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When two genre-pushing powerhouses collide, you get a track that’s more than music; it’s a whole atmosphere. That’s exactly what BIG VENTI and Rickstarrdidit delivered with their explosive new single “ BELLY DANCE .” Recorded on opposite ends of the country, Rickstarr’s sleek, sultry production cooked up in the Miami heat and BIG VENTI’s commanding verses laid down in L.A., “Belly Dance” is a musical passport. Rickstarrdidit, who’s previously co-produced for platinum-selling stars like Megan Thee Stallion, laces the beat with intricate melodies and exotic instrumentation that pulse like a heartbeat through a smoky lounge. Meanwhile, BIG VENTI, known for his gravel-toned delivery and party-starting energy, charges in with bars that cut through the rhythm like a hot blade. This isn’t the first time VENTI has commanded a lane all his own. The Los Angeles-based artist and entrepreneur has climbed the iTunes charts multiple times, launched his own music label and apparel line (Party Hills Music and Party Hills Apparel), and built a cult following through his Party Hills Idol competition. And yet, “Belly Dance” feels like a fresh reinvention of a more global, more cinematic, and arguably more dangerous than anything we’ve heard from him before. For Rickstarrdidit, the track is yet another milestone in a career built on fearless genre fusion. From EDM to pop to hip-hop, he’s made a name out of bending rules, and “Belly Dance” is a prime example of what happens when a producer isn't afraid to cross cultural borders with style and precision. Whether you’re vibing out on a midnight drive, setting the tone in a rooftop lounge, or lighting up the dancefloor, “Belly Dance” demands your attention. This is East-meets-West done right. “Belly Dance” blends Middle Eastern melodies with hip-hop intensity—what inspired this sonic direction, and how did the cross-country collaboration come together? Rickstarrdidit: I was digging through sounds, trying to cook up something in that classic Timbaland/Danja zone—real percussive, hypnotic energy. When I laid the hook, I was just vibing and freestyling. The Middle Eastern feel wasn’t even intentional at first—it just came out organically. Venti and I already have this rhythm with how we collaborate coast to coast. I’ll usually start with the beat and lay down a concept, then shoot it over to Venti in L.A., and he brings it to life on his end. It’s seamless now. You’ve both had major industry wins individually—how did working together challenge or elevate your creative process on this track? Every time we link, we somehow pull a new sound out of each other. That’s what's best about our collabs- it’s always something fresh, and it’s always a guaranteed banger by the time the song is complete. Because we bring two different styles to the table, it adds another level of excitement to our records. No egos, just pure creative energy. BIG VENTI, your music often carries an anthemic, party-driven vibe. How did you channel that energy differently for a track as hypnotic and sensual as “Belly Dance”? I heard Rickstardidit’s reference, and it immediately gave me the feeling of being at a hookah bar with a belly dancer. I tapped into some memories and channeled that energy while I was dropping my verses. I added some Middle Eastern concepts and flavor to my lyrics Rickstarr, you’ve worked with some massive names, including Megan Thee Stallion—how did producing “Belly Dance” compare to those experiences, and what did you want to do differently here? Rickstarrdidit: This is my first international recording, so experimenting with global sounds was key. I’m excited to see how well-received the song is from international listeners. We even got belly dancers posting reels to this song! With both of you pushing boundaries in sound, fashion, and entrepreneurship, what’s next for your creative partnership—and should fans expect more genre-bending collaborations in the near future? We’re locked in for the long run—whenever we team up, it’s a guaranteed banger. Fans can definitely expect more genre-fused music coming soon. Rickstarr has some Latin/Hip-Hop crossover records in the vault, too, so we’re just getting started. We even coined our duo name: TFC – Twin Flame Cadence. It represents our brotherly bond, our sync, and the way our flows play off each other. A full collab album is in the works—we’re building the foundation with these single releases.

