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Photo by Czapp Árpád Once upon a time, a music scene meant something physical. It meant sweaty all-ages venues, borrowed PAs, sticker-covered bass guitars, and getting handed a burned CD at the back of a show. It was geographic, gritty, and gloriously in-person. You weren’t just into music, you were literally in it. You showed up. You knew the bands. You recognized everyone by the third gig. Fast forward to 2025: the scene is still here. Sort of. But it’s floating in group chats, playlists, FYPs, and subreddits. You don’t go to the venue, you go to the comment section. So did the internet kill the music scene… or just teleport it into the cloud? What We Lost: Local Legends, IRL Magic, and Belonging You Could Touch The old-school music scene gave birth to subcultures. Punk wasn’t a trend, it was a community. Emo wasn’t a Spotify genre, it was something you lived and bled and moshed through. The physical space shaped the sound, and the sound shaped the people. If you weren’t there, you missed it. And that exclusivity? It made it matter. Now? There’s no gate at the front of the show. Just an endless scroll. And while that makes things more accessible, it also means there’s no longer a sense of place. No singular energy tying fans together. No musty, beer-soaked venue acting as the heartbeat of a movement. Just pixels. What We Gained: Access, Diversity, and Global DIY Photo by Sergei Bezborodov But to say the internet “killed” scenes is too simple. The truth? It also democratized them. Now a kid in a small town in Alberta can discover Brazilian shoegaze in seconds. An 18-year-old can drop an EP from their bedroom in Manila and get fans in London, LA, and Berlin without ever leaving their house. You don’t need to live in a “music city” to build a following. You just need WiFi. And that’s huge. The internet also gave rise to genre-fluid artists, micro-scenes, and new platforms for collaboration. Bandcamp became the new basement. Discord servers replaced backstage hangs. TikTok comments replaced zine reviews. It’s not better or worse, it’s just different. Are Digital Scenes Still... Scenes? Photo by Sergei Bezborodov It depends on what you’re looking for. If you want to feel sweaty bodies scream lyrics back at you in a 150-cap venue? Yeah, you might miss what was. But if you want community, curation, and weirdly specific niche rabbit holes? They’re alive and thriving online. There are entire internet-based communities built around hyperpop, alt-R&B, SoundCloud rap, and queer electronic collectives. They may not share geography, but they share culture, taste, and intent. And that’s still a scene, just digitized. So did the internet kill the music scene? No. It changed it. It fragmented it. It moved it from the garage to the server. From the mosh pit to the DMs. From a city block to a global broadband cable.

Your PlayStation 4 (PS4)  isn’t just for gaming. It’s also a powerful media hub that can double as your personal DJ while you game, work out, or just chill. If you’ve been wondering how to play music on a PlayStation 4, you’re in luck; there are several easy ways to get your favorite tracks pumping through your PS4. Let’s walk through the options. 1. Use Spotify on Your PS4 (The Easiest Method) The most popular and seamless way to play music on your PS4 is through Spotify, which integrates directly with the console. Here’s how to set it up: From the PS4 Home screen, go to Library or PlayStation Store. Search for Spotify and download the app. Open Spotify and log in using your existing Spotify account or create a new one. Browse or search for your favorite playlists, albums, or songs. Start playing music. You can also control playback directly through your PS4 controller or the Spotify app on your phone (when linked to your console). Spotify allows background play, so you can enjoy music while playing games without interrupting the action. 2. Stream Music from a USB Drive If you prefer offline music or want to play tracks you already own: Format a USB drive to FAT32 or exFAT. Create a folder on the USB called Music. Add your MP3, AAC, or M4A music files to the Music folder. Plug the USB drive into one of your PS4’s USB ports. Open the Media Player app (download from PlayStation Store if you don’t have it). Navigate to your USB and start playing your tracks. This method is great for high-quality audio playback and for those who prefer owning their music rather than streaming. 3. Use Plex to Stream Music If you have a Plex Media Server set up on your PC or another device: Download the Plex app from the PlayStation Store. Log into your Plex account. Stream music from your personal library to your PS4. Plex is perfect if you have a large collection of music and want to access it without transferring files via USB. 4. Control Music with Your Smartphone For those using Spotify or Plex, you can also control playback from your smartphone: For Spotify, use Spotify Connect. For Plex, use the Plex mobile app. This lets you change songs, adjust volume, or pause playback without interrupting your game or getting up from the couch. So, how do you play music on a PlayStation 4? Whether you’re streaming via Spotify, plugging in a USB drive, or using a media server like Plex, the PS4 offers plenty of ways to keep your favorite tracks going.

