fearlessness back. Outside of just realizing that pursuing an artist and songwriting career is something I’ve always wanted to do, there are so many things I do to reclaim that fearlessness that have nothing to do with music. I went on my first solo trip in a long time in February to Kansas City and had a great time exploring by myself. While in Kansas City, I did a lot of the things that really started this journey for me - I took different workout classes and treated myself to meals out.  I also realized that if I didn’t accomplish something because I was too afraid even to try, the regret that would come with that later on would be even worse than the fear itself. I think that’s been keeping me going. The EP is heavy but still soft. How do you balance vulnerability without slipping into self-pity? I mentioned before that my lyrics tend to be very straightforward, and that’s just how I naturally write. I think this sometimes allows listeners to put themselves into my songs and find their own stories. I’m constantly self-reflecting, and some of that might just be overthinking, but I’m always aiming to grow from my past decisions. I think this helps me balance vulnerability with self-pity. Because I’m constantly reflecting on everything from writing to life experiences, it means I’m constantly editing or thinking of edits to everything everywhere all the time, which helps me catch any moments of self-pity in my songs (this obsessive thinking pattern is probably unhealthy, and you might be able to tell that I’m a very anxious person.)  There might be some self-pity in “drop dead,” but I also know that I’m fortunate to have eventually found a doctor who believed in me enough to stop and listen. Honestly, I think everyone should be allowed some moments of self-pity. Sometimes that’s the only way you can cope with a dark moment until you find healthier ways of processing.  I’ve written about many difficult moments, and as a small person, I tend to have huge feelings that feel overwhelming most days. Writing is my way

Anelda Phillips isn’t writing love songs; she’s writing spirals, and her latest single, “ All the Things ,” is proof. The sultry alt-pop artist leans all the way into obsession, crafting a soundtrack for those late-night crushes that take over your mind like a fever you don’t actually want to cure. This isn’t about relationships or mutual affection; it’s about the intoxicating chaos of wanting someone so badly that you don’t care how unhinged it makes you. The lyrics blur innocence and temptation in a way that feels both playful and dangerous. One moment she’s whispering, “Can I come over, I promise to behave,” the next she’s unraveling into “In all the ways I cannot say.” The imagery is cinematic and alive—hair whipping back in the passenger seat, fingertips itching for one more taste, cherries dripping with symbolism for indulgence and forbidden sweetness. It’s the kind of fixation that’s one-sided, delusional, and delicious, and Anelda doesn’t shy away from owning it. Sonically, “All the Things” is layered with sultry textures, alt-pop bite, and subtle R&B undertones that wrap around her vocals like a slow burn. The production builds dreamy highs and euphoric swells that feel as addictive as the obsession she’s describing. It’s not just music you hear, it’s music you sink into, the kind that makes you lean closer even when you know it might sting. Anelda herself says it best: being “delulu” isn’t a flaw, it’s a lifestyle. “All the Things” gives voice to that version of yourself who never says what she’s really thinking, the part that fantasizes, obsesses, and replays scenarios over and over. Instead of pushing it down, she invites you to own it, flaunt it, and let it run wild. “All the Things” is messy, cinematic, and dangerously addictive. It’s a fever dream wrapped in pop fantasy, a reminder that obsession can be as intoxicating as it is destructive. Anelda Phillips didn’t just write a song; she handed us a soundtrack for every spiral we secretly love to get lost in. You've called "All the Things" a song about obsession, not love. What made you want to lean into the darker, more delusional side of desire instead of writing a typical pop love song? Because love is cute... but obsession is cinematic. I wasn't interested in telling a balanced story; I wanted the chaos. The kind of hunger that lives in your chest and consumes all your thoughts at night.  "All the Things"  isn't about falling in love—it's about falling off the deep end, giving yourself over to temptation, and spiralling into obsession – but loving every minute of it. That was way more important to me than writing a typical happy ending. The lyrics play this game of innocence vs temptation. How intentional was that duality, and do you think that's part of your artistic identity overall? Very intentional. I love teasing. The push-pull between the dynamic of "I promise to behave" and "In all the ways I cannot say" creates a tension that is both compelling and sexy. That duality is definitely part of who I am as an artist. I intentionally give off the essence of soft and seductive at the same time, that's where my favourite art lives, and it's not just in the lyrics but in everything I create. The cherry imagery feels super symbolic in the track. Was that a playful metaphor, or does it hold a deeper meaning for you personally? It started as a playful idea. I was looking for an object I could link my artistry to, and I kept coming back to the concept of cherries. Everything about them radiates seductive, innocent, sensuality, temptation, purity — and the more I looked at cherries and deciphered their symbolism, the more I realised, that is it! That's me. The more I played with the metaphor, the more it became a big part of my world—like a signature. I wrote the song around that concept; it was like a cherry hard launch. You've said being "delulu" is a lifestyle. How does that mindset show up in your creative process outside of this song? I don't write from logic—I channel who I am behind the societal mask, and I write from there.  