Music evolves, but a handful of artists from each decade don't just rise to the top—they redefine what "being on top" even means. Let's take a look at the era-defining stars who dominated, each with their unique brand of flair, controversy, or pure musical genius. Together, let's recap the biggest music artists of each decade. 1970s: The Legends Who Gave Us Rock, Funk, and Sequins Elton John If Elton John wasn’t actually  the king of the '70s, he sure looked the part. Between his outlandish outfits, piano prowess, and a string of hit ballads like Rocket Man  and Tiny Dancer , Elton practically invented the superstar concept. Led Zeppelin Nobody could wail, riff, or rock quite like Led Zeppelin . Stairway to Heaven  wasn’t just a song; it was practically a cultural ritual. The band’s heavy, bluesy rock helped create the template for countless rock bands to come. Stevie Wonder Stevie Wonder ’s unstoppable groove and genre-defying talent made the ’70s a wonderland of Superstition , Sir Duke , and countless other hits. His incredible output cemented him as one of the all-time greats. Bee Gees Disco kings of the ’70s, the Bee Gees , practically invented Saturday nights. With their falsettos on Stayin’ Alive  and Night Fever , they made disco a cultural phenomenon, leaving glitter and sequins in their wake. David Bowie Bowie didn’t just change with the times; he set them. From Ziggy Stardust  to Heroes , Bowie redefined what rock could be, blending glam, punk, and out-of-this-world personas that inspired generations of artists. 1980s: The Era of Pop Powerhouses & Synth Overload Michael Jackson There’s a reason he’s called the King of Pop. Thriller  was more than an album; it was a seismic event, and Jackson ’s moonwalk, iconic videos, and hit-packed career made him one of the most recognizable humans on the planet. Madonna Madonna didn’t just push boundaries; she obliterated them. From Like a Virgin  to Like a Prayer , she combined pop with controversy, and her knack for reinvention made her a cultural juggernaut whose influence has never really waned. Prince With Purple Rain  and his genre-bending style, Prince was unstoppable in the '80s. Known for his virtuosity and mystery, Prince created his own world of funk, rock, and pop, and we were just lucky to live in it. U2 Love them or hate them, U2 was the biggest rock band of the '80s. Albums like The Joshua Tree  transformed them into international superstars, with Bono’s stage presence and The Edge’s guitar sound giving them rock’s ultimate power duo. Whitney Houston Whitney Houston's voice was one of the wonders of the world, belting out I Wanna Dance with Somebody  and How Will I Know  with ease. She was the pop diva blueprint, bringing vocal prowess to every hit and setting a high bar for pop vocalists. 1990s: Grunge, Rap, and the Golden Age of Angst Nirvana Kurt Cobain and Nirvana took the angst of a generation and turned it into pure rock gold. With Smells Like Teen Spirit , they brought grunge into the mainstream, leading a musical rebellion that made flannel shirts and existential dread all the rage. Tupac Shakur Tupac wasn’t just a rapper; he was a poet and social commentator. Songs like California Love  and Dear Mama  cemented him as a cultural icon, and his impact on hip-hop still reverberates today. Mariah Carey With a vocal range that could shatter glass, Mariah Carey became a defining voice of the ’90s. From Vision of Love  to her annual Christmas takeover with All I Want for Christmas Is You , Mariah was (and is) a pop phenomenon. The Notorious B.I.G. Biggie didn’t just rap; he painted stories with his words. His flow, charisma, and storytelling prowess in songs like Juicy  and Big Poppa  made him an icon with a legacy that hip-hop fans still cherish. Britney Spears Though she rose at the tail end of the decade, Britney Spears and ...Baby One More Time  reshaped pop music. She brought teen pop to new heights and ushered in the era of millennial superstars with dance moves and drama to match. 