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Nathan Applegate isn’t chasing flash. He’s chasing truth. And with his debut EP Over The Western Ridge  and the upcoming video for “Ozark Mountain Night,” this rising country artist from the Missouri Ozarks shows exactly what happens when you lean in to where you’re from. The five-song EP is equal parts backwoods grit, small-town wisdom, and deeply personal storytelling. Whether he’s reminiscing on lost love in “Chasing My Next You,” laughing through the quirks of hometown life on “Podunkville,” or riding the high of Ozark freedom in “Outback,” Nathan’s sound is traditional country with a fresh, lived-in edge. No gimmicks. Just raw, heartfelt songs rooted in the dirt roads and daydreams of the life he’s lived. But Applegate isn’t stopping at the audio. On July 31st, 2025, he’s premiering the official music video for “Ozark Mountain Night,” a cinematic love letter to the region and people that raised him. Shot entirely in the Missouri and Arkansas Ozarks with no label, no fancy crew, and no filter, the video features real friends, real family, and real memories. Think golden-hour backroads, creekside hangs, square dancing, and small-town energy that doesn’t try to impress, it just exists. And the story behind the song? Gut punch incoming. “Ozark Mountain Night” was the last song Nathan’s grandmother heard before she passed. That weight carries into every frame, making the video more than just a visual. It’s a living memory. This is the kind of project the industry loves to overlook. No manufactured image. No viral blueprint. Just an artist putting everything he’s got into the music and letting it speak for itself. Over The Western Ridge  isn’t about making noise. It’s about making connections. “Ozark Mountain Night” proves you can do both without compromise.

David Dobrik hosts Lollapalooza afterparty in celebration of the nationwide launch of Wavers, his pizza-inspired snack, at IT’SUGAR’s flagship store in Chicago, where he jumped in the DJ booth with DJ Nate Wyatt for an impromptu guest spin. Digital creator and entrepreneur David Dobrik turned the sugar rush all the way up this past weekend, transforming IT’SUGAR’s Chicago flagship into a full-blown nightclub to celebrate the nationwide launch of his new snack brand, Wavers, during Lollapalooza. Timed perfectly with one of the biggest music weekends of the year, Dobrik’s afterparty lit up Michigan Avenue with a sensory overload of neon lights, live DJ sets, and unlimited snacks. The 6,000 sq. ft. candy megastore, usually a haven for sweet tooths, was reimagined as a high-energy disco party, complete with LED dancefloors, immersive photo ops, and candy cocktails. The event marked the retail debut of Wavers, a pizza-inspired, non-GMO snack line co-founded by Dobrik and Ilya Fedorovich under The Original Doughbrik’s Snacks umbrella, in partnership with Tastemaker Food Co.’s Adam Cohen and Jerry Bello. Now officially available in all 115 IT’SUGAR locations across the U.S., the snack’s launch party was as bold as the flavors themselves. A Star-Studded Snack Celebration Photo by Getty Images/ Kamil Krzaczynski  Notable guests spotted at the event included Natalie Noel, Zane Hijazi, Dom Gabriel (Perfect Match), Blake Gray, Sofia Muse, King Bach, Neil Shibata, Shaina Hurley (Love is Blind), Christos Lardakis, Tetris Kelly, and Lexie Goldberg, among many others. DJ sets by DJ Oreo, Nate Wyatt, and BG Good kept the crowd moving until late into the night. Attendees got to sample the full Wavers flavor lineup, Late Night Pizza, Extra Cheesy, Spicy Pickle, and Hot Honey, at interactive tasting stations. On the savory side, Doughbrik’s Pizza was topped with Wavers, and even Chicago-style hot dogs were upgraded with Spicy Pickle Wavers. Guests also indulged in IT’SUGAR’s signature candy walls and themed cocktails crafted with Absolut Vodka, Jameson, Malibu RTDs, Código 1530 Tequila, Carbliss, Barbie and Warheads sodas, Holy Water mushroom elixirs, and Celsius energy drinks. Event access was powered by Rumor. A Retail Milestone with Personality Photo by Getty Images/ Kamil Krzaczynski  “Wavers isn’t just another snack, it’s meant to be fun, crave-worthy, and totally different,” said Dobrik. “Launching during Lolla and doing it here in Chicago with IT’SUGAR, where people can really experience the brand in a wild way, made perfect sense.” IT’SUGAR President Ryan Nelson and Creative Director Lauren Balsamo were in attendance, along with key executives to mark the milestone. The event signaled a bold new retail chapter for the brand, which positions Wavers as a disruptor in the CPG snack space.