You have to be delusional to create the best art.   Being delusional means I don't have to censor the spiral. I can let it breathe, turn up the emotional dials, and fully immerse myself in the experience to capture all the complexities worth singing about. Even if it's all in my head... It's real to me. And honestly, that's where the best art lives—in the drama we invent. If "All the Things" were a scene in a movie, what would it look like? Who's in the car, what's playing on the radio, and where's it all heading? It's midnight. I'm in the passenger seat—legs up on the dash, red lips, eyes locked on him like a loaded weapon. Street lights are showing quick flashes of his face as we drive 100 on the highway, letting the thrill of danger fully take over. While he's driving as if everything's fine, he is entirely unaware of the entire scene I've centered around this car ride. The radio's playing something low and slow, like a beat you feel more than hear. I imagine the tension is thick, and I'm thinking things I won't say out loud—yet. Where is it heading? Honestly? Nowhere good. And that's exactly why I'm still in the car.

Pop-punk hangovers don’t fade; they age like cheap whiskey and inside jokes you’ll never outgrow. Two decades after A Hangover You Don’t Deserve  turned Bowling For Soup into pop-punk royalty, the Texas troublemakers are back with A Hangover You Definitely Deserve (Live) , a full-throttle, beer-soaked celebration of the album that defined an era of immaturity, chaos, and hooks you still scream at 2 AM. The live record officially drops October 24 via the band’s own Brando/Que-So Records. But before the album lands, fans are finally getting a taste of something they’ve been waiting on for over twenty years: a proper release of “ A-Hole .”  Jaret Reddick has long argued the track should’ve been a single back in 2005, and on the band’s anniversary tour, it proved exactly why. With a guest saxophone cameo from John James Ryan, the live version of “A-Hole” became a highlight of every set, a rowdy, cathartic middle finger wrapped in pure pop-punk energy. Now, Bowling For Soup have given the song the spotlight it always deserved, releasing both a live single and music video that capture the band’s signature chaos. It’s crass, it’s catchy, and it’s the perfect reminder of why BFS has stayed relevant while half their peers grew up and got boring. Recorded during their sold-out Manchester show earlier this year, the upcoming live album bottles up every ounce of what makes Bowling For Soup… well, Bowling For Soup. It’s not just the songs, it’s the jokes, the banter, the self-deprecating humor, and the feeling that somehow this band has been the life of the party for two decades straight. With “A-Hole” leading the charge, A Hangover You Definitely Deserve (Live)  feels less like nostalgia and more like proof that some hangovers are worth celebrating. 'A Hangover You Don’t Deserve' became such a defining album for you back in 2004. When you revisited all 18 songs for the anniversary shows, which track surprised you the most—either in how it held up or how it hit differently after 20 years? Oh wow. There are a few. “Ridiculous” is definitely one that I was super happy to finally be playing live! For me, the song “Next Ex-Girlfriend” was never one of my favorites. But once we started playing it every night,  I really fell in love with that song! Overall, I was really happy with how the entire album flowed, especially with it being 18 songs! Seeing people sing along to the deeper cuts was extremely cool!  Bowling For Soup shows are famous for the banter as much as the music. Since the live album includes that side of the performance, was there a particular moment of onstage chaos or comedy from the Manchester show that fans will get to relive? Haha!! We left everything intact! So the listener gets to experience a real BFS show! Musical mistakes and all. Quite honestly, I don’t ever remember the banter. IT is truly different every night and absolutely off the cuff. So listening back is a treat for me as well! The stuff Rob and Gary say while I am talking sometimes is the funniest part of the show, and I don’t even hear it!! You’ve said “A-Hole” always felt like it could have been a single. What was it about bringing John James Ryan and his sax into the performance that gave the song that extra spark for this release? Oh man. We first did that with him in the US. Immediately after the show, we all knew that the song had finally blossomed. IT was such a cool moment! All of a sudden, it wasn’t just this pop-punk ballad…IT became a full-on power ballad!  So when the US tour ended and we decided to do the album in the UK, we needed to find a way to have him there for this song. But we couldn’t afford to have him there for just ONE SONG! So I figured out a social media job for him so he could do the tour! I am so glad I did!  