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When life handed Bailey Marie a suspension slip, she turned it into a song. “Honky Tonk Hallelujah,” is a country-pop banger that proves faith and fun can share the same dance floor. Instead of moping about being kicked out of school for performing at Coyote Joe’s, Bailey did what every true artist does: she spun her story into a celebration. The track kicks off like a Southern sermon flipped on its head. Electric guitars meet gospel flair, and Bailey’s vocals come in strong, confident, and just the right amount of rebellious. She paints the picture: “Two blocks down past the Church of Christ / where the road turns to dirt / yeah, it’s on the right / where the faithful gather on a Saturday night…” It’s Miranda Lambert grit with Kelsea Ballerini brightness, equal parts sass, soul, and Southern charm. Her voice drips with charisma, turning honky-tonk tradition into something modern and self-aware. The chorus hits like a holy shot of adrenaline: “Raise your glass and sing along / the music’s loud and the drinks are strong…” It’s the kind of anthem that makes you want to two-step barefoot under neon lights, even if you’ve never set foot in a small-town bar. The music video only fuels the energy, featuring viral comedian Ginger Billy adding his own dose of country chaos. Together, they turn the scene into a party that feels half revival, half rodeo, and fully unforgettable. Bailey Marie’s story is one of hustle and heart. From her Apollo Theater debut at just 10 to collaborations with Nashville heavyweights and producer Kent Wells (Dolly Parton’s longtime producer), she’s been grinding in the spotlight for years. “Honky Tonk Hallelujah” feels like her breakthrough, that moment where the backstory meets the big stage. It’s not just a song; it’s Bailey’s philosophy: laugh through the mess, find joy in the wreckage, and dance your way through it all. In her own words: “I wanted to turn it into something fun that people could sing and dance to. Honky Tonk Hallelujah is my way of laughing through it all.” You said this song came from getting kicked out of school. What was going through your head when that happened?  When I was kicked out of school or received the email, my heart sank, and I immediately felt a sense of crushing disappointment, thinking about the senior moments that I wouldn’t get to do with my friends. It was tough on me at first, but I was able to turn it around and finish strong with a new school and a new set of friends. A year and a half has passed, and now I have moved on from school, successfully working towards my music career and college goals.  “Honky Tonk Hallelujah” boldly mixes faith and fun. How do you balance both sides of that message?   I have a very strong faith in God. I am very involved with the church, and I believe that shining that light can happen anywhere, including a bar—the place where our light should shine the most. The song is fun and mimics what you might find in a bar scene in a light and enjoyable way.  What was it like filming the video with Ginger Billy?   He is absolutely hilarious. What you see online is exactly how he is in real life. He is very genuine, and he didn’t have to come be a part of the video, but he chose to, and I’m grateful for that.  You’ve already shared stages with Lainey Wilson and Gwen Stefani. Who’s next on your dream collab list?  I would love to share the stage with Ella Langley or Luke Combs. I’d love to work with Luke because he’s from our area, and he’s just a simple guy that I relate to.  What do you hope fans take away from this song: rebellion, redemption, or just a good time?  I hope that people take away from this song a good time. Just something fun to make you laugh and to take the seriousness out of this harsh world. We all need laughter, and I wanted to write a song that makes you smile rather than think about the negatives.

Lofi Legs ' new single " Rock and Roll Easy " feels like it exists somewhere between consciousness and a daydream. The San Francisco-based band, led by Paris Cox-Farr, continues to shape a sound that feels both intimate and otherworldly. This song is not just about love or music. It is a love song to the act of creating itself, to the moment when making something becomes the only thing that matters. From the very first note, "Rock and Roll Easy" glows with the warmth of an old record playing in a quiet room. It carries a nostalgic pulse that recalls the charm of early Beatles songs, yet never feels like an imitation. Instead, Lofi Legs channels that influence into something original and cinematic. The guitars shimmer with clarity, the bass gently anchors the mix, and Cox-Farr's vocals drift through it all like smoke curling in slow motion. The track captures the feeling of being wholly absorbed in creation. It is about those moments where music becomes meditation, where life fades and only the sound remains. The melody moves slowly, with patience and confidence. There is no rush to impress, no urgency to perform. It simply exists in its own rhythm, pulling you into its trance. Production-wise, the song stays loyal to its name. It