Nashville-based singer-songwriter  Daisy Briggs  isn’t just back, she’s evolved. After a more than two-year break from releasing music, Briggs returns with a powerful new single, “ no contact ,” a soft-spoken stinger that cuts straight to the truth about emotionally unavailable men and the mental acrobatics we do trying to justify them. Produced by Briggs alongside Jordan Davis, “no contact” blends Daisy’s country roots with polished, pop-forward production. The track’s understated melody gives space for her to do what she does best: tell the whole damn story. But this time, it’s clear, Briggs isn’t sugar-coating it. Gone is the wide-eyed, what-could’ve-been tone of her earlier songs. In its place is a calm, collected voice reckoning with the reality that some relationships never even get the chance to be real, even when the connection feels magnetic. “The situationship that inspired ‘no contact’ never turned into anything,” Briggs says, “but it taught me how hard it is to walk away from someone when the chemistry is there.” That tension, between history and self-worth, drives the narrative, and Briggs navigates it with emotional clarity and quiet strength. The self-directed video, produced by David Bradley, drives that message home with visual precision. We see Briggs move from uncertain solitude to a more grounded, empowered presence, reflecting the track’s progression from resignation to resolution. The storms she references lyrically aren’t just metaphors; they’re mile markers on the way to a version of herself that refuses to settle for half-loved. With more releases on the way through 2025 and into 2026,  “no contact”  sets the tone for what feels like a breakthrough era for Daisy Briggs. Her lyrical evolution, artistic control, and sharpened pop-country hybrid sound signal a songwriter who’s no longer figuring it out; she knows exactly what she’s doing.

Billy Oliver , or Billy O if you're in the know, is living proof that pop music doesn't come with an expiration date. It's a timeless craft, and with his latest single "Dream In Blue," the Vancouver singer-songwriter taps into something so vivid, it feels like he bottled the color itself. With more than 30 years in the game, Billy is still making music that sounds fresh, polished, and genuinely heartfelt. This isn't some algorithm-chasing TikTok bait. This is what happens when you've mastered the art of a hook and lived enough life to give it depth. The origin of "Dream In Blue" is straight out of a movie. Billy dreamt the song, woke up from a vision soaked in blue light, entirely at peace, and turned that feeling into melody. The result is hypnotic, nostalgic, and quietly cinematic. Think Coldplay on a come-down, choosing intimacy over grandeur. Produced by longtime collaborator p.d. wohl, the track keeps it clean and purposeful. Smooth vocals, delicate layering, and a pulse that sinks into your skin without trying too hard. It's not here to blow the speakers, it's here to live rent-free in your head. Billy isn't trying to reinvent pop. He's showing how good it still sounds when done right. "Dream In Blue" captures the essence of escapism, but also serves as a reminder of what music used to feel like. Not manufactured. Not rushed. Just present, thoughtful, and impossibly catchy. This isn't background noise. It's the kind of song that quietly latches on and stays with you. If your heart had a playlist, this would be on repeat. You dreamed this track. How often do dreams spark your songwriting? You dreamed this track. How often do dreams spark your songwriting?  Perhaps subliminally in the grand plan, they do, but in my daydream state, all my songs are born from this beautiful source or muse. "Dream In Blue" feels nostalgic and fresh at the same time. Was that intentional? Not to the point of copy and pasting a particular genre or sound. However, I usually have a sense of what I am after and explain to my excellent producer, P.D. Wohl, what I hear to the best of my ability. This song was sketched out with just an acoustic guitar, and having the idea ready, it was taken to the finished state. We knew we wanted a dreamy poppy sound with lots of atmosphere and texture, and P.D. delivered on all counts. You've worked in music for decades. What keeps you inspired to keep releasing? Like any passion in life, if you love what you do, you don't stop. Whether it be creating music, painting, cooking, or darning a pair of socks, you just keep doing what you love. What's your secret to writing melodies that stick without sounding forced? I was brought up surrounded by music, whether it was my mom singing, my brothers' records playing, or the radio blasting out the songs. Through the years, I was always drawn to those musical hooks that stayed in the jukebox of my mind. Melody is vitally important to me, and a catchy "earworm" or "hook" is mandatory. If you could soundtrack one dream sequence in a movie with this song, what would the scene look like? A beautiful dark blue sky with twinkling blue stars, and a gorgeous full blue moon shining its ethereal blue rays on the gentle waves below. I am wearing a white suit lit by the moon, turning it a beautiful, unearthly blue. I walk to the edge of the marble patio, where I am met by my beautiful wife, who is wearing a full-length sequined gown, sparkling blue lights to the rhythm of the waves lapping the shores. As we hold each other tight and dance closely, we are surrounded by iridescent blue butterflies fluttering their wings to the beat as they fill the moonbeams with joy. Imagine I am  Fred Astaire and my wife is Ginger Rogers in a Technicolor celluloid 1940s masterpiece.

