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If truth could speak, what would it sound like? According to Carson Beyer , it would be gospel-tinged, soaked in grit, and echo through the halls of country soul. On “ The Truth ,” Beyer doesn’t just sing, he lets truth itself take the mic. And the result is raw, fearless, and impossible to tune out. Written by Beyer alongside Prescott Harter and John Haywood, and co-produced with Sol Littlefield (a 2025 ACM nominee for Electric Guitar Player of the Year), the track asks one bold question: What if the voice in your head telling you the hard things was a real person? What if Truth had a southern drawl, dirt under its nails, and no intention of going easy on you? With electric guitars that bite, gospel keys that swell, and a rhythm section built like Muscle Shoals grit, “The Truth” walks the line between country and southern rock revival. Beyer’s vocals, smooth but anchored with conviction, carry each lyric with weight. He’s not trying to entertain. He’s testifying. “I wrote ‘The Truth’ from the perspective of Truth itself — what it might say if it had a voice. These lyrics came straight from conversations I’ve had with myself. The truth’s always there. You can’t outrun it.” It’s this kind of honesty, paired with modern polish and old-soul grit, that has Beyer carving out a space of his own. A Kentucky native turned Nashville rising star, his roots are deep, but his sound is fresh, blending traditional values with fearless storytelling and genre-pushing style. You’ve said this song is written from the perspective of Truth itself. What inspired you to take that angle instead of writing from your own viewpoint? Yeah, I mean, The Truth has a voice whether we give it one or not, right? It’s always there, even when you aren’t looking for it. When we wrote this song, I was coming out of a season where I thought I could avoid it, outrun it, or maybe even try to rewrite what it was saying to me. So instead of me speaking the truth in the song, I thought, what better way to bring it to life than to write what it was speaking to me, or honestly, all of us at some point. Giving The Truth its own voice, let me step out of the way and just be the vessel for the message to be a little bigger. Musically, “The Truth” blends gospel, country, and rock. How did you build that sonic fusion, and what role did recording in Muscle Shoals play in that process? Honestly, that blend just happened naturally; that’s why we went down there in the first place. With the rich musical history of The Shoals, it has a way of pulling “The Truth” outta you. I just took these songs down there, chased what felt real and honest, and let the players do what they do. I love how you can hear the gospel and the soul in the background vocals and the B3, the country vulnerability in the lyrics, and the rock in the rhythm. You worked with some heavy hitters on this track. What was it like producing alongside Sol Littlefield and working with legends like Mark Narmore? Those guys are great. Their names speak for themselves. Sol is so well-known all over Nashville, and rightfully so. I was excited to be able to dig in with him and bring these songs to life. And not only has Mark Narmore written some country hits himself, but he also leads a church down in Muscle Shoals and has lived there most of his life; he’s like Muscle Shoals royalty. Personally hand-picking this band and this team, I was confident we’d have all the pieces we’d need to help bring that blend of sounds you mentioned together just right. Truth in music can be uncomfortable. What’s one truth you had to face personally while writing or recording this song? I think one truth is that people might not like it. I didn’t necessarily love the lyrics on paper, but I knew they were real and needed to be said. Having to sit down with yourself and revisit those long, hard conversations I’ve personally had with The Truth growing up was uncomfortable at first, but yeah, felt like freedom in the end. I hope the same for the listener. How does “The Truth” set the tone for this next chapter in your career, and what should fans expect next? The Truth definitely feels like a doorway into the next chapter of the book that is Carson Beyer's music. It’s raw, soulful, and doesn’t shy away from tough stuff. Things that mean something and carry a little weight to them, while keeping the groove at the forefront for the listener to still have fun with it.