feels easy, loose, and human. Every instrument breathes. You can hear the slight imperfections that make it real — a soft strum, a faint breath, the echo of a room. Lofi Legs prove that authenticity will always sound better than perfection. The sound feels lived-in, like a warm summer afternoon remembered long after it has passed. Lyrically, "Rock and Roll Easy" feels personal yet universal. It is about love, not just for a person, but for the act of making something beautiful and sharing it with the world. The writing invites you to find your own meaning in it. Whether you are a musician, a writer, or simply someone chasing purpose, this song understands you. "Rock and Roll Easy" follows the August release of "Nowhere" and serves as the second single from their upcoming fifth album, set to be released in 2026 through the WWNBB collective. If these singles are any indication of what's to come, the new record will blur the lines between nostalgia and innovation, delivering something that feels timeless without ever feeling trapped in the past. Lofi Legs have built their identity around freedom - the freedom to feel, to explore, and to drift. "Rock and Roll Easy" captures that spirit perfectly. It does not ask for attention. It simply plays, breathes, and leaves you with a quiet sense of wonder. "Rock and Roll Easy" feels deeply personal and introspective. What was the moment that inspired its creation? This song was written during the pandemic and the ensuing isolation, and so much time alone or with the same few people inspired me to think about the metaphysics of art creation. How does it work?  What is the struggle?  The song carries a vintage warmth that still feels fresh. How do you blend nostalgia with modern rock influences?   I owe a lot of my vintage feel to my upbringing.  I spent a lot of time listening to '60s and '70s rock with my dad, from the age of 5, and he took me to see many old musicians from that era, including Frampton, Jeff Beck, Satriani, and Pink Floyd.  This was later combined with my own interests in modern rock, including Pavement, Built to Spill, the Shins, the Strokes, Ween, Brian Jonestown Massacre, White Fence, Scott Walker, and new artists like Alex G, Fontaines DC, Mac DeMarco, Cate Le Bon, Deerhoof, and Ty Seggal.  All of these musicians are in my mind as I compose.   Your lyrics often explore love, creativity, and self-discovery. How do those themes evolve from song to song? I suppose we all hope to learn new things about ourselves as we grow older, and I'm no exception.  Of course, I hope the evolution is toward a better me who understands how to be a better lover, how to work more creatively, how to be more open to different ways of thinking, different kinds of people, and different music. I never want to stop evolving! You've grown within the Bay Area DIY scene. How has that environment shaped your approach to making music? When I was first performing at seventeen, there was a vibrant group of kids, and we made shows in caves and train stations with generators. There were also some small house clubs, like the honey hive.  It allowed me to create and perform in places that we made, with our own rules, as opposed to venue rules. This allowed much more creative freedom.  Your upcoming fifth album is scheduled to arrive in 2026. What do you want listeners to feel when they experience this next chapter of Lofi Legs? The songs on the upcoming album are some of the slowest songs I've written, and they are less traditionally arranged.  I hope the listeners feel like they have a chance to reflect and enjoy the moment. Maybe it's not always about banging your head against the wall; maybe we all have time to slow down for a minute.

There’s something rare about a debut that feels this genuine. Rising artist My Name Is Tamsin  introduces herself to the world with “Joy & Love (All Around Me),” a nostalgic lofi-pop and hip hop fusion that captures what most holiday songs forget, the quiet, soulful magic of simply being alive. Warm, poetic, and radiating gratitude, the track invites listeners to slow down and rediscover childlike wonder. It’s Christmas through the lens of someone who’s lived through struggle and still believes in joy. Born in Oxford, England and raised in the U.S., Tamsin’s story is one of resilience. She wrote her first rap in elementary school, her first Christmas song at fifteen, and never stopped writing, even through years battling mental illness and recovery. Her art became her lifeline. Now, at 39, she’s reclaiming her voice and her purpose, turning pain into poetry and healing into melody. Produced by Lit Honey Productions and recorded at The Record Co. in Boston, “Joy & Love (All Around Me)” is more than a holiday track; it’s a comeback moment. With its dreamy production, soft beats, and soulful vocals, it sits perfectly between Chance the Rapper’s “Sunday Candy” and Sia’s Everyday Is Christmas; nostalgic, modern, and deeply human. Tamsin’s music doesn’t chase perfection. It chases feeling. “Joy & Love (All Around Me)” is a reminder that hope doesn’t always roar, sometimes it hums through a melody, in a room full of light and memory.

