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Stephanie Braganza isn’t here to play it safe. Known for her powerhouse vocals and fearless presence on stage, the Toronto-based artist is kicking off a new chapter with her latest single “ Feel A Little Less ,” a pop-rock anthem that blends the emotional intensity of Paramore with the grit of Sum 41 and the raw power of Good Charlotte. This track hits hard because it’s real. Written during a dark time in Stephanie’s life, Feel A Little Less started as a reflection on feeling trapped inside her own mind. Over time, it evolved into something much bigger — an anthem about reclaiming power, silencing inner demons, and refusing to let pain define you. Whether your monster is internal or standing right in front of you, this song is your call to pick up the sword and fight back. “If this song helps even one person feel understood or a little more seen, that’s more than I could ever ask for.” Backed by heavy guitars, driving drums, and soaring vocals, the single captures the emotional tug-of-war between wanting to escape and choosing to survive. It’s cathartic, defiant, and painfully relatable. The song’s official music video doubles down on that message, with a symbolic, warrior-like visual theme and a sword that represents the emotional battle at the song’s core. The cover art brings that same monster to life — a reminder that the fight is real, but so is the strength to overcome it. Stephanie Braganza has spent her career making bold moves. From singing at the Rogers Centre during Blue Jays games to breaking a Guinness World Record, and even earning co-signs from PETA and No Doubt’s Tony Kanal. But "Feel A Little Less" might be her most important move yet. “Feel A Little Less” was written during a dark time in your life. Can you walk us through what that period looked like and how the song helped you process it? I was coming out of a toxic relationship that left me feeling emotionally drained and like I didn’t even recognize myself anymore. It was one of those situations where you’re constantly walking on eggshells, and over time, you start to believe the awful things being said about you. I had internalized so much negativity that I felt like I didn’t deserve to exist. That unprocessed trauma slowly built into what I’ve since been diagnosed with as C-PTSD.  Writing Feel A Little Less  was one of the first steps toward reclaiming my voice. It gave me space to say what I was too afraid to say out loud at the time. The lyrics came from a place of deep hurt, but also a quiet kind of resistance. It was like I was telling myself: " you don’t have to keep living in this ache — you’ve wasted so much time floundering in your pain; you’ve forgotten your purpose." That thought is what carried me through. The visual concept of the music video is bold and symbolic. What does the sword represent to you personally, and how did the ‘monster’ imagery evolve from your own experience? The sword represents fighting back — not just against someone else, but against the voice in your own head that tells you you’re not good enough. For me, the ‘monster’ represents both my inner critic and a real-life person who, for whatever reason, seemed determined to bring me down. It’s that energy that tries to sabotage your growth and convince you that your light is too much. In the video, I wanted to show myself stepping into my power, not by being perfect, but by being willing to fight for myself. The whole warrior aesthetic felt true to where I’m at now: I’ve been through battles, I’ve got scars, but I’m still here, and I’m stronger because I’m moving toward the other side of it. You mentioned the meaning of the song shifted over time. How has your relationship with the track changed from when you first wrote it to releasing it now? When I first wrote Feel A Little Less, I was just trying to survive. It was raw and personal — parts of it read like a diary entry I didn’t expect to share. At the time, it felt like a lifeline during a toxic relationship where I was constantly questioning my worth. I was still in the thick of it, and the song gave me a place to let it out. The opening line, “Dear Doctor, remove these scars,” is one of the most personal in the song. It captures how desperate I was to erase what had been done to me — emotionally, physically, and spiritually. Now that it's released, I hear it differently. I see it less as a cry for help and more like a battle anthem — a reminder that I didn’t give up on myself. Performing it now feels powerful instead of painful. I've even had people reach out saying it helped them feel seen, and that’s changed how I connect with it, too. It’s not just about what I went through - it’s about resilience. There’s a lyric that stands out to me every time I sing it: “trying to heal is the hardest part, ripped out the roots along with my heart.” It represents the grief that comes with severing ties — from the past, from the parts of yourself that you thought you needed to keep in order to belong. Letting go of those roots was devastating, but also necessary for me to start healing on my own terms. This release feels like the start of a new chapter. What have you learned about yourself, as both an artist and a person, through creating and releasing this song? This release has been a huge turning point for me, creatively and personally. I realized I don’t need to water myself down to be palatable or "perfect." I’ve spent years second-guessing my instincts, but with this project, I trusted my gut — from the songwriting to the visuals. I allowed myself to take up space, to be loud, dramatic, emotional - all the things I was taught to suppress. As a person, I’ve learned that I’m stronger than I thought. I used to feel like my pain was something meant to be hidden. But this song — and the whole process around it — reminded me that vulnerability can be a kind of strength. And as an artist, I’ve learned that my voice has value, even when it shakes. What do you hope fans who are battling their own “monsters” feel when they listen to "Feel A Little Less" for the first time? I hope they feel less alone. That was a big reason I wanted to share this — to reach someone who might be stuck in the same kind of darkness. Sometimes, just knowing someone else has been there can be enough to keep you going. I also want it to be empowering. If you’re fighting to get through the day and you get to the end of it, you’re already a warrior. I hope this song helps people feel just a little bit more seen, like someone out there understands the weight they’re carrying, even if it’s just for a moment.