Bob Marley wasn’t just the face of reggae. He was the heartbeat of a global revolution. Long before the world knew him as a legend, Robert Nesta Marley was a boy from Nine Mile, Jamaica, raised on rhythm, resilience, and Rastafari. With a guitar in hand and truth in his voice, Marley transformed reggae into something far bigger than a genre; it became a vehicle for political resistance, spiritual awakening, and global connection. His mission? Liberation through sound. Love through unity. Peace through protest. From the late 1960s to his untimely death in 1981, Marley released anthems that challenged oppression, celebrated Black identity, and delivered raw messages of hope to anyone willing to listen. He sang for the poor, the displaced, the overworked, and the underloved. Whether in Kingston's Trenchtown or London’s smoky studios, Marley’s energy was the same: passionate, prophetic, and profoundly human. In 2024, the world re-examined his life through the biopic Bob Marley: One Love , a cinematic retelling that peeled back the myth and reminded audiences just how radical and rare Marley truly was. This wasn’t just a man making music to vibe to; he was laying down scripture for the soul. The film sparked renewed interest in Marley’s body of work, especially among Gen Z and Millennials who had mostly known him as a “vibe” but not a vessel for social change. But Bob Marley’s legacy didn’t stop when the music paused. His children, many of whom were raised in the same hybrid worlds of art and activism, have carried that torch across generations. Ziggy Marley became a Grammy-winning artist and fierce advocate for youth education. Damian “Jr. Gong” Marley blended dancehall, hip-hop, and heavy political commentary to craft some of the most poignant modern reggae ever made. Stephen Marley took on the role of sonic architect, producing and performing with a spiritual conviction reminiscent of his father. On the entrepreneurial front, Rohan Marley co-founded Marley Coffee and later partnered on a cannabis venture,  Lion Order , merging lifestyle with legacy. Cedella Marley, Bob’s daughter, became a cultural force in her own right—author, fashion designer, and CEO of the Marley Group of Companies. Even Sharon, Julian, Ky-Mani, and others have stepped into music, philanthropy, or creative leadership roles, creating what is arguably one of the most influential multi-generational dynasties in global Black culture. Together, the Marley family didn’t just protect Bob’s legacy—they evolved it. They've built empires, funded schools, launched wellness brands, and kept the message of “One Love” alive in a world that still desperately needs it. But everything they’ve done, all of it, stems from the foundation Bob Marley laid through his albums. From the gritty, defiant energy of Catch a Fire to the revolutionary poetry of Exodus, every project was a chapter in the same gospel: wake up, stand up, and love like it matters. So whether you’re a vinyl collector, a reggae rookie, or someone who just left the movie theater wondering what to listen to next, this is your guide. These are the best Bob Marley albums of all time, and the reasons why they still echo, inspire, and ignite. The Best Bob Marley Albums Of All Time Exodus (1977) Often considered Marley's magnum opus, " Exodus " blends reggae with rock and funk, creating a sound that’s both infectious and revolutionary. With hits like “One Love,” “Jamming,” and “Three Little Birds,” this album captures the spirit of unity and resilience, making it a defining work of Bob Marley's career. Legend (1984) This greatest hits compilation serves as an excellent introduction to Marley’s music. Featuring iconic tracks like “No Woman, No Cry,” “Is This Love,” and “Buffalo Soldier,” " Legend " encapsulates his essence and legacy. It’s a must-have for both new listeners and longtime fans alike. Rastaman Vibration (1976) " Rastaman Vibration " is a powerful exploration of Marley’s beliefs and experiences. The album includes classic tracks like “Positive Vibration” and “Roots, Rock, Reggae,” showcasing his ability to blend social commentary with captivating rhythms. It’s a profound reflection on identity and spirituality. Catch a Fire (1973) Marley’s first major album, " Catch a Fire ," introduced the world to his unique sound. With standout tracks like “Stir It Up” and “Concrete Jungle,” this album laid the groundwork for reggae’s global appeal. Its raw energy and heartfelt lyrics set the stage for Marley’s future success. Burnin' (1973) Following "Catch a Fire," " Burnin '" features more politically charged songs, including “Get Up, Stand Up” and “I Shot the Sheriff.” This album captures the revolutionary spirit of the time and solidifies Marley’s position as a voice for change, blending social activism with compelling music. Uprising (1980) Released shortly before Marley’s death, " Uprising " showcases a more reflective side of the artist. The album features tracks like “Could You Be Loved” and “Redemption Song,” emphasizing themes of freedom and empowerment. It’s a poignant reminder of his lasting impact on music and culture. Natty Dread (1974) " Natty Dread " is a powerful statement on social issues, filled with evocative storytelling. Songs like “Rebel Music (3 O’Clock Roadblock)” and “No Woman, No Cry” delve into themes of struggle and resilience, highlighting Marley’s ability to capture the spirit of his time. Soul Rebels (1970) This early album, " Soul Rebels , " features a rawer sound and showcases Marley’s burgeoning talent. With tracks like “Soul Rebel” and “No Woman, No Cry,” he offers a glimpse into his growth as an artist and his commitment to social justice through music. Bob Marley’s albums are more than just collections of songs; they are reflections of his life, beliefs, and the world around him. Each album offers a unique perspective and showcases his evolution as an artist. Whether you’re revisiting his classics or discovering them for the first time, these albums are essential listening for anyone who wants to appreciate the depth and beauty of Bob Marley’s music.

Aaron Sand & Sandy Cohen at Stella Flame Gallery for Fuck Love, Better Give Me Diamonds show - June 8th, 2024 - Photographer: VITAL AGIBALOW  Aaron Sand announces that he will be attending artist Sandy Cohen’s debut of her latest collection on June 7th  in The Hamptons.  Known for her captivating and thought-provoking paintings, Israeli artist Sandy Cohen (a well-known artist with paintings in celebrity homes around the world) has made quite a name for herself in the art world, and she recently announced that she would be hosting a show at Stella Flame Gallery in Bridgehampton, NY to debut her latest collection on June 7th.  Following this announcement, in a shared post with Sandy, rock singer Aaron Sand announced that he would be attending Sandy’s show and encouraged fans to come out and show their support.  Aaron and Sandy have been good friends for a few years now, and he’s collaborated with the artist, modeling a shirt from her fashion collection and promoting it on Instagram in a collaboration post with the artist.  Aaron Sand modeling the “Fame” shirt, in campaign for Sandy Cohen’s “Fuck Love, Better Give Me Diamonds” collection. - June, 2024 - Photography: Barry Brown Aaron previously attended a show debuting another collection of hers, last summer as well; entitled “Fuck Love, Better Give Me Diamonds” and also hosted at Stella Flame Gallery.  Aaron Sand at Stella Flame Gallery for Sandy Cohen’s Fuck Love, Better Give Me Diamonds show - June 8th, 2024 - Photographer: VITAL AGIBALOW  & Diana Frank  Aaron Sand at Stella Flame Gallery for Sandy Cohen’s Fuck Love, Better Give Me Diamonds show - June 8th, 2024 - Photographer: Diana Frank  Sandy Cohen returns to the spotlight this year with the debut of her latest collection, boldly titled “Boys Wanna Get With Me, Girls Wanna Get With Me.”  The show is set to run from 5 PM to 7 PM and is expected to draw a massive crowd, another standout event from an artist known for turning heads and packing rooms.