Eddy Puyol proves that gospel and groove can coexist perfectly. With his latest single Run It Back , the South Florida artist brings the funk back in full force, serving a track that’s equal parts soul, swagger, and spirituality. From the opening beat, Run It Back radiates pure energy. The bassline bounces, the horns snap, and Puyol’s flow locks in like a seasoned funk veteran. “I’m on that good vibes only, that’s the Puyol way,” he declares, and it feels like a lifestyle more than a lyric. His energy is contagious, his message clear, and the groove impossible to resist. Drawing inspiration from the golden age of funk, Run It Back nods to Parliament, The Dazz Band, and Kool & The Gang while staying modern and sleek. Puyol’s delivery shines with joy and purpose, weaving gratitude and reflection into every verse. It’s not just about the music, it’s about the mindset. His lyrics radiate positivity without ever feeling forced. The song’s most striking moment comes when the beat slows down and he sings, “Life ain’t always about going a hundred on the highway.” It’s a line that cuts through the rhythm to remind listeners that slowing down is part of living right. That balance between hype and heart is what makes Puyol’s music hit deeper than most. The Run It Back music video brings the vibe to life. Directed by Will Thomas and filmed outside Crossover Church in Tampa, it features family, friends, and classic cars shining under the Florida sun. Between the laughter, dancing, and community energy, it’s clear Puyol isn’t just performing. He’s living it. Eddy Puyol doesn’t just make music; he builds moments that stick. Run It Back isn’t just a song to play; it’s a reminder to breathe, move, and celebrate life’s blessings with rhythm and purpose. “Run It Back” has such an infectious energy. What initially sparked the idea for this track? After my tag-team partner Chuck Hemann and I dropped “Good Time” and “Tha Funk” featuring Doctor Dukes, we caught a serious case of the funk. We knew we had to keep that groove going, so we dug back into those funk crates, searching for the next vibe to cook up. We brought in our brothers Shaun Dash and Dan Carroll to help shape the sound, and once we landed on what became “Run It Back,” we looked at each other, smiled, and knew—this one’s a hit. You blend funk, hip-hop, and gospel in such a natural way. What’s your creative process like when fusing different genres? It’s really all organic for me. I don’t sit down thinking, ‘Let me mix this and that.’ These sounds just flow out naturally because they’re part of who I am. I love God, I love people, and I’m a genuine fan of music in all its forms. My favorite guy, Jesus, said, “Out of the abundance of the heart the mouth speaks,” and I take that to heart—literally. What you hear in my songs is what’s living inside me. The funk, the soul, the faith—it’s all part of my heartbeat. That lyric about slowing down really stands out. How does it reflect where you are in your life right now? That bridge was actually Chuck’s idea—he heard it in the groove. When I started writing, the words just flowed: ‘Life ain’t always about going a hundred on the highway.’ That line hit me hard because it’s true. We live in a world that’s always go-go-go, but sometimes you’ve gotta ease off the gas, take a breath, and appreciate the blessings around you. Even when things don’t look perfect, you’re still here, still breathing, still blessed. That moment in the song is a reminder to slow down, be present, and groove with the ones you love. The video feels like a celebration of faith, family, and community. What message did you want people to take away from it? My goal in everything I do is to make people smile. I want my art to reflect real life—joy, love, and good vibes. The “Run It Back” video captures all of that. My brother Tommy “Urban D.” Kyllonen and the visual wizard Will Thomas helped bring it to life in Tampa, FL, right in front of Crossover Church. We had Chevys, Cadillacs, laughter, and music—it turned into a full-on parking-lot party with my wife there the whole time, celebrating right beside me. At the end of the day, the message is simple: life’s better when you share it. Love is the vibe. Your upcoming project,  Run tha Funk Back for a Good Time , feels like a movement. What do you want listeners to feel when they hear it for the first time? When that first beat drops, I want people to move.  Run tha Funk Back for a Good Time  is more than a project—it’s a celebration. Funk, joy, and gratitude rolled into one. It’s the next chapter in my journey, bringing faith, family, and fun together through music that makes people dance and smile. If it makes you turn the volume up, call your people, and thank God for the ride, then mission accomplished.

