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Rising alt-pop artist Bijou Belle returns with “See You,” a haunting new single that captures the emotional imbalance of loving someone who has already begun moving on. The 17-year-old singer-songwriter from Rapid City, South Dakota, brings desperation and hope together on the mid-tempo release, continuing to establish an identity beyond her recent national television debut. “See You” lives in the uncomfortable space between knowing a relationship is fading and still believing it could be saved. Rather than writing from the perspective of someone ready to let go, Belle stays inside the uncertainty. The central plea, “can you see me the way that I see you,” becomes the song’s emotional anchor, revealing just how painful it can be when two people no longer experience the same relationship in the same way. The restrained approach works in Belle’s favor. Instead of pushing the heartbreak into melodrama, the track allows its longing to linger. Her captivating vocals carry the vulnerability, while the darker alt-pop atmosphere complements a story built around wanting to be seen by someone whose attention is already drifting elsewhere. Belle’s musical foundation runs deep. Raised in a musical family, she first performed alongside her siblings in The RathCo, touring throughout the Midwest before beginning to carve out her own path. Her grandfather, Rocke Grace, also co-wrote the rock classic “Rocky Mountain Way.” More recently, Belle competed on NBC’s The Voice as a member of Team Adam. She followed the appearance with her rendition of Billie Eilish’s “Wildflower,” which she performed on the show, alongside original material including “Close the Door.” With “See You,” Belle proves that her most compelling asset may be her ability to make complicated emotions feel remarkably direct. “See You” captures the moment when one person is moving on while the other is still holding on. What was the hardest emotion to put into words when you were writing it? I think the hardest part was trying to explain that feeling of knowing something is probably over, but still having this tiny bit of hope that maybe it isn’t. Like, you know you should move on, but your brain is still replaying every little thing and wondering if they’re doing the same. I wanted the song to feel like that weird in-between where you miss someone, and you’re kind of mad at them. The line “can you see me the way that I see you” feels like the emotional center of the song. Where did that line come from, and what does it mean to you personally? That line is probably my favorite because it’s such a simple question, but it actually says a lot. It’s basically like, do you even realize how much I care about you? And do you look at me with even half of that same feeling? I feel like everyone has had someone they saw as this huge part of their world and wondered if they were that important to them too. You grew up performing with your family in The RathCo. How has that experience shaped the songwriter and solo artist you’re becoming now? Growing up playing with my family has shaped everything about me, literally, as an artist. I started performing really young, so I learned how to be onstage before I really even knew what kind of artist I wanted to be. The RathCo gave me the freedom to try different styles, write songs, mess up, change things, and figure out what actually feels like me. Now that I’m growing into my solo music, I feel like I have this really strong foundation, but I’m also getting to find my own sound and tell stories that are completely mine. Competing on The Voice introduced you to a much larger audience at only 17. Did that experience change what you wanted your own original music to sound or feel like afterward? Definitely. Being on The Voice made me realize that I don’t want to make music just because I think it’s what people want to hear. I got to sing in front of people I’ve looked up to forever and be around insanely talented artists, and it made me want to lean into what makes me different instead of trying to fit into one specific box. After that experience, I think I became way more confident about wanting my music to feel young, emotional, a little messy, and really honest. Between “Close the Door,” “See You,” and the music you’ve released with The RathCo, what are you discovering about the stories and emotions you naturally gravitate toward as a songwriter? Apparently, I really like writing about complicated relationships. I’m definitely drawn to the stuff people feel but don’t always say out loud. Missing someone you probably shouldn’t miss, wanting closure and not getting it, being jealous, being confused, or pretending you don’t care when you obviously do. I love songs that feel like you accidentally opened someone’s Notes app and found something you weren’t supposed to read. That’s kind of what I want my music to be: really personal and specific, but still something where someone hears it and goes, “wait… I’ve literally felt that.”

