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Photo Credit: Jeremy Saffer Rising genre benders LYLVC are storming into a new era with the release of their blistering post-apocalyptic metal anthem “Barely Human.” The track arrives alongside a striking visual featuring Indio Falconer Downey, son of Robert Downey Jr., and marks a pivotal moment in the band’s journey as they officially announce their signing to Neil Sanderson (Three Days Grace) and Howard Benson’s powerhouse label, Judge & Jury Records. Fierce, cinematic, and unrelentingly raw, “Barely Human” captures the chaos of survival while cementing LYLVC as one of the most fearless new voices in modern metal. "Barely Human" feels like a cinematic, post-apocalyptic anthem. What was the creative vision behind the track? I make a lot of computer viruses for my day job, but currently I use my powers for good. I didn't have the best childhood growing up, so I always wondered, what if I turned out differently? What if I became the villain that the abusers of stereotypes wanted me to be? What if there was a world where I created a virus that infected the human genome? Some humans died, but those who remained were able to integrate with machine code and machine parts more easily. I've always struggled with dissociation and turning my emotional "switch" off whenever I needed to be strong to survive. What if my virus was meant to disable pain, empathy, anger, greed, etc, by turning off all human emotions and embracing a new evolution of "Barely Human" beings?  Some people will fight to keep their emotions and humanity, but every time we lose an arm, we will have to replace it with a robotic arm. If we lose an eye, we will have to replace it with a robotic eye. We are all "Barely Human" in this new post-apocalyptic world, struggling to choose which side we want to be on.  The music video features Indio Falconer Downey. How did that collaboration come about, and what did he bring to the visual story? Actually, it was just a fun coincidence. He was writing and recording his new album, and I was in LA with my radio rep at the time. She knew him and his assistant. She asked if I wanted to meet Indio at his studio.  It was a fun experience meeting him and talking about how we write vocal melodies.  He's just a super genuine human being and his voice has a lot of raw emotion in it- which I love when singers write from their freaking soul like I do..  Shortly after that meeting, my band solidified our plans for a music video shoot with Jenson Noen.  This was going to be the biggest production we've ever done, and I needed over 20 extras to make up my army and Oscar's army.  So I texted Indio to see if he was down to be in my army and shoot some weapons in our video with me.  It was a super fun time, and I'm so glad he joined me.  His cyberpunk hair and makeup looked so sick, haha. You have just signed with Judge & Jury Records, under the leadership of Neil Sanderson and Howard Benson. How does that partnership shape the future of LYLVC? I'm so grateful. They're both legendary, so I feel like we're learning from the best now. I'm so excited to write new music to see how Neil can help shape new hits with us. I grew up listening to Three Days Grace and all of their songs. It's a pretty surreal opportunity. Plus, I'm excited for Howard to put me through the vocal ringer so the new music is going to be insaneeeeee :) Your music is often described as genre-bending. How do you balance metal roots with the other influences that drive your sound? Yeah... we definitely don't like to write inside a box hahaha. Okay, so the songs always start with Cam —he writes all of our instrumentals —and he's extremely passionate about writing and incorporating new, unique sounds. So, he will do something unusual, like reverse my breathing and turn it into a synth, or he constantly chases the sounds that people haven't heard yet. Then, lyrically, Oscar and I writing together are always going to stretch the dynamics further, since he has a strong modern rap meets Rage Against the Machine type background, and I have a cleaner vocal, catchy pop/rock/blues background. The one thing that ties us together is emotion-driven writing intention. We all write with personal, emotional stories in mind, with the intention of evoking similar emotions in listeners who can relate to us. It's not about making a song that sounds like everybody else. We want to hit your soul with something familiar but completely new. What do you hope listeners take away from "Barely Human" both lyrically and emotionally? We've all had moments in our lives where we've questioned our reality, how "human" we are, and how "human" we want to try to be in this world. I think we should be authentic and embrace our "Barely Human" state instead of constantly needing to wear false masks for everyone. When life gets hard and you are forced into a new reality or identity. What does it mean to survive, and what happens when that survival demands that you become something less human?