For Canadian artist Daniel Richter , music used to be about numbers—streams, charts, and chasing industry acclaim. But after years in the spotlight fronting the Warner Music-signed pop band Eleven Past One , Daniel’s career took a dramatic and divine turn. Now, he’s walking a new path, one rooted in faith, humility, and purpose, and his newest single, “ Light That Shines ,” is a radiant testament to that journey. A Redemption Song for the Rest of Us “Light That Shines” is more than a song; it’s a spiritual checkpoint. Blending contemporary Christian pop with honest, heartfelt lyrics, Daniel opens up about the very human feeling of unworthiness in the face of God’s perfect love. The verses are raw and confessional, reflecting moments in his life when shame and guilt made him feel distant from grace. But God met him there anyway. “He didn’t care about what I’d done,” Daniel says. “He just showed me pure love and forgiveness.” That’s the heartbeat of “Light That Shines,” not a polished performance, but a genuine testimony. A reminder that God’s grace is not reserved for the perfect. It’s poured out on the broken, the weary, and those still in the middle of their mess. The chorus lifts like a prayer of surrender, claiming hope in Jesus and declaring a new purpose: to be a light that shines for Him in a world that desperately needs it. From Pop Star to Worship Leader Daniel’s transition from the secular music world to the Christian space didn’t happen overnight. After almost releasing a mainstream solo single, he felt a deep conviction to stop chasing industry approval and instead follow the calling that had been tugging at his heart for years. “God got a hold of me,” Daniel says. “I couldn’t run from this calling anymore.” That moment of surrender changed everything. Today, Daniel serves as a worship leader and music director in his hometown of Bowmanville, Ontario. He’s found a new joy in crafting songs that center Jesus—music not just meant to be heard, but to minister. His upcoming three-song EP, themed around light and transformation, continues this mission, offering fresh praise music inspired by artists like Phil Wickham, Brandon Lake, and Elevation Worship’s Chris Brown. And while “Light That Shines” carries the sonic polish of his pop background, it’s delivered with the heart of a worshipper. This song is for the ones who feel like their past disqualifies them. For the ones still wrestling with shame or walking through seasons of silence. For anyone who has ever wondered if they’re too far gone. Daniel wants you to know, you’re not. “I want people to know that God is a forgiving God. He is a loving God and just wants to have a relationship with you,” Daniel says. “No matter where you’re from, what you’ve done—He wants to be that light inside of you.” It’s a message echoed in Scripture and sung out in Daniel’s signature warm, soul-stirring tone. And as John 14:26 reminds us, Jesus left us His Holy Spirit as our advocate and guide, even when we’re unsure, unworthy, or undone. Sometimes, all you need to do is call out to Him. You’ve talked about surrendering your career path to follow God’s calling—what was the moment that made you finally say, “Okay, I’m all in”? I think there was never really one moment that made me finally switch over from mainstream to the Christian industry. It was more of a process. I think the process really began after getting married and having our firstborn child. God was really waking me up. I started making big changes in my life like cutting out drinking alcohol excessively and just really wanting to clean up my life for the sake of my marriage and children. I wanted to raise my kids to be an example, being more like Christ. After making these changes and really starting to dive deep into the Bible and spending more time with God, God really started to shift my focus musically. I began leading worship as the music director at my church two years ago. And over the past year, I really just felt like it was time to release my musical dreams and ambitions to God and just let him take over. Was it difficult to leave behind the mainstream music industry, especially after the success you had with Eleven Past One? Yes, it was. I was ready to release one of my favourite songs I had ever written, but something in me just didn’t feel right. So I started to really pray about it and ask God if He would give me some sort of sign. I was asking him to let me know if I should release this song and keep going down this path musically, or if he wanted me to not release it and just start writing music solely about Jesus. He answered my prayer relatively fast. My investor and manager called me up and explained to me that they didn’t really feel like I should go down this path, but to start fresh and go down the path that I had already been talking about, which was releasing Christian music. So that was my answer! God answered my prayer. How has your relationship with God changed since making the decision to step into Christian music full-time? My relationship with God has been made stronger ever since I made the decision to step into Christian music full-time. Now that I am here, I’ve realized that I really have to be more on guard and keep up with reading the Bible and spending time with God so that he can really use me in this new way. “Light That Shines” feels like such a personal declaration of faith. What did writing that song teach you about yourself? It has taught me that living for Jesus isn’t perfect. It’s not easy, and the Bible tells us. In‭‭ John‬ ‭16‬:‭33, Jesus says, “I have told you all this so that you may have peace in me. Here on earth, you will have many trials and sorrows. But take heart, because I have overcome the world.” God is love, and as we live out our lives choosing to live for Him, He will bring us through every storm and trial we face. We are all a work in progress. God takes us and meets us where we’re at and uses us so that we can shine the light of Jesus that we have inside of us. Now that you’ve stepped into this new chapter, what do you hope people experience when they hear your music, and this single in particular? I hope people experience Jesus. Whether it’s a simple feeling of encouragement or helping them with a life-changing experience, I hope and pray that God uses this music to touch the lives of the listeners in some way, shape, or form. With this song in particular, I hope that it encourages people to know that no one is perfect and that no matter what, we need to continue to shine our light for Jesus in this dark world.

