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Photo by Kara Balicanta BOK SUNA is not here to smooth things over. In her latest single, "honest person," the Seattle-based artist leans into discomfort with bare honesty and haunting vulnerability. This isn't a love song. It's a confrontation. A self-examination. A quiet unraveling. Set against minimal production, the track feels like an open wound. There is no dramatic build or sonic payoff. Just a soft, steady ache. Her voice trembles with intention, each lyric delivered like a truth she has no choice but to say out loud. It's tender but never fragile. This is what emotional transparency sounds like when it isn't curated for comfort. What makes the song hit even harder is the accompanying visual. Directed and animated by BOK SUNA herself, the video is a surreal, glitched-out experience that feels like watching someone's internal world crack open. Faces blur. Colors bleed. Time bends. It mirrors the emotional state of the song perfectly; distorted, heavy, and hard to look away from. "honest person" marks the beginning of a new chapter leading up to her album CARNATE , releasing August 29. Based on this first glimpse, it's clear she's not aiming to make easy listening. She's building an honest archive of feelings most people try to avoid. It's vulnerable without being weak. It's painful without being pitiful. And most importantly, it feels real . Something is refreshing about an artist who resists polish in favor of truth. BOK SUNA's work is deeply rooted in community, care, and creative expression. With support from Play Dead and Softseed Music, and longtime collaborator Oliver Hollingshead, she's carving a space for listeners who crave art that reflects the complexity of lived experience. This is not a single you'll casually scroll past. It's a moment worth sitting with. A signal that CARNATE will be more than an album. It will be a raw, transformative journey. Photo by Yuri Arakak What was the emotional core behind writing "honest person"? I have often felt persecuted socially for my sensitive nature, and I wrote "honest person" as a reflection of this phenomenon in my life. In a "dog-eat-dog world," or rather, an American society built on the premise of competition endorsed by a capitalist system, existing in radical empathy can sometimes appear foolish or unrealistic. "Honest person" was in some ways a call to action for a more compassionate world to inhabit.  How did your background in visual art shape the concept for the music video? I use visual art as a way to take the unseen (emotion, memory, etc.) and recompact them into some kind of tangible representation of those things. In other ways, I use visual art as a way to reprocess my life experiences somatically in creating animation for "Honest Personas," simply documenting what was happening in life while writing the song, symbolically through various 5-second. It was as if I were keeping journal entries in the form of animations, just as I write music, and I thought it would be suitable to combine both the song and the animations as a way to represent a small piece of my life that I carry with me.  What does healing through sound mean to you as both an artist and a person? When I write music, I tend to draw from the most painful parts of my inner psyche. I'm not sure if I will continue to do this as I move forward as an artist, but in writing "Honest Person," I took a lot of painful memories and difficult emotions and turned them into a song. Once it became a song, it was no longer a representation of pain, but rather a representation of everything the song had become for me. It has become a reminder of all the people who came together to make the song a reality, of all the happy memories I have from performing the song, and of all the lovely people I've met through my music. How do collaboration and community influence your creative process? I could not have made "honest person," let alone this upcoming album, without collaboration and community. I have been fortunate to work alongside Oliver Hollingshead (Hillsboro, ACAB Rocky, etc.) in creating "Honest Person," and my artistic process has changed forever since then. As a solo artist, music has always been a solitary pursuit for me, and I often felt limited by the loneliness that comes with it, as well as feeling locked into my personal skill level as a musician. While working with Oliver, however, the kinds of songs I could create suddenly became elevated through Oliver's ability to incorporate more complex drumbeats and mixing, and my musical horizons expanded almost immediately. I was also able to build rapport with labels such as Play Dead and Softseed Music, which have helped substantially in promoting and distributing my music. Having the opportunity to collaborate and develop a sense of community keeps me motivated to continue making music.  What do you hope listeners carry with them after hearing this song? I have no expectations for my music or how it is received. I encourage listeners to find their meanings as they apply to them. I love hearing all the different interpretations of my music and celebrate how unique everyone's experience is with sound.