Toronto-based artist Paitra invites listeners into a lush, dreamlike soundscape with her latest single, “ A Universal Feeling , ” the title track of her debut EP. Rooted in her Northern Ontario upbringing yet shaped by the experimental edge of Toronto’s indie scene, the song distills Paitra’s diverse influences into something entirely her own: psychedelic, warm, and ethereal. The track begins with muted, otherworldly keyboard tones that immediately establish a contemplative mood, almost as if stepping into a parallel dimension where time slows down. As the layers build with dream-pop melodies, hushed harmonies, and winding vocal lines, the song mirrors the journey of a psychedelic trip: initial disorientation giving way to calm surrender. Paitra does not just sing, she guides, her voice floating like a tether between uncertainty and trust. At its core, “A Universal Feeling” is a meditation on release. Drawing from her own psychedelic experiences, Paitra channels that moment where fear dissolves into acceptance, when you stop resisting and realize you are being held by something greater than yourself. That emotional pivot, one of surrender and quiet knowing, is where the track lands. It is a song that does not demand attention but rather rewards it, enveloping you in a sonic embrace that feels both expansive and intimate. As the title track of her debut EP, “A Universal Feeling,” represents more than just a single. It acts as a manifesto. After years of honing her craft in bands and experimenting with sounds across genres, Paitra has finally carved out a space that feels authentically hers. The influence of seventies legends like Fleetwood Mac and Crosby, Stills, Nash & Young is evident in her sense of harmony and storytelling. Still, the modern textures and psychedelic shimmer ensure the track feels firmly contemporary. What is most compelling about this release is its universality. Whether or not you have had the kind of transformative experience that inspired the track, the feelings of uncertainty, nervousness, and eventual trust are ones we have all known. Paitra taps into that collective thread, creating not just a song but a shared moment. “This song is about surrendering to the unknown and trusting the process,” she explains. “We have all been there. That is a universal feeling.” With this release, she turns that truth into something worth holding onto. "A Universal Feeling" was born out of creative frustration. How did that moment of being stuck shape the final song? I think when you put too much pressure on yourself to create, it rarely works out. During that session, I decided to step away and just mess around on a keyboard, which instantly lifted the weight off my shoulders. It stripped away my ego because I wasn't  trying  to write a song; I was just playing and having fun with sounds I wouldn't normally reach for. That sense of freedom is what brought the song to life. Ironically, the moment I stopped trying so hard was when the real magic happened. You have mentioned psychedelic experiences inspiring this track. How do you translate something so personal and abstract into sound? Whether you've had a psychedelic experience or not, there are specific sounds that just  feel  psychedelic. They're dreamlike, hypnotic, ethereal, even a bit swirly. In the process of writing this song, those were the first sounds that came out. As I was ad-libbing vocals over the piano, Sam kept saying how trippy it was, so we really leaned into that. One of the first lines that came out and stayed in the final song was " and I open the door to your embrace. " To me, that didn't feel like I was physically opening a door to hug somebody on the other side. In that moment, it instantly felt like I was opening a metaphorical door to embrace Mother Nature and let her guide me - to trust the process. That might sound a little out there, haha, but that's how it felt. This is the title track of your debut EP. Why did you feel this song best represents the project as a whole? Choosing this song as the title track just felt right. Every song on the EP carries a different mood and sonic texture - one might be upbeat and high-energy, another more somber or uncertain. To me, that variety reflects the different elements of life. We all go through constant changes: the highs, the lows, the in-betweens. You can't really escape them, but they're what teach us balance and perspective. That's what  "A Universal Feeling"  means to me: the shared experience of navigating all those shifts. Growing up on seventies rock and folk, what elements of that era still influence how you approach writing today? Oh man, so many! First off, I've always loved the warmth in the production from that era. That's something I try to carry into my own music - I always want it to feel warm, full, and alive. Vocally, I'm inspired by Stevie Nicks (Fleetwood Mac) and Grace Slick (Jefferson Airplane) because they had such range: knowing when to lean into power, when to be raw, and when to pull back into something softer. I'm also really drawn to the sound of things recorded live off the floor. There's a special kind of energy in hearing musicians interact in real time, and I try to capture that same collaborative feel whenever I record. When listeners finish the song, what is the one emotion you hope stays with them? Peace. After being taken on this sonic journey, I want them to feel calm and grounded. Bonus if they have goosebumps.