yorke 's new EP, ' unfinished business ,' is more than a collection of tracks; it's a bold declaration of reinvention, independence, and global ambition. With this five-song release, the Australian alt-pop artist steps fully into her power, shedding any remnants of pop predictability for a sound that feels entirely her own. From the first pulsating synths to the final cathartic crescendo, Yorke proves she's not here to play by the rules; she's here to rewrite them. The project opens with "love on the run," a cinematic, high-octane anthem co-written with Lucy Healey (FINNEAS, Madison Beer). Fueled by urgent percussion and glittering synths, the track captures the thrill of unexpected connection with a narrative flair that feels like a late-night drive through neon-lit streets. It's yorke at her most magnetic, threading vulnerability through a soundscape built for stadium speakers. Then comes "sorry in advance," a sonic detour into upbeat, K-pop-inspired effervescence. Here, yorke flips the "sorry, not sorry" trope on its head with assertive charm. It's rare to find a pop track this joyful without veering into cliché, but YORKE balances cheekiness and craft with ease. The result is a refreshing dose of self-assurance, like a wink through the speaker. The EP's title track, "unfinished business," is perhaps its emotional center. Lush, layered, and introspective, the song speaks to the ache of unresolved endings and the growth that follows. Her voice hovers delicately over the production, each lyric steeped in honesty. It's clear this isn't just a song; it's a moment of reckoning, a turning point. "i wanna hate you" catapults the listener back into pop territory with a punchy, polished banger that's as relatable as it is addictive. The chorus hooks you immediately, but it's YORKE's candid lyricism that makes it linger. She doesn't sugarcoat the emotional complexity of heartbreak; she embraces it, dances in it, and dares you to do the same. Closing track "the villain" is yorke at her storytelling best. Moody, brooding, and unapologetic, the song leans into alt-pop darkness with confidence. There's an almost theatrical quality to the delivery, as if yorke is peeling back her final layer and showing us the cost of being misunderstood. It's a brilliant closer, one that suggests this "unfinished business" is just the beginning. What makes unfinished business so compelling isn't just the pristine production or earworm choruses, it's yorke's conviction. She doesn't just perform these songs; she owns them. Each track is meticulously crafted, but none feel overworked. There's an ease in her artistry now, a self-awareness that lets her be cheeky, messy, vulnerable, and powerful all at once. yorke has long been touted as a rising star in alt-pop, but this EP cements her status as a world-class act with staying power. With support from global icons and a steadily growing international fanbase, unfinished business isn't just a reintroduction; it's a reawakening. And yorke is far from done. "unfinished business" feels deeply personal and creatively liberated. What was the biggest shift for you while making this EP compared to past projects?   Thank you so much - it is! Both of my previous projects were released during COVID, so I wanted to make a body of work that reflected my personal growth since that time. A lot of life curveballs have been thrown over the past few years, and I just grew a thicker skin and learnt to follow my instincts. I knew I wanted to make something I could dance to, that felt really good on stage, and that didn’t pander to anyone else’s opinions. I also got to write overseas for the first time, and especially in LA, I think experiencing the hustle culture in real time was the best thing I could’ve done. I loved it.    The other shift would be a cultural shift, people started loving straight pop music again, the fan girls came back in full force, and it allowed me to feel confident enough to make the project I’ve always wanted. It was finally reachable.     You've seen viral success in Japan and Korea, and now you're supporting Indigo la End in Tokyo. How has international recognition shaped your perspective as an artist?   It’s crazy! It’s definitely given me a deeper sense of fandom culture and how I can make that process the very best for them. To be honest, you can see numbers and followers online but it's hard to fathom - so I really think this Tokyo show will change that for me.    It’s also really solidified the power of music, and how you never know when a song could change your life. ‘window shopping’ blew up like 2 years after it came out, and this indigo la End support came from the lead singer Enon randomly coming across my song and becoming a fan. I think it’s a great lesson for other artists to keep making music you love, and it’ll have its moment when the time is right; it's not always instant.    Each track on the EP feels like a different version of you—cheeky, reflective, heartbroken, empowered. Was that intentional, and how do you balance those emotional extremes in your music? Absolutely intentional. It’s basically a concept EP where I am a detective in my own universe, finding clues to navigate my way through the grey areas of my life. Each song is a different facet of something I’ve experienced that isn’t black or white. I wanted to write about the moments that aren’t often talked about, and that I wouldn't have allowed myself to feel/process if it weren’t in song form. The visuals reflect this too, with the brunette and blonde Yorke - and you start to realise both of them are flawed, there is no ‘good or bad’.    "love on the run" is such a cinematic opener—what was the story behind writing it, and what did working with Lucy Healey bring to the process? Thank you! I’d (arguably) say it’s one of my favs on the project, I knew I had to start with it. This is one of the first songs I wrote on the EP, during my first writing trip to LA, and it informed the whole EP concept and vision.    I’d written a bunch of ideas on the plane over to the US, and I knew I wanted to write a song inspired somehow by a bank heist gone wrong with the lyric ‘love on the run’. And randomly decided that session would be the day I wrote it (thank God!).   I was reflecting on my own relationship - we are both creatives who work all the time, but when we met it was like we both took our crazy timelines and joined forces to grow in a way that elevated our lives both personally but also creatively. ‘love on the run’ was essentially about two people coincidentally robbing the same bank at the same time, fell in love in the heat of the moment, and abandoned their mission to instead run away together and live a life of bigger and better crime. Kinda random but it worked in my brain.    Working with Lucy was incredible. We sat down and talked through the whole concept of the song, and from then on, it was honestly written within an hour or so. It’s been amazing seeing her kill it since that session, too; she’s such a great writer.    You've said this EP is just the beginning. What unfinished business do you still feel creatively called to explore next? Haha, great question. I’ve already started writing for the next project, and it’s been SO fun. I got to work on a bunch of tracks with Tommy Brown whilst he was over in Aus at a writing camp, and it was the most inspired I’ve ever felt. He’s such a legend.    There is so much left to explore, I feel like I’ve only just touched the surface with what I want to say and do, and I consider this EP the baseline. ‘unfinished business’ was figuring out who I am, and the next era is very much ‘I’m here and I know myself’. Stay tuned!

Photo by Lane Wells Photography  Amy Isenhour kicks off summer with her fiery new single “Pretty & Reckless,” a fearless anthem that blends country grit with feminine strength. Co-written by hitmaker Kirsti Manna alongside Wynne Adams and Kiana Meradith, the track captures the balance of faith, freedom, and fierce self-confidence. It’s for every woman who knows she can be both grounded in her beliefs and unapologetically wild. From the first note, “Pretty & Reckless” roars with energy. Amy’s vocals are commanding, full of conviction, and Southern soul. The lyrics hit with purpose, creating a portrait of a woman who is proud of her contradictions. She is beautiful, bold, and unwilling to shrink herself for anyone’s comfort. Amy Isenhour, originally from Austin and now based in Nashville, continues to carve out a space for herself with relatable, lived-in storytelling. After gaining attention for her 2024 single “Girls Like That” and a powerful cover of Faith Hill’s “I Ain’t Gonna Take It Anymore,” Amy shows no signs of slowing down. “Pretty & Reckless” adds a new chapter to her growing catalog, proving she can be just as vulnerable as she is strong. What sets Amy apart is her ability to infuse every lyric with lived experience. As a wife, mother of two, and rising artist, she brings real emotion and authenticity to her music. “Pretty & Reckless” doesn’t just sound good; it feels honest, empowering, and deeply personal. With this single, Amy Isenhour continues to grow her legacy as a voice for women who live fully, love deeply, and refuse to apologize for either. “Pretty & Reckless” is bold, beautiful, and made for blasting with the windows down.

Miles Jenson ’s " Sunshine Goldmine " doesn’t just announce a new artist, it reintroduces a man who’s lived through the fire and learned how to sing from the smoke. The three-track debut EP, produced by Grammy-winning duo King Garbage , is a masterclass in genre fusion, emotional depth, and reclaiming artistic autonomy. Raised by a jazz musician father and shaped by the grooves of Stax and the grit of country storytelling, Jenson brings a cinematic richness to every note. From the biting commentary of “Country Club” to the meditative swirl of “Sunshine Goldmine,” the EP doesn’t waste a second. These are not just songs; they’re chapters in a life that has seen beauty, betrayal, and rebirth. The standout track “Turn On A Dime” explores the fragility of connection and the discomfort of growth. Jenson’s voice is soulful, husky, and precise, carrying the emotional weight of someone who’s been through it and emerges stronger on the other side. After walking away from a major-label deal that compromised his voice, Miles now emerges as a fully realized artist on his terms. Sunshine Goldmine is fearless in theme, elegant in arrangement, and arresting in its honesty. It’s an invitation to witness not just a musical journey but a personal evolution. Miles Jenson doesn’t play by the rules, and with Sunshine Goldmine, he proves that’s exactly what makes him worth listening to.