Some tracks are made for the dancefloor. Others are made for the quiet in-between moments. “About You,” the latest release from London-via-Germany producer C.M.F. , lands squarely in the latter category. It doesn’t explode—it unfolds. And in doing so, it leaves a lasting mark. At first listen, “About You” might sound like just another deep house cut. But give it a moment, and it reveals itself as something far more personal. Built on a foundation of smooth grooves, stripped-back percussion, and ambient synth layers, the track pulses with subtle emotion. It’s a song that doesn’t beg for your attention but commands it anyway, drawing you into its orbit with quiet intensity. Lyrically, “About You” reads like a confession whispered into the night. The words aren’t overly poetic or dramatic—they’re real. “You were there, while I was here finding my tears… They want me because you don’t care.” It’s the kind of line that stings, not because it’s trying to, but because it’s true. You can hear the tension between desire and disappointment, the ache of wanting someone who’s already moved on. What sets C.M.F. apart is his ability to hold back. No drop demands your attention, no explosive climax. Instead, the production flows like a conversation you’ve had a hundred times in your head but never out loud. It’s danceable, sure, but not in the way that makes you lose yourself. This is the kind of track that makes you find yourself—if only for three and a half minutes. “About You” is a masterclass in emotional minimalism. It’s confident without being flashy, vulnerable without being self-indulgent. C.M.F. knows that sometimes less really is more, especially when you’re speaking from the heart. In a genre often obsessed with excess and spectacle, his approach is a welcome change, one that proves introspection can still move bodies and hearts alike. “About You” is incredibly vulnerable. What inspired you to dig that deep for a house track? Honestly, it came from a raw place. It is about that strange space between two people where you are not sure what you mean to each other, but the feelings are heavy anyway. There is this push and pull of wanting someone while also trying to protect yourself, and I just wanted to capture that. Your lyrics are minimal but hit hard. Do you write them before or after producing the beat? The music came first. I had these pads and bassline that felt moody and open, and then the words just sort of surfaced while I was listening back on repeat. They were not written like verses, more like confessions, things you think at two in the morning but do not say out loud. There’s a clear emotional arc in the song. Was that mapped out or organic during the process? Yes, for sure. I try not to overproduce because when everything is crammed in, it loses its emotion. I wanted each sound to have room so the listener can sit inside it, almost like you are sharing the same space as the vocal. Sometimes silence says more than a synth line. What role does restraint play in your production style? The space in this track feels intentional. It just happened naturally. I did not want to force a significant drop or a traditional structure. I wanted it to feel more like a conversation with little shifts and small movements, so the emotion builds without ever breaking that calm. If someone listens to “About You” alone at 2 AM, what do you hope they walk away feeling? I hope they feel something real. Maybe they think of someone they miss, maybe they just breathe for a minute and feel calm. It is not meant to tell you how to feel; it is meant to give you a space to feel whatever you need to.