2000s: The Pop & Hip-Hop Takeover Eminem With The Marshall Mathers LP , Eminem crashed into the 2000s like a lyrical tornado. His rapid-fire rhymes, dark humor, and unmatched flow made him a hip-hop legend whose influence went far beyond the genre. Beyoncé Going solo was the best decision Beyoncé ever made. Crazy in Love  set the stage for a decade of domination as she evolved from pop queen to full-on cultural icon, redefining what it meant to be a superstar. Jay-Z Jay-Z didn’t just make hits; he built an empire. With anthems like 99 Problems , he cemented himself as one of hip-hop’s all-time greats, all while proving that moguls can, in fact, wear Yankees caps. Kanye West Kanye West was a groundbreaking artist before becoming the most polarizing music figure. Albums like The College Dropout  and Graduation  blended genres, reshaping hip-hop and making Kanye an unavoidable force in music. Lady Gaga Lady Gaga didn’t walk onto the scene in the 2000s; she exploded onto it. With her fearless style, massive hits like Poker Face , and theatrical performances, she turned pop into high art and brought avant-garde to the mainstream. 2010s: Streaming Stars and Genre Shapeshifters Drake Drake was everywhere  in the 2010s, with his blend of hip-hop and R&B dominating streaming charts. With hits like Hotline Bling  and God’s Plan , he was the face of a new era in music, redefining what it meant to be a hip-hop artist. Taylor Swift Taylor Swift went from country sweetheart to pop queen, selling out stadiums and creating anthems like Shake It Off  and Blank Space . With her knack for reinvention and record-breaking, Swift became an artist in a league of her own. Rihanna Rihanna gave us hit after hit, from Umbrella  to We Found Love , all while staying on the cutting edge of pop and R&B. The 2010s belonged to her as much as anyone else, and fans are still waiting eagerly for her next album. Kendrick Lamar Kendrick Lamar didn’t just make music; he made statements. Albums like To Pimp a Butterfly  showcased his storytelling prowess and social commentary, making him one of the most respected and impactful artists of the decade. Adele With a voice that could shatter hearts and a discography that could make the strongest cry, Adele’s ballads, like  Rolling in the Deep,  dominated the charts. She made heartbreak and power ballads cool again in a world of quick hits. 2020s (So Far): The New Icons of the Streaming Age Billie Eilish With her whispery, dark pop and boundary-pushing visuals, Billie Eilish defined the new sound of the 2020s. Her haunting tracks like bad guy  and everything i wanted  have made her a Gen Z icon with a unique edge. Bad Bunny Latin music is global, and Bad Bunny is leading the charge. With his mix of reggaeton, Latin trap, and genre-blending tracks like Yo Perreo Sola , he’s not just a Latin star—he’s a global one. The Weeknd The Weeknd’s blend of pop, R&B, and dark, cinematic vibes in songs like Blinding Lights  has made him one of the 2020s’ defining stars. His smooth vocals and edgy style have set him apart in the streaming era. Harry Styles After breaking away from boyband roots, Harry Styles took the 2020s by storm with hits like Watermelon Sugar , combining rock, pop, and retro vibes. He’s reinvented himself as a modern rockstar, captivating audiences worldwide. Dua Lipa With her disco-inspired pop and chart-dominating singles like Don’t Start Now , Dua Lipa brought the dancefloor back to life. She’s not just a pop star; she’s a powerhouse who’s helped redefine the sound of pop in the 2020s. Each decade brings its own icons, but these artists didn’t just ride the waves—they made them. From funky '70s grooves to today's streaming superstars, these names will echo through history, keeping us dancing, crying, and cranking up the volume.

With an effortless blend of jazz sophistication and pop allure, Dropping Julia ’s latest single “ Secret ” feels like sneaking away on a late-night walk with someone you’re still getting to know, unsure if it’s love, but completely caught up in the moment. It's the kind of track that invites you to slow down, lean in, and feel something. Fronted by the poetic and expressive vocals of Jules, Dropping Julia has carved out a uniquely eclectic space in the indie scene—equal parts whimsical, sultry, and soul-baring. Their newest offering is no exception. "Secret” draws from the raw emotional territory the band is known for, while shimmering with the kind of samba and jazz touches that feel like summer heat on skin—intimate, warming, and ever so slightly electric. From the first note, “Secret” sets a mood that’s both playful and deeply personal. A seductive rhythm section lays the foundation—warm basslines, crisp drums, and languid guitar—while keys and saxophone weave in colors that evoke smoky lounges and candle-lit confessionals. Jules’ voice is the emotional center of it all, carrying the story