In their debut release, The Fake Whales boldly reintroduced “Shine,” a sparkling 1984 track sung initially by ABBA’s Frida, with a renewed sense of cinematic wonder, blending pop-rock nostalgia with forward-thinking innovation. Anchored by seasoned producer and songwriter Kevin Edward Jarvis, the UK-based band takes a track close to his heart and breathes new life into it, not by imitation but through evolution and a sharp creative lens. Their version of “Shine” feels expansive and vivid, weaving dreamy synth textures with bold, reverberant guitars reminiscent of Electric Light Orchestra and Supertramp. It’s an anthem for turning points, filled with an uplifting energy that taps into universal themes of breakthrough, triumph, and self-belief. The instrumentation is lush without being overpowering, allowing the vocals and harmonies to glide through with emotional resonance. Jarvis, who has long admired the spirit of the original, adds layers of depth through modern production while still honoring the song’s emotional core. The result is a version that feels not only more true to Jarvis’ original vision but also more timeless, capable of reaching audiences who may have never heard the song before. Yet what makes The Fake Whales especially intriguing is how they embrace AI, not as a gimmick, but as a genuine creative partner. The accompanying music video, created entirely with AI, bursts with surreal imagery: neon-lit dreamscapes, vast cosmic backdrops, and fantastical cityscapes. It feels like stepping into a vintage future, a bold aesthetic statement that perfectly complements the song’s message of vision and transformation. By integrating cutting-edge visuals with retro-inspired audio, they bridge the past and future in a way that feels both seamless and profound. While technology fuels their process, the human heart remains at the forefront. The Fake Whales are not trying to replace emotion with code; they’re using it to enhance storytelling, amplify inspiration, and prove that music’s evolution is a shared journey between artist, listener, and machine. With “Shine,” they’ve created a debut that’s nostalgic and visionary, reverent and rebellious. The result? Pure magic and a dazzling signal of what’s to come. What drew you back to "Shine" and made you want to reimagine it now, decades later? When we started to work with our producer, we listened to material that he had written, and Shine really surprised us because the original demo was so utterly different from the song that was released by Frida (Abba), and we heard a much rockier track. It immediately resonated with the whole band, so we decided to record it there and then. How do you see AI enhancing, not replacing, the creative process in music? Like many artists, our first reaction was a bit wary; AI felt like a threat to the creative process. And to be fair, we've heard some AI-generated music that's shockingly good. But the more we explored it, the more we saw the parallels with past innovations, like when synths, samplers, and sequencers first showed up. People were skeptical then, too. In the end, those tools didn't replace artists; they empowered them. And we think it'll be the same with AI. It can be a powerful collaborator, especially visually, as we've seen in our videos. But the soul of music still comes from human experience, that messy, emotional, unpredictable side of us that AI can't replicate. At some point, AI-generated music may become instantly recognizable, perhaps even a bit repetitive and stale. At least… we hope so! The video feels otherworldly. What was the creative direction behind its AI-generated visuals? The video is really where AI took the reins. We gave ChatGPT the song title and a few key lyrics, and it came back with multiple storyboard concepts and visual ideas. From there, we picked our favorite scenes and asked them to write specific prompts for each one. Those prompts were then fed into image-generating AI to create the visuals. The psychedelic elements? That was all AI, and we had no idea how they would turn out until we saw them. Some of the imagery completely blew us away; the 'cloudscape' scene, for example, came out perfectly on the first try. Of course, not everything worked; many visuals ended up on the virtual cutting room floor. AI can be frustrating when it misfires repeatedly, but when it hits, it creates moments that feel almost impossible to capture in real life and things we wouldn't have thought of ourselves. That unpredictability is part of what makes it so exciting to work with. How do you strike a balance between vintage inspiration and future-forward production? Great question!   We enjoy leaning back to vintage influences because there's a soul and rawness in older recordings that resonates with us. We love the warmth of analog gear, the grooves of 70s funk, and we try to pair that with modern production techniques and, of course, AI, which we are only just learning about, so our feet are only dipped slightly into the water at the moment. It's about creating music that feels rooted but not stuck, something familiar yet unexpected. With "Shine" marking your debut, what can fans expect next from The Fake Whales? We're keeping the momentum going, recording new music, and creating more visual stories. Currently, we have three upcoming tracks scheduled. One is another reimagined cover of a funky classic, paired with an AI-generated video that we had more creative control over this time. The video takes viewers on a surreal journey from the U.S. to Egypt to Transylvania, offering a visually stunning experience. We're also releasing a track called  Romeo and Juliet,  our take on the iconic Shakespeare love story that started it all. Expect a mix of nostalgia and modern storytelling in true Fake Whales style.