Los Angeles alt-country project Dark Sky Reserve explores isolation, survival, and the pull of the natural world on “The Loon And The Fisherman,” a two-song release that marks a new chapter for the recently expanded live band. Released in April 2026 as part of a series of new material from Dark Sky Reserve, “The Loon And The Fisherman” presents two distinct stories connected by a shared sense of solitude. The release arrives as Dark Sky Reserve continues its return following a period of dormancy, with the project joining forces with local musicians, recording new music, and making its live debut this year. “The Fisherman” takes the more literary route of the pair. Built around themes of survival, the track carries a slow-burning weight that feels particularly suited to Dark Sky Reserve’s alt-country foundation. Rather than overloading the song, Dark Sky Reserve allows the storytelling to lead, creating a piece that feels patient, weathered, and intentionally restrained. “The Loon” turns inward. Drawing from personal experiences of isolation and finding comfort in nature, the track explores what happens when being alone becomes less about loneliness and more about refuge. Together, the songs reveal two sides of solitude: one driven by the instinct to survive and another shaped by the search for peace. For a project that began during quarantine, those ideas feel especially connected to Dark Sky Reserve’s own evolution. After releasing a debut full-length album in 2021 and later stepping away, Dark Sky Reserve has resurfaced with a growing lineup and renewed momentum. Dark Sky Reserve will continue that next chapter live at Harvard & Stone in Los Angeles on September 27 at 8 p.m. As Dark Sky Reserve puts it simply, the hope is that listeners “dig the songs and tune in for more.” What made “The Loon And The Fisherman” feel like the right release to introduce this new chapter of Dark Sky Reserve? There's no real strategy to it. We've been working out a number of songs. I think these are just a couple that developed rather quickly, and we went with it. “The Fisherman” pulls from literary references to tell a story of survival. What inspired that concept, and how did it develop into the finished track? I had recently re-read The Old Man And The Sea before a trip to Cuba and wrote the song shortly after returning. I can't really describe how much that experience affected me except to say that a number of songs came out of it. The Ancient Mariner gets its deserts in there as well, and that part I can't explain. It just fit. “The Loon” is rooted in isolation and finding solace in nature. What experiences shaped the song, and has your relationship with solitude changed since writing it? Solo campouts are one of my favorite things. I think we all are looking for ways to clear our heads, especially these days. Off-grid isolation is the best way I've found to do that. It's been a while, though. I'm definitely overdue. Dark Sky Reserve began during quarantine, went dormant for a period, and has now evolved into a live band. How has bringing other musicians into the project changed the sound and creative process? The quarantine record was recorded during the long dark winter, and it sounds like it. It's kinda morose. Haha. We were joking that the record was made, and it only took 4 years before we played our first show. And there was so much new stuff to work on that we didn't even play those songs. A lot changed in that time, and I've loved the process of working stuff out with a band. I think it set us on a path to more outbound material. I've been super grateful for that. It's such a blast to collaborate with kindred spirits. With new music out and Dark Sky Reserve now playing live, what does this next era of the project look like for you? Well, the future is unknown, right? I really wanted to set up a project that I could develop over time with a revolving door of musicians. I don't know what's next. But it's a lifeblood thing. I'm incessantly writing songs. We have plans to record coming up, so I'm looking forward to that.

Chilean-Irish artist Vaticanjail steps further into a world of self-discovery, liberation, and unapologetic femininity with “DVSL,” the second single from the upcoming EP, this could have been a text, arriving October 1. Short for “Double Vodka Soda Lime,” “DVSL” turns emotional chaos into something strangely celebratory. At its core, the track follows Vaticanjail toward a clearer understanding of identity, particularly the freedom that comes from no longer trying to fit within someone else’s expectations. Sonically, Vaticanjail builds that realization inside a deliberately unruly landscape. Heavy sub-bass and deep drum programming collide with hollow pads, soft electric piano, layered vocal effects, and strings, creating a track that can feel turbulent and delicate within the same breath. There is humor in the fallout, too. Vaticanjail looks back at former relationships with sharp satire, reframing being perceived as “too much” as a problem of acceptance rather than inadequacy. Instead of shrinking herself to make those relationships work, “DVSL” embraces the characteristics that once created friction. Friendship and girlhood become equally important to that freedom. References inspired by three of Vaticanjail’s closest friends bring the song back to the women who helped carry her toward happiness. At the same time, its string arrangements evoke the euphoric energy of friends together late at night, somewhere between ritual and a blurry 3 a.m. house party. That transformation feeds directly into this could have been a text, an eight-track EP examining attachment, detachment, identity, and what happens when affection within a relationship begins turning into something painful.