Let’s be honest, most Christmas music lost its soul a long time ago. Every year, it’s the same rotation of covers, the same sanitized nostalgia wrapped in predictable jingle bells. But then there’s Desarae Dee , Toronto’s self-proclaimed Queen of Vibes, who refuses to play by the rules. Her latest project, Moments of Christmas (2nd Movement),   doesn’t just reimagine holiday music; it gives it a pulse again. Desarae’s not some seasonal act jumping on the holiday bandwagon. She’s a multi-award-winning instrumental fusion artist with serious chops, recognized by NPR, CBC Radio, and a 2022 SiriusXM Black Canadian Music Award. She’s also a GRAMMY® Voting Member (Class of 2024) and an endorsed Yamaha Canada, Hammond Organ, and Juicy Earz artist. With over 70K loyal followers on TikTok and Instagram and millions of views under her belt, Desarae’s brand of “faith-filled soul fusion” has made her one of the most exciting instrumental voices in the country. Moments of Christmas isn’t your background holiday soundtrack; it’s a full-on emotional journey. The first movement, released back in 2020, captured the serene and sacred side of the holidays with tracks like “Moments of Christmas (Theme),” “The Light,” and “Sparkle.” Those songs felt like church on a snowy Sunday morning, peaceful, glowing, and deeply rooted in gratitude. But this second movement? It’s the celebration that follows the reflection. The new release brings a modern, genre-blending energy that fuses gospel, soul, and R&B with holiday warmth. Think smooth grooves instead of sleigh bells, heartfelt instrumentation instead of overdone vocals. It revisits fan-favorite tracks like “Chilly Timing” and “Illusions,” breathes new life into “Holiday Soul” with a fresh remix, and tops it all off with an original standout, “AQOVC (A Queen of Vibes Christmas).” Produced by Desarae and Donyea Goodman and mixed/mastered by Adam Josh Pondang, this project shines because it’s intentional, it celebrates the joy, spirituality, and reflection of the holidays without ever losing its groove. Backed by Howard Artis on drums and Kemy Siala on bass, the sound is full-bodied and lush, balancing sacred emotion with undeniable rhythm. You can tell Desarae isn’t just composing music; she’s creating moments, soundtracks for connection, gratitude, and healing. Her ability to move between genres while staying anchored in soul is what makes her music hit differently. Where most artists chase the commercial side of Christmas, Desarae leans into authenticity. Moments of Christmas is a reminder that the holidays don’t have to be about excess or perfection; they can be about quiet joy, resilience, and togetherness. It’s festive, but it’s grounded. Reflective, but still bursting with life. So, if you’re over the usual Christmas clichés and ready for something that actually makes you feel something, Moments of Christmas (2nd Movement) is the vibe. It’s not about jingling bells or Hallmark cheer, it’s about catching a little light in the dark and letting the music remind you what the season’s really about. You’ve called yourself “Toronto’s Queen of Vibes.” How does that title translate into your creative process, especially when crafting something as emotionally layered as Moments of Christmas? Being “Toronto’s Queen of Vibes” is about creating an experience every time I touch the keys. It’s energy, emotion, and intention coming together in harmony. With Moments of Christmas, I wanted to go beyond nostalgia and capture what Christmas feels like at a soul level: stillness, warmth, and divine peace. Every progression and texture was crafted to help listeners slow down and truly feel something. Most holiday music feels copy-paste, but your sound cuts through with soul and intention. What do you think modern Christmas music is missing, and how are you filling that gap? A lot of holiday music leans on familiarity but forgets authenticity. I think what’s missing is presence; music that connects us spiritually, not just seasonally. I wanted Moments of Christmas to bring that depth back by blending gospel, soul, jazz, and cinematic warmth. It’s not about reinventing Christmas; it’s about re-centering it in the heart. Moments of Christmas (2nd Movement) blends sacred and soulful energy seamlessly. Were there any personal or spiritual experiences that shaped this new direction for you? This project came out of a year of deep renewal. Spiritually, I was called to create from a place of healing and surrender, which mirrors the essence of Christmas itself. I’ve stepped into a new artistic identity, “The Sonic Midwife,” where I see sound as a form of guidance and rebirth. Moments of Christmas became a reflection of that; the sacred meeting the soulful, the divine meeting the everyday. You’ve earned major recognition: a SiriusXM Award, GRAMMY® Voting Member status, and brand partnerships, yet your sound still feels underground and personal. How do you stay grounded while your career keeps leveling up? Gratitude keeps me grounded. I’m currently a GRAMMY® contender in three categories: Best Contemporary Instrumental Album (Adventure: The Album), Best Instrumental Composition (“Adventure”), and Best Engineered Album (Non-Classical), and while those milestones are surreal, I always return to why I create: connection and healing. My community, my faith, and my quiet time at the piano keep me rooted. The more my platform expands, the more intentional I become about staying humble, grateful, and aligned with purpose. If listeners could take away one feeling or message from Moments of Christmas, what do you want that to be, and how does it tie into who you are beyond the music? Peace: that’s the message. I want people to feel that deep exhale, that reminder that they’re loved, seen, and safe. Beyond the music, I’m a storyteller and healer through sound. Moments of Christmas is a reminder that joy and stillness can coexist, and that sacred moments don’t just happen; we create them.