Hailing from Calgary, Canada, this rising star has proven you can still infuse empowering messages within catchy, energetic soundscapes. Merkus has been heavily influenced by artists like Lady A, Taylor Swift, Kelsea Ballerini, and Shania Twain, and we can definitely hear it throughout her debut single. “SINGLE ON YOU” brings forth a playful, light, and twangy energy, all the while blending catchy, upbeat pop elements that pull the listener right in. In her recent BuzzMusic Interview, Stephanie let us in on some of the inspiration behind this extremely memorable track. She divulged that this song took her in a new sonic direction, blending her love of country and pop together to form the compelling sound we are happily met with throughout “SINGLE ON YOU.” Stephanie's inspiration came from an end of a relationship, putting her pen to paper the same exact day the breakup occurred and channeling her immediate feelings from the tough situation at the moment. Throughout “SINGLE ON YOU,” Stephanie aims to help show other women their worth, hoping to empower them to walk away from romantic situations in life that no longer serve them as she did. We can’t wait to hear more from this up-and-coming star. Dive into the full review of “SINGLE ON YOU," here . Instagram

For those who know, no introduction is necessary. For those who don’t, it’s time to catch up.  Medusa  the Gangsta Goddess, often hailed as the Godmother of West Coast Hip Hop, has always moved to the rhythm of her own wisdom. She’s a cultural matriarch, a master of the mic, and a living, breathing reminder that authenticity can outlast any trend. Now, she’s back with a new single, “Double Dutch,” and it’s not just a song—it’s a statement. Medusa has built her legacy as one of the first hip-hop artists to pioneer the live band format, an educator, and a revolutionary voice who helped reshape a genre once thought to be a boys’ club. With a career rooted deeply in the cultural and social movements of LA’s Leimert Park Village, the Good Life Cafe, and Project Blowed, her work has always fused sound with purpose. On “Double Dutch,” that fusion has never felt so vibrant. Produced by the equally iconic Georgia Anne Muldrow, the track swings with a timeless West Coast bounce. Medusa weaves her rhymes like the ropes of the game itself—tight, quick, and gracefully timed. The beat knocks with that classic sun-soaked funk while her lyrics cut through with confidence and clarity. Creating “Double Dutch” wasn’t just another recording session. Medusa describes the process with Georgia Anne Muldrow as planting flowers in the soil—organic, effortless, and full of life. The track taps into the spirit of their shared musical upbringing, blending playfulness with power. There’s a deeper metaphor at work here too. Like the game, life throws obstacles and challenges that require rhythm, timing, and sometimes the courage to just jump in. Medusa’s flow captures that exact feeling—resilient, joyful, and fearless. The accompanying music video only strengthens the message. Shot in the heart of Leimert Park, it radiates everything underground hip-hop was built on: community, authenticity, and unapologetic joy. Medusa strolls through her neighborhood not as an untouchable celebrity but as a respected pillar of the culture. Collaborators, friends, and fans alike gather around her, creating the feeling of a spontaneous block party. There’s no pretension, only celebration—a tribute not just to her legacy, but to the enduring spirit of the scene she helped cultivate. With a new album and national tour on the horizon, “Double Dutch” is more than a comeback. It’s a reminder that while the industry evolves, true artistry remains. Medusa isn’t just part of hip-hop history; she’s shaping its future, one bar at a time. “Double Dutch” feels both deeply personal and universally relatable. What inspired you to use the game as a metaphor for life’s challenges? I use double Dutch as a metaphor because in life you have to find your rhythm and different obstacles will sometimes cause that rhythm to Change. When that happens in double-dutch, you have to adapt. As you adapt, you have to find the joy in it while keeping your good friends around you, the ones that inspire you to new rhythms in life. Just keep jumping baby. You and Georgia Anne Muldrow clearly have a unique creative chemistry. What was it like collaborating on this track, and how did your visions align? Working with Georgia made me feel like I found my little sister of Funk Hop...She shared a story with me about coming to my event, Nappy at the Roots, watching me, the band, and felinescience perform, and fantasizing about being a feline. I realized there was mutual admiration happening. So when we built on all of the songs for Top Shelf Funk, she didn't just deliver some beats, and I chose, we built together on pure energy in our goddess funk realm. It was effortless. It was old and new.  In the room, you could feel the ancestors and the future.  It was easy to be myself. The true me, the vocalist, the MC, the poet, and the actor. Her tracks embraced me and brought the best out of me. We will forever be connected because of this synergy, sister Double Dutching!  The video captures a real sense of community and cultural history. What does Leimert Park mean to you today compared to when you first started performing? It means the same and more! I may not live in Leimert anymore, but my heart does. This is my haven. It feels like my heart and my light up as soon as I arrive. My people are always there with the same warmth and love. I give to it anytime it's asked of me. Leimert raised me into the artist that I am. The history of every elder like, Sika Dwimfo God rest, Kamau Daaood, Ben Caldwell of Chaos network the space that spawned Project Blowd workshop, Richard of fifth street dicks where Jazz and hip-hop mixed, the world stage Dwight Tribble, drummer mama NaeNae, and new phenomenon Fernando Pullum and his artist collective.  Every workshop there is a part of me, and every youngster that comes from it. I feel like we all subliminally hold hands somehow, whether we're in each other's presence or not. It's one of the most invaluable artist spaces in LA Leimert Park is the ark that I was raised in, that fires me up to this day! You’ve always used your platform to challenge norms and uplift others. How do you see the next generation of female emcees carrying that torch? I see it turning into a woman's platform, period! This is a genre that needs a lady's touch. All of the different styles of DOPE ILL SKILLED ladies create a balance. We have been objectified in it for so long that sometimes we, as women in it, forget we are everything, and this new generation of women is going to show and prove it. They are ready! Giving you their true selves, that truth that is out of the norm of the typecast. I BELIEVE IN YOU! With a new album and tour on the way, what can fans expect from this next chapter in the Gangsta Goddess journey?  They can expect me to continue to drop new jewels with my tools. I have a record label, GangstaGoddess Music. The plan is to put out the most unique, fly that I can find. I'm using myself right now as the temp plate to develop a great team, which seems to be working, thank God. With that being said, I wanna thank Steve Pena at SonyOrchard, SenYon Kelly of the hip hop museum in Brooklyn, Asya, creator of Fusicology, Zenobia Simmons, HIP Video Promo, Jerry Dolby, Tyeesha Warner, web designer, all my followers that support m,e and Leimert Park’s love and light!