You’re currently touring with Simple Plan, 3OH!3, and LØLØ, with festivals and Wembley ahead. After decades of sharing the stage with so many pop-punk heavyweights, what keeps that tour energy fresh and fun for you? The camaraderie is still the best part of touring. My band and crew are all REALLY close. I mean, we eat together every day, and on days off, we are together. It’s just what we do. But I also love the friendships that exist with the other bands, too. Simple Plan and BFS played together for the first time in 2002. And we have been great friends ever since. Absolutely love the 3OH!3  guys and LOLOs camp as well. WE are all hanging out at all times out here.  The show is also just still so much fun for me. Adrenaline kicks in right away every time, and it’s just magical.  BFS has fans who grew up on your music, now bringing their kids to shows, which is rare in pop-punk. What does it mean to you to see two generations singing back songs like “1985” and “Girl All The Bad Guys Want” at the same time? You know, I feel like it has been that way for BFS for most of our career, the band that the family agrees on! I can’t tell you how often I have heard a dad or a mom tell me that we are how they connected with their teenager, or BFS is the band the family can agree on in the car. It is sincerely one of my favorite things to look out and see families enjoying our shows together. And they know…They know there will be some inappropriate humor…But I think that is just part of the fun!

Photo Credit: Ben Egelson Singer-songwriter Michael Desmond — who performs under the moniker Local Nomad — has a knack for turning everyday life into songs that hit home. From messy family ties to awkward dating moments to the little joys that keep you going, he makes it all feel tender and sharp at the same time. Working alongside Charleston producer Corey Campbell, he’s pushed his sound into bigger territory — indie rock roots layered with a cinematic sweep. We connected for a proper email chat about the new record, the stories behind it, and finding meaning in the small stuff... You’re working with Charleston producer Corey Campbell on this project. How did you two connect, and what does he bring to your sound that maybe you weren’t expecting? Corey is actually my sister’s ex-boyfriend—almost my ex-brother-in-law, you could say—so working together was definitely an integral and intimate experience. He knows me on such a deep level because he was part and still is a huge part of my family. He really pushed me to step outside my comfort zone and experiment with a raw pop sound, which completely changed my perspective on what a Local Nomad song could be. He encouraged me to push my boundaries and explore new territory, both musically and personally. That process helped me find my true voice, both sonically and vocally. This record took about two months of work, spread out over two years. There was a lot of growth between us during that time, and our evolving relationship became a big part of the record itself. It’s a beautiful thing to make music with people and share those moments when you create something special and have a moment when you really nail what you set out to do. Get Along “Get Along” is such a powerful father-son story. What’s it like writing something that personal and then having to perform it? Does it hit differently each time? For a long time, I struggled to get along with my father, only to realize later that we’re actually very much alike. I set out to write a song inspired by “Father and Son” by Cat Stevens, and that’s how “Get Along” was born. I’ve always loved deeply emotional songs, and this one is no exception. The original demo was recorded back in 2019 with Rob Ragosta, who’s written for Jelly Roll. For years, it just sat on my phone, but I kept coming back to it, feeling like there was something truly special there. Eventually, I decided to bring it back to life. Every time I perform this song, I tap into the same emotion, but the lyrics reveal something new with each performance. You’ve got this nostalgic American sound happening, almost like old indie rock getting warped through time. How did you land on that direction, and what were you listening to that pushed you there? I’ve always found myself drawn to older music. There was a time when I completely turned away from newer releases and immersed myself in throwback tunes—everything from Chet Baker, Elliott Smith, Neil Young to Jeff Buckley and older Wilco. With this record, I wanted to create an honest reflection of the music that truly inspires me, while blending in some shimmering, new-age production. Rolling out eight singles with visuals through February is such an ambitious project. How are you keeping each one feeling distinct while still building toward the full album story? There are 14 tracks on the way, and from the very beginning, I’ve been creating each song with visuals in mind. Every track is part of a bigger vision—music and imagery working together to tell a story. This whole orchestral concept with lush arrangements but keeping things scrappy — how do you balance making something cinematic without losing that raw, personal feel? I dig deep within myself, staring into the mirror and fuel my introspection with plenty of coffee. I strive to be completely honest about my feelings, channeling those emotions into my songs. I weave in the influences and musical tastes that are far greater than myself, drawing inspiration from legends like Chet Baker, Cat Stevens, Bach, and Tears for Fears. In a way, all music is meant to be borrowed or reimagined—every artist repurposes what came before them to create something new. You seem to have this gift for finding the profound in really mundane stuff. When you’re writing, do those bigger emotional moments sneak up on you, or can you feel them building as the song develops? I’ve always taken pride in embracing and celebrating my flaws. Being true to yourself isn’t easy—and I know not everyone will like me. As someone who’s always felt like an outsider, I enjoy surprising people with humor or keeping them guessing. I observe life closely, listen to the conversations around me, and try to savor the journey every step of the way. I’m always writing songs even when I’m not around a guitar. What do you hope people experience when they get the full album in March after following this whole rollout journey? I hope these songs turn listeners into fans who stick around for the journey. I’m committed to keeping the music coming and can’t wait to share even more with you all! Thanks for this — any final thoughts or shoutouts before we wrap up? Thanks so much for taking the time to listen and review the music. Follow Local Nomad