Some songs hit you in the chest. Others hit you in the hips.  Paola la Uníca’s  latest release, “ I Need You ,” does both, and then some. This New Jersey-based R&B/pop soul artist isn’t new to the scene, but she’s leveling up with this one. “I Need You” is soaked in classic R&B energy: smooth, vibey, and lowkey addictive. It’s the kind of track you throw on at golden hour when you’re tipsy off life, or maybe something more substantial, and completely wrapped up in the presence of someone who makes time stop. Paola sets the scene at a beach party, and you can feel it: warm breeze, music in the air, and the kind of slow-motion glance across the crowd that turns into a full-body obsession. The beat sways, the vocals glide, and her delivery is equal parts vulnerable and bold. She sounds like someone who knows she’s catching feelings and isn’t afraid to say it. It’s not desperate. It’s not overproduced. It’s real. That feeling of wanting someone so much it buzzes in your skin? Yeah, that’s “I Need You.” And just like Paola’s influences, Frank Ocean, Amy Winehouse, and Kali Uchis, she blends raw emotion with undeniable groove. There’s something playful and deeply human about it. The sensuality isn’t performative; it’s embodied. This is joy, desire, and longing wrapped in a three-minute vibe that demands you dance... and maybe text someone you swore you wouldn’t. Paola’s music has always been about more than the beat. She’s carved a lane that’s rooted in emotion, culture, and truth. “I Need You” just happens to be the sexy, sun-drenched side of that truth. What inspired the beach party setting for "I Need You," and was it based on a real moment? This song started in the studio. One Day, my friend and I were creating a beat together. He made the beat in like 10 minutes. He's a genius. The moment I heard the guitar and drums, I was reminded of summer. I started imagining where I would want to be listening to something like that. I started thinking about a girl I was into at the time, and I wanted to write something romantic. He put in the "I Need You" vocal, and I stuck on the topic of what it feels like to love someone so much that it feels like you need them. What does it feel like to need them? It's a fun song, and I wanted to keep the vibes lighter than my other songs. I just wanted it to feel like summer. The beat made me feel like I was at the beach dancing with a girl I am in love with. So the beach party setting I imagined just helped me bring the song to life. How do you channel vulnerability into sensuality without losing authenticity in your songwriting? Without vulnerability, there is no authenticity to me. The songs I write may not always be 100% actual events, but the emotions are real. A real emotion drives every song I write and sing. Sensuality to me is poetry. Poetry makes you feel like you're there. Like you are witnessing or experiencing the events being written about. That's what I strive for in my music. I want people not only to listen, but to feel it. I want to take people on a journey with me. You blend so many genres. How do you decide which sound a song will live in? I let the music guide me. I just go with whatever feels honest to me. If I connect with the beat or strum something that resonates with me on guitar, that's the leading force driving my decision. It can change when I write something first and find a beat that matches. Then the writing decides the beat, but usually, if someone is playing a beat or I'm making a beat with someone, the sound just lives where it belongs—nothing too thoughtful about it; more so the feelings and energy that help me decide. What does queerness mean to you in the context of your music and storytelling? Queerness to me means representation and living in my truth as an artist. I love women. My romantic relationships significantly influence my art, so queerness just goes hand in hand with it. My experience as a queer person, regardless of romance, is a big part of my story. It affects my non-romantic relationships and my mental health. My queerness is a part of my experience, and I think the fact that I have so much pride in that, I want people who aren't as comfortable in their skin or sexuality to feel safer being themselves. Helping other people feel confident in loving whoever they want. When we share our story, it helps other people not feel so alone. So I use my queerness as something to connect over, hoping it reaches the people who need to hear what I have to say. If "I Need You" had a music video, what would the perfect visual vibe be? It would be a big beach party in Miami or Puerto Rico. I would have some close-ups of me and the love interest. Some solo shots. Lots of dancing. Just people looking like they're having a great time.