with a vulnerability that feels at once universal and entirely her own. “Secret” is the first taste of Dropping Julia’s upcoming fourth studio album, set to release on June 6th, and it’s already clear this will be one of their most emotionally rich projects to date. The band will be celebrating the release with two very different Virginia shows: an intimate storytelling-style performance at Possum’s Store in Criglersville on June 7th, and a more high-energy show at Rapture in Charlottesville on June 14th, joined by The Musical Suspects. As a standalone single, “Secret” is a masterclass in restraint and release, confession and seduction—a track that doesn’t just tell a story, but feels like one. “Secret” explores that intoxicating, uncertain phase of a new connection—do you remember the moment that sparked the idea for the song? Was it drawn from personal experience? The song was very much drawn from personal experience, and I remember the very moment I began writing the song. I had just started seeing the guy who is actually now my husband! It was maybe 1 month into us spending time together, and it was all very new, exciting, and scary. We both had just gotten out of relationships and didn’t want to move too fast or scare the other one away. We hadn’t talked about whether we were “dating,” “seeing each other,” or something else, but we were both very obviously excited about the other one. I remember I was dog-sitting for a friend of mine, and I woke up in her house on a warm June morning, picked up her guitar, and started singing a melody. I was thinking about him and feeling excited, alive, bashful, and very inspired to say the least. That melody turned into the first two verses of Secret. This track brings in some samba and jazz influences that feel fresh but familiar. What artists or moods were inspiring you sonically while writing and recording this one? Amy Winehouse is always a big influence of mine when writing - in her songwriting style, her raw emotion, and her vocal style. I had also recently opened for Raul Malo of The Mavericks when I began writing this song and was listening to a lot of Mavericks, so I would say I was influenced by them and their album, “En Español,” too. There’s a real emotional arc in this song—how do you approach writing lyrics that feel both poetic and grounded in real feeling? I’ve always been a romantic person with a lot to say and a lot of emotions - sometimes big emotions. I started writing initially by writing poems and short stories, and sometimes I felt like I was letting out too much emotion and thought, and sometimes my point was getting lost in the writing. Songwriting has really helped me to reel in what I am trying to express. I have found it a fun challenge to try to be as poetic and deep as possible in a 3-5 minute song. Most of my songs are about real experiences, so I am inevitably going to be raw and open in the writing, but I try to make every line count and paint a picture of what I was going through at the time, even if it's about just one moment in time. Sometimes, less is more. You’ve described your performances as vulnerable yet bold. How do you personally navigate sharing these intimate parts of your story with live audiences? It comes really naturally to me. I don’t really know how else to be, honestly. It makes me feel a great sense of belonging and connection when I can be in front of a live audience, sharing that intimate side of myself and my songwriting, and to see and feel them receiving it and resonating with it. “Secret” is just a glimpse of what’s coming on the new album—can you tease any themes or surprises fans can expect from the full release? We definitely tease the samba vibes more in the album at times (especially in our cover of Girl From Ipanema, which will be on the album!). However, the jazz vibes are strong across the entire album. The Dropping Julia boys brought their own influences into the production and the songwriting process, and this album truly is a collaborative product. We have teased jazz in all of our albums in the past, but it is the strongest in Biggest Fan. I have always loved singing old jazz songs and writing jazzy vocal melodies. With the love of jazz and incredible talent and skill from all of the other guys in the band, we were able to create an album of songs that is grounded in jazz but still reaches out to some of the other genres we bring to our music, such as pop, R&B, samba, and funk.