Bia Javier’s new single “IDNYE” is the kind of track that hits harder once you know where it came from. Written three months postpartum in the middle of emotional shifts and relationship strain, the song captures a raw moment of survival and turns it into sonic liberation. Sitting alone in her room, she pressed play on a beat from her producer and let the words flow. What came out wasn’t polished or manufactured; it was truth in its most unfiltered form. Musically, “IDNYE” moves like smooth R&B layered with Caribbean-infused Latin rhythms, giving it warmth and sway, but underneath the vibe is something deeper. The phrase “I don’t need your energy” isn’t just a catchy hook; it’s a declaration. It’s Bia drawing boundaries in real time, choosing clarity over chaos, and reminding herself, and anyone listening, that protecting your peace isn’t optional, it’s essential. The track feels both intimate and universal, speaking to anyone who’s had to reclaim space when life is already demanding everything from them. Bia’s rise only adds weight to the song. She shared the stage at Boston’s Art & Music Soul BAMS Festival in 2024 with Grammy winners and established R&B voices, and in 2025, she became a GRAMMY Voting Member. These milestones are proof of her growing impact, but “IDNYE” shows why her artistry resonates in the first place. She’s not just chasing placements or accolades; she’s offering something tangible. This song isn’t just about postpartum resilience; it’s about knowing your worth at any stage of life. It’s the anthem you send to a friend who says they’re fine when you know they’re not, the track you play when you need strength but can’t quite find the words yourself. With “IDNYE,” Bia Javier isn’t just making music; she’s putting out lifelines, and that’s what makes this release unforgettable. IDNYE” came from such a specific, personal place, three months postpartum. Was writing it more about healing yourself or sending a message to others? I wrote this song first and foremost to help myself heal — I was navigating some really tough emotions, and music has always been the way I process and work through things. But at the same time, I knew I wanted it to speak to other mothers who might be going through similar experiences with postpartum anxiety and depression. It’s about shedding light on something that’s often left in the dark, and showing that there is a way through it, with the right support and a lot of inner work. Motherhood is beautiful, even with the challenges — and I wanted the song to honor both the struggle and the strength. You’ve said postpartum comes with “silent battles.” What’s one thing you wish people would stop assuming about new mothers? One of the biggest assumptions I wish people would let go of is that once you become a mother, your life suddenly has to shrink — like your dreams, your passions, or your identity have to take a backseat. Yes, being a new mom is transformative, and it comes with plenty of silent battles, but it doesn’t mean your life is over. In fact, for many of us, it becomes even more meaningful. That outdated narrative doesn’t reflect the reality — we’re still whole people, just evolving. As a new GRAMMY Voting Member, how do you see your platform evolving in the next few years, and how does that tie into the stories you want to tell in your music? Becoming a GRAMMY Voting Member is such an honor, and I see it as a gateway to expand my creative reach. It gives me access to a community of songwriters, producers, and fellow artists who are deeply passionate and intentional about their craft. Being part of that network will definitely elevate my work — not just in terms of sound, but in how I tell stories. I want to continue using my platform to share authentic, vulnerable narratives — especially around womanhood, identity, and healing — and this membership is a decisive step in that direction. You blend R&B with Latin and Caribbean sounds effortlessly. When you’re in the studio, do you lead with rhythm, melody, or emotion first? Melody almost always comes first for me. I listen to the production, and melodies start to form — that’s where I find the emotional core of the song. Once I have the melodic lines, the lyrics follow, shaped by the feeling I want to convey. I usually go into the studio with that foundation already set, so by the time I’m recording, the vision is really clear. It’s an intuitive process, but always rooted in the emotion behind the sound. If a listener takes only one thing from “IDNYE,” what do you hope it is? I hope it helps people understand just how complex postpartum anxiety and depression can be — not just for the mother, but for her relationships, her sense of self, everything. Things can feel really heavy and disconnected, but there is a way through it. More than anything, I want listeners to feel seen, and to know they’re not alone — and that healing is possible.