If you want to know what’s running the music industry in 2025, don’t look at the Billboard charts; look at TikTok. The app isn’t just a place for memes and dance trends anymore; it’s where songs are broken, resurrected, and launched into global superstardom. One viral sound can turn a bedroom artist into a household name overnight, or bring a forgotten deep cut from the 1960s back into heavy rotation. The proof? This year’s most-streamed songs on TikTok are all over the map. You’ve got a 62-year-old track suddenly back at #1, indie artists racking up billions of streams without a label, and big names like Machine Gun Kelly finding fresh life with viral dance crazes. These aren’t just “TikTok hits," they’re songs that jumped from phone screens to playlists, charts, and stadium speakers. For artists, TikTok has become the ultimate equalizer. It doesn’t matter if you’re signed to a major label or uploading music from your bedroom studio. If your track connects with a trend, a mood, or even a single meme, the algorithm will do the rest. For fans, it means the music they fall in love with isn’t dictated by radio gatekeepers, it’s chosen by the community, amplified by creativity, and carried by pure momentum. So which songs actually took over TikTok in 2025? Here are the 10 most-streamed tracks of the year so far, from unexpected revivals to breakout anthems, complete with the numbers and stories behind their rise. 1. Pretty Little Baby  – Connie Francis (1962) Yeah, a song old enough to ride a mobility scooter is TikTok’s most surprising obsession. Her 1962 deep cut went nuclear this year, with over 45.5 billion views across more than 22.5 million TikToks. It shot straight to No. 1 on TikTok’s Viral charts.  2. I Have One Daughter  – Luke Holloway A Tinder snippet turned into the summer earworm. Holloway’s comedic line became TikTok’s accidental anthem after going viral, amassing nearly 3 million likes.  3. There She Goes  – CYRIL (remix with The La’s / Moonlight) Australia’s CYRIL made history as the first Aussie artist to top TikTok’s Global Sound chart. His remix inspired 10,000 daily uploads, with support from names like Meghan Trainor and P!NK.  4. Love Me Not  – Ravyn Lenae This late‑2024 single didn’t just trend, it broke out. After going viral, it peaked at #5 on the Billboard Hot 100 and soundtracked 320,000 TikTok clips by April 2025. 5. Blue  – yung kai A dreamy indie-pop track that exploded. By June 2025, “Blue” had more than 1 billion streams on platforms like Spotify, driven largely by TikTok montages.  6. Undressed  – Sombr Sombr’s emotionally raw track went viral on TikTok and racked up 400 million+ Spotify streams by August 2025. It charted globally, including a #1 in Ireland. 7. Back to Friends  – Sombr Yeah, he had two TikTok hits. “Back to Friends” hit 600 million+ Spotify streams, smashed the Global and US Spotify charts, and crashed the Billboard Hot 100.  8. Show Me Love  – WizTheMc & Bees & Honey This collab blew up on TikTok with more than 2.7 billion views and plenty of remixes. It landed in the Global 200 and conquered charts across Europe.  9. Bunna Summa  – BunnaB A late‑spring sleeper that TikTok turned into a full-blown party anthem. Snippets racked up 584,000 views plus 51,000 video creations before it ever got pushed by radio.  10. Cliché  – Machine Gun Kelly MGK's nostalgia-laced track sparked a literal dance craze on TikTok and got featured on Spotify’s New Music Friday. It’s a legitimate contender for 2025’s song of the summer.  The Bottom Line TikTok isn’t just influencing the music industry; it is the music industry in 2025. From Connie Francis’ forgotten 1962 gem to brand-new tracks by artists like Sombr and BunnaB, the app proves that a song doesn’t need a label push or radio spin to blow up. All it takes is one viral moment, one trend, or one perfectly timed meme. For independent artists, this is both a wake-up call and an opportunity: the gatekeepers don’t get the final say anymore. For fans, it’s proof that your playlists are now being shaped by real people, not boardroom algorithms. And for the rest of us? It’s a reminder that the next big hit could come from literally anywhere, a vintage record store bin, a bedroom setup, or even a throwaway Tinder joke. One thing’s for sure: if you want to know where the future of music is headed, don’t wait for the charts. Just open TikTok.

Pop recording artist Thomas Orlina is back with his seventh studio single, Everything Is Meant To Be , a high-energy dance-pop track infused with cultural pride and emotional depth. Known for carving a lane for Filipino representation in mainstream pop, Orlina blends infectious beats with a message of empowerment, resilience, and self-discovery. Inspired by icons like Britney Spears and Lady Gaga, he channels both nostalgia and modern pop sensibilities while proudly spotlighting his Filipino heritage in the single’s cover art and creative direction. With collaborations from Grammy-affiliated producers and artists, the track’s pulsating basslines and bright, layered production match the uplifting spirit at its core. Already submitted for Grammy consideration, Everything Is Meant To Be marks a new chapter in Orlina’s mission to inspire, represent, and get listeners moving. Everything Is Meant To Be carries a message about finding empowerment after loss. What personal experiences shaped this narrative for you? This song is very meaningful to me and one of my favorites. Just a couple of years ago, we were starting in music, and to be on my seventh single is still a pinch-me moment. I wrote this song with my creative director, Kyle Thompson of KT Dance Productions, and songwriter Isabelle Pouya, and we collectively wanted to capture the essence of how it feels to lose something but also reclaim a newfound sense of empowerment at the same time. I think the song is relatable, whether you’ve lost a partner, a loved one, or anything meaningful in your life. These life events often shape who we are, but this dance pop single adds an element about the importance of also finding that courage and twisting the narrative, knowing that we can bounce back from loss and be better than before. I had a lot of shifts in my life last year. Losing a relationship with someone I had put a lot of effort into for four years, and then a serious family health scare within my immediate family altered my mindset and day-to-day life as well. There were a lot of other personal challenges I faced, but I found a way to get through them and come out stronger than ever. I think that through this project, it was a very therapeutic writing and creative experience, and now I see things a lot more clearly with confidence.  