Delta’ s music doesn’t knock at the door, it drifts in like a fog and lingers like a feeling you can’t name. The NYC-born project sits somewhere between indie rock, alternative experimental, and late-night soul-searching, serving up songs that feel less like traditional compositions and more like lucid daydreams caught on tape. Now, ahead of their upcoming self-written album dropping this October, Delta is offering a two-part single that feels like both a goodbye and a beginning. “Better Days / Hazy Afternoon” wasn’t part of the original plan ;  it emerged after the rest of the record was finished. But it doesn’t feel like an afterthought. It feels like the final missing piece. The album as a whole was never meant to be a solo mission. Delta originally wrote many of the songs with the intention of collaborating—sending pieces to musicians around the world, blending genres and voices. But somewhere along the way, the vision changed. Instead of outsourcing the emotion, Delta turned inward. And what emerged is a body of work built from sleepless nights, internal dialogue, and thoughts that had never made it out of the brain until now. The result is immersive and intimate—sometimes lo-fi and hushed, sometimes explosive and euphoric, always emotionally resonant. “This album is like repeating the phrase ‘this too shall pass’ in different sonic forms,” Delta explains. “It’s about not dwelling. It’s about ego death. It’s about doing what you have to do to move forward. Otherwise, what’s the point of life, right?” That philosophy is fully captured in “Better Days / Hazy Afternoon,” a two-part journey that mirrors the emotional arc of the album itself. “Better Days” opens with tight, subdued verses—anxious, quiet, almost claustrophobic- before blooming into a euphoric, triumphant chorus that sounds like the sun finally rising after a storm. “Hazy Afternoon” follows as the comedown, dreamy, nostalgic, and beautifully resigned. Together, the two songs form a perfect yin and yang of emotional processing. What makes “Better Days / Hazy Afternoon” even more special is its spontaneous creation. The album was done. The story had been told. But this track showed up fully formed, written in a single session. And suddenly, the narrative had a new ending—one that felt less like a period and more like an ellipsis. Delta’s DIY approach gives the single a raw magic that’s hard to replicate. It’s not over-produced or overly engineered. It’s vulnerable, a little messy, and fully human. It sounds like late-night thoughts spilled out on a four-track, but dressed up in shoegaze sparkle and experimental edge. There’s no need to overanalyze the lyrics—Delta’s strength lies in vibe and atmosphere. “Better Days / Hazy Afternoon” evokes that weird emotional limbo where you’re exhausted from hoping, but still too stubborn to stop. It’s for anyone who’s ever said “I’m fine” out loud but meant “I’m barely holding it together” in their head. Delta doesn’t expect you to decode hidden meanings or catch every reference. “I just hope people enjoy the vibe,” they say. And that’s the beautiful paradox of this project. It’s deeply personal and emotionally dense, but it’s also effortless to listen to. You don’t need to know the backstory to feel the weight of that chorus. You don’t need to understand the entire album to lose yourself in this track. In a music culture saturated with content engineered for 15-second consumption, “Better Days / Hazy Afternoon” feels like a quiet rebellion. A reminder that sometimes the most impactful music is the kind that simply gives you space to feel. With their October album on the horizon, Delta is only just beginning to show what solo artistry can do. And if this two-part single is the final puzzle piece, it’s also a powerful preview of what’s to come. What inspired you to release “Better Days / Hazy Afternoon” as a two-part single, and how does it tie into the rest of the album? 'Hazy Afternoon' was actually the first song I wrote for this upcoming album, and when I wrote 'Better Days', I thought the story carried through pretty well. You mentioned this track came after the album was technically finished—how did that influence its sound or message? 'On and On' did end up being written after the rest of the album was finished. I was trying to figure out the track listing and thought something was missing. Once I realized I needed a closing song, I thought about how I wanted it to sound, which was sort of cinematic and abrupt, leaving listeners on an edge. In a way, the album as a whole helped shape 'On and On' There’s a dreamlike quality to your music. What role do atmosphere and mood play in your songwriting process? That is such a compliment, thank you! I like to create a vibe while building a track, creating different parts and sections, and then organizing my thoughts like putting together a puzzle. You’ve worked in bands and writing teams before—how has going fully solo changed your creative process or perspective? Working on my own has made me think differently because in bands and writing rooms, you have other people to bounce ideas off of. When I’m by myself, I tend to question everything, so I try out dozens of sounds for each synth, different parts for each guitar line, different harmonies, etc., because I have a hundred different ideas for each song. Sometimes I’ll have three wildly different versions of the same song. Comparing that to working with other people, decisions tend to have to be made quicker. Basically, i’m super indecisive unless I really hit a groove, which I feel like I did with ‘On and On’, so I really hope everyone enjoys it as much as i do. If this song represents the emotional resolution of the album, what do you want listeners to carry with them after it ends? It’s more a feeling than an idea that I want to leave listeners with. That feeling when you’re dreaming and you know it, is the vibe I like to create when writing a lot of the music. That's why I named the album 'Lucid Dreams’, its sort of a comfortable but also unsettling place to be.