At just 22, Maeve McMahon is already writing like someone who has lived through seasons of love, loss, and rediscovery. Her debut EP, Traffic Lights , captures the in-between moments of transition, where everything feels uncertain, but staying still is no longer an option. Blending folk, pop, and country rock, Maeve carves out her lane without asking for permission. The title track sets the tone with its quiet tension. “Traffic Lights” is about that emotional pause, when you are holding onto something that is no longer serving you, but you are afraid to move on. Maeve’s lyrics are raw and observant, delivered with a voice that is honest and emotionally grounded. “Pressure” channels the weight of expectations. The lyrics reflect the feeling of trying to stay afloat while everything pulls you under. When the song finally opens up, it feels like a breath of fresh air. “Slow Burn” leans into unrequited love, capturing the ache without melodrama. “I See You” flips the perspective, offering light and presence in a moment of clarity. “Lost in the Sound” becomes a reclaiming of voice and power after feeling silenced. What stands out most is Maeve’s ability to trust the simplicity of a strong lyric and melody. Nothing feels overdone. Her arrangements leave space for the listener to sit with the emotion and find their reflection in the story. The EP started as private writing sessions in her room, but the final recordings feature a live band feel that brings the songs to life. There is an intimacy that remains, but also a collective spirit that makes the music feel universal. Maeve McMahon has arrived with an EP that doesn’t try to be perfect. It just tells the truth. And that truth, in all its honesty and complexity, is what makes Traffic Lights so compelling. What inspired the idea behind “Traffic Lights,” and how did that concept shape the EP as a whole? Traffic Lights  was born out of my struggle to reclaim my voice after years of being bullied by people who tried to silence me and dim my light. That growth led to the next song, where, for the first time, I felt truly seen and valued for who I am. I wanted to share the superpower that comes from staying true to yourself. After a self-discovery retreat in Costa Rica called  Evolve , I experienced real love and acceptance from women who saw and celebrated my uniqueness, and that built me up in ways I didn’t know I needed. It was the first time I’d ever felt that kind of support from women outside my own family, and it changed everything. The songs that followed reflect the empowerment and growth I found as I stepped back into alignment with my path. You seamlessly blend pop, folk, and country rock. How do you stay authentic to your sound? I blend genres as a reflection of who I am, rooted in my love for nature, guided by a wild side that refuses to follow the rules, and fueled by a free spirit that craves every experience life has to offer. I stay connected to my inner child and celebrate through these genres by blending my passion for pop music with my soulful love of folk and my edgy rocker side. Blending these genres lets my whole personality shine. I channel the sass and confidence of Rihanna in my performances, the layered storytelling of Noah Kahan in my songwriting, and the soulful, edgy spirit of Miley Cyrus in my voice and sound. Which song came to you first, and did that set the emotional direction for the rest? Writing my first song,  Lost in the Sound , gave me the power to thrive as an individual and continue to be who I’m meant to be. It started as a battle song to find myself again, but developed into a celebration of the bliss that comes from being fully authentic. Strangely, I now have my bullies to thank for helping me reach the strongest form of myself, always ready to grow and experience new things without fear. This song sets the emotional direction for the rest of my EP, expressing empowerment, growth, self-love, and kindness. My songs are meant to show myself and others that we shouldn't let people box us into their idea of who we should be, but instead, rise as our true selves. What was the recording process like, bringing these songs from your room to a full band? These songs were written in the stillness of my bedroom, where I could be sincere. Once I brought them out for others to hear, it was incredible to see them connect with and feel my music, rather than just listening. The musicians I worked with each brought their unique talent to evolve these songs into layered and emotional projects.  The process of transforming a simple idea into a finished work that I can share with others is a feeling I want to experience repeatedly throughout my life. Nothing beats releasing a new track for the world to hear, which holds so much personal energy and hope. One of the highlights of my music career so far was watching my songs come to life through the talents of my fellow musicians, which led to performing them live with a full orchestra, my entire band, and a crowd of people who truly supported me. It was pure bliss. What would you say to someone standing at their metaphorical traffic light, unsure of the next move? “You’re not stuck, you’re just unsure. The red light isn’t the end of the road; it’s a challenge to see if you can overcome tough times to prove to yourself you can do it. Don’t be afraid to feel uncomfortable, because that’s how you’ll become the most courageous you.”