Portland-based indie-pop songwriter Lexie marks the end of summer with “Swimming,” a new single centered on desire, physical reconnection, and the feeling of finally returning to yourself. The release also introduces Lexie’s forthcoming EP, San Miguel, arriving November 6. Lexie wrote “Swimming,” recorded at Raymond Richards’ Red Rockets Glare studio in Portland with producer Alex Callenberger and mastered by John McEntire, known for his work with Tortoise and The Sea and Cake. Behind its immediate appeal is a much larger story. Lexie wrote “Swimming” after surviving cancer and undergoing chemotherapy, radiation, and major surgery, experiences that profoundly changed her relationship with her body. As recovery began, Lexie was also navigating the end of a ten-year marriage with her husband and bandmate. After an extended period where desire felt distant, “Swimming” captures its unexpected return. “For me, ‘Swimming’ is an expression of the energy I felt when really crushing hard on someone, and finally feeling present in my body again. Connected to my sexuality,” Lexie explains. That feeling gives the single its spark. Rather than treating desire as something superficial, Lexie presents it as evidence of being present again. An unmistakable confidence runs through “Swimming,” but its impact comes from understanding what it took to reach that point. The upcoming San Miguel EP continues the story established on Lexie’s debut album, Halcyon Days, released in June. While that record was written through cancer treatment and the breakdown of Lexie’s marriage, San Miguel explores what happens afterward. “Swimming” captures that transition in motion. It is not simply about crushing on someone new. It is about rediscovering desire, inhabiting your body again, and realizing that a part of yourself you thought might be gone is still very much alive.

[Photo Credit: Corey Frank] Tide Bends built their sound on heartland rock. On their new EP, they found the dance floor. "Advice," the lead single from All Of The Time (out October 2 on Mint 400 Records), swings with Madchester groove and 90s Britpop melody while keeping the Asbury Park four-piece's roots right where they've always been. Singer Dave Hough wrote the song after one too many life lessons from people who could stand to take a few themselves. "It came out of being told how to live by people who clearly weren't managing it themselves," he says. "I didn't intend to write about it. It's not really frustration, more just poking fun at how hypocritical it is, however good-willed." That tone carries through the track. It's a shrug set to a groove, not a grudge. Hough, Dan Nolan, MJ Hancock and Rudy Meier wrote all four songs on All Of The Time together and tracked them across three home setups along the Shore: Hough's place in Belmar, Meier's studio in Brick, and Hancock's in Ocean Township. Meier pulled it all together at the mix. A record made in three different towns could easily sound scattered. This one sounds like a band locked into the same pocket. The touchstones here are Beck, Blur and Spoon, that restless, hook-first strain of guitar rock from around the turn of the century that you don't hear much anymore. Tide Bends aren't dressing up as any of them. They're picking up a thread few bands bother with now and running it through their own Jersey Shore sensibility. All Of The Time arrives October 2. Start with "Advice."

