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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!

Some artists need an entire relationship to write one good love song. Zech Lore only needed a moment. The alternative-pop songwriter's latest EP, ‘The A.H Demos,’ is a deeply emotional and creatively focused body of work sparked by an unexpected interaction, a brief but impactful meeting with Olympic track star Anna Hall. For most people, it would’ve ended there. But for Zech, that passing exchange planted a seed that grew into his most meaningful music to date. The first song on the project is directly inspired by that initial moment. But instead of staying in surface-level infatuation, Zech took it further. He began following Anna’s journey, watching her compete in Olympic trials, tuning into her interviews, and observing the strength and character she carried both on and off the field. From there, he began crafting songs not just about her, but about the deeper ideas she represented: resilience, grace, curiosity, and quiet intensity. The result is a stunning EP that blends alternative and bedroom pop, full of atmospheric instrumentals, warm synths, and Zech’s signature emotionally raw vocals. There’s a cinematic quality to his storytelling; the kind of songwriting that pulls you into a moment and holds you there. It's romantic, but it’s also introspective, with lyrics that explore connection, longing, and personal growth in equal measure. Zech describes songwriting as a therapeutic outlet, and that honesty cuts through on every track. He doesn't hide behind metaphors. Instead, he leans into vulnerability, allowing real moments and genuine admiration to shape the tone of the project. And while the origin story is unique, the emotions at its core are universal. “Don’t be afraid to try and go for new experiences, You’ll never know what you’ll learn or what might come out of them.” The EP captures what happens when you let inspiration lead, even if it comes from the most unexpected places. It’s a celebration of curiosity, creativity, and emotional connection, and a reminder that the best art often comes from moments we didn’t see coming. That brief moment with Anna Hall clearly made an impact. Can you describe what about that interaction left such a strong impression on you? I think it was just the general experience of meeting someone not only you’re a fan of, but you’ve also seen in interviews, TV, social media, etc., and through those mediums you develop this kind of weird one-way relationship of “knowing” this person to a certain extent. Even though you know they are a real person, because you’ve only seen them through the screen, it’s somewhat of a combination of shock and excitement to see and meet them in person, and in a strange way, you validate to yourself “wow, this person actually exists”. So I think that’s why this interaction had the impact that it did. As someone inspired by a public figure, how did you avoid falling into the trap of idealization and instead write something grounded and emotionally real? I think it just came down to the fact that this project started from a place of real and true emotions, so I think naturally the songs came out as a reflection of that. All these songs were inspired by Anna to a certain extent, but it was me using those small elements to make something broader that could be relatable to anyone listening. For example, the song “His Timing” is based on a phrase that Anna has used and shared. I just took that and wrote about the personal doubts, anger, and frustrations I’ve experienced (and I think everyone has) of not having your goals, dreams, expectations, etc. happen the way or on the timeline you envisioned, but still holding on to the faith and hope that it’ll all work out the way it’s supposed, when it’s supposed to. The EP has a really dreamy, atmospheric feel. What did your production process look like in bringing that sound to life? I can’t take credit for the production of the instrumentals for each song. That goes to each of the producers who made them. What I will say is that after making the first song, I knew what sound and feel I wanted to have for the entire project, so I honed in on that when selecting beats. And trust me when I say I went through a lot of beats. After that, it was just me singing as best as possible to the tone and sound I heard in my head, and my engineer, Tom, elevating my vocals to match the overall dreamy feel of each song. This project feels like a love letter to inspiration itself. What did you learn about yourself while making it? I learned I’m capable of creating something that exceeds any limits either I or others may put on me. For much of my artistic career, I was a rapper because I didn’t believe I could make a good song that required singing. But the positive reaction I got to a previous song I made that was more on the singing side of things gave me confidence to try going down this path more. And after I made the first song on the EP, “I Want To Believe”, the way it came out exactly how I heard it in my head as I was creating it, gave me all the confidence and inspiration I needed to push forward with the rest of the project. I think the second thing I’ve learned as I made this was, at the end of the day, as long as you love what you’ve made, that’s what matters and what should make you happy. Any reactions from the world (positive or negative) are just extra applause or noise. What do you hope someone who’s never heard your music before feels when they listen to this EP for the first time? I’d like for them to think back on the first time they developed an idea of what true love with someone might look like. For me, that was growing up watching sitcoms like Full House, Growing Pains, and Boy Meets World, and seeing the teen characters go on their first dates, experience their first kiss, and have their first breakup. Those shows gave me a romanticized outlook on love and created this dream in my head of watching cotton candy colored sunsets with your crush. All this embodies the dreamy tone I hoped to capture within these songs. But who am I (or anyone) to say how a particular song should make someone feel?