Let’s just rip the Band-Aid off: your favorite artist probably won’t win a Grammy. And honestly? That might be the best thing that ever happened to them. For decades, the Grammys have been sold to us as the holy grail of music validation. The shiny gold gramophone. The emotional acceptance speech. The prestige. But behind the curtain, it’s a tightly controlled system: political, outdated, and often completely disconnected from what’s actually shaping culture. The Recording Academy has been criticized for years over its lack of transparency, diversity, and tendency to reward safe, industry-friendly picks over groundbreaking artistry. Just ask The Weeknd, who boycotted the awards after being snubbed entirely despite After Hours  dominating every platform imaginable. And yet, year after year, fans take Grammy wins (or losses) as gospel. If an artist doesn’t have one, they’re “slept on.” If they do, they’ve “made it.” But the truth is, many of the most influential musicians of our time like Tupac, Björk, Snoop Dogg, Nicki Minaj have either never won or were repeatedly passed over. And somehow, they still shaped culture, inspired generations, and racked up global fanbases without validation from a gold-plated committee. Here’s the kicker: not winning a Grammy keeps you dangerous. It means you’re not playing the industry game. It means you’re building something real, organically, with your audience, without catering to industry politics or chasing “For Your Consideration” campaigns. It means you're not being packaged, polished, and boxed in for mainstream consumption. The artists who win Grammys often get stuck. They start creating for critics instead of fans. They lose the edge that made them special in the first place. Meanwhile, your favorite indie artist? They’re out here dropping raw, honest, culture-shifting art with or without the trophy case to prove it. So if your favorite artist never wins a Grammy, take it as a compliment. It probably means they’re too bold, too real, too them  for a system built on predictability. The Grammys might be the industry’s highest honor, but staying true to your vision is the ultimate award.

There’s something magnetic about Frayne Vibez . It’s not just his voice, equal parts velvet and fire, or his sound, a fearless fusion of urban alternative pop that weaves together indie rock, hip-hop, and soul as if it were second nature. It’s the energy. The undeniable conviction that this Chicago artist is standing firmly in his purpose, mic in hand, ready to shift something inside you. His new single, “ Savior, ” out via Hidden Beach/UMG, is a bold declaration of self-belief masked as a love song. Don’t let the title fool you. Frayne isn’t playing messiah. He’s the mirror. The push. The invitation to remember your power. Over a glossy, synth-driven beat crafted by 14-time Grammy-nominated producer Kosine, Frayne delivers the hook with cool precision: “I’m not trying to be your savior, but I’m the one that you’ve been waiting for…” It’s catchy, yes, but more than that, it’s charged. “Savior” feels like a musical pep talk from your most confident self. The one that shoots their shot, says what they mean, and doesn’t wait around for permission. Raised in a lineage of musical greatness, his grandfather is jazz legend Ramsey Lewis, and his father, Frayne Lewis Sr., is a seasoned producer. Frayne Vibez could’ve followed a script. But instead, he broke it. After studying finance at Loyola, he carved out his path, blending live bedroom performances with genre-bending experimentation. His journey has already taken him from Chicago’s underground to stages at Lollapalooza, Bonnaroo, and on tour with Lupe Fiasco. “Savior” is just the beginning of this new chapter. Whether he’s crooning to a packed crowd in the rain or teasing unreleased cuts on socials, there’s no mistaking that Frayne Vibez is in it for real connection. His music doesn’t try to save you. It meets you where you are and dares you to rise higher. As his voice echoes through the hook, it’s not just a flirtation. It’s a call to action. For love. For courage. For truth. You've said "Savior" is about empowerment. Was there a personal moment that inspired this track? Oh, absolutely. The song is all about the situation I went through with my first high school crush during my freshman year. I had heard that she was interested in my friend, with whom I was very close, and he had let me know that he was just talking to her for a good time, not a long time, that type of thing. So, in my head, I was like, 'Okay, maybe I can show her better.' I was asking her friends about her favorite restaurants, music, and candy, all that, because Valentine'sValentine's Day was on the horizon, and I wanted to let her know that I wanted to be with her, no more being the shy guy. The day came, and I gave her a gift filled with gift cards for her favorite hobbies and spots. She agreed to go on a date with me, and we would set it up later in the day. I was so GEEKED. But later, we're snapping, and I'm on my way back to school because I played in the band. She told me that she was sorry and felt bad because she wanted to pursue things with my friend and see where that would go. It shattered me, and to make things worse, my friend was on the basketball team, so I had to play for him while I was on the sidelines playing in the band. Savior is all about this moment right here because it marks a pivotal moment in my journey, not just as an artist but as Frayne. I'm taking this emotionally damaging experience and turning it into a therapeutic journal entry that hopefully can resonate and help others the same way music helped me get out of this rough patch in high school.        