Meet your new favorite family band with grit, faith, and fire in their DNA. Terry L Harris and the Simons are here to shake up the country-pop scene. Hailing from Alabama, this powerhouse group of five real-life siblings brings talent, chemistry, and absolutely no chill when it comes to calling things as they are. Their latest single, "Against the Grain," isn't just a track; it's a declaration to stop shrinking yourself for the comfort of others. Sonically, it's country-pop with attitude and a purpose. Lyrically, it's razor-sharp. Lines like "tone it down, be polite, keep it sweet" cut deep into the quiet rules handed down to anyone who's ever been told they're "too much." But the Simons, along with Terry, are flipping that script. They're not dialing it back. They're turning it up and doing it their way. The story behind the collaboration is just as electric as the song. Terry L Harris, fresh off a tour and wrapping up a project, got an unexpected pitch from his distribution team: team up with a Gen Z, AI-powered, faith-driven sibling group. He sent a few demos. They sent back heat. That spark became something bigger: God, Family, and Music. Not just an album. A movement. Each sibling brings their fire: Sam (22) is the spark plug. Bria (23) adds the sweetness and soul. Franky (24) is the one with quiet swagger. Winnie (26) is sharp as a blade and twice as quick. Lydia (28) keeps everyone grounded with heart and clarity. Together, they're more than a band. They're a force. This isn't overproduced pop made in a boardroom. This is real music with purpose, passion, and a message that hits home. So if you've ever been told to tone it down or play it safe, "Against the Grain" is your anthem. Crank it up. Own your voice. Walk your line. What's the biggest thing you learned from each other while making this project? Being vulnerable and trusting each other. "Against the Grain" hits hard. Was there a personal moment that inspired this song's message? When you don't quite fit in, when you're told you have to be a certain way. Or you have to do something that's a sure thing to succeed, which is outside of who you are. Through life, living this way, you find ways to go against the grain. You don't realize it until you run into someone or something that this has happened to. How does faith show up in your creative process and your collaboration? Faith is always close to the creative process. You trust that you're just the messenger delivering a message for people to hear. We were just a vessel; these songs were dropped in for a purpose, given to us. Terry, what was your first reaction when you heard the Simons bring your demos to life? The freshness, the finished product, the voices - the Gen AI universe is here to stay, let's embrace it! If someone's feeling pressure to shrink themselves, what would you want them to hear in this song? I won't bow, won't break, won't play their game; they can't clip these wings. Just let people talk; it doesn't change who you are! We all have different fingerprints for a reason, right? We are all unique, let's live like it, let's live going against the grain!

Some folks chase comfort. DDRB chases train tracks, backroads, and stories most people miss at 30,000 feet. Their new single, “ Lost In Connecticut, ” dropping August 8, is a folk anthem for every soul stuck between the dream of stability and the thrill of motion. Born from the Amtrak Tours, DDRB (aka Dominic DeLaney and Ricky Bolufe) didn’t start as a gimmick. They started as two guys who genuinely prefer the scenic route. Their debut album, Bright Green , was written on what was supposed to be their last train tour. Spoiler: it wasn’t. Now, the acoustic duo is hitting the rails again this September, rolling through the East Coast with a guitar, a notebook, and the kind of hunger only seasoned travelers understand. But before they go, they’ve dropped “Lost In Connecticut,” a track that gently punches you in the heart and quietly screams, I’m torn . At its core, the song wrestles with a classic dilemma: the pull of roots versus the call of the road. It’s not about wanderlust in the social media sense. It’s about breakdowns—both literal and emotional—long nights in unfamiliar towns, and the slow realization that the person you’re becoming might not be the one you expected. The delivery is raw, the emotion lived-in. The lyrics feel like snippets of overheard conversations from train cars, rest stops, and dive bar green rooms. It’s messy, vulnerable, and quietly gripping—the kind of storytelling that doesn’t shout for attention but earns it anyway. And this is just the beginning. DDRB is already at work on the follow-up to Bright Green , with new songs likely being written in real time as they roll from New York to West Palm Beach this fall. If “Lost In Connecticut” is the first taste, the next chapter is shaping up to be one hell of a ride. What moment on the Amtrak Tour first made you realize, "We have to write a song about this"? Dominic DeLaney: We had been traveling and touring together for quite a bit, and had just finished our first album, Bright Green, when Ricky brought this idea to the table Ricky Bolufe: Considering the Amtrak tour was our first foray into really writing as a duo, all of this was new territory while simultaneously feeling very familiar. After finishing the album, Bright Green, which is about our shared experiences, I started to think about all the other insane stories we had from past tours, and it just made me miss the road.  "Lost In Connecticut" feels deeply personal. Was it inspired by a specific day or stop along the way? RB: The thought process was simply "I'd rather be in a rough spot on the road as opposed to just existing in our hometown". No shade to South Florida, or our home life, but some people are built to experience things. That's Dom and I. Connecticut specifically was something that stuck out in my mind from a previous tour, where we navigating our way back to the hotel in what felt like a conjuring film. That experience, although unnerving, was more memorable than finishing a season of Big Bang Theory.  DD: I think after writing Bright Green, both of us were eager to see what would be next for this duo project. Like Ricky said, we have so many experiences from touring together that we haven't written about, so to go back and write from past experience felt like flexing a different songwriting muscle.  How do you balance the love for travel with the desire for a grounded, home life? DD: Poorly, is the short answer to that. I don't know, I like to be on the road as much as possible. Thankfully, we both have some supportive spouses, so that helps.  RB: This is the hardest part. I feel the same way. I want to explore the world, but I know there is a give and take. I have to set boundaries for myself.  What does the process of writing on the road look like for you two: chaotic, or surprisingly chill? RB: I love it. I thrive on assignment writing. Plus, looking at the world like everything is a song is my favorite way to look at it.  DD: Yeah, I think that setting out with the intention to write about our experiences expedites the writing process, and through the fast-paced nature of that process, we stumble across some lyrical gems we otherwise may not have thought of.  As you work on the next album, what themes are surfacing from this next stretch of travel? DD: We're playing in some very historic places on this run, like Philadelphia and New York, which have been written about before, so I'm interested in the challenge of making something that uniquely captures those places.  RB: I think the themes may seem, on the surface, to be about the cities we went to, but it's about the people and experiences. This next record will be in familiar places, but there is no chance it won't be without its insane stories to tell. That's why I look forward to.