Photo by Wendy Wei Congrats. You did the thing. The numbers went up. The DMs came flooding in. That one TikTok blew past 2 million views, and suddenly, you’re the moment. You watch your stream count multiply in real time. Spotify throws you on a few mood playlists. Everyone’s reposting the same 12 seconds of your life. It’s a high. No doubt about it. But here’s the question no one prepares you for: What happens after you go viral? Because going viral is exciting. Staying visible is a strategy. What’s Next Matters More Than What Just Happened. The truth is, viral moments don’t build careers; they just open the door. And the music industry is full of artists who sprinted through that door... only to get lost in the hallway. You probably already feel the pressure: drop another song now, ride the momentum, turn the comments into pre-saves, get on a live, build a tour, launch a merch line, optimize your bio, pray for another spike. But here’s what no one tells you: you don’t need to panic. You need to plan. Because if your whole strategy is “hope it happens again,” you’re not building a career, you’re just gambling with exposure. What you do next should serve two things: Your audience Your artistic identity Photo by Sherman Trotz That means taking a step back and asking some hard questions:Did people connect with you or just the soundbite? Is the rest of your catalog aligned with what they just found? What’s the story you’re building beyond a trending audio clip? Because here’s the deal: the same algorithm that put you on can take you off. And what keeps people around isn’t virality. It’s consistency, intention, and vision. That might mean dropping something totally different to show range. It might mean teasing what’s next, not just copying what worked. It might mean doing the unsexy work: building a real fanbase, one human at a time. Also, a word of warning: the vultures are coming.Labels, managers, “playlist plug” people, random cousins with a ring light, all suddenly interested in “helping” your career. But be careful: not everyone who wants to sign you wants to see you win. Take meetings, sure. But keep your vision close. Viral doesn’t mean valuable to everyone; you have to know your worth before someone else defines it for you. Going viral isn’t the peak. It’s the test. Can you take the spark and turn it into something real? Or will you be another forgotten moment, buried under next week’s trending sound? There’s no right path, but one thing is certain: what you do now matters more than what just happened. So breathe. Lock in. And write the next chapter like people are already watching, because they def are.

Rising out of New York’s underground scene with a vibe that's equal parts raw and reflective, A Mello is carving his own lane with emotionally honest lyricism and a melodic flow that doesn’t try too hard, because it doesn’t have to. His latest release, “ Dark Time’s Too Breeze's In Belize ,” feels like a journal entry set to a beat, offering a glimpse into the emotional weight behind the come-up. Following the buzz of his breakout track “ 6 AM TRIP TOO MONTREAL ,” this new single takes a more introspective turn. While the last drop gave us glimpses of ambition and escape, “Dark Times” sounds like the moment you realize success doesn’t erase the struggle, it just adds new layers to it. Over a mellow, haunting production bed, Mello lays it all out. The doubts, the silence, the nights spent wondering if the grind would ever pay off. But it’s not a cry for sympathy. It’s a quiet declaration of strength. He doesn’t overstate it, but you feel it in every bar. The contrast between vulnerability and confidence is where A Mello thrives. He’s not here to flex, he’s here to connect. “Music is therapy for me — and for whoever’s listening. If you're in a dark time, I want this track to remind you that it’s not the end. You’re not alone.” - A Mello That authenticity is exactly why people are starting to pay attention. With rumors of a debut EP set to drop in summer 2025, the buzz is only building. And if this latest track is any indication, A Mello isn’t just a name to watch. He’s a voice we need in the next wave of hip-hop. “Dark Time’s Too Breeze's In Belize” really hits an emotional chord. What inspired the title, and how did the track come together? For "Dark Time’s Too Breezes In Belize," it was meant as motivation not just for me & my team but for the listeners, & anybody who’s still on their grind, it’s about overcoming your challenges, whatever that may be, to now in a better status or situation, a lot of people are gonna be envious and want you to fail, but just remember what and who you’re doing it for. And strive for better times ahead. What inspired the title? I always try to do quirky and unique titles. For my songs, it’s all in the love of the artistry. After I hear the beat, or finish the songs…the title just comes to me. You’re open about the emotional side of your journey. Do you ever feel pressure to keep a certain image, or has being vulnerable always come naturally? This is a good question, I feel like it’s a mix of both, going into the whole music thing with a professional mindset, the idea of “this is what you want to do full time” there’s a lot more that goes into this than just making music, but the music making itself is therapeutic and naturally draws out my vulnerability depending on The mood of the song. Your delivery always feels calm, even when the subject matter gets heavy. Is that a creative choice or just who you are off the mic, too? When it comes to my delivery I try to be creative in all aspects of my music, from tone, delivery, flows, bars, etc, I plan to be very versatile when it comes too my music, I have a lot of different vibes and a lot of different genres I wanna try, even songs in different languages. So it’s definitely a creative choice, but I feel like that comes from my music being heavily inspired by greats like Tory Lanez, the versatility he showcases, which I strive to aim for. You’ve hinted at an EP for summer 2025. What kind of stories or sounds can fans expect from that project? Yes, there’s an EP in the works for the summer. I feel like in this generation, music is missing something New, a new face to really come and make music great again. Music is supposed to resonate, make you feel something, relieve your stresses, and have you vibe out. With this EP, I wanna bring back summer 2016 vibes. I want listeners when you hear the songs, that it makes you wanna get up, dance, go outside, drink, smoke, and have fun. Good music, you’re supposed to feel within. So this EP won’t disappoint. If someone’s going through a “dark time” right now, what’s one message from this track you hope really lands with them? When listening to “Dark Times,” please take comfort in knowing that your dark times are temporary; better times are always ahead. I hope when listening to “Dark Times,” you’re inspired to keep going, and work harder to achieve whatever you set your mind on, your goals are more in reach than you know. Let this track motivate and drive your focus forward.