Willie Olivier ’s latest single “ Deja Vu ” doesn’t just tug at your heart ; it grabs you by the collar and makes you feel everything at once. If you haven’t met Willie yet, welcome to the party. The Charleston, SC, singer, songwriter, and producer blends alternative rock with indie soul in a way that feels raw, real, and genuinely emotional. His debut single “Keep on Talking” brought in over 25,000 streams and even landed on Channing Tatum’s Instagram story. Not bad for a first impression. With “Deja Vu,” Willie leans even harder into his strength, turning emotional wreckage into something beautiful. The track explores what it feels like to watch someone new live through moments that once belonged to you. There’s something haunting about realizing that the same conversations, same smiles, and same energy are now being shared with someone else. It's personal, relatable, and a little brutal. Musically, “Deja Vu” brings together dreamy guitar textures, steady rhythms, and soft vocals that float just above the edge of breaking. The psychedelic and indie influences are there, but they never overpower the message. It’s a slow burn that builds into something that sits heavy on the chest, in the best way. At the core of the song is one clear message: vulnerability matters. Willie isn’t hiding behind metaphors or overproduced beats. He’s showing up as himself and making space for listeners to do the same. Being open to emotional exposure, uncertainty, or risk. Whether that’s in relationships, creativity, leadership, or personal growth. That’s the energy he’s leading with. And we’re here for it. “Deja Vu” hits on such a specific emotional moment. Was this based on something personal or more of a universal observation? Deja Vu is a record that sits at the intersection of personal truth and the shared human experience. It’s rooted deeply in what I’ve lived—my memories, my emotions, and the moments that have shaped me. Every lyric on that track comes from a real place, whether it’s something I’ve gone through in the past or something I’m navigating in the present. But what makes this song really powerful to me is that its meaning isn’t fixed. It continues to evolve with me. As I grow, heal, and shift, the song takes on new dimensions—and I think that’s the beauty of honest music. It lives and breathes with you. Writing for me has never been about creating something catchy just for the sake of it. It’s a mirror. It reflects who I am, both as an artist and as a human being. I find it nearly impossible to separate what I create from what I’m going through. Whether it’s heartbreak, joy, confusion, or clarity—whatever I’m feeling in the moment—finds its way into the music. I don’t force it; I just allow it to show up naturally. Music is rooted inside of me, and it is what I bleed. At the core, I’m just like anyone else. I go through ups and downs, I question things, I struggle, I hope. We all do. That’s why I try to write in a way that captures those universal emotions—the ones that are messy, layered, and real. If someone hears Deja Vu and feels seen, or finds their own story in my words, then I’ve done what I set out to do. That connection, that shared humanity—that’s what music is really about for me. You have a really unique blend of alternative rock and indie soul. Who or what helped shape that sound? My sound is deeply rooted in the Earth—it’s organic, raw, and intentionally crafted. There’s a certain spirit in natural sound that speaks louder than words ever could. I draw inspiration from everything around me—wind, water, silence, rhythm in motion—and I let those elements guide me. I don’t just throw sounds together; I spend hours, weeks, even years shaping every tone, texture, and layer until it resonates with something deep inside me. It's a process of patience, intuition, and soul-searching. Honestly, I can’t give credit to anyone but God for helping me tap into this sound. It feels divine at times, like I’m just the vessel being used to bring something forward. No one taught me how to create this—it came through solitude, listening, and surrendering to what’s real. What you hear in my records isn’t just production; it’s who I am, translated into frequency. Each track starts with a feeling. I match sounds to my emotional state in the moment, letting the mood shape the instrumentation. Whether it’s joy, grief, peace, or maximal rage, I let it speak through the music. That’s the only way I know how to make something that’s truly meaningful—something that’s alive. When the sound and the soul are in sync, that’s when the art becomes honest. The track feels super vulnerable. How do you stay grounded when sharing something so emotionally honest? Being super vulnerable is honestly what keeps me grounded—not just as an artist, but as a person. For me, creating and sharing music isn’t just about making something that sounds good; it’s about telling the truth, even when it’s uncomfortable. Vulnerability is the thread that ties my work to who I really am. If I were to release something that lacked personal meaning or emotional weight, it would feel hollow, like I’m betraying myself and my purpose. Art, to me, is sacred. It’s a reflection of my soul, my struggles, my growth, and my perspective. That’s why I can’t pretend or mask what I’m feeling just to fit a trend or expectation. It would be disingenuous, and I believe people can feel that. I’d rather be raw and real, even if it’s not perfect, than present something polished that doesn’t represent the truth of who I am. Vulnerability isn’t weakness—it’s where the real strength and connection live. From your first single to now, how do you feel your songwriting has evolved? Releasing Keep On Talking was a turning point for me—not just musically, but personally. It opened a door I didn’t realize I needed to walk through. In the process of creating and putting that record out into the world, I gained a new level of insight into the unresolved parts of myself—the thoughts I hadn’t faced, the feelings I hadn’t fully processed. It forced me to sit with certain truths, and in doing so, it revealed the depth of what I still need to confront within. The truth is, life is never without its challenges. There