Costa Rican alternative rock outfit Caucel is pushing back against conformity with “C4,” a confrontational new single built around freedom, resistance, and questioning the systems shaping modern life. The track offers another look at Surveillance, the San José band’s forthcoming third EP and a project that positions Caucel’s self-described “dancefloor rock” sound in increasingly pointed territory. Formed in 2019 and led by singer, guitarist, and songwriter Fabián Escala, Caucel pull from the grit of ’90s alternative rock while borrowing rhythm and atmosphere from electronic music. Alongside producer and drummer Ramón Vázquez, aka MØHNE, guitarist David Poveda, and bassist Colme, the band creates music that can feel equally suited to a dark club and a packed rock room. “C4” thrives inside that collision. Its rebellious attitude is immediate, but Caucel is interested in something larger than rebellion for its own sake. The song examines what happens when authority threatens individual freedoms, encouraging listeners to challenge accepted narratives rather than passively absorb them. That perspective connects directly to the broader themes behind Surveillance. Alongside tracks like “Look & Feel,” “C4” reflects the band’s growing interest in technology, social control, and the increasingly complicated relationship between modern convenience and personal autonomy. Importantly, Caucel avoid positioning themselves as the ones holding the answers. Their stated intention is to encourage listeners to think critically, reach their own conclusions, and feel energized enough to question what they are presented as truth. For an independent, unsigned band operating from Costa Rica, there is also something fitting about that philosophy. Caucel are building outside traditional structures while writing music that challenges them. With “C4,” the DIY approach becomes more than a career model. It becomes part of the message. “C4” is fundamentally about freedom and challenging established power. Was there a specific moment or observation that pushed you to write the song? We think that the last ten years of sociopolitical phenomena worldwide and the aftermath of the pandemic definitely opened our eyes to a broader ongoing situation. Collectively, as people, we’re now faced with the uncomfortable truth about our role within society and our relationship with the people who run it. This song in particular is meant to remind our audience of that ongoing power dynamic between the people and the elites. You describe Caucel’s sound as “dancefloor rock.” How did that combination of electronic rhythm and alternative-rock aggression shape the way you wanted “C4” to feel? “C4” is definitely more on the rock side of things, and it’s not as dancefloor-oriented as other tracks on the record, but it still has an underlying groove that one can definitively tap to. :) The upcoming Surveillance EP examines technology and modern society more critically. What changed in your lives or perspectives that pushed the band toward these themes? Collectively, we’ve all experienced or witnessed the side effects of technology, especially with AI now, where it’s pretty obvious that we’re living in a pivotal moment in time for humanity. Questions in the public sphere on technological progress at the expense of freedom and sanity definitely inspire us to write music about these issues. You want listeners to question what they are presented as “truth” without telling them what conclusions to reach. How do you balance having a strong point of view with leaving room for individual interpretation? We think one can have a strong point of view on things and still be able to respect different perspectives. As artists, though, we need to speak our hearts and minds through our craft, and that, inevitably, will open up the possibility to be both accepted and rejected by others and their points of view. We are willing and able to assume that risk. Caucel remains completely independent and unsigned while building internationally from Costa Rica. How has operating outside the traditional industry system influenced both your identity and the music you make? Being independent and retaining this level of artistic freedom and flexibility allows our music to be more in tune with our true selves. It definitely keeps things fresh, and we have a better appreciation for what we do, how we do it, when we do it, and who we do it with. It can be challenging at times, of course, but we understand that, and we welcome the challenge.

Carl Radke - OREO Cakester “Soft Life” Pop Up OREO Cakesters officially kicked off summer in New York City with the debut of The Softer Spot, an immersive pop-up experience celebrating the brand's signature soft-baked personality and encouraging visitors to embrace a more carefree, comfortable lifestyle. Held in Manhattan's Meatpacking District on June 11, the exclusive VIP Preview Night welcomed creators, tastemakers, media personalities, and brand partners for a first look at the interactive activation. Guests entered a fully transformed "OREO: Soft Mode" environment, complete with experiential installations, branded moments, and music from DJ DILLY. DJ Dilly - OREO Cakester “Soft Life” Pop Up The evening was hosted by Bravo star Carl Radke, who also showcased his non-alcoholic beverage brand, Soft Bar. Radke introduced guests to a curated menu of mocktails designed specifically for the event, including the Golden Hour, Soft Summer Spritz, Bitter Beginning, and Tonka Noir. The collaboration highlighted the growing popularity of alcohol-free social experiences while complementing the event's overarching "Soft Life" theme. Among the notable attendees were fellow Summer House cast members Ben Waddell and Sabrina Belle, alongside Vanderpump Rules and The Valley personalities Scheana Shay and Brock Davies. Additional guests included Charity Lawson of The Bachelorette, Elenora Srugo from Netflix's Selling the City, and Jade Shenker from Netflix's Owning Manhattan. Adding to the evening's entertainment, hip-hop artist Kosha Dillz delivered a surprise freestyle performance, including a custom rap inspired by OREO Cakesters and a live rendition of his viral New York Knicks anthem. Throughout the venue, attendees explored a variety of interactive activations designed to bring the OREO Cakesters brand to life. Highlights included a Soft-Baked Bakery Counter featuring product sampling, a Blind Bag Oven Experience offering surprise prizes, and a Cloud Pillow Pit lounge installation designed for social-first content creation. Guests also explored fragrance-inspired Scent Discovery Stations and multiple photo opportunities throughout the space. The activation showcased OREO Cakesters' four core flavors: Original, Golden, Double Chocolate, and Confetti Cake, while reinforcing the brand's playful approach to comfort and self-expression. Following the VIP launch, The Softer Spot opened to the public on June 12 and June 13, inviting New Yorkers to experience the immersive installation, participate in giveaways, and enjoy exclusive merchandise at 22 Little West 12th Street. As experiential marketing continues to evolve, OREO Cakesters' latest activation demonstrates how brands are increasingly creating immersive, shareable environments that extend beyond product sampling and into lifestyle-driven consumer engagement.