You’ve spoken about the importance of Filipino representation in mainstream pop. How do you see your music contributing to that visibility? Early in my music career, I wanted to create songs that reflected my personal life and to capture the hearts of my fans through storytelling. Earlier this year, I shared a personal essay with VOGUE  about my experiences with mental health, so I am known to be transparent with my audience on things I'm going through. I’ve brought visuals together that have touched on the importance of prioritizing your mental health, highlighting the LGBTQ community, the AAPI community, and shedding light on the importance of diversity, and other topics. For this specific project, I wanted to add elements to represent the country where my family was born. I loved my time visiting the Philippines, and the people there are so kind and loving. When it comes to pop music in the US, there still isn’t an LGBTQ Filipino-American male solo pop star who has made a significant impact in mainstream music or radio, so my team and I wanted this to be a movement to draw attention to that aspect of who I am in hopes to break open new doors and strike up conversations on ethnic groups in music that need more visibility. The cover art pays homage to the Philippines. What was the creative process behind tying that cultural symbolism into the single? The cover artwork is very meaningful to me. We chose the colors on the flag of the Philippines to drive home our storytelling and to create buzz around the country. When you see the colors, they are all so bold and bright that we wanted to keep that as a core theme throughout this era. You will see those same colors in the music video as well. We’ve had plenty of artwork with my face on it, and as much as I love having that be a part of the rollout campaign, creatively, this just came to me to make a bold statement, and I’m pleased with how it turned out. You collaborated with Grammy-winning and Grammy-nominated creatives on this track. How did those partnerships influence the final sound? The idea to collaborate on the project was from my producing partner, Lancen Gm. He reached out to me at the end of my bid for a Grammy nomination last year and asked to do a song with me. I was pleasantly surprised, and from that moment forward, we did our best to put together a team we felt the strongest about. Yungchriisbeats, a talented producer and a part of the Recording Academy, came in to add his flair to the song, and we worked with my original production team, MELT Music, who did a phenomenal job of bringing it all together. These partnerships allow people to bring in their flair and take on the song, so we had a lot of fun bringing in ideas that we felt were going to be a smash hit. Overall, you will hear so many fun elements in the song that everyone was a part of. The song has been submitted for Grammy consideration. How do you balance chasing recognition with staying true to your artistic vision? It’s truly remarkable to be coming back for another shot at a Grammy. To be here so fast in my music career is something I take lightly. Submitting a project to the Recording Academy for a second time isn’t something I saw coming, but I feel so blessed to have these opportunities, and I am grateful to Lancen Gm and my remix partner, Robert Bach, for making it all happen. I am excited to share exclusively with BuzzMusic that we’re also submitting the remix version of “Everything Is Meant To Be.” I believe my purpose in the music industry is to continue to bring awareness to areas and subject matters I think could use more light, and to create visuals that have substantial meaning. Balancing my art and aiming for recognition go simultaneously. I believe staying true to who I am and putting that in my creative work speaks for itself. I hope to continue to inspire more Filipino-American artists to release music and take us to that next level.

Brian Cottrill isn’t new to the game. With eight critically acclaimed albums behind him through The Grey Agents, Dream Trippers, Drain Babies, and as a solo artist, he’s spent decades sharpening his voice as one of West Virginia’s most vital storytellers. Now he’s turning that voice into a battle cry with his new single No More . Featuring Seth Maynard on lead guitar, Dilip Chandran on bass, and Cottrill’s own daughter Hannah on drums and vocals, No More  is as much a family affair as it is a protest anthem. The track fuses sharp rock grit with raw lyricism, confronting an America that Cottrill believes has lost its way. “I wrote this song about how my dad was a factory worker,” Cottrill shares. “He and my mom took us to church and taught us to love our neighbor, help the poor, and feed the hungry. But that seems lost in today’s America.” That frustration comes alive in both the music and the visuals. The video was filmed in front of an abandoned glass factory in Clarksburg, West Virginia, one of the same factories where Cottrill’s father once worked. His dad wore a back brace, struggled to get in and out of chairs, yet still showed up day after day to provide for his family. That legacy of resilience, and Cottrill’s anger at how far America has drifted from those values, fuels every note of No More . The message is clear: Cottrill is done watching hate and division take center stage. With Seth Maynard’s blistering guitar work elevating the track, No More  becomes both a deeply personal story and a universal call to action. “No matter how bad my dad was hurt, he kept going to work and supporting the family,” Cottrill says. “This song shows my outrage about how a lot of Americans are focused on hating people who are different from themselves.” No More  isn’t just music. It’s a protest. It’s history. It’s the sound of someone demanding better, not just for themselves but for all of us. No More  is rooted in your dad’s story as a factory worker and the values he instilled in you. What do you think he’d say if he heard this song today? Although we lost my mom in May, my dad is still kicking at 85, and he did get to hear the song. He said that he liked that we shot the video in front of the old glass factory. He has always been very complimentary of my songs and talks about how much he loves them. Although he keeps harassing me to play country music. [laughs] The music video was filmed at the abandoned glass factory where your father once worked—what was it like standing in that space decades later and channeling it into the performance?  