If you’ve ever cried in your car to a song that somehow explained your life better than your therapist could, Bekka Dowland probably gets you. The rising country-pop artist has built her sound on raw storytelling, heartfelt confessionals, and a voice that feels like both a hug and a wake-up call. Now, after the success of her 2024 EP Failures & Fairytales , she’s gearing up for her biggest project yet: a love letter to the chaos of your 20s. “ This next project is an ode to my 20s,” Bekka shares. “I wanted to create the perfect compilation of songs that would best express what this last decade of life was like. ” It’s not just a concept album. It’s an emotional blueprint. A mixtape for the messiest, most transformative years of your life. One where heartbreak, healing, hook-ups, and hope all collide. And Bekka's guiding us through it with the honesty of someone who’s lived every word she sings. Blending modern country flair with melodic pop elements, Bekka’s upcoming release is shaping up to be a sonic rollercoaster. She’s not here to sugarcoat the reality of your twenties. Instead, she’s putting every late-night overthink, questionable situationship, and big career pivot into lyrics that hit a little too close to home, in the best way. “ Being in your 20s is chaotic, it’s fun, it’s flirty, it’s scary, and yet it’s also beautiful ,” she says. “ It’s something we all go through eventually. I want the music to reflect that rollercoaster. To feel like real life. ” Fans of Kelsea Ballerini, Maren Morris, or early Taylor Swift will find a familiar emotional edge in Bekka’s work. But where others might dress their heartbreaks up in metaphor, Bekka leans into brutal honesty. Her songs don’t just tell you what happened—they tell you how it felt . Bekka’s previous project, Failures & Fairytales, hinted at her emotional depth and clever songwriting, but this next chapter feels more expansive. It’s bolder. More personal. More willing to admit the things we usually only tell our group chat at 2 a.m. “ These are truly diary entries for me, ” she says. “ I hope people will laugh, cry, and learn some lessons throughout these tracks .” And with a Fall 2025 release on the horizon, anticipation is already building for what could be one of the most relatable country-pop albums of the year. It’s not just for the die-hard country fans either, anyone navigating the weird, wonderful disaster zone that is your twenties will find something to cling to. So whether you’re mid-breakdown, mid-glow-up, or somewhere in between, Bekka Dowland is building the soundtrack to your life. And chances are, it’ll feel like she wrote it just for you. If you could describe your 20s using only three song titles (yours or anyone’s), what would they be? This was a question I had to think hard about because I wanted to choose the perfect songs to represent how my twenties have felt. I recommend listening to all of these songs to really understand the wide range of feelings I experienced during this time. The first song I would say is “Young” by Kenny Chesney, a very fun and upbeat anthem. Next, I would say “Never Grow Up” by Taylor Swift. This song to me really explains how hard it is to transition from a teenager to an adult. Lastly, I’d say “Frozen at 23,” which is a song of mine that hasn’t been released yet. That one is self-explanatory, so you’ll just have to wait to hear it! You mentioned this project feels like a musical diary—what’s the most vulnerable track you’ve written so far, and why? I would say the most vulnerable track I have written so far was a last-minute submission to my team titled “Ugly.” This is a song I wrote a few months ago when I was feeling extremely insecure in my own skin. I have never publicly discussed the body image issues I deal with on a daily basis, so it was really important for me to write a song about this because I know, unfortunately, I am not the only one who struggles with this. I haven’t written a song in a while that has made me cry, but this one definitely did. Was there a specific moment or event that inspired you to start this project? When I was 25, I completely spiraled and truly went through a “quarter life crisis” as they say. I had always known I wanted to theme a project around the journey of being in your twenties, but that year, specifically for me, just sealed the deal. It was a year that made me realize, wow, this is such a fun chapter, but also the hardest, you know? I’ll be 29 this upcoming September, and I’m truly glad I waited on this project because I still have stories to tell a few years later. Country music is rooted in storytelling—how do you balance honesty with keeping some things for yourself? The funny thing is, I’m such a private person when it comes to my personal life- until it comes time to write a song. I write my truth with no real thoughts in mind on what I should keep in them or leave out. I think naturally I have always kind of known how to write something so specific, YET also very broad that it can be relatable to other people and their own experiences. What do you want fans to feel when they reach the final track of the album? I genuinely want fans to feel like they have just gotten off a roller coaster, because that’s essentially what these last 9 years have felt like to me. I hope they find songs that make them smile, some that might make them shed a tear, and some that might teach them a lesson. So much thought and planning has been (and still is) going into this project. I can’t wait to share it!