Trevor Kidd is not here to stay in the background. With a résumé stacked with iconic collaborations and commercial success, the Victoria-based artist returns with his most anthemic release to date. “Sunshine,” featuring Garry Beers of INXS and Jeff Martin from The Tea Party, blends raw energy with heartfelt songwriting in a track that hits with both power and purpose. From the opening riff, “Sunshine” builds with gritty momentum. The guitars growl with intention, and Kidd’s vocals bring a confident edge that commands attention. There is urgency in the verses and release in the chorus, giving the song a tension that feels both classic and fresh. The production is crisp, but not over-polished. Every sound feels alive and intentional. Garry Beers anchors the track with his signature bass tone, adding a steady pulse beneath the soaring instrumentals. Jeff Martin’s contributions bring an emotional and atmospheric weight that rounds out the sound perfectly. Their presence never overshadows Kidd’s voice. Instead, it elevates it. Coming off the success of 2022’s “Salvation,” which won 13 international film festival awards and earned a spot on IMDB, Kidd continues to prove he is a creative force worth watching. “Sunshine” leans into a brighter palette, but it still packs the grit and fire that made his previous work stand out. Trevor Kidd has always chosen quality over hype. He collaborates with artists who bring more than just name recognition. He seeks connection, a shared vision, and musical chemistry. “Sunshine” is the product of that approach, and it shows in every note. This is not a throwback or a trend-chaser. It is a rock anthem built for today. Whether you are discovering Trevor Kidd for the first time or already following his journey, “Sunshine” feels like a moment of clarity in a noisy world. How did your collaboration with Garry Beers and Jeff Martin come to life for "Sunshine"? I would say that what made the collaboration with Garry and Jeff come to life is that I am such a fan of their music. Having spent many years listening to and absorbing their creative influence, I was drawn to working with them as artists. My first point of contact with both of them was through management, who passed on my request to work together, along with the demos of the song. It was then up to Garry and Jeff to decide whether they wanted to reach out directly. I received phone calls from both of them a few weeks later. I can tell you nothing makes you feel like you're in a fever dream more than hearing your rockstar hero's voice on the other end of the phone. I was thrilled just to have the chance to talk to them, and working with them still leaves me on cloud nine in terms of my artist's purpose being fulfilled.  What inspired the emotional and sonic direction of this single? I was deeply in love with someone at the time of writing, and lyrically, the song came out live on the mic. I hadn't written the lyrics beforehand, and I usually don't write that way. I often spend weeks slowly crafting lyrics. I suppose I had so much built-up emotion inside from being with her for so many years and experiencing so many different things; the words just came out as if I was pulling them out of the air. Nothing was edited, and it was an autobiographical account. I first showed her the song acoustically one year ago, while sitting on the balcony of the historic Edgewater Hotel in Seattle. There was a lot of creative energy in that room, thanks to all the iconic heroes of mine, such as Johnny Cash, Kurt Cobain, and Anthony Bourdain, who spent time there. It was a great spot to let that song play publicly for the first time. Unfortunately, just before the song's release, she's no longer in my life, so it's bittersweet that I can't celebrate the completion of the work with her. I wish her the best wherever she feels the tide is leading her. All I can do is thank her for the inspiration that led me to write the song that allowed me to work with my heroes.  