will always be an inevitable flow of issues, emotions, and obstacles that show up in different forms. But now, with this new perspective, I no longer see them as things to avoid or suppress. Instead, I see them as invitations to understand myself on a deeper level. I’ve come to realize that my past, my present, and even the uncertainty of the future all carry pieces of who I am and who I’m becoming. Keep On Talking gave me access to a new part of my creative and emotional toolbox. Now, I feel more equipped to reach into that luxurious bag of experiences—whether they’re painful, joyful, confusing, or enlightening—and turn them into something meaningful. With every record I release, I learn more about myself. It’s not just about making music; it’s about self-discovery, healing, and growth. And that journey continues, one track at a time. What do you want someone to walk away with after hearing “Deja Vu” for the first time? I genuinely hope that people are able to find peace and prosperity, even in the midst of whatever challenges or disruptions they’re facing. Life has a way of throwing obstacles in our path—whether it’s emotional, spiritual, financial, or something deeply personal. And sometimes, what we seek the most—peace, clarity, purpose—can feel just out of reach because of those very disruptions. But I believe there’s always a way through. My wish is that people find the strength to face what’s standing in their way, not with fear or resistance, but with patience and hope. That even in the chaos or confusion, they’re able to reconnect with the part of themselves that still believes in better. Because peace isn’t just something we stumble upon—it’s something we choose to pursue, even in the middle of uncertainty. And prosperity, in all its forms, often follows when we stop running from the disruption and start listening to what it’s trying to teach us. If my work can be a part of that process for someone—if it helps them pause, reflect, or simply feel understood—then I know I’m on the right path.

Vega Heartbreak is on a mission,   and with his new single “Avión,” he’s proving that real music, real production, and real vibes are still very much alive. The St. Louis native turned Los Angeles creative force has been quietly stacking wins, and this latest track feels like a breakout moment. If you’ve been sleeping, now’s the time to wake up. “Avión” isn’t just a song ,  it’s a whole experience. It blends laid-back hip-hop with live jazz instrumentation, creating something that feels effortless but hits with intention. The lyrics walk you through a perfect kind of day, the kind where you tell her to throw on something cute and just ride the wave. No stress, no games, just energy. The storytelling is clear, the vibe is elevated, and the whole thing plays like a scene from a film you don’t want to end. The production is where Vega really flexes. Live piano, silky guitar, warm bass, and a groove that stays smooth from start to finish. You can hear the detail, the layers, the patience ,  and that’s rare these days. The jazz influence gives it elegance, while Vega’s relaxed cadence grounds it in a modern R&B and hip-hop pocket. It’s romantic without being soft, stylish without trying too hard. But what really separates Vega Heartbreak is his loyalty to the craft. This isn’t algorithm-chasing filler. Every lyric, every instrument, every mix decision feels intentional. Vega is the kind of artist who doesn’t cut corners, and it shows. “I hope people take away from the song that real music still lives. Live instruments and carefully written lyrics aren’t a trend, they’re what I do. I’ve studied the greats, and I’m working to be one.” “Avión” has such a cinematic, feel-good vibe. What inspired the concept behind this perfect day energy? Was it based on a real moment? The song was inspired by actual events! I began to play the piano, which drives the song. I knew the lyrics had to match the vibes. I actually rode around Santa Monica in my 1976 Targa Top Corvette playing the piano on loop. From there, I began to recall a past conversation I had with a young lady about her favorite tequila to drink. The words began to flow from there. Then i remembered our first date we took a trip from LA to San Diego to go have dinner. The vibes were so massive that it was glued into my memory. From there came "Avion" Was it based on a real moment? You blend live jazz elements with hip-hop in a way that feels natural and elevated. What does your production process look like when building a track like this from scratch? Well, I will sit in the studio for a couple of hours just listening to music. From old to new, I think that there are some of my favs. I listen to the creativity of the records and imagine what they were thinking when they made this. Then I begin. I usually start with the melody. From the melody, I will begin to mumble lyrics and flows, then I find the best one I like. From there, I built the beat around it. Once I have a base, I lay down some scratch vocals. Then build the record around that. Jazz is actually one of my favorite types of music to listen to. From my growing up loving hip hop, I knew the fusion would be perfect. You mentioned not cutting corners and being loyal to the craft. In an era of fast music and shortcuts, how do you stay grounded in that mindset? Because you can just look at the charts right now, or just music in general, all the biggest artists in the world put time and effort into the music they make. You can hear it. I was taught if you're going to say something, mean it! I have that mindset with everything I do. Quality over quantity There’s a lot of confidence in your delivery, but also a clear sense of intention. Who are some artists that helped shape your sound or work ethic early on? Sade, Anita Baker, Kanye West, Jay-Z, Drake, Kendrick, Future, Michael Jackson... that's just a few to name, I'm such a sponge, I listen to everything. I grab inspiration from everything. If someone listens to “Avión” for the first time, what’s the one feeling or message you hope really lands with them? I want them to feel like whenever I get my best outfit on, and I'm just feeling like that one, I have to play "Avion" From women to men!