For Sardinia-born, London-based electronic artist  Michael It’z , music isn’t just sound ,  it’s sensation. Emotionally rich, sonically daring, and deeply personal, his new album Life is a 12-track ambient journey into the most vulnerable and transformative year of his existence: the year he became a father. Built on glacial textures, warped synths, and IDM-inspired rhythms, Life is Michael’s ode to the unpredictable, ecstatic, and terrifying experience of watching a life begin—specifically, the life of his daughter, Eleanor, born in October 2024. The record unfolds like a diary written in binary code and breath, exploring the highs, lulls, and liminal spaces between love and anxiety, chaos and clarity. The album opens with “Michael”, a 50-second spoken-word introduction that feels like a personal invitation into his world. From there, Life leaps into “First Breath,” an ethereal single released earlier this year. Pulsing like a heartbeat, its percussive patterns mimic the rush of life entering the body for the first time. It’s here that we begin to understand Michael’s sonic philosophy: less about song structure, more about emotional architecture. “Looming” explores anticipation, those suspended moments before a seismic change, while “I Love You” twists glitchy percussion and distorted piano into a storm of tenderness. It’s dissonant and cathartic, like trying to hold back tears and laughter at the same time. Then comes the soul of the record: “Eleanor.” Built on reverse piano and delicate drones, the track feels like a lullaby suspended in midair. It’s fragile and free, evolving in slow motion until it blossoms into a melody that feels both intimate and infinite. It’s not just a dedication—it’s a sonic photograph of new life. Though Life is rooted in IDM and electronica, Michael’s sound is deeply human. Take “Onyx,” a track inspired by the color of his daughter’s eyes. Or “Body Movement,” which interprets the physical firsts of a newborn through cold, mechanical rhythms—an intentional contrast between the sterile and the sacred. But not all of the record is joy. “Liminal Spaces” is suffocating, intentionally so—representing the emotional claustrophobia that comes with identity shifts and new responsibilities. Then there’s “Protect Me,” a post-rock-influenced piece that samples vocals discussing climate change and our responsibility to the next generation. It’s a reminder that bringing life into the world also means confronting the world’s fragility. “Anesthesia” captures surrealism and fear. “The Sky Was Black” examines the emotional weather within a relationship, moments of doubt, of difficulty, but also the grounding force of unconditional love. With vocal samples from Fellini’s La Dolce Vita, Michael layers past and present in a cinematic haze. And finally, we arrive at “Life.” The closer. The conclusion. Or maybe just the beginning again. Soft, reflective, and almost sacred in its quietness, it gently releases the listener from the emotional tension of the record. It’s the breath after the first one. When asked what he hopes people take from Life, Michael It’z doesn’t give us a prescriptive answer. “I hope people feel something,” he says simply. “Nothing specific—everyone is different. For me, the album is about the circle of life, but the final goal is to get people emotionally involved.” And Life does just that. It doesn’t scream for attention. It draws you in. You don’t listen to it as much as you fall into it. It’s music for the late nights when you’re awake for no reason except that your brain won’t turn off. For the moments when beauty and fear collapse into the same breath. With Life, Michael It’z has created more than an album. He’s created a time capsule of emotional evolution. One that speaks not in words, but in waves. This album is so intimate and cinematic. Did you approach Life differently than your previous work? Yes indeed. This album is very much different from all my previous works. This album is also different in terms of genres; it's more like trip hop and IDM, all my other albums are usually more ambient oriented. This record is very intimate, it's more personal, let's say, inspired by the most exciting and intimate period of my life, made while my wife was pregnant with our first daughter. In the album, each single track is inspired by a specific moment and feeling lived during that period, such as excitement, joy, and fear. I would say that this record is my most important work yet.  “Eleanor” is such a stunning tribute to your daughter. What was the emotional process of creating that track like? From the very first moment I thought about writing a song for Ellie, my only certainty was that the piano would be the leading instrument, because it is my favourite one and because I believe it has a unique and unparalleled emotional power. So I tried out a few chords and eventually went for a simple minor scale, repeated in a loop with some delays and accompanied by a soft angelic pad. The whole thing makes me think about how beautiful it is to look into her eyes every day. The writing process was quite fast and spontaneous; I'd even say this might be the track on the album I spent the least time working on.  “Liminal Spaces” and “Protect Me” introduce more tension and even panic. How do those feelings play into the broader story of Life? Yes, exactly as I mentioned before, this album is dedicated to my daughter, but also to my wife (who is my soulmate) and our relationship. Liminal spaces, Anesthesia, The Sky Was Black, and Protect Me are tracks that deal with the fears that a person can have while thinking about a future where there is no longer the two of you. The fear of not being enough, the fear of failing, and the constant anxiety brought on by everyday life.  In these tracks, I've amplified those aspects because it wouldn't be honest to say that pregnancy is only made of beautiful and positive moments. But in the end, these songs serve as a backdrop to an album that is both ambitious and joyful. With this album, I wanted to write my own hymn to joy. How do your Sardinian roots and London experiences influence your current sound? My roots have always held deep meaning for me, especially when it comes to my musical journey. Everything artistic in me was born in Sardinia, and it's thanks to her that I've become the artist I am today.  The sea resonates through every track I compose, the hush of the forests, the cadence of a sunset; these elements have always shaped my inspiration, and they continue to do so, even from afar. London, in turn, has offered me vibrations I have never experienced before. I have to admit, I've found and still find endless inspiration in the richness of British electronic music.    Living here has always been a dream of mine. I love this city deeply, for all it has given me and for everything it keeps offering.  If Life had to be described in one word or one color, what would it be, and why? If Life were a colour, it would be painted in stark black and white, streaked with a flash of acid green, like a dream half-remembered, chaotic yet luminous, ungraspable in meaning yet endlessly capable of wonder.

Let’s rip the band-aid off: The modern music industry is a lie wrapped in a filter, dressed up in fake streams, and delivered to your feed as #goals. Behind the curated tour footage, the viral song snippets, and the "just signed" celebration posts lies a brutal truth that almost no one talks about publicly: most artists are broke. And worse? They’re pretending they’re not. This isn’t about calling people out. It’s about calling out a system that demands illusion just to stay afloat. Because in a landscape where appearance equals opportunity, the pressure to look like you’re winning is stronger than the incentive to actually win. Streaming Killed the Middle Class Artist Sure, the internet democratized music. Anyone can upload a song now. But the truth is, unless you’re pulling in hundreds of thousands of streams per month , you're making peanuts. Spotify pays less than half a cent per stream. So even a song that gets 100,000 plays might earn you... $300. Try splitting that with a producer, engineer, and maybe a label cut. Now try paying rent. Streaming didn’t liberate artists. It killed the middle class. It created a two-tiered system: superstars with label budgets, and everyone else struggling to break even while pretending they’re thriving. Fake It Till You’re in Debt Because no one wants to book an artist who "isn't popping." No one wants to invest in someone who's not already perceived as successful. So artists fake it. They buy followers. They rent designer clothes for music videos. They spend their last $800 on a "content day" because without consistent visuals, you’re invisible. Wanna open for a touring act? Better have a lookbook, a video crew, a social presence, and a stream count that looks like someone gave a shit. Doesn’t matter if the art is good. The image  needs to say "major label energy" even if your bank account says overdraft. Who's Profiting From the Lie? Labels? They love the lie. Because it means artists will shell out thousands trying to "build a brand" before they ever get signed. Managers and marketers? Same story. The DIY artist funnel is their goldmine. And fans? They’re fed a curated fantasy where success looks instant and glamorous, not like 3am anxiety spirals and maxed-out credit cards. Meanwhile, artists keep quiet. Because admitting you’re broke in public means fewer collabs, fewer brand deals, fewer chances. Vulnerability becomes a liability. But Let’s Be Real This silence is killing us. Artists are working two jobs, putting out music they can't afford to promote, and watching others skyrocket on TikTok while wondering if they missed their shot. They’re crowdfunding basics like mixing and mastering. They’re burning out. They’re quitting. And we’re losing amazing art because the system was designed to reward illusion, not authenticity. The next Frank Ocean might be working night shifts and giving up because the pressure to fake success is too high. So What Do We Do? We start telling the truth. Loudly. Visibly. We normalize transparency around finances. We stop equating "buzz" with financial success. We value craft, not clout. And we build spaces that reward consistency, community, and art, not just aesthetics and reach. Because if we keep lying to each other, we’re just feeding a machine that eats artists alive. And real talk? The industry doesn't need another viral hit. It needs more honesty. It needs artists who know their worth without having to fake their wallet. So the next time you see a rollout that looks too good to be true, remember: It probably is. And maybe the most radical thing you can do as an artist today... is tell the truth.