Sonically, the sound of the music is built around a Nashville-tuned 1965 Gibson Acoustic guitar that was sold to me in pieces by the original owner. It had not played a chord in decades, and I spent 4 months rebuilding the guitar by hand. I wrote the riff, if you can call it that, but it's the signature chord sound on that guitar. It's also documented on the recording. I hadn't been able to write creatively in years, hit a roadblock, and that guitar allowed me to write again. I feel connected with it. How does "Sunshine" compare creatively to your previous work, like "Salvation"? Sunshine and Salvation are so very different. When I co-wrote Salvation with Josh Jones, I was listening to a ton of Ozzy and Type O Negative. When I wrote ' Sunshine,' it was a solo venture, and I was listening to Kris Kristoffer and Willie Nel, enjoying the old country style. I think that influenced the relaxed style of singing I did, where I didn't push my voice as hard as I usually did on my old material. Additionally, it's a soft rock song, but the pedal steel on it evokes the country music I was listening to at the time. But yeah, I feel like two different artists would compare those songs, and they wouldn't show up in the same set. What was the most rewarding part of producing this track with two legendary musicians? The most rewarding part of producing this track was working with two musicians who are a significant part of the reason I do what I do in the first place. Their music means a great deal to me, and having built a friendship and earned their creative respect is an incredible feeling for an aspiring musician. You spend your whole life working at this craft, trying to get better and better every year, and to feel like I've put in enough time to hold my own with my heroes now is very rewarding, but it also comes with a great deal of imposter syndrome. I will carry this incredible experience with me for the rest of my life, and this song will be a significant part in defining what I do as an artist. Garry and Jeff were both gracious and put a great deal of pride into the work, really uplifting me in the process. I can't possibly thank them enough.  What can fans expect next as you continue to build this chapter of your career? Anyone who enjoys listening to my music can expect more collaborations with lots more artists in a producing, songwriting, and performing capacity. I look forward to bringing together as many different artists as possible for collaborations and to building an artistic community around my future works.

Toronto alt-pop artist Jay Feelbender makes a bold, sweaty statement with his latest single, “ Disco Disco .” The track explodes with pulsating sincerity, capturing the thrill of existing fully in a fleeting moment. It’s not about going viral or building a brand. It’s about dancing like no one’s watching, in someone else’s kitchen, at 2 a.m., with no plans for what comes next. It’s the kind of night you don’t take pictures of because you’re too busy actually living it. Feelbender (also known as Jacob Switzer) has always had a knack for balancing grit with glitter. With “Disco Disco,” he pushes his rawest instincts to the forefront, choosing emotion over polish. The production by Braden Sauder is immersive and tactile, blending a driving beat with shimmery synths and subtle chaos. Jay’s vocals are delivered with urgency and heart, messy in the best way, like a voice cracking from joy mid-laugh. You can feel the sweat, the grin, the reckless abandon in every note. But this isn’t a retro disco revival. There are no ironic winks or obvious nods to the past. Instead, Jay builds something entirely his own: a reckless anthem for the overstimulated and a rally cry for those burned out by perfectionism and constant performance. “Disco Disco” is a catharsis on the dance floor. Unapologetic, alive, and real. For an artist who’s toured with Goodbye Honolulu, Luna Li, Hinds, and The Beaches, “Disco Disco” feels like a solo breakthrough. It’s equal parts playful and profound. Jay Feelbender doesn’t just want you to hear his music. He wants you to feel it, sweat through it, lose yourself in it, and forget the outside world for three and a half shimmering minutes. "Disco Disco" feels both euphoric and emotionally grounded; how did you strike a balance between fun and vulnerability in this track? That's what I'm always striving for, so thanks for saying that! Fun and vulnerability are not opposites; they can be closely connected. When you're fully present in a moment, maybe dancing with friends (or alone), there's a kind of quiet bravery in that. You're open, exposed, and even a bit messy. With  Disco Disco , I wanted to capture that feeling. The joy that comes when you stop performing for other people's expectations or some bigger social goal and just move for yourself.  