There is something magnetic about  Broke in Stereo , the kind of artist who turns chaos into poetry and heartbreak into rebellion. The long-awaited single “Trouble’s Coming” marks the triumphant return of Cabell Harris, the California-born songwriter, producer, and multi-instrumentalist who has lived a lifetime of stories through his music. After surviving wildfires, the pandemic, and the unpredictable realities of the independent music scene, Broke in Stereo emerges with a song that is both confessional and cathartic. A sonic jolt that reclaims his voice. “Trouble’s Coming” captures the electricity of confrontation in love. The track dives into that emotional space where tension turns passionate and arguments reveal the intensity of connection. Harris describes it as a “head-on confrontation with your lover,” and that spirit radiates through every riff and lyric. It is gritty, unfiltered, and dangerously alive. From the opening notes, the song hits with confidence. A bluesy guitar riff roars to life before morphing into a hypnotic groove that feels both vintage and modern. Harris’s signature style as a live guitarist shines, channeling the raw energy of classic rock while weaving in moments of psychedelic experimentation. The solo feels like a conversation between desire and defiance, a cathartic burst that defines the track’s emotional core. Lyrically, “Trouble’s Coming” refuses to romanticize peace. Instead, it celebrates the messiness of human connection. “Love without fighting is a love without passion,” Harris says. “Fighting is normal, and you shouldn’t feel embarrassed fighting with your partner.” It’s a rare perspective in a world obsessed with perfection, and it adds emotional weight to the song’s unapologetic tone. After years of rebuilding and reflection, “Trouble’s Coming” also signals a rebirth for Broke in Stereo. The artist has returned with a sharper sense of purpose and creative drive. Backed by Artisans of Earth Music, Harris now stands at the helm of a new era, armed with an arsenal of unreleased tracks that promise to push his sound even further. The track itself feels like a late-night confession played through a smoke-stained amplifier. It evokes the spirit of artists like The Black Keys or Gary Clark Jr., but Harris’s storytelling gives it a distinct identity. The production feels organic, unpolished in the best way, allowing every chord and vocal inflection to breathe. “Trouble’s Coming” isn’t just a song; it’s a statement. It reintroduces Broke in Stereo not as a comeback act, but as a survivor, an artist who has lived through fire, chaos, and silence and still found a way to make noise worth hearing. "Trouble's Coming" feels raw and powerful. What inspired you to write about conflict in love? I was in the middle of a moment where my relationship felt like a bar fight in slow motion. Not toxic, not tragic, just one of those real stretches where you're itching to fight with each other .  It's usually outside stresses, but you can only take it out on someone you're passionate about. It's about the kind of turbulence that makes you question who's steering the ship: you, them, or the storm. I didn't want to make it soft or rosy; I wanted to capture that feeling when passion turns into chaos and you realize you kind of like it. It's not heartbreak, it's not over, it's the beautiful mess we walk into when we mistake peace for intensity. The song came out of that head-on collision." You've said that fighting can be a sign of passion. How does that belief influence your approach to songwriting? I feel like if there's no friction, there's no fire. Conflict is the proof that something's alive. When I write, I'm not interested in perfection; I'm chasing tension, joy, and other feelings. The push and pull between love and fear, control and surrender. That's where the magic is. I work on my music until it feels right. Songwriting is like a fistfight that ends in a kiss. The guitar solo stands out as a centerpiece of the track. What was your process for crafting that sound? I knew I wanted an eruption of emotion, not an intellectual plug-and-play part. Something that really can't be replicated. When I'm playing and the band is really feelin it, I feel like I'm watching myself drunk. The solo was chasing that aggressive but sweet back and forth. I dialed in the tone to be rough and fuzzy. Most of the time was spent in post-production, finding a mix that was raw enough. I also created a pretty intense 3-dimensional spatial mix that mimicked what I imagined as the back and forth of two lovers. Listen to it with headphones or real speakers and you'll hear it. The phone speakers won't give you that. Every bend had to feel like it might snap. To me, it's a killer psychedelic solo. It breathes. It doesn't live within the boundaries of a click track. It's beautiful, ugly, honest, a first reaction, also crafted and thought out...it feels alive. After years of challenges and rebuilding, what does this release mean to you personally? It feels like walking out of a fire and dusting myself off. I've lost bands, friends, family, and deals; a lot of things have fallen apart. Many things worked out, but it's still hard. Life is life... "Trouble's Coming" as a song isn't that serious; it's a fun, gritty take on love. However, the release is reviving a part of me that was drowning, and it's a part of me I really desperately needed — a part of me that refuses to disappear. It's not a comeback; I never left. Like you said, a rebuild. After years of rebuilding, I stopped trying to get "back" to who I was and just decided to burn hotter and brighter. A little more flair, a little more swag, less interested in opinions from other people. What can fans expect next from your collaboration with Artisans of Earth Music and the new phase of Broke in Stereo? Artisans of Earth is a company I founded over 10 years ago. I used it for booking shows and my music production. Now it's more professional, with a registered publishing company, dedicated studio production space, and it's the official label registered for the releases. It helps mentally compartmentalize, even though the lines are still blurry. I have other projects and work with other artists, so it's becoming a broader umbrella. It actually really helps to be objective when looking at the music honestly...Since I work in other genres, it helps me focus on how to pour gasoline on a fire instead of smothering it with ideas. So when I write for Broke in Stereo, I can let rock be rock without feeling the need to showcase music vocabulary - because I have a jazz or neo-classical project that fills that void. It also helps me be objective for marketing purposes. I can create the music, then think about how to brand it and how it would look under the label. It's artificial in some ways, but it really does compartmentalize. I'm super excited about Artisans of Earth as a production studio... this is the first time I've had a space that wasn't a laptop in a living room. It's modest, but it's our production space, and I think that comes through on the records. As the records receive more spins, placements, and deals, I'll continue to expand as needed. Next, what's being upgraded in our studio space as we build our roster and audience.