The Star Prairie Project has officially released their highly anticipated eighth studio album, Little Gems, now available on all streaming platforms. True to its name, the album is packed with sonic treasures—none more immediately charming than the flirty, retro-tinged single “ Down Boy .” Written by founding songwriter Nolen R. Chew Jr. and performed by the ever-enchanting Ivy Marie, “Down Boy” is a lighthearted indie-pop ballad with irresistible hooks, shimmering instrumentation, and a story that toes the line between playful and provocative. Produced by longtime collaborator Rudiger, the track delivers a breezy groove and teasing vocals that radiate confidence and chemistry. The lyrics follow a familiar setup with an unexpected twist: a younger man makes a move on an older woman, and while she initially brushes him off, his persistence and charm begin to wear her down. By the final chorus, curiosity has replaced hesitation, and the once-dismissive “no” has softened into a tempting “we’ll see.” “It’s a fun song that’s not very serious,” says Chew. “It’s light and instinctive. Some naughtiness by suggestion can be intriguing in a song. I wanted a perfect pop rhythm with a mesmerizing effect, and this has that. It’s one of those tracks you don’t have to overthink. It takes you on a short ride, then it’s over, and you want to hear it again.” The inspiration? A simple moment in the kitchen. Chew had Ivy Marie in mind from the beginning, and when she delivered the vocals, it was exactly the flavor he envisioned—flirtatious, rich, and effortlessly cool. Her performance turns “Down Boy” into a standout moment on Little Gems, offering levity and sparkle amid the album’s more introspective tracks. While Chew didn’t perform on this specific song, “Down Boy” reflects the collaborative spirit that defines The Star Prairie Project. The band, based in Star Prairie, Wisconsin, continues to work with artists from across the world, from L.A. to London, bringing bold, genre-blending projects to life. Their past albums have explored everything from progressive rock to jazz fusion, and Little Gems adds yet another dynamic chapter to their catalog. With over 15 million streams and a growing international fanbase, The Star Prairie Project shows no signs of slowing down. If “Down Boy” is your entry point, buckle up—Little Gems has plenty more where that came from. “Down Boy” stands out with its flirtatious tone and playful storytelling. What inspired the decision to take a lighter, cheekier approach with this track, and how does it fit into the broader emotional arc of Little Gems? Nolen: “Down Boy” was the last song recorded for the “The Little Gems” album. I had a guitar riff in my head in a loop, and I already knew this was going to be an Ivy song (sing/produce), so I started thinking from the female perspective, and the lyrics just rolled out. I thought it would be fun to look at the situation from her perspective. Ivy’s voice is perfect for the song, with her wooing and cooing, it’s a flirty and fun tune. You’ve worked with a wide range of collaborators across this album. How did Ivy Marie’s performance on “Down Boy” elevate the track from your original vision, and what makes her voice such a strong fit for the song’s mood? Nolen: When I first wrote the song and sent the demo tape to Ivy it was just two simple tracks a vocal and acoustic guitar. Ivy’s voice is like a second instrument, and she added that fantastic percussion beat, and it was like Wow! She does so much with her voice, the subtle fills and passing notes, it’s really exciting to see how these added dimensions add such texture and flow. We were both really pleased with how the song came out in the end. The Star Prairie Project is known for its genre-blending and cinematic storytelling. How did you balance cohesion across Little Gems while still allowing each song, like “Down Boy,” to live in its own unique sonic space? Nolen: It kind of all happened naturally. We had a few songs left over from the ‘New Day at Dawn’ recording sessions. About enough for half an album. It was easy to pick up from where we were and continue with the momentum. The songs on ‘Little Gems’ fit so well together because they all naturally speak of different aspects of the human experience. Love, betrayal, introspection, purpose, and meaning, these are the themes we touch on that every human being can relate to at some point in their life. As someone who didn’t perform on this track personally, what’s your process like when handing over a song to another vocalist or producer? How do you maintain your artistic fingerprint while allowing room for creative freedom? Nolen: The Star Prairie Project is all about collaboration and content. It is literally all about the song.  What’s best for song is the primary criteria. We aren’t a show band with gimmicks. We rely on the power of our product. We are disparate musical artists who come together for the same goal. To write and record original radio-ready records. I am surrounded by so much talent in this project. I act as the manager and initiator.  I’m the primary songwriter. I get them started, and for the most part, I step back and let them do their magic. I’m not concerned about my artistic fingerprint, I’m more concerned with giving my team a long leash and letting them express their talent. I’m never disappointed, and it’s what makes us so diverse and genre-bending. “Down Boy” plays with themes of age, flirtation, and confidence. In today’s culture, how do you see music as a way to explore these dynamics playfully without crossing into cliché or overexposure? Nolen: Music, it seems, is always out in front, influencing culture, and sometimes it defines the timeless nature of humanity and how many of these themes are resilient and cyclical. All generations address these themes in music according to that moment in time. Our habits, manners, boundaries, and prohibitions reflect our expression of these subjects today. It is a fun time to explore these dynamics in a fun and tongue-in-cheek manner. Sometimes, a sexy outfit is more alluring than a full frontal. Now, try putting that into music. That’s the task of the songwriter.