You know her voice. You’ve felt her lyrics. Now Elle Winter is stepping into her era of truth-telling with her most unfiltered, unapologetic work yet. This isn’t just another breakup project. It’s a clapback in pop form. After discovering her ex was trash-talking her, fabricating stories, and gaslighting her into a version of herself she didn’t even recognize, Elle did what real artists do. She turned the pain into power and built an entire EP around it. And that title? Perfect. Never Even Met Her  isn’t just a dig; it’s the whole statement. The girl her ex described never existed. Elle is reclaiming the narrative with every hook and chorus. Working with The Orphanage, the powerhouse producers behind Lizzo, Demi Lovato, and Sabrina Carpenter, Elle channels everything she’s learned since her Radio Disney “Next Big Thing” days. The result is an EP stacked with powerhouse vocals, razor-sharp production, and lyrics that balance vulnerability with biting clarity. Her previous single, “Help,” showed us the raw unraveling of what it’s like to grow up under the spotlight. Never Even Met Her  takes it a step further, shifting from survival to self-awareness, from hurt to heat. She’s no longer asking for permission to be loud, honest, or healing. She just is. And she’s doing all of this while studying at the University of Pennsylvania. Talent and ambition aren’t enough to explain it—this is focus, resilience, and range on another level. Elle Winter isn’t just entering a new chapter. She’s rewriting the book entirely. And the first page starts with a name: the girl they thought they knew. Spoiler alert—she never existed. The phrase “Never Even Met Her” is such a punch. When did you realize that had to be the title of the EP? Writing the title track “Never Even Met Her” was such a cathartic and uplifting experience, and I realized the song and the concept truly embodied the essence of my new EP. I wrote “Never Even Met Her” after I learned my ex was spreading lies and hurtful rumors about me and our relationship. Rather than letting him upset me, I decided it wasn't my job to dispel these rumors, especially since the girl he was describing was nothing like me at all, and what he was saying was so far from the truth. It was as if my ex was talking about someone I had never met. The idea of reclaiming my narrative and not letting others define me is a theme running through all the songs on the EP, and the title “Never Even Met Her” just seemed apropos for the whole project.   This project feels like a shift from heartbreak to ownership. What changed in your approach to writing? I wrote this project with an obvious idea of who I am, what I stand for, and what I want to say through my music. After many years in the music industry and the last few years living in Los Angeles and having the opportunity to explore many different sounds and directions, I came to this new project feeling very confident in who I am and the music I wanted to write and record. My approach to writing did not change, though, as I have always approached my writing from an honest and open place. I did, however, have a lot more conviction during this project.  How has being in the public eye from such a young age shaped your relationship with vulnerability? Being in the public eye from such a young age has shaped my relationship with vulnerability. From a young age, I learned that my vulnerability was a way for me to connect with others. Whether through my acting or songwriting, I recognized the need to tap into vulnerability to make my art impactful and reach its full potential.  You’ve worked with some major producers. What was the energy like in the studio while building this EP? The energy was truly electric, and I feel so grateful to have collaborated with such talented people. It was very exciting for me to reunite with The Orphanage for several songs on this EP, given that they had produced my debut EP “Yeah, No”. They bring out the best in me by creating an environment where I feel comfortable expressing myself. I also felt fortunate to work with Lionel Crasta on a few of the songs on this upcoming EP. Lionel is incredibly talented and quickly grasped what was important to me as an artist. Finally, it was extraordinary to co-write several songs on the EP with the brilliant Olivia Kiene. I love working with her.  If someone’s dealing with betrayal or being misunderstood, what track from the EP would you want them to hear first, and why? I would suggest they listen to “Never Even Met Her”. This song is for anyone who needs a reminder that what someone says about you has very little to do with you and everything to do with them.