Photo Credit Sam Silkworth Few bands can keep funk this fresh for this long, but  Lettuce  are built differently. The New York-bred collective has spent years perfecting a recipe that never goes stale. Their upcoming album  Cook , out December 3, brings together 16 tracks of funk, soul, jazz, and hip-hop that taste as good as they sound. The latest single, “Keep On,” pays homage to Bay Area funk legends Tower of Power and even includes a co-writing credit from their frontman, Emilio Castillo. The track is a high-energy mix of horns, grooves, and grit that captures the timeless spirit of perseverance. Drummer Adam Deitch calls it “a lil tribute to our heroes,” while vocalist Nigel Hall describes it as a reminder “not to block your blessings.” Beyond the music, Lettuce continues expanding its world. They recently launched a Berklee College of Music scholarship, two new wine lines called Red Crush and Orange Crush, and a cooking series titled  Lettuce Cook . Each project reflects its mission to connect art, community, and creativity in every form. With  Cook , Lettuce are serving up a reminder that funk is more than a sound. It’s a lifestyle. Cook  feels like more than an album. What inspired you to combine food, wine, and music into one creative experience? We have some real chefs and wine enthusiasts in the band. Eric Bloom and Ryan Zoidis have run a natural wine distribution company for at least 5 years. They both cook for the band here and there. They've educated us on the culinary arts in so many ways. My parents always listen to music while we eat. Music, wine, and food are closely connected. That is the theme of the album.  How did the collaboration with Tower of Power’s Emilio Castillo on “Keep On” come about? In the early 2000s, my stint with the soul group "AWB" allowed me to be around groups like Tower of Power, Earth, Wind & Fire, and the Isley Brothers. I met Emilio then and he was very supportive of me in my first touring era. Years later I helped get them signed to our management company. TOP has been an inspiration to us since we all were children. He heard my demo of "Keep On" and said he liked it. He had some lyrics that inspired Nigel Hall to rewrite to suit his singing style. We are honored to work with him in any capacity.  After so many years together, what keeps Lettuce motivated to keep innovating and pushing boundaries? There are many motivational factors for us to keep pushing. The main one for me is not only to honor our influences, but also to add to their musical legacies by incorporating the styles of our era (Hip Hop, Jungle, Dancehall, Trap, etc.) into the music our heroes created, thereby avoiding copying while adding a fresh perspective.  The Berklee scholarship feels like a full-circle moment. Why was it important for you to give back in that way? The 5 week program at Berklee for 16 year olds was extremely important to all of us. We all met there and began a 35 year journey since that summer. We met musical heroes there and figured out where we stood in the musical landscape. We hope that through this Scholarship, we can share that experience with younger generations, enabling them to start their own alliances and groups that will shape their own futures, both musically and otherwise.  Between your live shows, wines, and  Lettuce Cook  series, what do you hope fans take away from this new era of the band? I strongly believe we are at our best in 2025. Between the songs, recording quality, live performances, and navigating the music industry, we continue to grow and focus on creating the best music of our lives.