Credit: Lakehouse Studio Six years after Ralph Nicastro started sketching demos in isolation, San Tropez have crystallized into something approaching dream pop perfection. "Baby Bells , " the second single from their forthcoming Museum of Modern History , finds the New Jersey quintet operating at the intersection of memory and melody, where every guitar shimmer feels like sunlight filtering through gauze. The track embodies what Nicastro calls "bottled nostalgia"—a synth-pop anthem drowning in reverb that manages to feel both weightless and emotionally anchored. It's the sound of San Tropez fully inhabiting the sonic territory they've been mapping since their 2023 debut Maybe Tomorrow , pushing their "American dream pop" into more cinematic terrain without losing the intimate core that makes their music stick. Recorded again at Lakehouse Studios in Asbury Park, Museum of Modern History  benefits from strategic guest appearances—Screaming Females' Marissa Paternoster, saxophonist Zack Sandler, and The Slow Circuit's Victoria Benesch all add subtle textures to the band's expanding palette. But "Baby Bells" succeeds precisely because it doesn't need the bells and whistles; San Tropez have learned that sometimes the most powerful statement is a whisper wrapped in atmosphere. What started as a Facebook post about a Guild Starfire bass has evolved into something that honors the shoegaze lineage while carving out distinctly American space. "Baby Bells" doesn't just reference My Bloody Valentine and Slowdive—it processes their influence through the lens of endless highways and fading Polaroids, creating mood music for the existentially restless. Museum of Modern History  arrives via Mint 400 Records this fall.

In May 2025, Taylor Swift pulled off what industry insiders are calling a masterstroke . After a six-year legal and creative campaign, she officially bought back the master recordings for her first six albums from Shamrock Capital for approximately $360 million, a landmark moment in music history. This victory hasn’t just reshaped her own legacy; it's a power move that's sending shockwaves through the entire industry. How the Fight Got Started This whole saga began back in 2019, when Big Machine Records sold the rights to Swift’s early catalog, including her master recordings, to Scooter Braun’s Ithaca Holdings, without her consent. Braun later flipped them to Shamrock Capital, leaving Swift with no real control over how her art was used or monetized.  She wasn’t passive. In 2019, Swift announced she would re-record her albums, branding them as “Taylor’s Version,” both to reclaim ownership and devalue the originals. Releases like Fearless (Taylor’s Version) and Red (Taylor’s Version) have since become both commercial hits and cultural statements. The Big Move: Buying Back the Masters On May 30, 2025, Swift revealed she had acquired her original masters, including songs, music videos, album art, unreleased tracks, and more, from Shamrock. Both Billboard and Variety reported she paid an amount comparable to what Shamrock had originally paid, around $360 million. She confirmed the emotional weight of this milestone in a heartfelt letter to fans: she was “bursting into tears of joy” realizing her art now truly belonged to her. Why This Matters Photo by Rolling Stone Artist Ownership as a Movement Taylor’s aggressive reclaiming of her masters isn’t just about her, it’s a blueprint now being followed by legacy artists and newcomers alike. Swifties poured millions into the Eras Tour, re-recorded albums, and merch, directly supporting this reclamation effort. Fans widely called it a “shared victory.” Shaking Up Industry Norms This turnaround has forced labels to change contract structures. Major labels are now extending or eliminating re-recording restrictions in new deals, acknowledging the seismic shift caused by Swift’s public struggle.  Emotional and Financial Empowerment Swift called the deal “the greatest dream” of her career. It’s also real business, owning her masters gives her full control over licensing and usage, while permanently undercutting the original versions. And yes, it’s worth hundreds of millions.  Swift's journey triggered conversation around artists' rights, private equity, and intellectual property. Her public stance has encouraged peers like Olivia Rodrigo, Ashanti, and Joe Jonas to negotiate more control over their catalog.  Legal experts credit her case as transformative; it's not just high-profile drama; it's affecting real change in how artists approach deals and ownership. Taylor Swift winning back her masters isn’t just symbolic, it’s reparative. She didn’t just reclaim music; she reclaimed agency, income, and artistic freedom. This epic, worth-$360 $360M reclamation teaches one lesson loud and clear: don’t sign away your future, and if you do, fight to get it back.