My dad was part of a generation that worked very hard and didn’t complain much. He was still working and didn’t retire until he was 74 years old. It’s really sad to see these factories go out of business. When they were active, one person could support their entire family on a single income, afford a house and a car, and pay all the bills. Unfortunately, big corporations profit more from these factories than their workers, leaving behind an ecological disaster in the cities where they are located, which never get cleaned up. This song was about the working class of yesterday, their moral values, and how I was raised. And also about how much of that seems lost in today’s America.  You’ve said America has lost its way when it comes to loving your neighbor and helping the poor. What specific moment or shift pushed you to finally say “enough” and write this track? Today, many Americans are trying to figure out who to blame for their problems. Apparently, the rich have decided to blame the poor for their own lack of wealth. And the rich have told the middle class that immigrants and people who are different from them are the ones to blame for their problems, and they fell for that lie.  There are no billionaires out there who are really concerned about helping the working man.  Having Seth Maynard, Dilip Chandran, and your daughter, Hannah, on this song makes it feel like both a protest and a family legacy. How did that dynamic shape the energy of the recording?   I was thrilled to have Seth Maynard play on the song and appear in the video. Seth is extremely talented and really lifted the song to another level.  He doesn’t just feed off the music; he picks up on the lyrics, mood, and energy, and creates parts to amplify that. Hannah has been playing drums and singing harmony vocals on this whole group of singles that I have been releasing.  None of these songs would be possible without her talent. They are all based on my outrage for what is going on in the world. And Dilip is an old friend and bandmate, and we reconnected at my mother’s funeral, and it’s really nice to be working with him again. He is a nonstop outpouring of positive vibes that makes everyone around him feel better.  You’ve put out eight albums across multiple bands and solo projects. Where does  No More  sit in your catalog—do you see it as a continuation, or a line in the sand for a new chapter? I’m not sure. I just get inspired to write new songs and make new music, and I have the luxury of being able to release whatever has piqued my interest at the time. I didn’t have enough of these songs about rage to make an album right now. And it appears as though the world doesn’t care about albums anymore. So I’m just releasing a series of singles. This is the third in the series, and there is another one coming; they all have strong social commentary. Usually, after I write some songs that are about social issues, my brain leaves that space for a while when I go back to writing some other type of song.

Hamilton’s own Isabella Chiarini knows life can get heavy, but her new single “Let It All Go” is here to cut through the weight. The rising pop singer-songwriter has been grinding since childhood, training under Teresa Nocita and later co-writing with Canadian Idol winner Brian Melo. After years of shaping her craft, she’s now stepping fully into her voice, blending polished production with raw authenticity. “Let It All Go” is exactly what its title promises: a track about freedom, release, and remembering that joy is still worth chasing. It’s built for blasting with the windows down or dancing in your room without a care in the world. The song captures that feeling of letting go of stress and pressure long enough actually to live, a message that resonates even more in a time when so many young adults feel buried under expectations. Chiarini’s approach to pop is intentional. She isn’t just aiming for streams or background playlist placements; she writes to connect. Her music flips personal challenges into uplifting anthems, creating a space where listeners can breathe and remember it’s okay not to have everything figured out. “Let It All Go” carries that energy with a bright, infectious hook and a carefree spirit that feels like a reset button. As Isabella puts it herself: “I hope people listen to this when they want to have fun! I want people to know it’s okay not to take everything so seriously! Life is a lot better when you’re down to have a good time.” With a growing catalog of relatable, feel-good pop, Isabella Chiarini is carving out her own lane in the Canadian music scene. “Let It All Go” isn’t just a single, it’s a statement of arrival, proof that she’s ready to bring her blend of authenticity, empowerment, and pure joy to a wider audience. "Let It All Go” feels like such a carefree anthem. Was there a specific moment or experience that inspired you to write a track about release and freedom? I planned this song around a vacation I was taking! The videos I’ve been posting were all filmed in Italy! I wanted to show people a different, fun side of me that they hadn’t seen before, and this was the perfect opportunity! You’ve been working on your craft since childhood with mentors like Teresa Nocita and Brian Melo. How have those experiences shaped not just your sound, but your approach to the industry? They have given me a realistic view of the industry and the hard work it takes to get where you want to be! They taught me from a very young age that it’s okay to be uncomfortable with your feelings and work hard to make yourself comfortable with doing new things.  A lot of your audience is made up of young adults navigating big life pressures. What’s one message you wish you could give every fan who feels overwhelmed? I hope they take away that sometimes not everything has to be so serious! There are times when you need to take yourself seriously and times when you can let yourself go and have some fun; those times recharge your battery and help you enjoy life. Your songs balance authenticity and fun, never too heavy, but never surface-level either. How do you find that sweet spot when writing? Finding the sweet spot is never too difficult for me because that’s how I am as a person! I like to have fun and be carefree! I can be deep and honest when I have to be, but there is always that underlying sense of everything will be okay!  Now that “Let It All Go” is out, what’s next? Can we expect more upbeat, empowering tracks, or are you exploring different sides of your artistry for future releases? I usually write whatever is inspiring me in the moment. I’m trying to keep my sound very dance pop because that’s what I’m listening to the most, but the lyrics can go either way depending on how I’m feeling.