Photo By: Samantha Levi SkyDxddy , the genre-bending force behind over 150 million streams, steps fully into her power with the release of her debut album TRAUMACORE (RAW & UNCUT) , a visceral, unfiltered body of work aligned with Mental Health Awareness Month. Known for her fearless honesty and refusal to sugarcoat the darkness, SkyDxddy channels her lived experiences into 13 raw, emotionally-charged tracks that explore body dysmorphia, addiction, abuse, and survival. With a focus on advocacy over virality, the project centers the unheard, the silenced, and the deeply wounded, transforming trauma into testimony. This album is clearly your soul on display — raw, unfiltered, and vulnerable. Was there a specific moment when you knew you were ready to release this into the world? A lot of the songs on the album were created a long time ago. I felt like at the time I wasn't really ready to share certain pieces of myself with the world. As well as the world not yet being as progressed as it is now. I think that we're finally in a space where we are opening up dialogue, people are coming forward, and the people no longer want to silence others; instead, they want to hear their stories. I battled with myself a lot on which songs should make the cut, and I think at the end of the day I ended up choosing the ones that most reflected my life, and certain Topics really affecting our world at the moment, such as SA, domestic violence, grooming, etc. I almost feel like there was never going to be a perfect time. It just needed to be done. In your message, you speak directly to survivors, to those who carry invisible scars. What was the most emotionally difficult song to create on this album, and what helped you push through and finish it? I could probably name at least five songs that were incredibly difficult to create, but the one that comes to my mind the most is "Not Guilty." Having witnessed domestic violence firsthand, it sticks with you; it's a painful cycle that's impossible to get out of. Another that was incredibly difficult would have to be "strings," Because that is a very personal song to me that focuses on my experience of being groomed as a young girl. Accepting that was a very painful thing to do, and putting it into words was even more so. But I'm very glad that I did, if it can help someone heal and help them have a little bit of clarity. You’ve said that even if this album doesn’t go viral, it was still “worth it.” How do you personally define success in your art, especially with something as heavy and honest as TRAUMACORE? If even one person hears this album and makes the decision to leave an abusive relationship, it was worth it. If one person who has gone through SA hears it and realizes that it wasn't their fault, it was worth it. If someone who's been groomed hears it and can finally make sense of why it's so difficult to trust and set boundaries and begin doing the work to heal from that, it was worth it. I think if anyone hears any of these songs and they can connect it to their lives and do something that puts them in a better position than they were before they heard it, I'd say it was a massive success. Mental Health Awareness Month feels like the perfect time for this album to be born. Was that intentional? And what conversations are you hoping it will spark, not just in fans, but in the industry itself? It was absolutely intentional. I think one could argue that the industry has had a history of silencing certain things, sweeping certain things under the rug. I hope that this opens the conversation about what can be done to stop that or at least lessen it. I think that each song sparks a different conversation, and that's why I love this project so much. They really don't matter who you are or what you've been through. I guarantee you that at least one song on this album is something that you can relate to. I think that's terrifying and beautiful What's the message you'd like people to take away from this album? Power. Education. Clarity. Validation. I need them to know that what happened to them wasn't their fault. And regardless of everything that they've been through, they can still make a beautiful life for themselves. Once we go through trauma, it isn't the end; it's only the beginning.