How does growing up in a family of musical legends shape the way you approach your artistry? From the beginning, growing up in a musical family inherently seeped into me. Of course, with my grandpa being Ramsey Lewis, I was immediately put into piano lessons as soon as I developed any hand-eye coordination. But besides that, the cool thing about my family and why I'm grateful for them is that they didn't press upon me that I HAD to do music. That nurturing led me to discover my path and emotional connection with music, which I don't think I would have had if they had continued to push it on me. So, when I came to my parents and told them I wanted to pursue music, they said okay and supported me. My dad, to this day, always gives me advice and helps me in any way he can, and my grandpa simply told me to keep it all about the music. No matter all the fame, accolades, status, and noise that will happen, just keep making good music and focus on that. And that is what I push forward with to this day; I just wanna make some amazing music.  Your sound blends so many genres. What's your process when crafting a song from scratch? My process goes all over the place! But first and foremost, I resonate the most with music when I hear a melody, instrumentation, harmonies, etc, that grabs me. It's that spark you get when you hear something you love, and that's what I create from. Nonstop feelings, energy, and vibes, hence my name. From there, if I have a random melody or cool lyric in my head, I'll record it in Voice Memos, or I'll write it down in my notes. Then, I'll take it to the studio and create from there. My other process, which is what I find myself usually doing, is if I hear a track or loop that immediately grabs me.  As soon as that happens, I already know what I want the song to be about, what the story is, and how the rest of the track should sound. Once the track is ready for vocals, I go in and freestyle melodies. Maybe words will come out, maybe they won't, but this is when I'm the least critical of myself and let it all out. When I feel I have all the melodies I need for the song, I put lyrics to them, do all the cherries on top that I feel the song needs, and we get the song. What's one moment from your live shows (Lollapalooza, Bonnaroo, or the Lupe Fiasco tour) that changed the game for you? It's actually a moment that consistently happened at every one of these shows, and it was seeing people resonate with my music and become fans. I make music to help people get through hard times, the same way music did for me in high school and to this day. So, to be at these shows and, in real-time, see the people I'm making music for love and resonate with it brought me so much joy. Whenever fans would come up to me telling me how much they love the music, how it reminded them of memories they had growing up, or that it's what they needed to hear, it was a sign for them that took me back.  I saw that my music was actually reaching people, and when I was at the studio, I felt like it had the potential to do that, but seeing and feeling it with my own eyes confirmed it for me. That, hands down, changed the game for me and showed me that what I set out to do was actually happening. I love my fans, and I'm so grateful for them.  If "Savior" had to be described in one word that's not in the lyrics, what would it be, and why? "Try." That's the whole point of the song: to take that leap and put yourself out there. And this goes outside of trying to shoot your shot at someone, but in general. Whether you want that job, take that next step in your life, dye your eyebrows orange, or send that risky text, no matter what it is, do it. If you keep biting your tongue, you're never gonna find your voice. I learned that personally. I was the brace face shy kid in the band in high school who felt like a complete outcast.  I put myself in an unhealthy shell, and that caused me to miss out on potentially a lot of good memories and friendships. This song marks the long personal journey I took, where I'm now speaking up not only for myself but for anyone who feels the same or has gone through similar pains. There are too many situations in life where things could have gone differently if we had just spoken up or stepped in. Savior is all about fighting that norm and speaking up, no matter how small or big the situation is. We need that in the world.