Bandsintown is expanding the tools artists can use to own and manage their fan relationships, announcing seven new integrations for Bandsintown for Artists Marketplace that connect fan signups directly with some of the industry's leading marketing and CRM platforms. The latest additions include Mailchimp, Klaviyo, ActiveCampaign, Laylo, co:brand, Hive and NxtGen. Through the integrations, artists can automatically sync email and SMS signups collected through Bandsintown with the platforms they already use, removing the need for manual exports and making it easier to keep fan data connected across their marketing ecosystem. Signups collected through Bandsintown's Widget, Smart Link and Signup Form can now be sent to connected platforms in real time. Those fans are also registered as Bandsintown followers, giving them access to automatic notifications about upcoming shows and tour dates. The new additions join existing fan-sync integrations with Community, Openstage and Rivet, alongside event integrations with platforms including Linktree, Komi, Bandzoogle and Feature.fm. Bandsintown's Marketplace now includes roughly 40 partners. Artists already using the new integrations include Gorillaz, Placebo, Hayley Williams, Kehlani, Yung Gravy and Alexandra Kay. For independent artists in particular, the expansion tackles a growing challenge: turning audience attention into direct fan relationships without introducing yet another platform into an already crowded workflow. Bandsintown currently connects more than 100 million registered fans with over 700,000 artists and 65,000 venues and promoters worldwide. With the expanded Marketplace, Bandsintown for Artists is pushing beyond concert discovery and promotion, giving artists more control over how fan data moves into the tools powering their broader audience strategy.

Chicago artist Dat Boy Hot puts his hometown front and center with “BOB,” a high-energy collaboration featuring rap veteran Shawnna. Originally released in February, the track now receives an official music video that transforms the record’s club-ready energy into a celebration of Chicago nightlife, hip-hop history, and community. “BOB” was inspired by Dat Boy Hot’s years immersed in the city’s club scene and his desire to make something unapologetically fun. The record pulls from the freedom of Chicago DJ culture, where hip-hop, drill, house, and other sounds can coexist within the same night. Rather than locking himself into one lane, Hot uses that mentality to create a track focused on movement and escape. Shawnna proves to be a natural addition. Her commanding delivery connects “BOB” to an earlier generation of Chicago rap while keeping the collaboration firmly in the present. The pairing gives the track an added layer of hometown authenticity without turning nostalgia into the entire point. That balance carries directly into the video. Filmed at The Galleria in downtown Chicago and directed by Ryder Visuals, the visual surrounds Hot and Shawnna with neon lighting, choreography, and the atmosphere of a packed night out. Appearances from Crucial Conflict, Hot Stylz, Jet, John Blu, and other Chicago talent make the video feel more like a gathering of the city’s music community than a traditional performance piece. There are clear nods to the ‘90s throughout, including Shawnna’s styling, but “BOB” never feels trapped in another era. Instead, Dat Boy Hot borrows that period’s sense of personality, spontaneity, and fun. With more singles and visuals planned, “BOB” sets the tone for his next run: independent, energized, and unmistakably Chicago. “BOB” was inspired by your years in Chicago nightlife. What do you think today’s music is missing from the era of club records that made you want to bring some of that energy back? I think music is missing some of that pure fun. There was a time when you could go to the club, hear a record, and for those three or four minutes, nothing else mattered. You weren’t thinking about the drama or what was going on outside; you were just having a good time. I wanted “BOB” to bring some of the feeling back, but still make it sound current. I’ve thrown parties and been around nightlife for years, so I know what it feels like when that right record comes on and changes the whole energy in the room. That’s what I wanted to create. Sometimes music can just be about letting your hair down, enjoying yourself, and forgetting everything else for a minute. Chicago DJs are known for moving between hip-hop, drill, house, and completely different sounds in one set. How has growing up around that culture affected the way you approach genre as an artist? That’s Chicago. Our DJs might play Durk, then go into a house record, then something you can step to, and somehow end up at the Cha Cha Slide and everybody is still on the floor. Growing up