You've played in several bands; what pushed you to step into the spotlight as Jay Feelbender? I've been making and releasing solo music since 2013 under the name HeadSpace, but back then, it always felt like something I did just for myself. The bands I was in felt more outward-facing as if we were pushing toward something bigger together, which was terrific in its own right. My solo work, by contrast, was more personal. It had no outside input, no real pressure around how it sounded, how it was assembled, or how it was released. It was just mine. That balance between collaborative projects and a private creative outlet worked well for a while. But in 2020, after the lockdowns, things shifted. Jay Feelbender started to take center stage. I got into the studio with Braden Sauder at Marquee Sound, and all the things I loved about solo work were still there, but this time, I was ready to treat it as my main focus. And it just clicked. It felt like the beginning of a new chapter for both me and the music. How has your relationship with "being seen" evolved since writing this song? I used to think being seen meant presenting a perfect version of myself, everything polished and controlled. But with  Disco Disco  and my solo work, that shifted. Now, it's less about perfection and more about being honest, even when it feels vulnerable or chaotic.  What does sincerity in pop music look like to you today? Honestly, sincerity can be a struggle! We live in an era where people often hide behind irony to shield themselves from judgment. There's this assumption that sincerity in music means stripping everything back: acoustic guitars, sad-boy lyrics, and that kind of vibe. While that  can  be sincere, for me, sincerity is more about intention. Are you saying what you truly mean? Are you fully owning what you're writing about? Your weirdness, your heartbreak, your joy? Pop music has room for both glitter  and  guts. Sometimes, the most sincere thing you can do is write a massive, ridiculous chorus that makes people scream-sing in their cars. That's real, too. If "Disco Disco" was a scene in a film, what would be happening on screen? I just finished a music video for  Disco Disco , created by Cam Saville. It's built around the idea of digital avatars and the personas we craft online and how we're essentially uploading curated versions of ourselves to the digital realm. But often, it's just the polished, superficial parts we share that create this distorted portrait of who we want the world to think we are. Visually, the video leans into a glitchy aesthetic, featuring CRT textures, VHS static, and layered effects. There are also nods to classic '80s sci-fi, such as  TRON  and  Brain Damage , as well as iconic anime like the original  Ghost in the Shell . (Quick plug: go check the music video out!) But to answer your question directly, if  Disco Disco  were a film scene, it might resemble the iconic rave in the intro to  Blade , where everyone is dancing under the blood showers. Something surreal, fun, and a little chaotic…that vibe feels right.

No rhinestones. No gimmicks. Just grit, heart, and the kind of truth that doesn’t flinch. On his latest single, “ The Way It Is ,” country artist Kyle Kelly strips everything down and lays it all out: the hustle, the heartbreak, and the hard-won hope that keeps you going even when life keeps swinging. Born and raised on southern rock and outlaw country, Kyle’s no stranger to doing the work, both under the hood and on the stage. A self-proclaimed gearhead and honkytonk lifer, he’s built his name the old-fashioned way: touring dive bars and fairgrounds, playing until his voice went hoarse, and putting real stories into his songs. “The Way It Is” doesn’t glamorize the grind. It acknowledges it. Written in a moment of frustration while working on an old Mopar, the song captures that all-too-relatable tension between holding onto a dream and wondering if it’s holding you back. You can feel the late nights, the missed family dinners, the mental tug-of-war that comes when passion collides with reality. But here’s what makes Kyle different: he’s not wallowing. He’s not quitting. He’s telling the truth. And in doing so, he’s giving voice to every blue-collar soul and independent dreamer just trying to keep their head above water. The production is raw, unpolished in the best way, recorded with his touring band at the end of 2024, and the track leans into that “live off the floor” feeling. It’s not built for radio polish, it’s built to hit. In the chest. In the gut. In the part of you that still believes in getting back up, even after the world’s knocked you flat. “The Way It Is” proves Kyle Kelly isn’t chasing trends, he’s chasing truth. And in today’s copy-paste country scene, that makes him a breath of fresh, working-class air. So if you’re tired of the smoke and mirrors and just want a song that feels like someone gets it, this one’s for you. Because Kyle Kelly’s not here to sell a fantasy, he’s here to remind you that real life is messy, beautiful, and worth singing about.