It can be challenging to narrow down which options to use in promoting your music, given that all people have their own custom methods as well as platforms. The good news is that there are always reliable avenues that can help budding performers increase their fan base without needing to spend heavily. No matter the stage of your career, these five hacks are straightforward, efficient, and tested. Use Beatport Promotion for Targeted Exposure in the Dance Music Scene If you’re an electronic or dance music artist, Beatport should be at the top of your promotion plan. This platform is where DJs and genre-specific fans discover new tracks. With   Beatport promotion , you can boost your visibility, get playlisted by DJs, and climb the charts more easily. It is not going mainstream that matters, but being discovered by the listeners and players of your genre. The exposure is targeted, the community is passionate, and the results are reputation-building in a quick time. Launch a Pre-Save Campaign to Boost Your Algorithm Reach Streaming platforms like Spotify and Apple Music love a track that’s already heating up before it even drops. The more pre-saves you rack up, the more likely your song is to land on algorithmic and editorial playlists. That means more ears, more reach, and more momentum on day one. For fans, it’s a win too; the moment your track drops, it’s already waiting in their library, ready to run it up. Want to make it even sweeter? Reward your real ones with early access, exclusive content, or a personal thank-you message that shows love beyond the usual. And don’t just post it and hope for the best, build hype. Use countdowns, behind-the-scenes teasers, or a little mystery to keep the anticipation simmering until release day hits. Bottom line:   Pre-saves help the algorithm help you. Don’t sleep on it. Make TikToks That Show Your Music in Action Currently, TikTok is among the most notable platforms for music discovery. An artist’s song can become globally recognized within days. However, there is more to virality; talent and crafting imaginative videos consistently matter too. Post showcases of your tracks being created, “in the wild,” or visuals that tell a story set to your sound. Not going viral doesn’t mean TikTok doesn’t have the potential to reach enthusiastic audiences who can become loyal supporters. Be sure to stay authentic and keep your visuals aligned with the feel of your music. Collaborate with Micro-Influencers for Real Engagement Big influencers are expensive and often get low engagement. Micro-influencers are cheaper and more active with their fans. They usually have 5K to 50K followers. These followers trust their music taste. This is great for niche or local artists. If an influencer matches your sound, reach out. The promotion feels real and helps build trust. Submit to Niche Blogs and Curated Playlists That Match Your Genre Small music blogs and indie playlists pack a real punch.   Even with a small following, their audience base comprises hot leads for new music.    A single well-written blog post or simple addition to a playlist works wonders long-term, bringing attention, dedicated listeners, SEO value, and more.   Be personal in your outreach: highlight why your track fits their style and provide direct links to the music.   Thoughtful incentives win over curators who make them feature your work more often. A massive budget or record label is not needed to grow; one subtle, intelligent move at a time can prove to refine the results in marketing hacks. Choose a strategy that resonates with your goals and music. Be steady, be innovative, and above all, release your work consistently.

Photo by Tania Gomezdaza Mexican-American powerhouse  Edna Vázquez  returns with a stunning rendition of Raul Partida’s “ El Árbol ,” the second single from her upcoming album Te Esperaba, via Heinz Records. Known for her commanding voice, magnetic stage presence, and devotion to cultural authenticity, Edna Vázquez once again merges the personal and the political, this time with a tribute to her parents and heritage that resonates far beyond borders. With Te Esperaba, recorded entirely in Mexico with traditional mariachi, Norteño, and banda ensembles, Edna Vázquez delivers her most vulnerable and triumphant work yet, a five-year labor of love, identity, and ancestral homage. “El Árbol” is such an emotionally powerful song. What was it like recording a piece that’s not just beloved by your father but now reimagined through your voice?  I felt emotionally charged with thoughts of the past. With this song especially, I was remembering my grandparents from both sides, the relationship my parents had with them in life. It was like I was there in the past as the observer watching my family and ancestors, what they said, what they didn't. It all became a catharsis for me to impersonate those feelings through my voice. My voice and interpretation are our pain. You’ve performed on some of the world’s most prestigious stages, but  Te Esperaba  feels like a homecoming. What inspired you to finally create a full album rooted in traditional Mexican music? I always wanted to create a full album rooted in traditional Mexican music, but my heart was 'waiting' in frustration for this work that required a millionth of my efforts to bring it out and make it possible. As a woman trying to lead and manage solo the whole project, the Mexican Folk flag meant that I had to work with the people who were available in my own town. On top of that, I was undocumented. So, it is not like I could reach out or go places as freely. I had to adjust all these elements into bringing my vision out. I tried to record once at Jackpot Records in Portland, with the mariachi band I used to play with, but then the musician men started trying 'man telling me' and I stopped the project right there when the session started getting ugly. This was in 2008. I was also managing things (like the men in the mariachi bands I worked with) So, in a way, I was another 'macho' vs a bunch of machos. Now I look back, and it's kind of funny, but it was painful and frustrating! Imagine from 2008 to 2019 that I started again.  