Greg Hoy’s “Last Quarter” isn’t trying to be cool; it just is. The track drops you straight into a dive bar where the amps are cracked, the crowd’s sweating, and no one’s pretending. It’s raw, alive, and completely unapologetic. Hoy doesn’t chase trends or algorithms; he builds his own world fueled by riffs, horns, and pure human imperfection. It kicks off with gritty guitar and a steady pulse before the horns crash in and send it flying somewhere unexpected. The brass doesn’t just sit in the background; it hijacks the song and turns it into something larger than indie rock. It feels like a street parade and a protest all at once, existential and fun, bold and vulnerable, questioning the passing of time while celebrating what it means to exist right now. Hoy’s performance is all muscle and soul. Every note feels earned through years of trial and error instead of studio trickery. He wrote, produced, recorded, and played nearly everything himself, even capturing the guitar and vocal takes live together. That decision gives “Last Quarter” a heartbeat that most modern songs just can’t fake. Then there’s the video: three unicorns tossing stacks of cash in a limo, boarding a retro Pan-Am jet, and partying like they run the world. It’s ridiculous in the best way, but there’s a truth hiding in the chaos. We all get limited time, limited “quarters,” and Hoy’s message is simple: spend them recklessly, joyfully, and creatively before they’re gone. “Last Quarter” isn’t nostalgic; it’s necessary. It’s proof that music can still make you feel something real, and maybe even make you believe in unicorns again. What sparked the idea behind "Last Quarter" and its reflection on time? There's a great little coffee shop in the beach town where we lived while I was making the' Hit Music' record - Pacifica, CA - called Craftsman Coffee. Some mornings, my daughter and I would head over there because daddy needed a caffeine fix, and she wanted to play their classic stand-up arcade game Ms Pac Man. (The kind folks there even had a stool for littles to stand on to play it.) Being a parent to a young child means, among many other things, anticipating needs such as hunger, thirst, sleepiness, and temperature, and packing snacks and clothing accordingly. Due to this particular plan, it also meant finding quarters in my pants and car so she could play Ms Pac-Man, and often, more than one. How did the horn section come together, and what did it add to the song's energy? I'd had a dabble with horns in the live band back in 2023 for a show at the legendary Riptide near the beach in San Francisco. I'd hooked up with legendary sax player Tom Griesser through mutual friends. We spent a phone call with me talking through the then-current live set, singing 'Do-Dah-Doot-Dos' for him to turn into magical horn charts. Fast forward to making the new LP, and it stuck with me to try writing with horn parts in mind. The power of the internet got me to trumpeter Kelly O'Donohue. She worked with me writing horn parts for a few of the songs on the album. 'Last Quarter' just has this feel… if you're old enough to have seen the movie 'Space Balls', it kinda feels like the part with the alien dancing on the bar with a top hat, doing a kick dance. And having horns in there for the verses as a call and response felt like the right sonic move. You're known for doing everything yourself. What does total independence mean to you now? There's never been a better time to pick up an instrument, or software program, or any skill really, and just get yourself on the ol' internet to learn something. My nephew calls this being 'YouTube Certified.' Growing up, we were middle-class in Western Pennsylvania. My dad was a school administrator. Yet, I hated school - at least, the book-learning, stack-ranking, grade-making parts. Art and music were the worlds to be built. You could pick up an instrument, listen to the radio, and play along! It's not rocket science or heart surgery. It's rock n roll, and it's yours if you want it. The "Last Quarter" video balances humor and symbolism. What's the story behind it? Some dear pals in Pittsburgh, Pennsylvania, and I decided to go see the almighty Kesha live at the Star Lake Amphitheater in Burgettstown, PA, on her latest tour. She is fantastic, and that new record is amazing. So I thought to myself, 'What a great excuse to rent a limo, and film a music video!' Since the song is about the things we value, why we think they are valuable, and the myth of chasing the almighty dollar, throwing a bunch of $100 bills around as unicorns sort of felt like the right vibe for the video. I've never lost those early middle-class roots, even as my life and career have led to success in all its forms. It's just good to remember to have a little fun with the spectacle of it all. What's your take on where real rock-and-roll fits in today's music landscape? Wow, that's a tough question. We just finished part 3 of the year's 'Hit Music' tour, performing 10 or so dates from Pittsburgh to Nashville. We met a bunch of fantastic small business owners, fellow musicians, and music fans. There is a real craving for authenticity in all its forms. Respect to the journeymen (and women) playing Broadway in Nashville and all, but shoot me in the face if there's ever an iPhone or iPad on my mic stand if I'm performing my own music! Now, for the record, paper on the floor is always fine. It's analog, and it's unobtrusive in connecting me directly to the audience. And that's what we need more of: direct connection, eliminating layers of technology or AI to get to looking each other in the eye. We've always said we are 'Plug-in-and-play rock and roll,' and that's going to be even more important as we evolve into a transhumanistic society.