In a genre often clouded by ego and flash, Adub Nati is cutting through the noise with something much rarer: truth. The Houston-born, Cincinnati-raised emcee delivers it raw on Righteous Black Eyes . This project challenges the expectations of Christian hip-hop while carving out space for Black Christians who rarely see their full experience reflected in the music. Born to West Indian parents from St. Kitts and Nevis, Adub Nati (real name Alrick L.J. Warner) approaches each verse with cultural precision and lived experience. But this isn't sermon rap. It's deeply personal, sometimes gut-wrenching, and always honest. Righteous Black Eyes  explores what it means to walk in faith while being Black in a world that often weaponizes both your skin and your belief system. The project plays like a spiritual reckoning. Adub confronts the church's silence on racism, wrestles with doubt, and calls out religious performativity without flinching. It's for the believers who still have questions, and the skeptics who still crave meaning. Songs move between confession and conviction, pulling no punches and sparing no truth. At its core, Righteous Black Eyes  is about resilience. Adub isn't trying to be perfect; he's trying to be real. The kind of real that forces listeners to sit with discomfort and, hopefully, grow from it. With sharp lyricism, tight production, and an unwavering message, the album doesn't preach from a pulpit. It speaks from the trenches. This is conscious rap rooted in gospel but built for those navigating spiritual war zones. It's not about saving souls through spectacle, but about reclaiming faith from the margins. For Adub Nati, this isn't just music, it's a mission. No gimmicks. No plan B. Just conviction, craft, and a call to wake up. What inspired you to center this album around the Black Christian experience specifically? What inspired me is the dire state that my black community, or black Christian community, is in. Do you ever feel tension between your faith and the hip-hop industry as it stands today? I feel the hip-hop industry in general is in direct opposition to my faith, so there's a lot of tension there, seen or unseen, no love lost. Ultimately, I am directly bringing harm to my community. How do your Caribbean roots show up in your music, if at all? I believe my Caribbean roots and African American experience share a common thread in the importance of education, spirituality, and self-sufficiency. What does the title  Righteous Black Eyes  mean to you personally? This points to the upstanding people whom I believe God chose, despite not being identified as such, and who endured struggles, persecution, and tribulation because of it. What's one thing you hope listeners question or rethink after hearing the album? Is the adage "By any means necessary" beneficial? Can people in general succeed/advance without Christ?

Kelly Glow  is not here to whisper. She kicks the door down with “ Black Girl Magic (DJ Nervex Remix),” a track that crackles with classic boom bap flavor and radiates with raw intention. It’s not just a song. It’s a full-on celebration of resilience, legacy, and the kind of glow that can’t be dimmed. The remix sounds like it was always meant to be. DJ Nervex’s beat hits hard with a throwback bounce that instantly transports you to Hip Hop’s golden era. Think vintage West Coast, but updated with just enough polish to feel fresh. It’s the perfect canvas for Glow’s voice, clear, confident, and packed with conviction. In verse one, Glow flexes her lyrical muscle with braggadocious bars and an undeniable presence. She’s not begging for validation. She knows who she is. Then the second verse pivots with power, paying tribute to Black women who paved the way and calling on the next generation to step into their light. There’s depth in every line and no wasted breath. The video, directed by Will Thomas, brings the message to life with high energy and hometown pride. Set in the streets of LA, it’s drenched in nostalgia—classic cars, neon lights, and nonstop movement. But it’s the dancers who steal the show. Glow doesn’t push them to the background. She lifts them up. Each one gets a moment to shine, repping styles from popping to breaking to krumping. It’s not just a music video. It’s a visual love letter to Hip Hop culture in all its forms. Glow is doing more than making music. She’s setting a new standard. At 49, she’s proving that artistry doesn’t have an expiration date and that the real magic comes from authenticity. No gimmicks. No apologies. “Black Girl Magic” is fierce, celebratory, and rooted in truth. It honors where Hip Hop came from and plants a flag for where it’s going next. And with Kelly Glow at the helm, the future looks brighter than ever. How did the collaboration with DJ Nervex come together for this remix? Working with DJ Nervex was a match made in heaven. When Nervex heard the original track to Black Girl Magi, he was drawn to my flow. He matched my vocals to his track, and the rest is history. It’s amazing how well my vocals vibe with the music. It’s like it was meant to be. I’ve always wanted to work with a true, authentic hip-hop DJ, and I was so excited when he shared the mix with me. It was love at first sight. What message were you most excited to amplify in the second verse? The second verse has several gems, but my favorite part is paying homage to some powerful Black women. I say  “ what they said she couldn’t do, she up and did it better, did it anyway when they wouldn’t even let her/ Bey bought her masters, Serena hit them slams/ Oprah had a channel/ Kamala had a plan/ Halle got an Oscar/ Misty been on point/ Simone changed the game but they will still exploit/ the god-given beauty of a melanated princess/ but we never stop or cease giving them the business.”  