In 2014, Roni Marsalis walked off a stage in New York convinced she had just delivered a winning performance. Instead, the trophy went to someone else. The sting was real, and she knew bias had played a role. Many artists might have sulked and stopped showing up. Roni did the opposite. She went home, opened her laptop, pulled up a beat from producer JurdBeats, and turned her frustration and faith into a new record. The result was If I Could Fly , a powerful track that blends sharp lyricism with soulful vocals, weaving hip-hop, R&B, and neo-soul into a sound that feels both deeply personal and universally resonant. In a twist of fate, the same song that grew out of rejection would later propel her forward, earning her a spot in SXSW through a campaign with AXE and John Legend. If I Could Fly  is more than a motivational track. It is a declaration of divine confidence. Lyrics like “Make ya fears cry, tell ‘em bye-bye” are not just clever rhymes. They are affirmations. Roni reframes rejection through faith, grounding her message in Jehovah’s purpose and Jesus’ example. Her takeaway is clear: life will be unfair, people will overlook you, and doors will close. But when God is in your corner, the outcome is already secure. Roni Marsalis is not confined to one medium. Beyond music, she channels her creativity into fashion, architecture, and her Got Rhymes brand. That multidisciplinary spirit bleeds into If I Could Fly , a track that captures the balance of hustle and hope. It is grounded in truth, but designed to soar. The song hits differently because it avoids extremes. It is rooted in faith without being preachy. It comes from rejection without bitterness. It is the kind of track that can carry you through a morning run, a personal trial, or a moment of doubt. Roni Marsalis does not demand attention. She earns it with every verse. If I Could Fly  is not just a song. It is a reminder that purpose outlives obstacles. In Roni’s world, even fear has to take a step back and watch you rise. You wrote  If I Could Fly  right after losing a rap competition. What made you choose to create instead of letting that moment crush you? There are many reasons why I didn't allow myself to be crushed, and the main one is God. Other reasons, well, I come from a background of performing arts, and at an early age, I was programmed to create in times of disappointment, so I was naturally drawn to doing just that. I am also someone who doesn't blame myself for failure, and I prefer to be honest about why I've been ostracized. Often, losses and wins are more about the season, timing, and people's biases than my actual value. I know I'm a great artist, Jehovah knows, my family and friends know…in hindsight, that loss was a gift; if I hadn't lost, I wouldn't have written one of my most empowering songs. So that's kind of why I prefer to create instead of being crushed… The song blends hip-hop grit with spiritual affirmations. How do you balance being both an artist and a messenger of faith without losing either edge? Having a relationship with Jehovah is the most natural relationship you can have because we didn't create ourselves. You have to have faith, regardless of what field you are in; you have to believe in the fruit God chooses you to bear. Jehovah chose me to be an artist, so he will provide the means for me to maintain balance. You know it's like "You can't have the chicken without the egg", & God has an edge, so why wouldn't I? That's how I look at it; it's natural. I just be myself for real. I don't mind not fitting in, & whenever I see or feel myself drifting away from my truth, I pray for God to pull me back into him. The vulnerabilities of being an artist and a child of God become fragile when you seek too much approval from the world, so I keep to myself to maintain my inner balance. You've called this track a "poem and affirmation." Was there a specific lyric you knew you had to keep in, no matter what? When I wrote this record, there wasn't a "process of elimination." I wrote what I felt and kept it that way. All of it had to stay, I mean if I had to highlight a verse line it would be the end of the first verse  "I just sit in my room hearing the same ole song, tryna stay strong getting my game on in the lame zone cause I'll never fit in, but I guess that's how you gotta win"  Sitting in my room has taught me so much about myself. I can hear and create my energy without interruption. It is just you and God…you have to have a space where carrying yourself and your spiritual relationship feels safe so that you can heal and thrive. My room is my shrine; I have room to fly in there. From SXSW with John Legend to winning a NAACP Image Award, you've had some massive career highs. Which moment made you feel like, "Yeah, I'm really flying now"? Every moment of success felt surreal; I didn't fully believe anything until I was in the moment and living in the experience. Both moments were equally impactful for me because I never expected these wins. To me, I was expressing myself and hoping to inspire people, and then BOOM. Now, for clarification, I always felt like I was flying, but these moments allowed me to feel my wings expand and grow. They helped me build endurance for the flight.   For listeners who are facing their setbacks, what's the first thing you want them to do after hearing this song? I went through a terrible setback recently, and the scriptures that pulled me back into restoration were:  Jeremiah 29: 11-14 11 'For I well know the thoughts that I am thinking toward you,' declares Jehovah, 'thoughts of peace, and not of calamity, to give you a future and a hope. 12  And you will call me and come and pray to me, and I will listen to you.' 13 "'You will seek me and find me, for you will search for me with all your heart. 14 And I will let you find me,' declares Jehovah. 'And I will gather your captives and collect you together out of all the nations and places to which I have dispersed you,' declares Jehovah. 'And I will bring you back to the place from which I caused you to go into exile.' Read that, when God approves you, the struggle is not in vain, and it's not forever. God wants to develop your faith and strengthen his army. You have a future, and there is hope no matter what. Create something and go exercise. Allow yourself to see Jehovah's promise for your life.