The music industry is obsessed with gatekeepers. Labels, A&Rs, managers, everyone promising they hold the keys to your career. But in 2025, the truth is clear: you don’t need a label. You need Patrick Stafford , a vision, and a plane ticket. Patrick Stafford isn’t just another kid making beats in his bedroom. He’s quietly building a global creative powerhouse called Underground Retreats (UGR), an event that every three months brings 30+ artists, producers, videographers, and creatives together under one roof. Not in some corporate boardroom. Not at an overpriced, invite-only “writing camp” that costs thousands. But in actual houses across the world, where passion, not industry politics, runs the show. The Idea Behind UGR Labels have long used writing camps to crank out hits. Stafford flipped the script: why should this experience be limited to the chosen few with deals? At Underground Retreats, entry isn’t about clout or co-signs; it’s about passion. If you care about your art and are genuinely hungry to make a name for yourself, you’re in. Each retreat drops creatives from around the world into a shared space where the energy is pure freedom. Think less “rigid schedule” and more “open studio.” The retreat mixes in a few key touchpoints, classes from Stafford Beats, guest speaker sessions (sometimes with more than one), and group dinners, but most of the magic happens organically. And every night? The crew packs into a common room for listening parties. New music, fresh collabs, raw ideas, all being heard by the people who just lived it with you that day. Building Something Bigger Than a Camp Photo by @alyssarphoto What sets UGR apart isn’t just the vibe, it’s the output. Each retreat culminates in a collaborative album released on the official UGR Spotify page. Attendees can still drop their own singles independently, but Stafford encourages everyone to submit their best tracks for the group album. And here’s the kicker: those albums are often shared directly with industry managers, A&Rs, and producers who are scouting new talent. In other words, UGR isn’t just an escape. It’s a launchpad. How to Get Involved Tickets run on a first-come, first-served basis through @staffordbeats_  and @undergroundretreats . They don’t cover food or travel, but you can choose your setup: Regular Ticket:  Full bed, shared rooms, stay the whole retreat. Couch/Air Mattress Ticket:  Save money, crash comfortably, and still experience everything. Day Pass:  Access to all events without lodging, perfect if you’re local. No gimmicks. No velvet ropes. Just show up, create, and connect. Why It Matters Patrick Stafford is proving something the industry doesn’t want to admit: the next generation of stars doesn’t need labels to validate them. They need spaces where collaboration is real, barriers are removed, and passion is the entry ticket. Underground Retreats is that space. It’s not about clout-chasing or flexing your follower count. It’s about building community, making music that matters, and giving creatives a shot at being heard by the people who can change their trajectory. For a kid who started out just creating content and beats, Stafford is building a movement. And the industry should be paying attention. Because if you want to make it, you don’t need a label. You need Patrick Stafford and a strategy.

You don’t need a label deal to blow up anymore; you just need a song that hits at the right time, the right way, and the right platform. 2025 is proving once again that independent artists are driving the culture while majors scramble to catch up. These are the DIY acts that went viral without corporate backing this year and reminded everyone that authenticity still sells. Chappell Roan (Yes, Still Technically Indie) She’s signed to Amusement Records, a boutique imprint, but make no mistake: Chappell Roan built her cult following outside the machine. Her unapologetically camp visuals, queer-themed pop anthems, and live performances are pure internet fire. Viral moments like “HOT TO GO!” chant challenges are still spreading across TikTok in 2025, proving that major labels don’t own virality anymore. D4vd Straight out of his sister’s closet with a cracked iPhone and GarageBand, D4vd has kept his career independent even after blowing up with “Romantic Homicide.” This year he doubled down with more DIY hits, and TikTok ate them alive. His story proves you don’t need Pro Tools or a million-dollar studio when your songwriting is bulletproof. Laufey The Icelandic-Chinese jazz-pop singer is rewriting what indie virality looks like. She’s classically trained, fully independent, and somehow turned Gen Z into Billie Holiday stans. 2025 saw her TikTok covers and dreamy live performances continue to trend globally, with streams hitting the hundreds of millions, all without a label micromanaging the vibe. House of Protection LA’s newest alt-electro-rock duo went from sweaty DIY club gigs to viral clips on YouTube Shorts and TikTok in months. Their single “It’s Supposed to Hurt” broke through thanks to raw live energy and a zero-budget rollout that felt more authentic than any major-label campaign. Ken Carson & the Post-Opium Wave Even after bouncing around industry deals, Ken Carson’s post-Opium releases in 2025 found viral traction outside traditional label systems. By leaning into SoundCloud culture and indie distribution, he kept full creative control and still racked up millions of plays. Why This Matters The old narrative, that you need a label’s money to be heard, is dead. In 2025, all you really need is a cracked mic, a platform, and a song that makes people stop scrolling. Labels are still playing catch-up, while independent artists are proving you can build an empire off relatability, community, and raw talent. At the end of the day, virality isn’t something you can buy; it’s something you spark. These artists didn’t wait for a label advance or some A&R’s stamp of approval. They trusted their instincts, built communities online, and turned raw creativity into momentum the industry couldn’t ignore. If 2025 proves anything, it’s that independence isn’t a limitation; it’s the flex.