To me, Beyoncé, Serena Williams, Oprah Winfrey, Kamala Harris, Halle Berry, Misty Copeland, and Simone Biles each represent excellence, resilience, and the unstoppable force of Black womanhood. They are the epitome of “Black Girl Magic”. Not only am I honoring them through these lyrics, but I’m also encouraging others to uplift the names and legacies of women who remind us of our greatness. Why was it important to highlight different street dance styles in the video?  Although the essence, the synergy, and the vibe of hip-hop culture are universal, the styles are regional. Each city has its own style of dress, its own sound, its language, and its own vibe. I grew up in South Central Los Angeles and later moved to the Atlanta metro area. As a result, my music organically fuses West Coast sounds with East Coast flair.  It was important for me to showcase a variety of dance styles in this video because the song is called “Black Girl Magic”, and I want young girls and women to see a representation of themselves in the video, no matter what region of the country they live in or what type of dance they prefer. I think each style is equally magical.  We have four amazing women, each representing a different style of hip-hop dance in this video. VV$ represents Memphis Jooking styles. 2Foot is a B-girl, so you see her breaking.  Lady Krow is a Popper and a Krumper. Brea specializes in Clown Dancing and Whacking. Typically, you will see them at Red Bull Dance Your Style Competitions battling within their respective dance categories and styles. These women are phenomenal dancers and truly display “Black Girl Magic”. I’m honored to have them in the video. What inspired the visual direction and LA setting for the music video? I love 3 things: whips, kicks, and outfits. If you watch my catalog of videos, you will notice that I usually have a really nice car in the video, some really cool sneakers on my feet, and a unique outfit. That’s my style. So, aligning with the nostalgic 90s West Coast Boombap vibes on this track, I knew we had to have a dope old school whip in the video. A deeper subtext is the way strong women can take a dismal situation and turn it around. The Southside Complete Autobody Shop in Riverdale, Georgia, was the perfect setting for some “Black Girl Magic” to happen.  I serve as my own stylist. I knew I was going to wear an LA Dodgers hat in the first scene because the very first line in the song says “Ervin Johnson, I’m from L.A. Magic”. Southside Complete has an entire fleet of blue cars. Director Will Thomas chose to highlight the 1971 Convertible Chevy Chevelle SS with the shiny 24 Forgiato rims. The custom candy blue paint was done by Southside Complete Auto. The owners of the shop are a husband and wife team and good friends. Nicole and I used to dance in a hip-hop crew together in high school. Ironically enough, her husband is from San Jose, California, and she is from Newark, New Jersey. There’s a cool West Coast, East Coast connection happening very similar to my upbringing. I feel like it was all aligned. As an artist and educator, what advice do you have for women who feel pressured to shrink themselves in the industry? We are well into the new Millennium. So, we are no longer forced to take archaic pathways towards success. The onset of technology has opened new ways for people to record, produce, and distribute their art. As an independent artist, you can maintain creative control, shape the narrative, and retain authenticity. You need to believe in yourself enough to remain true to who you are. Unfortunately, most people are seeking fame and fortune and they are rushing to get there. So, they end up signing horrible deals and being forced to relinquish parts of themselves in the process. I would suggest that you take time for self-care and self-love. Go to trade school or college and learn everything you can about business and the music industry while still perfecting your craft. The goal should be longevity and sustainability. You are magical and unique and people will recognize your gifts and talents as long as you remain true to yourself.

KIANA isn’t here to play coy. She’s here to say exactly what’s on her mind, with a wink, a hook, and a whole lot of attitude. Her latest single, “ When You’re Looking At Me ,” is the kind of track that turns a casual crush into a full-on anthem. It’s confident, it’s catchy, and it lives in that electrifying, awkward stage of feelings where you both know what’s up, but no one’s making a move. Raised in Colorado and Nebraska, KIANA made her first trip to Nashville at just 14 years old. Since then, she’s built a loyal following with over 150,000 TikTok fans and more than 2 million likes. Her rise hasn’t been about gimmicks or viral tricks. It’s been about presence, authenticity, and pure talent. In “When You’re Looking At Me,” KIANA captures the tension of reading too far into a glance, waiting on a message, and trying to decode every move. It’s the universal chaos of catching feelings wrapped in a glossy, guitar-driven pop-country package. Think early Taylor Swift with Shania Twain confidence and just enough modern bite to keep it fresh. The production sparkles with bounce, her vocals are effortlessly magnetic, and the lyrics leave no room for guessing. KIANA sees what’s happening, and she’s calling it out. More than just a flirt anthem, this song flips the script. Instead of waiting around for someone else to say it first, KIANA steps up and owns the moment. She’s not looking for validation. She’s already feeling herself, and she wants you to catch up. “When You’re Looking At Me” isn’t just a song for the lovestruck. It’s a windows-down, scream-the-lyrics reminder to take control of your own story. KIANA’s not just chasing a hit; she’s carving a lane that’s entirely hers.