With “ Muladhara ,”  Matteo Rivetto  invites listeners into a sacred sonic experience rooted in movement, meditation, and texture. Released on August 1 on all streaming platforms, this new single showcases the Italian producer further refining his blend of ethnic downtempo and organic electronic sounds. At the core of the track is the unforgettable “Arco” double bass performance by Danish artist Andy Benz. The bass lines feel alive, almost breathing, resonating with a raw intensity that sits deep in the body. Paired with layers of tribal percussion and atmospheric synths, “Muladhara” creates a soundscape that feels both ancient and futuristic. Rivetto’s approach is subtle but intentional. He doesn’t crowd the mix with digital tricks or force dramatic drops. Instead, every element has space. The percussion leads with pulse and swing. The synths rise like fog over a forest floor. The double bass speaks with emotion, its voice clear and unfiltered. The song is named after the root chakra, the energy center that connects us to the earth and our physical bodies. Rivetto channels this energy through rhythm, grounding the listener while still offering enough space for flight. It is music that you feel first in your gut, then in your chest. The video teaser adds even more depth. Directed by Wengteng_CB and Choi Captures, the visuals show movement as ritual. The dancers are not performing. They are responding, channeling the track through motion, breath, and instinct. It captures what Rivetto seems to be aiming for: music as embodiment. Following his past releases on Kotori Berlin and Stil Vor Talent, featuring Oliver Koletzki, and collaborations with Tribalneed and Rivetto, Rivetto continues to evolve. His ability to blend real instrumentation with electronic subtlety makes him one of the most thoughtful and forward-moving producers in the genre. “Muladhara” is more than a song. It is a guided journey into the physical and the spiritual, built for both stillness and dance. You blend organic instruments, such as the double bass, with electronic textures. How do you approach finding that balance without one overpowering the other? I believe in fostering an organic dialogue between the elements of different natures. The relationship between acoustic instruments and electronic sounds creates a unique balance and synergy. I always aim to blend these organic elements with synths and electronic textures in a way that they complement and elevate each other, rather than compete. This approach helps craft a harmonious and rich overall sound where both can coexist and contribute to the final musical experience. The video for “Muladhara” brings movement and dance into the mix. How important is the visual and physical element to your music? I am a passionate lover of dance, both as an expression and a channel for energy. Contemporary dance, in particular, is one of my favorites because of its ability to communicate and evoke emotion through movement. I love integrating visual and physical elements into my music because it helps tell the story more vividly. When music is combined with dance and visual expression, it offers a deeper, more immersive experience for the audience, giving them a better understanding of the emotions and narratives behind the piece. You’ve collaborated with artists from different cultures and backgrounds. How does collaboration influence the emotional depth of your work? Having lived in various places—from Argentina to Asia, Europe, and South Africa—I have absorbed a multitude of inputs and experiences that have shaped who I am. These cultural exchanges add layers of richness and complexity to my music. Collaboration broadens my perspective and allows me to infuse my work with diverse emotional depths, stories, and textures, making the music more authentic and connected to different human experiences. This song is named after the root chakra. How does your interest in energy, healing, or meditation shape the music you make? That’s a fundamental part of my life—I integrate energy work, meditation, yoga, and dance into my daily routine. These practices influence my creative process and help me channel a certain energy into my music. The connection to healing and meditation is reflected in this song, as it embodies a sense of grounding, stability, and inner strength, which are key aspects of the root chakra. My music is a reflection of my life and my ongoing spiritual journey.