With their debut single and music video “ The Flea ,”  Captains of Entropy  aren’t just making music; they’re building entire worlds. What started as a random jam session in West LA during the pandemic turned into something way more intentional: a groovy, cinematic instrumental project with serious creative vision. The trio, Mike Kanon (keys), Reilly Wareham (bass), and Jason Young (drums, also known for his project Heartour and work with The Ruse), brings serious chemistry to the table. Their sound mixes funky rhythms, dreamy textures, and a whole lot of imagination. Inspired by a real flea infestation in Mike’s home studio, “The Flea” takes that weird little moment and turns it into a full-blown sci-fi adventure. The music video, directed by Ryan J. Reynolds and produced by Matthew Mourgides, plays out like a retro monster movie meets trippy desert fever dream. The band goes from sketchy businessmen to wandering musicians, guided by a mysterious flea guru, of course. Musically, it’s tight and unpredictable in the best way. Jason’s drums keep things grounded but exciting, Mike’s keys float in and out of spacey and melodic, and Reilly absolutely goes off on the bass solo. Even without lyrics, “The Flea” tells a story, one that ends with a surprise dance scene under the stars. Recorded at Sunset Sound Studios in Hollywood, this single is just the beginning. The band’s upcoming debut LP is expected to be full of boundary-pushing, genre-defying tracks that hit just as hard. The Flea may have started as a joke, but Captains of Entropy are clearly not playing around. The Flea is such a unique concept for a debut video. How did the idea evolve from a minor studio infestation into a full sci-fi narrative? Mike: Luckily, the studio escaped unharmed, and the fleas were only present in my apartment. They have long since been eradicated, but the memory lives on forever. The concept for the video was really all credit to our friends Matthew Mourgides and Ryan J Reynolds, who produced and directed. We reached out to them with the idea to make a music video, and then they went off to brainstorm. We encouraged Ryan to make use of his experience in special effects, and the idea of the oversized flea was born. The initial pitch meeting was a whirlwind. What I remember most was how enthusiastic and excited they both were in presenting the concept, enough so that we had no choice but to go along with them on this wild western ride. After an incredibly enjoyable and wacky experience with a gangbusters crew, we undeniably put our faith in the right people. The video blends humor with some impressive musicianship. Was it challenging to balance the fun, theatrical elements with the serious musical work behind the scenes? Reilly: Blending in some humor with the video while staying pretty serious about the music actually wasn’t as challenging as you might think. There’s definitely a precedent of silly theatrics in our lineage of musical influences, going way back to vaudeville, really, but people like Frank Zappa and George Clinton are definitely serious musicians who brought it to a whole new level in the 70s. Bands like Phish keep up the tradition to this day. We also wanted to pay homage to some of our heroes from the MTV era, like Beck and the Beastie Boys, who always brought a little something extra special to the small screen - those old Spike Jones music videos are so fun, visually and musically. But to be completely honest, all the hard work of writing and rehearsing and recording The Flea was long behind us by the time we got around to filming the video - we really just wanted to let loose and get silly. And I think we were successful in doing so! Your sound mixes improvisation with structured grooves. How do you approach writing songs as a trio while leaving room for experimentation? Mike: Our songwriting process has many forms. Oftentimes, one of us will come up with the framework of a tune that we will then rehearse and workshop until new parts/melodies/sections emerge. This is how “The Flea” was born. Improvisation is used as a way of exploring and expanding on the initial riff or progression. In rehearsal, sometimes a mistake or a wrong note is the perfect way of discovering or entering a cool new zone or vibe. We usually leave space within whatever structure is developed for exploration on top. But sometimes new songs will emerge out of free form jams with no structure whatsoever, as was the case with our first single, Tom’s What was it like recording at Sunset Sound Studios, a place with so much music history? Did it influence how you approached the album? Jason: We worked in Studio One at Sunset Sound, which is the oldest of the three studios. So many musical milestones were created in this room, soundtracks to some of the most cherished ’60s Disney films, classic albums from The Doors, Led Zeppelin, and Van Halen. It felt like working in a sacred space. We just tried to stay present, and hopefully some of that magic came through in the music we recorded there. The video ends on a high-energy dance note. Can fans expect more theatrical or narrative-driven visuals in future releases? Jason: Making this video was a first for our band, and I think we surprised ourselves a little bit with how much we enjoyed the process and the finished video. I know we would love to make another video someday. It’s just a matter of time, and whatever direction it takes will be a result of following the creative process. Right now, it’s a blank page with endless possibilities, and we can’t wait to begin again.