When I started permanently working with Pink Martini full-time, I saw the opportunity to work on this project again. The men who helped me were there, and I found them in pain too, because in Oregon, there were no musicians who didn't reject me or never answered my phone request. When I was about to give up, with anger to think "How is this possible?" "Is it because I'm a woman and they will never listen to a woman in this genre?" "Is it because I'm gay/queer/lesbian? I thought my culture needed a lot of healing! I need to do this even if I die doing it! I called a musician friend from the norteño genre I used to play in 'mala muerte cantina bars' (Cantinas) where we, norteño and mariachi would play 1 song each, table by table (hired on the spot for $25/song to cut into 5 musicians ($5 per musician/per song). Edel gave me the phone number of Victor, a musician friend who had a studio in Malpica, Sinaloa, and he/Edel claimed Victor would gather the musicians for me. When I asked him, what made him so sure he was going to help me, he said, "I think he has daughter musicians" he helps other women composers, and works with everybody the same. I called Victor with all the faith I had. I celebrated that day, and wrote an email with enthusiasm! He took a month to respond, but he answered, "I will help you".  I started right there, composing arrangements I wanted and shaping the song with my garage band software (work with what you have). Song by song, with the little money I started there shaping my dream in between the tours I was working with Pink Martini full time until it is like you're hearing it now, 6 years later.  What motivated me? I would say, the pain, the love, and passion I have for my parents to hear this album made for them. My parents represent the whole Mexican family and new generations of musicians, men and women in need to heal culturally by lyrics and music with a message not degrading other women or men or promoting violence of any type. A motivation these new generations need to get inspired to create projects that inspire others. Long answer, but necessary. As a queer woman in a traditionally male-dominated genre like mariachi, what were the biggest challenges, and breakthroughs you experienced with this project? Big breakthroughs such as, calling the leaders of the bands and them sounding on the phone like "Did you really composed the song?" and laughing in disbelief. I Called my mariachi friends with anticipation and they said 'we're not available' even though I called them with plenty of time to fit their time and I offered to pay as they would make or even more. Other male musicians who happened to have a studio close to Portland from this genre who produced and saying "your songs sound old and boring, old school! You need new modern arrangements for it to be a hit!" LOL! All I wanted was to make the album for my parents like the old school I grew up listening to, with the simplest arrangements, but full of soul! That's the music we hear in little ranches and towns in Mexico to cry for our pain, to concentrate on our works, to remember and feel our beloved ones who have already passed! Why would I want a fucking hit! I grew up listening to "Las Guerrerillas," "José Alfredo Jiménez, etc! When I go to my little town, that's the music I still hear on the radio! (AM/FM RADIO!!). All I wanted at that point was to bring out my Mexican Folk baby, and how I visualized it to be. Full of soul and full of my whole being. You recorded  Te Esperaba  in Mexico with bands across three genres. How did those environments shape the sound and emotional tone of the album? Once I found Victor (Sound engineer) He gathered the bands for me at VICAM studio in Malpica Sinaloa. He made a metronome sketch from my Garage Band sketch, and sent it to musicians for them to show up at the studio and record. It was a process of years! 6 years of recording song by song. When I had most of the songs I found a recording studio in Portland, Oregon to record my vocals in an intimate space where I could feel intensely what I wanted to express. Frankie Piacentini and Tiana were the ones I chose thanks to Zachary Harris and Leslie Nuñez (Director of the Forest Grove HS Mariachi Tradición) who invited me to check out that new studio in town, Page Lab Sound. They were the best! In the album, there's a song my brother and I composed for my little sister Aurora to sing, and for that song, I went to Rubato Studio in Colima, where Tony (Sound engineer) supported me recording my sister's vocals. He was a humble musician who recorded big Mexican pop stars (as he had pictures with Yuri in his walls) . I secretly felt blessed that I was working with the right people by trusting my gut, and a ton of previous research. Producing Aurora's vocals in the song 'Mucha Mujer (Much of a Woman) was amazing as I asked my dad if he could come to the studio to take care of his daughters. I felt overwhelmed when he cried and said 'He couldn't be more proud of us'. We all at the studio cried with him, including Tony. All that magic and hard work, nuts of stagnated emotion from our past generations came out right there, and you can feel it in the album. Your story and artistry resonate so strongly with themes of resilience, family, and cultural pride. What do you hope younger generations, especially young Latinas, take away from this album? EV: If you have a vision in your heart, never stop believing and taking action until you see it crystallized. Look at me, if I started with nothing, you can do it! You can do all you wish! It requires action! Trust your feelings, trust your sigh, trust the voices in your heart. Trust your vision, trust your fear, because the truth is coming from inside. At the end, if you work for a bigger purpose, it all comes along; you just have to be aware of the signs and the people that will help you in that purpose.