Photo by Lena Nugent and Eli Eisenstein If you've ever locked eyes with a stranger and mentally planned your wedding before even exchanging names, Kayla Silverman  just wrote your theme song. The NYC-based glam-pop artist is back with her newest single, " Tell Me How ," a disco-tinged daydream about falling hard and fast for someone you barely know. It's not love. It's not lust. It's that irrational infatuation that hijacks your brain and makes you believe fate just walked into your subway car. And honestly? We've all been there. Floating on shimmering synths, cheeky harmonies, and Kayla's signature powerhouse vocals, "Tell Me How" captures that exact split-second moment when a stranger becomes everything. It's the musical equivalent of romantic delusion—cinematic, intoxicating, and just the right amount of unhinged. But don't get it twisted, while her vocals sound like they belong in a cathedral, her music videos live in a completely different dimension. For this release, Kayla teamed up with director Eli Eisenstein to create an over-the-top, hilariously awkward 80s JC Penney-inspired visual fantasy. Think: exaggerated lip-syncing, cringeworthy posing, and polyester-fueled seduction. It's sexy, it's absurd, and it's perfect. "In the end, it doesn't matter how sexy you actually look," Kayla says. "What matters is that you feel sexy. That you're caught up, that you're fantasizing, that you're completely in the moment." With roots in opera and a deep love for glam rock icons like Queen, Kate Bush, and Chappell Roan, Kayla has carved out her own universe—equal parts romantic renaissance painting and chaotic girl crush fever dream. Her music blends theatrical storytelling, rich harmonies, and glossy pop production, while her visuals often lean toward absurdist comedy and maximalist camp. "Tell Me How" follows her critically-received EP Sophisticated Lady and kicks off a series of new monthly releases from the rising alt-pop star. Known for her explosive live shows and East Coast tours, Kayla is quickly becoming a name to watch, especially if you like your pop dramatic, glam, and just a little bit unhinged. And if you're still thinking about that one stranger you never talked to... consider this your sign. "Maybe I'm feeding into the delusion," Kayla says, "but if you're hearing this song, take it as your sign to ask that person out. You know exactly who I'm talking about." You’ve described your style as “glam pop.” What does that mean to you, and how do you think “Tell Me How” fits into that identity? I’ve always been dramatic. Whether it’s through a gloriously rich arrangement, a theatrical outfit, or an over-the-top performance. Sonically and visually, I’m inspired by glam rock legends like T. Rex, Kiss, and especially Queen. But while I love their larger-than-life aesthetic and emotional intensity, I’ve never quite fit into the rock world. So, I coined my own term:  glam pop. “Tell Me How,” produced by Dean Gray, is a heart-on-your-sleeve, lust-fueled disco track that plays with that sense of drama. It leans into obsession, fantasy, and infatuation, but with a little sparkle. Visually, it’s just as bold. The music video takes place in a cheesy JC Penney-style photo shoot, where the campy glamour contrasts with the song’s emotional intensity. It’s all very seductive, tongue-in-cheek, and dripping with drama. The music video for this single is hilariously over-the-top. What made you lean into awkward 80s photo shoot energy instead of going full romance fantasy? This is one of the first intentionally sexy songs I’ve ever written, and for some reason, the word that kept coming to mind was  “Vogue.”  I wanted something glossy and glamorous, but the reality was that I didn’t have the infrastructure to pull off a fully polished, high-fashion music video. So, I flipped the concept on its head. I thought,  What’s the least sexy way to try to be sexy?  And immediately, a JC Penney-style photo shoot came to mind. I brought the idea to my dear friend Eli Eisenstein, who directed the video, and he ran with it in the best way possible. The result is this hilariously awkward, hyper-staged fantasy that plays with the idea that feeling sexy and looking sexy aren’t always the same thing. But honestly, that’s what I love most about it. Because in the end, it’s not about perfection; it’s about having fun and being fully present with the person you love. That’s where the real romance lives. Your roots in opera definitely shine through in your vocals. How do you balance the theatrical with the comedic in your music and visuals? Opera was truly my first love. I remember being eleven, sitting on the train, listening to the ballad  Du Bist Die Ruh,  and thinking,  This is what it feels like to be alive.  What’s always drawn me to classical music is its emotional range, how it can swing from sweeping, tearful arias to laugh-out-loud comedies that I still watch on rainy days. That sense of range deeply inspires my work. I want my visuals to feel like they could be pulled from a fine art museum, dramatic, regal, and timeless. My photos and cover art are where I tap into that seriousness and intensity. But my music videos are where I let the absurdity shine. They’re my way of saying,  yes, this may sound dramatic, but don’t take it too seriously. Each video is a chance to turn the glamour on its head and remind people that even the most theatrical emotions can come with a wink. It’s all part of the balance: the high drama and the humor, the fine art and the photo booth. What’s one irrational crush moment from your real life that could’ve inspired this song but didn’t?  This is a great question! I have these moments constantly. Pretty much anytime I see a man on the subway reading a book. I love them literate; what can I say? I play that game of trying to make prolonged eye contact without it actually being creepy, but I haven’t reeled any of them in yet.  If “Tell Me How” could soundtrack any iconic movie scene or pop culture moment, what would it be and why? I wrote this song with NYC in mind, so I have to say  Sex and the City . Unfortunately, I’m a Carrie cosplaying as a Samantha. “Tell Me How” lives in that space between lust and obsession, but with a wink. It’s self-aware, it’s dramatic, and it’s kind of making fun of itself the whole time. I also think of that scene in  500 Days of Summer  when they’re in the elevator, and she says, “I love The Smiths.” It’s such a fleeting moment of connection that instantly spirals into fantasy. I wrote this song hoping it could soundtrack those exact moments when someone falls in love just because the other person’s on the same elevator and  also  listening to Kayla Silverman. That would be cool.