Melbourne-born siren Hannah Crossrose returns with “ Passenger Side ,” a track that feels less like a song and more like a moment of reclamation, produced by Josh Potter at Umbrella Studios. The alt-country anthem trades in both grit and grace, building a sonic highway for anyone ready to leave the backseat behind. Crossrose’s ethereal voice, already known for stopping noisy pubs cold, cuts through the mix like a guiding light. There is a haunting softness to her delivery, but beneath it lies a storm of determination. “Passenger Side” is not about burning bridges; it is about finding your lane, gripping the wheel, and realizing your capacity runs deeper than you thought. The production is lush yet spacious, layering soaring pedal steel, grounded acoustic textures, and cinematic flourishes that mirror the song’s theme of wide open possibility. It is not hard to picture this track rolling over the credits of a road trip film: headlights cutting through the night, the horizon endless, the choice yours. What makes “Passenger Side” stand out is not just its message; it is the duality it embraces. Crossrose does not demand you take control right this second. She acknowledges the in between, the moments when sitting shotgun is still part of the journey. That honesty makes the song hit harder; it validates the struggle and celebrates the breakthrough. After captivating audiences across Australia, the UK, and Dublin, including the iconic Ruby Sessions, and landing spins on outlets like Triple J, MTV Australia, and CMT, Hannah proves once again she is not just another voice in alt country. She is carving her own road and inviting us to ride along. “Passenger Side” is more than a single; it is a reminder that the driver’s seat has always been waiting for you. Passenger Side is about reclaiming power. Was there a personal moment that pushed you to write it?  After spending years chasing after dangling carrots to no avail, I realized that no one, no man, is going to control when and when I cannot take the wheel. I wrote the song as an ode to myself, to trust my intuition and to trust my capacity to manage the driver's seat. Instead of waiting for someone to give me the green light, I wrote that song and decided to embark on a journey overseas to play music in the UK and Dublin on my own. It was the most empowering musical decision I’d ever made, and even though I was scared, I was determined and ended up making so many beautiful connections at shows and open mics. Your voice has been described as siren-like. How do you channel both vulnerability and strength in your delivery?  I feel like my natural singing voice, just like everyone else’s, can be a gateway to the soul. It’s one of the few things I don’t attempt to overthink anymore; I just feel it. I feel very deeply, and I’ve decided that it’s a strength. Acceptance has been able to help me channel vulnerability into my lyricism, and the connection between my love for mythology and people likening my voice to a siren has me naturally leaning into that space. You have played intimate listening rooms and rowdy pubs. How does performing in different spaces shape your connection to this song?  It strengthens my connection to the song through witnessing a sense of universal connection with the crowd, regardless of who they are, where they’ve come from, or how many beers they’ve sunk. When I invite people to sing the line “I spent too much time on the passenger side,” people from all walks of life sing it. It builds upon my connection to the song in that it can go beyond my story alone.  What did working with Josh Potter bring to the production of this single?  I loved working with Josh! He’s an extremely passionate and determined individual who understood my vision clearly. He was able to cultivate a very collaborative space, which was not only empowering for me but also showed his sensitive ability to know when it was time to drive and when it was time to take a back seat. For example, when I wanted to experiment with different melodies with the guitarist (Christian Foyle) or try different harmonies, this was always encouraged; however, Josh is also a drummer, so it was great to see him speak life into the song through his expertise w/Arlo (drummer). He has a very tentative and precise ear for detail, which is what makes his mixes so special. He understood the essence of the song and genre I was in, which is what gave the song its richness and Nashville Sound.  You call yourself your new favourite alt-country siren. What do you want listeners to feel when they first discover you?  My music might more so resonate with the deep feelers, so my hope is that although some might be first lured in by the music and ethereal visuals, there’s space for the listener to lean into their own feelings and attach their own story to the sensitive and fierce messages I share.