After a decade filled with hard-won wisdom, quiet personal revolutions, and the birth of a new chapter, New England singer-songwriter Brian Jarvis returns with “ Maybe Another Lifetime ,” the first single from his upcoming record, Chapters . A poignant meditation on choice, destiny, and the what-ifs that haunt us all, the track sets the tone for a deeply introspective and emotionally resonant body of work. Known for his heartfelt lyricism and melodic honesty, Jarvis has built a loyal fan base through years of touring and collaborations with artists like Howie Day, Rachel Platten, and Brendan James. His 2012 debut, Beautifully Broken , landed in iTunes’ Top 100, marking the beginning of a journey that would later be shaped by loss, fatherhood, and the quiet beauty of missed opportunities. “Maybe Another Lifetime” is equal parts memory and acceptance. With soft acoustic textures and an aching vocal performance, Jarvis revisits roads not taken—development deals left behind, relationships that unraveled, and the ever-elusive dream of artistic “success.” But it’s far from a lament. Instead, the track is soaked in gratitude, anchored by the powerful presence of his daughter, Madeline, and the quiet strength of fatherhood. In one of the song’s most moving reflections, Jarvis imagines sipping whiskey on a porch with his late father, watching his daughter play “maybe in another lifetime.” This single is just the beginning. “Maybe Another Lifetime” is the lead track from Chapters , a five-song project that chronicles the last 10 years of Jarvis’s life. From past heartbreak (“Down in Flames”), to sobriety struggles (“Pour Another Whiskey”), to the miracle of new life (“I Can See Your Heartbeat”), each track is a living, breathing chapter of a story still unfolding. Jarvis’s return isn’t flashy; it’s honest, grounded, and essential. And for those who’ve ever sat with the ache of wondering what could have been, “Maybe Another Lifetime” is a welcome reminder: you’re not alone. “Maybe Another Lifetime” is such a vulnerable and honest track. What was the first spark or moment that inspired you to write it? There was this melody idea I could not shake. Of all the decisions we make in life, is there one that would have completely changed our lives? In my mind, I played it out and kept thinking, maybe in my next life. It revolved around the idea of writing down all your mistakes in life. It also meant saying goodbye to the potential turns your life could take. As we progress through life, we often think about how it can shape out. At some point, the road traveled is too far to turn back. I was fascinated by the concept of what if, and I knew I wasn't alone when it came to this thought. You touch on several “what-if” moments, career, relationships, and even fatherhood. Was this song a form of therapy for you in looking back at these turning points? This is a great question, and of course it was. I have had many great moments in my career, but I have also squandered some great opportunities. The turning points in life are essential, and even after feeling like I would have, should have, could have…I don’t regret anything. The song feels very reflective, but also full of gratitude. How do you personally stay grounded in appreciation for the present when those what-ifs creep in? Gratitude has not always been my go-to. I have been learning to look at gratefulness over what I don't have. I am incredibly grateful for the things I do have. My family, my health, and my ability to write and perform. It’s quite simple if you can wake up one day and realize how simple little things are, really, all that matters. Having my daughter has completely changed every aspect of my existence and perspective. I haven't perfected gratitude, but I am more intentional about it than ever. Chapters explores a range of emotional and life-changing experiences. How did you decide which stories or “chapters” were worth turning into songs? Chapters really represent a wide array of stories over the past decade of my life. It also explores the idea that these ranges in life shift and evolve like a book. The story evolves, and the character archs do as well. I am not who I was in my 20s, and that part of my life seems so distant. So when I explored recording a song from that era, it felt like a chapter. The next single, ‘Down in Flames,’ has always been a fan favorite at shows, but I never recorded it. It feels like a chapter of my life being brought into the mix. Whereas, Maybe Another Lifetime, is fresh and new to me. Like my newest book of my life in a weird sense. Each single represents a distinctly new or past moment of my life. This release marks a new chapter both musically and personally. What do you hope long-time fans and new listeners take away from this next season of your artistry? I love your questions. I am a songwriter. I love exploring writing and have returned to this as my focus. My goal is to build on my past work and continue to have the platform to perform these songs in front of theatre-sized crowds. What I want anyone to take away is that these songs are written from a transparent place, a very vulnerable and human place. I want to connect with fans who enjoy that kind of writing. There is much more of this on the way, and I’m truly excited about the possibility of connecting with more people who resonate with these songs.