Love can make you feel alive, or it can make you lose your damn mind. Israeli singer-songwriter YALI  knows that fine line too well, and she lays it all bare on her new single “ Got Me Crazy ,” a raw and cinematic dive into what happens when passion turns poisonous. Produced by WAIN , whose work spans pop, electronic, and folk, the track isn’t just another heartbreak anthem; it’s a full-blown emotional reckoning. From the opening notes, “Got Me Crazy” traps you in its push-and-pull rhythm, balancing tension with release. The verses simmer with quiet confusion and emotional exhaustion, then explode into a chorus that mirrors the chaos of a relationship that’s equal parts magnetic and destructive. It’s that spiraling feeling of wanting someone even when you know they’re not good for you, and finally snapping out of it. YALI’s voice hits like a confessional. There’s power behind her vulnerability, honesty in every lyric, and strength in the way she refuses to hide behind metaphors. Her performance feels personal but universal, the kind of song that makes you reflect on your own breaking point. It’s the sound of someone stepping out of the fog and realizing they deserve more. Behind the boards, WAIN brings his signature cinematic touch, sculpting the production to mirror the emotional turbulence. Each synth swell, beat drop, and ambient layer contributes to the storytelling, transforming the track into a sonic reflection of instability and release. Together, YALI and WAIN make “Got Me Crazy” not just something you listen to, but something you feel. Reflecting on the song’s message, YALI explains: “I hope this song makes people ask themselves one important question: Does love really have to be this hard? Sometimes we confuse intensity with love, but when a relationship becomes too toxic, it drains us in ways we shouldn’t have to pay for. I hope this track reminds people to choose peace and emotional safety to recognize their own worth before they lose themselves.” “Got Me Crazy” marks a bold evolution for YALI, one that finds balance between heartbreak and empowerment, chaos and clarity. It’s the kind of track that hits deep, especially for anyone who’s ever mistaken volatility for passion. This time, YALI’s not just surviving the storm, she’s owning it.

If pop had a black swan, her name would be Renon . The Montreal alt-pop artist isn’t just making music; she’s building a cinematic world that feels equal parts gothic, glamorous, and gut-wrenching. Her latest project (WAY) TOO FAR is a full-circle moment that expands her 2024 EP TOO FAR into something more personal, more deliberate, and more unfiltered. TOO FAR told the story of a party girl’s downfall, each song unraveling into chaos. (WAY) TOO FAR doesn’t erase that narrative but reframes it. The new tracks “Go To Sleep” and “Priorities,” written by Renon and produced by Josh Cunningham, mark her evolution as both a songwriter and storyteller. “Go To Sleep” glides with silky harmonies and a hypnotic bassline. It’s soft and seductive, yet heavy with the weight of denial, touching on escapism and the urge to quiet racing thoughts. Then comes “Priorities,” a synth-soaked confessional that puts Renon’s powerhouse vocals front and center. The song captures the moment of realization that something has to give, closing the project with an unexpected and satisfying twist. Renon’s background as a trained jazz musician is written all over these songs. Her phrasing is intricate, her melodies unpredictable, and her transitions seamless. She doesn’t follow pop formulas; she reinterprets them with a sense of purpose. Every song feels cinematic, like a late-night film scored by heartbreak and glitter. After performing twice at Osheaga Festival and making waves across London, Toronto, and Montreal, Renon’s ascent feels inevitable. (WAY) TOO FAR captures an artist who has lived, learned, and chosen to channel it all into art. It’s confident without arrogance, vulnerable without self-pity, and refreshingly original. Renon isn’t asking for attention; she’s commanding it. What inspired you to revisit and expand the story of TOO FAR  one year later? I had some songs written that fit into the world of TOO FAR that I loved , but I knew wouldn’t fit into my future release plans. So, because TOO FAR was a very special part of my career, I wanted to give it the goodbye it deserves with these bonus tracks.  How has your jazz training shaped the way you approach pop production and melody? I’m very aware that my music is not jazz, but the education I received in jazz definitely changed the way I approach melody and chord choices. I love adding moments in my pop songs that are not typical pop progressions and go outside the key. When I get to add those moments, that's when my songs start to feel more authentic to me.  “Priorities” feels like a turning point emotionally. What was happening in your life when you wrote it? I had just come down from almost a year of consistent partying and drinking and was reflecting on the choices I made during that time. I really got myself into a cycle of making the same bad decisions, and I realized at a certain point I wasn’t going out to have fun anymore; I was going out to distract myself from other things happening in my life.  This song was me finally being honest with myself about the changes I needed to make.  After performing at Osheaga twice, how do you feel your live shows have evolved? Preparing for a show like Osheaga made me focus on my performance skills so much more. I trained for months to get my voice in great shape, and I practiced my set almost every day. It also made me build a stronger set with transitions, choreography, and new arrangements, which is something I will do at every show now. It just made me step up in terms of professionalism overall.  Your aesthetic is so distinct, from pink-and-black visuals to gothic pop tones. How do you merge your image with your emotional truth in the music? I love the idea of having this popstar persona mixed with alternative/vulnerable music. My brand is so authentic to me but exaggerated to the fullest, from the outfits, makeup, lyrics, and production. I want my music to always be true to myself while also being able to dance on stage in campy pink & black gothic fits and still be taken seriously as an artist and songwriter.