Joel Christian has never been afraid of the dark. In fact, he thrives in it. With his new single “ ENEMY ,” the LA-based artist delivers a high-voltage, synth-driven anthem about inner chaos, duality, and ultimately, self-ownership. It’s pop, but it’s built like a battlefield. Known for his gothic glam aesthetic and emotionally charged electropop sound, Joel Christian is stepping deeper into his signature world, where the club meets confession, and fantasy collides with raw truth. “ENEMY” pulses with adrenaline. It’s cinematic, theatrical, and unfiltered. The kind of track you scream in the mirror when you're done running from yourself. “I created this character to feel like I was worth something, but then it felt like it was destroying me. I tried shoving down my voice and creativity, but it always resurfaced. 'ENEMY' is that song for me.” At its core, "ENEMY" isn’t about external conflict. It’s about the war inside. You know, the version of you that wants to hide and refuses to shrink. Joel Christian describes it as the song that captures his long fight with self-worth and identity, especially as an artist who built a persona to survive, only to feel consumed by it later. “ENEMY” is deeply personal. What was the turning point where you knew this song had to be written, no matter how raw it got? "ENEMY" felt like it was itching inside of me to be released. I had just released my second EP, and I was going to chill for a bit. But then I kept hearing this melody, it honestly felt like it was a song that kept haunting me...like throughout my day I would just start singing "Oh....I feel you haunting me....you're my own worst enemy" and I remember recording it on my voice notes. That was truly the beginning of the entire storyline. It felt like the song found me and needed to come out. I knew instantly this was the next song I needed to release. You talk about the duality of persona vs person. How do you navigate that balance now, especially in an industry that thrives on image? I've struggled for so many years with balancing the duality of being an artist and just a normal guy. I created this eccentric dark persona when I first started doing music in my early 20s, and it sort of just followed me. Throughout my life and career, my stage names changed, but my artistry never did. It felt like a split personality, like I created this persona so that I could live a life on stage and a life in reality - but in the end, it kind of just morphed into one. That's what this song is about. Not running from your enemy (or yourself) but embracing it. This single is sonically huge — dark, danceable, and cinematic. What influenced the production style, and how did you want it to feel emotionally? I wanted this song to be explosive, but with a fun dance pop element. I feel like my recipe for my music is that they will always have subtle dark lyrics and dark visuals, but the sound will be pulsating and contagious to dance to. Electronic pop music with dance elements was always the sound I felt safe in. It felt like it called to me every time in the studio. So when I wrote "ENEMY," I wanted my fans to feel it. I wanted them to feel the sound in their blood and the emotion in my vocals. The song sonically is supposed to take you through an internal battle between the person and the persona. You mention trying to suppress your creativity in the past. What would you say to younger artists who are afraid to fully own who they are? Yeah, I mean I really try to hide who I was for so many years....Like I felt this artist inside of me, but I always felt like I was running from it, or never truly understood why I was the way I was. I would get lost in my creativity to the point of isolation. It took me so many years to truly accept my pain, my creativity, and my inner demons to realize that it's just a part of me. My struggles are just pieces of the puzzle leading me through my journey. I think younger artists should show themselves grace and always be kind to their inner self...even if it feels daunting, turn it into something artistic. If “ENEMY” had to soundtrack one moment in your life, whether real or imagined, what would that scene look like? We planned to tell a beautiful story of how I created my artistry and persona, leading back to the days when I first started performing and making music. I think "ENEMY" is the soundtrack to my younger years of performing and fighting to be seen and heard. It's the battle and the release of the persona that I've created, my superhero, that makes me feel on stage and in front of the camera. The music video tells the story of a distraught patient riding the subway and being haunted by a fierce performer. I would ride the train in San Francisco, dreaming of being a pop star...so I wanted to create that full circle moment for my fans and for me to finally be at peace with who I am as an artist.