If you’re not paying attention to Bell Littell yet, you’re sleeping. The Houston-born, LA-based singer-songwriter is carving out her own lane in Pop Americana, blending dreamy storytelling with grit and honesty. Her latest single, “ Mamacita ,” isn’t just a love song; it’s a scrapbook of sunshine-soaked memories, Chicano-inspired romance, and the kind of vintage daydream that feels like flipping through an old photo album or cruising in a lowrider under palm trees. Bell’s journey started in secret, writing songs in her bedroom as a teenager before leveling up in her twenties, buying beats off YouTube and experimenting with alt-dream pop. That evolved into her indie-folk project Fay’s Forest, and now she’s five singles deep into her Pop Americana era. These days, she’s no longer just chasing dreams; she’s dragging them into reality, balancing LA open mics with activism, tarot pulls, and a mystic-meets-romantic energy that makes its way into every note she sings. “Mamacita” is her love letter to a relationship that once felt like forever, stitched together from pieces of her past. She actually began writing the chorus when she was 16, long before the romance even existed, then finished it years later as if she had been manifesting the memory all along. Inspired by her Mexican-American roots and old-school Chicano imagery, the track radiates nostalgia without weighing itself down. Producer Dalton Bryant played every instrument on the record, wrapping the song in golden-hour warmth that feels tailor-made for road trips, beach playlists, and nights that turn into stories you’ll retell for years. One of Bell’s most cinematic inspirations came from watching an older couple in their seventies cruising through California in a black lowrider, gleaming in the sunset like time had paused just for them. That fleeting image shaped the soul of “Mamacita,” capturing the idea that love can stay glamorous, creative, and rebellious long after youth fades. Even if the relationship that sparked the song didn’t last, the magic of it still deserved to be preserved. Her broader catalog proves she’s not just writing romance. “Sea to Shining Sea” aims at America’s systemic failures, “Evil Eye” works as a spell against negativity, “Dreamer” honors her family’s immigrant story, and “A Star” doubles as a tarot-infused prophecy. It’s all part of a universe Bell is building where mystics, dreamers, and everyday fighters find common ground. Bell Littell makes enchanting music without being naive, political without being preachy, and romantic without slipping into cliché. “Mamacita” is proof that she’s more than just another indie hopeful; she’s an artist with the rare ability to turn her lived experiences into something timeless. You've said "Mamacita" was partly written when you were 16 and then finished years later. Do you think younger you manifested that relationship,  or was it just fate playing games?   When I was 16, I had an idea of what I wanted, and I found it in that relationship. I never felt like it was a game or a waste of time because we learned so much from each other, and we lived so much life together. I do think I used to have a habit of clinging to the idea of things rather than facing the reality of the situation.   Your music often sits between dreamy escapism and the ugly realities of  America. How do you balance writing something people can dance to with saying something people actually need to hear?   You can't have one without the other because life is a constant flow of hardship, success, sadness, and magic. People want to be inspired and uplifted, but they also want to be acknowledged and seen. I naturally lean towards the dreamy, whimsical side of song-making because songwriting started as my escape from reality. But by growing up, I found that songwriting could be used as a tool to confront reality rather than to escape it, and I think everyone needs a bit of both.   You've been vocal about protesting ICE and systemic injustice. Do you see your role as an artist as equally about activism as it is about music, or do you separate the two?   My role as an artist is to make music that means something. Whenever I put out a song about undocumented immigrants or marginalization in America, it's my responsibility to back that up with real action.  I don't separate the two; I care about music just as much as I care about justice, equality, and diversity.   Pop Americana isn't exactly an easy genre lane. What makes you double  down on it instead of pivoting to something more   "mainstream-safe"?   I started calling my music Pop Americana because, while I lean mostly toward Pop,  there is a strong Americana influence. I love Pop music, I love how sparkly and fun it is. I grew up loving and listening to the Disney Princesses, Hannah  Montana, Selena Gomez, Taylor Swift, Beyoncé, and Ariana Grande. I thought my sights were set; that's what I wanted to do. But once I started making pop music, I found myself drawn to an older style of popular music. The sound of oldies playing in my grandma's kitchen, my stepdad's 80s  rock n' roll in the car, the 90s hip hop my mom would jam to, and the country,  banda, and tejano music that soundtracks everyday life in Texas. I started to really connect with an American sound as I found myself telling an American story, and so I decided not to limit myself because I don't believe mainstream safe equals mainstream success. I love artists like Bruce Springsteen and Lana  Del Rey because of how they both capture their own experiences as Americans.  I think I have a different perspective to offer, and that's why I've doubled down on it.  You talk about writing for dreamers, mystics, and hustlers who still believe in angel numbers. What's the most significant sign you've ever received that told you to keep going?   I had been making indie pop and folk music, but I still felt insecure and scared to say the words, "I want to be a successful music artist, and I want to  make Pop music." Because once I say it, I have to do it. Then there was this one night where I went to the Thorn and Moon Magickal Market in Houston. There were dozens of vendors selling handcrafted magical items, a spooky, sparkly burlesque show was underway, the moon hung high, and everyone was dressed up in velvet, leather, and lace, including the Tarot Reader. He had this beautiful, long, blue cloak with a long, blue beard, glitter-covered eyes, and a big smile. He was a magical wizard named Merlyn. I sat down in the chair with a question I  was scared to ask. He pulled The Star and two other cards, and he told me something that has driven me forward ever since. He told me that he knew I had this big dream that felt far away and unattainable, but that it was mine if I buckled down, put in the hard work, and went for it. It was so impactful because  it wasn't just a "the universe said all your dreams will come true at midnight if  you just wish on a star." It was a sign that if I committed fully, I could do it. I started writing and recording my first few Pop songs almost immediately, and a year later, I released my first Pop song, "a STAR."