If Lana Del Rey grew up on outlaw country and ghost stories, you’d get Ruby Rae . The alt-Americana songwriter has always walked the line between dreamy and dangerous; part rockabilly siren, part folklore-obsessed wanderer, and her latest single, “ Memphis Honey ,” might just be her most unfiltered yet. It’s got vintage soul, dusty road swagger, and enough cinematic flair to make you feel like you’re the main character in a 1970s road movie. The song? It is based on a real-life 24-hour escape to Memphis during the pandemic. The car? A black Mustang. The vibe? Lonely hearts club, but make it retro. Six months into lockdown with nowhere to go and everything on pause, Rae said, “screw it,” hit the gas, and let a little chaos in. “Memphis Honey” is the story of that ride; a sonic postcard from a woman on the edge, chasing freedom, heartbreak, and the kind of clarity only found in motion. “I hope this song makes people roll their windows down, tap their steering wheel, and ease their lonely hearts for a minute,” she says. Mission accomplished. The track is packed with velvety R&B influence à la Dusty Springfield, laced with the lyrical bite of Jenny Lewis and Waxahatchee. But it’s all Ruby Rae: cinematic, clever, and dripping with Southern gothic charm. Produced by Ryan Poole and recorded live at The Hideout, “Memphis Honey” features a stacked band: Aaron Berg (bass), Chris Benelli (drums), Sam Hunter (guitar), and Reed Pittman (organ), bringing the song to life with raw, organic energy. No click tracks, no bullshit, just vibe, talent, and heat. This isn’t some over-polished Spotify-core song made for background noise. It’s dusty boots on the dashboard, eyeliner slightly smudged, wind in your teeth kind of music. And if you’ve been sleeping on Ruby Rae, now’s the time to wake up. With past projects like the grief-soaked Night of the Psychopomp, the desert-drenched Akumal sessions, and her surf-noir opus True Crime, she’s built an entire sonic multiverse, and “Memphis Honey” might be the entry point you didn’t know you needed. You wrote "Memphis Honey" after a spontaneous 24-hour trip during the pandemic. Were you chasing inspiration or running from something?  I was chasing new connections and running from the isolation of my little bubble. Usually, I'm a big planner, but that 24-hour trip was a completely spontaneous thing - no plans, no reservations, just acting on instinct and feeling like I could turn an adventure into reality!  Your music often feels like a blend of autobiography and mythology. Do you ever find it challenging to distinguish between Ruby Rae, the artist, and Ruby Rae, the person?  This might sound strange, but they are pretty separate. They feel like entirely different parts running side by side. Ruby Rae, the artist, is a better storyteller, a better singer, and the wilder side. Writing songs is her way of communicating. There's a lot of retro energy in "Memphis Honey" — Dusty Springfield, rockabilly, neo-soul. What draws you to those vintage textures, and how do you make them feel current?  I love this question! Some of the retro textures I love are the irresistible grooves, the raw emotion the singers have against the dreamy reverb backdrop, and the live feeling of how they make you want to dance and cry at the same time. Anything I create, hopefully, has layers of those older songs in addition to some of the modern influences like Jenny Lewis and Jess Williamson. What's one emotion or memory you hope "Memphis Honey" brings up for listeners when they hear it alone in their car?  I hope they feel joyful, nostalgic, and mysterious all at the same time. You've built such a cinematic universe across your records. If your discography were a film series, what genre would Memphis Honey be? And what's the next chapter? It would definitely be a road trip thriller. The next chapter takes place in New York City, but I don't know the ending yet.

If you’re not already watching  Gabbi Nixx , now’s the time to lean in, carefully. The Atlanta-based alt-R&B enchantress just dropped “ Can’t Stand the Heat ”, and it’s the kind of track that sneaks under your skin before you realize you’re fully spellbound. Dreamy, dangerous, and deadass relatable, this one burns. Let’s set the scene: a literal fire breaks out in her bathroom wall. Smoke, flames, chaos. And instead of panicking, Gabbi’s brain hands her a hook. “Can’t stand the heat.” That moment of real-world panic becomes the spark for something bigger: a sonic metaphor for the emotional combustion that happens when two people are clearly on the edge, but nobody’s brave enough to jump. This isn’t your typical summer bop. It’s sultry and cinematic, full of suspended glances, unsaid truths, and that aching tension you feel in your chest but can't name out loud. The production is lush but stripped, leaving space for Gabbi’s voice to shine. And that voice? It’s pure magic. Think Minnie Riperton's softness laced with a modern bite. Hypnotic. Vulnerable. Deadly. Lyrically, “Can’t Stand the Heat” doesn’t force a resolution. It lives in the middle. In the stare. The silence. The almost. It’s about two people toeing the line between connection and combustion, and Gabbi makes you feel every second of that dance. But this track is more than a moment, it’s a milestone. After years of disconnect, doubt, and battling the voices that told her she wasn’t “doing it right,” Gabbi is finally reclaiming her power. She walked away from a classical music program that nearly extinguished her fire. She became a globe-trotting model. And now she’s back, on her terms, in her lane, and sounding like nothing and no one else. Can’t Stand the Heat is what happens when you alchemize pain into poetry, chaos into clarity. It’s for the romantics, the overthinkers, the ones who feel everything a little too deeply and still dare to dream anyway. Gabbi Nixx is the kind of artist who doesn’t just sing, she summons. And this track? It’s your invitation to the fire.