Robin Thicke performs live at 32nd Annual Race to Erase MS Gala On May 16, the 32nd Annual Race to Erase MS Gala  lit up the Fairmont Century Plaza in Los Angeles with glitter, glam, and some serious purpose. The star-studded night raised over $1.5 million toward groundbreaking research to cure Multiple Sclerosis, a disease that still affects nearly 3 million people worldwide. But this wasn’t just another rich-people-in-gowns fundraiser. This was a culture moment. A vibe. A reason to actually give a sh*t. Hosted by comedy icon Caroline Rhea, the event featured a stacked lineup of artists like Robin Thicke, A Great Big World, and Siedah Garrett (yes, the legend behind "Man in the Mirror"). Add in a fashion runway from Veronica Beard, some fire looks from guests like Ashley Benson, Tika Sumpter, and Kelly Osbourne, and you’ve got yourself an evening that served lewk and impact. But make no mistake. This wasn’t about celebrity selfies. It was about community, resilience, and pushing science forward. So... What’s MS and Why Should I Care? Multiple Sclerosis (MS) is a chronic disease where your immune system basically turns against you and attacks the central nervous system. It can cause fatigue, vision loss, and serious mobility issues. There’s no cure yet, but events like this are changing that. Thanks to Race to Erase MS and their Center Without Walls initiative, a dream team of researchers from schools like UCLA, Harvard, and Johns Hopkins, we now have 24 FDA-approved treatments. That’s not just progress, that’s lives changed. Highlights That Slayed Robin Thicke Robin Thicke closed the night with a hit-after-hit set (Blurred Lines had the room moving). A Great Big World performed their heart-wrenching ballad Say Something, and Chad King debuted a powerful new song about living with MS that got a full standing ovation. Dancing With The Stars pros Daniella Karagach & Pasha Pashkov performed a mesmerizing dance that had everyone low-key swooning. The always iconic Siedah Garrett sang You Are The Universe, and joined Thelma Houston for a finale of Lean On Me that literally brought the crowd on stage. Forget wine baskets, this live auction had yacht trips, Aspen vacations, and even an invite to Kathy Hilton’s annual holiday pajama party (yes, that’s a real thing). Luxury, but make it generous. Why Gen Z Should Care Because this isn’t just a red carpet moment, it’s real people funding real change. Founder Nancy Davis, who’s lived with MS since she was 33, has made it her mission to not just raise awareness but actually change the outcome. And she’s doing it, with style. “We all need each other to lean on until we succeed in finding the cause and the ultimate cure for MS,” Davis told the crowd, in a heartfelt speech that felt like more than just words. This event reminded us that activism can be joyful, fashion-forward, and powerful all at once. So, whether you’re here for the fits, the performances, or the purpose, know this: You can care about the cause and still hit the afterparty.

UK alternative rocker and self-proclaimed supernatural influencer Brocarde has unleashed her latest single, Identity Theft , a blistering and theatrical journey through personal chaos and catharsis. Released on May 16 and produced by Chris Collier (Whitesnake, Mick Mars, Korn), the track melds haunting melodies with brooding alt-metal grit as Brocarde peels back the layers of bullying, alienation, and body image struggles. It's a sonic exorcism wrapped in cinematic grandeur, drawing comparisons to the emotionally raw stylings of In This Moment and New Year's Day. “There was an anger there, a deep frustration with pretty much everything,” Brocarde said of the track. “I can hear that emotion penetrating through the lyrics.” If the song sounds like a haunted fairytale, the accompanying music video doubles down. Shot inside the famously haunted Gloucester Prison, the visuals depict Brocarde giving birth to a blue/pink alien on an autopsy table, while the ghosts of the Kray Twins allegedly headbang in the background, according to the artist, who frequently intertwines the paranormal with her performances. The result is equal parts art piece and horror short, underscoring Brocarde’s knack for turning trauma into something both strange and strikingly beautiful. Brocarde’s artistic trajectory has been anything but ordinary. After grabbing headlines for her spiritual marriage—and subsequent ghost divorce—from a Victorian specter, she’s back in full force and laser-focused on her music. With endorsements from rock royalty like David Coverdale and Ray Luzier, and a steady presence at horror conventions and music festivals alike, Brocarde is shaping a movement that celebrates individuality through theatrical darkness. Identity Theft is only the beginning: her next single, F.E.M.I.N.I.S.T , drops in July, with a full slate of new material expected in 2025. For Brocarde, the shadows aren’t something to fear—they’re where the truth often hides.