around that taught me that good music is good music. I never felt like I had to stay in one box. I call my sound “music gumbo” because I can pull from everything I grew up listening to and everything I’m feeling at that moment. Chicago has so many different dimensions musically, and that gave me the freedom to be unpredictable as an artist. Shawnna connects “BOB” to another generation of Chicago hip-hop. What did she bring to the record that changed the way you originally heard or envisioned it? Shawnna brought exactly what Shawnna brings: bars, energy, and that Chicago confidence. I’ve always had a lot of respect for her. To me, she’s one of the best female lyricists ever, top three and not three. When we got the new version of the record together, I sent it to her, and she responded right away. She came into the studio, was completely professional, and did nothing but spit heat. She killed me on the verse; I can admit that! [laughs] But that's what made the collaboration work. She pushed the energy of the record up another level, and it became something that felt like both of us instead of somebody just jumping on somebody else's song. The video brings together names like Crucial Conflict, Hot Stylz, Jet, and John Blu. Why was it important for the visual to represent the wider Chicago music community rather than focus solely on you and Shawnna? Because “BOB” is bigger than just me and Shawnna. Chicago has given us so much, and I wanted the video to feel like the city. When you see Crucial Conflict, Hot Stylz, Jet, John Blu, and everybody else together, you're seeing different pieces of Chicago music and culture in one room. That's what our city is. Our culture is strong enough that we can celebrate and support each other right here at home. These are also people who have embraced me throughout my journey, so it was important to share that moment with them. I didn't want it to feel like we just hired a bunch of people to make a music video. I wanted it to feel like a real Chicago night, and that's what happened. You’ve described your longevity as the “LeBron James effect.” At this stage of your career, what are you doing differently to make sure this next run of music reaches beyond Chicago while still representing the city that built you? The LeBron James effect to me is about maintaining at a high level. I've never felt like I lacked talent, but at this stage I'm being more intentional about how I put everything together. It's not just, “Here's a song.” It's the music, the visuals, the parties, the merch, and creating a whole experience around what we're doing. I want “BOB” and the records coming after it to travel outside of Chicago and connect with people in different cities, but I don't have to stop being Chicago to do that. Chicago is the foundation. The goal now is to take what we've built here and make the rest of the country feel that same energy.

Independent artists across the United States have a new career development opportunity heading into 2027. Musician Growth Lab, a new national nonprofit focused on helping independent musicians build sustainable careers, has opened applications for its inaugural cohort, with five artists or bands set to receive a full year of mentorship, industry education, and a $5,000 completion grant. Running from January through December 2027, the virtual program is designed to help musicians develop the business skills increasingly required to build a career in today's music industry while continuing to write, record, perform, and work. Selected participants will take part in monthly Growth Sessions led by experienced music industry professionals, alongside one-on-one mentorship and office hours. Programming will cover touring, publicity, sync licensing, contracts, royalties, distribution, merchandising, financial management and long-term career planning. The curriculum has also been developed with input from Musician Growth Lab's Advisory Council, made up of working musicians from across the country who provide feedback based on the challenges independent artists are currently facing. Founder and Executive Director Kevin York created Musician Growth Lab after spending years working with musicians as a publicist and seeing talented artists struggle to turn their music into sustainable careers. "Making great music is still essential, but today artists are also expected to run what amounts to a small business," Kevin York explains. Musician Growth Lab aims to close that knowledge gap by combining practical career education with direct industry mentorship and financial support. Applications are open to musicians across the United States through October 11, 2026. Five artists or bands will ultimately be selected for the inaugural 2027 cohort, with each receiving a $5,000 grant upon successful completion of the year-long program.