Chicago's own   Jiggy Bars  is soaring to new heights with his latest single, "Birds Eye View," featuring She Love Law, a bold, reflective cut that blends street wisdom with an elevated perspective. Known for his sharp lyricism and smooth genre fusion, Jiggy once again proves that he's more than a rapper; he's a storyteller in flight. Where many hip-hop tracks focus on flex and flash, "Birds Eye View" pulls back. The track is a meditation on clarity, focus, and what it means to level up without losing one's sense of self. It's the calm after the storm, the insight that comes from making it through chaos and realizing what matters. With slick production and moody undertones, the song creates space for both ambition and reflection to coexist. "It's about trusting the process," Jiggy explains. "Staying grounded while flying high." That balance defines Jiggy's sound. Whether he's delivering gritty street bars or laying into melodic R&B grooves, there's always a duality at play: hustle and heart, ambition and awareness. In "Birds Eye View," he channels that duality into one of his most polished tracks yet. His delivery is calculated but relaxed, confident without ever being cocky. And She Love Law adds a smooth counterbalance, offering layered vocals that elevate the track's hook and emotion. Beyond the beat, "Birds Eye View" is about perspective, about stepping back from the noise of the world, the industry, and even your inner doubts and deciding to rise above. It's a reminder that clarity is a luxury earned through struggle. And Jiggy Bars is ready to claim that altitude. “Birds Eye View” feels like a personal checkpoint . W hat moment in your journey inspired the shift in perspective? Man, I'd say the moment I realized I couldn't keep moving the same way and expect different results. Life had me in a loop—same people, same habits, same patterns. Birds Eye View came from stepping outside that cycle, finally seeing the bigger picture. It was like hitting pause and saying, "Okay, who am I now, and where am I trying to go?" How do you stay grounded when you’re experiencing new levels of success or exposure? I keep my circle tight and real. My people hold me accountable and remind me where I came from. Additionally, I still lead a regular life—I'm in the city, I'm outside, and I see the struggles firsthand. That's what keeps the music honest. You can't ever get too high to forget the bottom. You’ve got a knack for balancing introspection and street energy—how intentional is that contrast in your writing? That's just who I am. I grew up with both—those street lessons and those quiet moments where you gotta sit with your thoughts. I don't separate them. That contrast is real life. So, when I write, I tap into both because that's the truth of what I've lived through. What was it like collaborating with She Love Law, and how did their voice shape the final version of the track? Working with She Love Law was smooth—his voice brought a whole new flavor. He came in with that melodic presence that added warmth to the track. I had the raw emotion in the verses, and he brought that soul to the hook. It made the message hit harder, but still felt like a vibe. If you could give advice to the version of yourself from five years ago, what would that “birds eye view” wisdom sound like? I'd tell him, "Stop doubting your gift. Trust the timing, but don't waste time. Everything you're going through is shaping you, even when it doesn't make sense yet. Protect your energy and keep your vision clear—your future self is counting on it."

British rocker-turned-country darling Bronnie  taps into her 8-year-old self on her latest single, "Own Girl Own World," a song born from old home videos, childhood daydreams, and a desire to finally step into her main-character era. Known for her high-energy rock anthems and fiercely loyal fanbase, Bronnie’s genre pivot brings a softer, more emotional edge to her sound, one that’s already resonating deeply with longtime fans and new listeners alike. In this exclusive, she opens up about the inspiration behind the song, her roots in imagination, and what it means to grow into the person you always dreamed of being. "Own Girl Own World" feels like such a personal full-circle moment. What did it feel like to channel your 8-year-old self during the writing process? When I was a kid, my siblings and I used to watch Hannah Montana all the time and would pretend we had our own reality show at home. I wanted it to be called Own Girl In Her Own World, and being the eldest (and biggest ego), I wanted to be the main character… A few years back, we were watching home videos & were reminiscing about ‘Own Girl in her Own World,’ and I thought it would be a great title, so that night, Own Girl Own World was created! You’ve built a huge audience in the rock scene—what inspired you to lean into country music now, and how has your fan base responded to the shift? The fans have responded so positively to the change! It’s still ’me’, it’s still Bronnie songs but with some more country influence, which has gone down well. Rock and Country have always been my two favourite genres, so why not mix both? There’s something powerful about turning childhood imagination into adult reality. What message do you hope young girls take away from this song? I want the message to be that you can be your own person and live your life the way you want, whilst also still being able to be vulnerable and letting someone love you. From topping charts across Europe to being championed by BBC Radio 1, you’ve already had major milestones. How does "Own Girl Own World" differ from your past work emotionally or creatively? There’s something about Country music that makes everything more emotional and important when it comes to releasing music in that genre. I feel spiritual; it was a big turning point for me, and I feel way happier in this genre than ever before. You’ve described this track as a theme song for a show you imagined starring in as a kid. If "Own Girl Own World" were an actual series, what would the opening scene look like? Oh well, we have a big family! I’m the eldest of 5; we have my parents and five cats, too. Plus, my siblings, partners, friends, and all my uncles, aunts, and family are around all the time! No one could probably understand the first scene due to 10 different people trying to talk at once, which is a regular occurrence in my family!