Photo Credit: Underlined Passages Underlined Passages ' Landfill Indie  confronts the digital fragmentation of modern indie rock with deliberately analog intentions. Sequenced like a late-90s emo mixtape and produced by Frank Marchand (Bob Mould, The War on Drugs), the album draws from Baltimore's influential early-2000s DIY scene while refusing easy categorization in today's algorithm-driven landscape. We caught up with the project's mastermind to discuss the making of standout track "erydy , " the art of authentic connection in live performance, and why he's still hauling tube amps to every show. 1. You've said the "erydy" video brings "a sense of clarity and warmth to a song about finding meaning in a digitally disconnected world." What was it like working with Rick Barnwell to capture that feeling visually? Did you give him specific direction, or were you surprised by how he interpreted that contrast? Working with Rick Barnwell was all (and still is) about trust. I gave him a few ideas about the feeling I was trying to capture, but I didn’t want to overexplain it. I believe in letting people bring their own perspective to the Underlined Passages project, especially when it comes to visual work. What he created really nailed that tension between being emotionally open and digitally distant. You can see that in the constant looking into the distance that he asked me to do while in the back of that pickup truck. It felt handmade and honest, which is exactly what I was after.   2.  Landfill Indie  is intentionally crafted like a late-90s/early 2000s emo mixtape. How did "erydy" end up landing in the middle of the album? Was that always the plan, or did it find its place naturally during sequencing? Before Spotify and playlists took over, we used to feel our way through records as a whole movement. You’d put on an album or a mixtape and let it take you somewhere, not just skip to the hook. That’s still how I think about sequencing.  erydy  wasn’t placed in the middle because of any formula. It just felt like the natural moment to flip the tape to side B. It’s the song that shifts the energy. The first half is more internal, more reflective, and  erydy  opens the door to the more external and experimental second half while ending on something very concrete. It gives the record a new breath without resetting it. That kind of movement matters to me. I still build records that way, but who knows, maybe it's time to feed the algorithm more old man!  3. Baltimore's indie scene from that early era produced some incredible bands that are now having their "revival moment." As someone who was an influencer in that original DIY scene, how does it feel to watch Beach House, Future Islands, and Wye Oak get rediscovered while you're creating new music that both honors and critiques that era? Baltimore had this deep sense of connection, and in some spaces it still does. Just look at the current metal and screamo scene. That recent Turnstile pop-up show felt like a flashback to what we had in the late ’90s and early 2000s. Back then, everyone knew who was recording, who was touring, who just put out a 7-inch. You’d read about Celebration, Dan Deacon, Wye Oak, The Seldon Plan (shameless plug) in  The City Paper , then see them that same night at the Ottobar, Talking Head, or Floristree, or 10 other small venues scattered across the city. There were so many places to play and so much natural overlap. Sam Sessa at WTMD and writers at  The Baltimore Sun  gave local bands the same space as national acts, with no asterisk and no irony. Looking back is complicated. I’m proud of where I came from, but I’m not chasing nostalgia. I still carry that mindset. Make what you can, where you are, with who’s around. Keep it real and build it yourself. What mattered most back then wasn’t the sound or the scene. It was the belief that what we were making had value before anyone else said it did. That’s still the place I create from.   4. Frank Marchand has worked with everyone from Bob Mould to The War on Drugs. What does he bring to your "technicolor recordings" that helps balance those "hopeful-yet-skeptical perspectives" you're exploring on this album? Frank knows how to let a song breathe without losing its edge, which is essential when you’re trying to hold both hope and skepticism in the same space. We’ve worked together for over 25 years across three of my bands, and that kind of history creates a real symbiosis. He’s produced everything from punk to power pop to metal, and he brings that wide lens into the room without ever making it feel forced. That metal mindset, combined with my drive to create thoughtful indie rock and pop, adds a weight and tension that fits this record perfectly. His work with bands like The Obsessed actually helps us make better shoegaze records, because he hears dynamics and distortion in a different way. I think we’d both admit the closest we came to perfect synergy was on  The Ten Houses and the Falling Leaves , the Lowell record that’s still my favorite and probably the best band I’ve ever been in that never got off the launchpad. There's still some of that spirit in this record too. 5. The album is described as "a reaction to the fickle dismissiveness of modern indie rock critics and the relegation of contemporary alternative music to a million subcategories." When you're out there sharing stages with bands like Explosions in the Sky and Grandaddy, do you find audiences are hungry for music that refuses to be pigeonholed? There is a disconnection right now that’s hard to ignore. Music feels like it's constantly fighting to break through the noise of social media, with influencers telling you how to get your music heard as if there's a clear formula. But we all know it's just as much randomness and luck as anything else, and still we keep selling each other on hype. This record is a reaction to that. I’m not chasing a trend or trying to fit into a category. I’m self-aware enough to know that attitude might sound like forced contrarianism, but it’s not. It’s an honest response to the existential weight we all carry when we look into the information abyss and try to make sense of our place in it. Playing shows in the past with bands like Explosions in the Sky and Grandaddy, what always impressed me was how their music created a space where none of that noise mattered. The connection felt real and unfiltered. Lately, I’ve been feeling that again in the conversations I have after shows. People aren’t looking for perfection. They’re looking for something that feels grounded, something that cuts through all the static. I can see their search for meaning and connection, and for that brief time, in that small space, we have that. 6. With this album, you "continue to carve out space for authentic connection with fans who are drawn to songs that feel real, not perfect." In those live moments - whether it's with Karate or Joan as Police Woman - what have you learned about creating that authentic connection that transcends all the online fragmentation? What I’ve come to understand on stage is that live music isn’t about delivering a perfect performance. It’s about creating a space where people can see themselves in the songs. And what I’ve learned is that music, especially live, works in direct opposition to what a therapist might tell you. In therapy, you’re often told “you’re projecting” as a way to pull you back into yourself. But in a live show, projection is the point. The audience brings their own meaning, their own weight, and places it on the songs. That shared projection becomes a common language. It creates a temporary sense of belonging that cuts through the isolation of the digital world. For a moment, we’re not just people in a room. We’re part of something honest that helps us hold back the existential dread we’re all trying to shake. Live shows have also taught me that all of us, whether we’re on stage or in the crowd, are really just trying to test the promise of immortality through experience. We want to feel something that lasts, something that proves we were here and that it mattered. Music gives us that chance to reach for it together. And I can’t get enough of that feeling, even if my back and hips are starting to tell a different story. Still, I’ll keep lugging my tube amp to every show. You “class D amps are the best,” guys, haven’t convinced me yet!