If you're not feeling yourself lately, Yung Dub D just dropped the sonic slap you didn’t know you needed. His new single “ Walking Dollar Sign” isn’t just a flex, it’s an anthem for anyone done with playing small. It’s loud, unapologetic, and dripping with confidence. Straight out of Dallas, Yung Dub D has been putting in work for years, first making waves in 2017 with “I Did” and later racking up over a million YouTube views with “I Can Tell.” His sound is high-energy, emotional, and self-produced, carving out a lane that doesn’t chase trends but sets them. “Walking Dollar Sign” keeps that streak alive. This track isn’t about flaunting wealth, it’s about knowing your worth in every aspect of life, from business to relationships to the way you move through the world. The hook doesn’t just land, it stomps. Yung Dub D isn’t asking for validation, he’s declaring his value and daring you to do the same. “Hope everyone knows they are a Walking Dollar Sign,” he says, and that’s the mission—empowerment over ego, confidence without compromise. The beat hits hard, the delivery is razor-sharp, and the energy radiates pure boss mode. Whether you’re grinding at the gym, shutting down doubters, or brushing off someone who doesn’t deserve your time, this track stands in your corner like an audio bodyguard. There’s no watered-down motivation here. This is self-worth with bass, confidence turned all the way up. And if you don’t walk away feeling like a dollar sign after hearing it, you’re gonna want to run it back. What moment in your life inspired the mindset behind “Walking Dollar Sign”? I came from a place where people overlooked me, counted me out. One day, I just got tired of waiting to be seen and decided to see   myself .  That was the shift. From then on, I treated myself like an asset and not a liability. That’s where the ‘walking dollar sign’ mindset was born. You produce your own stuff. How does that shape the energy and emotion in your music? When I produce, I’m telling the story before a single word is spoken. The energy starts in the textures, the tempo, the space between sounds. That control lets me shape the emotion from the ground up; nothing’s lost in translation. It’s all me, all the way through. What advice would you give to someone still figuring out their worth? I’d tell them your worth isn’t something you have to earn; it’s already there. It’s not based on what people think of you, how much you produce, or how perfect you are. Start by being kind to yourself. Listen to what you value, not just what the world praises. Worth grows when you’re honest with yourself and honor who you are, not who you think you should be. Dallas has a rich hip-hop history. How has your city influenced your style? Definitely, growing up in Dallas, hip hop was everywhere.  On the streets, in the way people talked, dressed, and moved.  It gave me a foundation in rhythm, storytelling, and attitude. Even if my style’s evolved, that raw energy and authenticity from my city is always in it.  If this track had a music video, what would the “Walking Dollar Sign” life look like? Concept:   You’re royalty in your city and not born into it, but built from the ground up. Visuals: You're riding through the city in a luxury car with the crew. Or us walking everywhere and everything we touch turns to money, or we leave money imprints from our footprints. Crown visuals—either literal or stylized (graffiti crown, gold tooth, dollar symbol, and jewelry). Performance shots in raw locations (hood, rooftops, alleyway) contrasted with bossed-up locations (penthouse, gallery, bank). A crowd chanting or following you, hyping the “walking dollar sign” idea. Vibe:   Hard, proud, high-energy.