Florida-based artist Eddy Puyol is bringing back the soul, the swagger, and the sunshine with his vibrant new single “ Good Time ” —a fueled celebration of life, love, and legacy. Known for his spiritually grounded and joy-sparking music, Puyol continues to redefine what it means to “keep it real” by blending hip-hop roots with an irresistible retro groove—and this time, he’s inviting everyone to the cookout. “Good Time” is more than just a track. It’s a whole vibe. Co-produced with longtime collaborator Doctor Dukes , the song remixes a sample from Puyol’s former musical identity, Rawsrvnt, turning “Beautiful / Be With You” into a euphoric funk jam fit for backyard barbecues and family dance-offs alike. Channeling the lush sounds of Earth, Wind & Fire, Kool & The Gang, and Marvin Gaye, it’s a warm, bass-driven sonic hug with a universal message: love your people, honor the past, and live it up while you can. At the heart of this groove anthem lies a deeply personal mantra passed down from Puyol’s beloved Abuela Ally: “Family’s the main thing.” It’s this thread of gratitude, connection, and multigenerational love that ties the song together. Whether he’s raising a toast to those no longer here or giving thanks for the ones who still pull up to the table, Puyol makes one thing clear—it’s always the right time to have a good time. The music video, directed by Will Thomas, is a soulful slice-of-life glimpse into Casa Puyol , where the party doesn’t need permission to pop off. No gimmicks, no forced performances—just real people, real laughter, real vibes. Eddy Puyol isn’t just dropping a song; in our opinion, he’s dropping a philosophy. And it’s loud, loving, and contagiously upbeat. In a world that often moves too fast, “Good Time” is a sunny reminder to slow down, gather your people, and let the music move you. “Good Time” feels like a total mood lifter—what inspired you to dive into funk for this track, and how does it reflect where you’re at in life right now? I love to live life and have a good time doing it. I believe art should authentically represent the person who creates it, so making a song to soundtrack a celebratory setting with family and friends was important to me. I love the funk music, so this one just happened naturally. Your Abuela’s quote, “Family’s the main thing,” hits hard—how has her influence shaped your music and your mission as an artist? That statement has marked my life forever. She’s the matriarch of the family. What she instilled in all of us still lives on today. Her love, faith, and wisdom helped guide and shape my younger years. The older I get, the more I realize how important it is to surround myself with the ones I love. So that’s what’s been coming out of my music as of late. The music video feels like a real-life family gathering—was everything as spontaneous and unscripted as it looks, or did you have a vision you wanted to bring to life? For sure! We set the tone beforehand and told everyone what we were doing. We have family gatherings all the time, so what you witness in the video is very real to who we are and what we do, even down to the sparklers. I was born on the 4th of July, so I wanted to celebrate that. And of course, we’re Cuban, so a good game of dominoes is always fun! You’ve always prioritized authenticity in your art—how do you balance faith, funk, and fun without compromising any part of yourself? Balance is key. I believe God designed us to smile and live a full and joyful life, so I try to avoid things that don’t bring that into my sphere. Not to say I’ve never experienced the opposite, because I definitely have. However, the goal whenever those things come is to learn from them so you’re prepared the next time life throws something at you. If someone’s going through a tough time and stumbles across “Good Time,” what do you hope they walk away with after watching or listening? Leave your worries and your problems behind and light the night on fire like the 4th of July! In this world, there’s gonna be trouble, but the key is not to let those problems overtake you. Walking by faith is putting one foot in front of the other and believing that the One who gives us breath to breathe can take care of us better than we can. That’s radically changed my daily perspective and keeps me in check to make sure I’m walking on the right path.

With her latest single “Off The Record,” Tenise Marie opens up a deeply personal chapter, one that traces emotional vulnerability, cultural reconnection, and the quiet unraveling of perfectionism. As the title track to her upcoming album, Off The Record doesn’t just set the tone, it is the tone. Honest, reflective, and soul-stirring. Inspired by her travels to the Assyrian homeland in Iraq, the track draws on both internal and external landscapes. It’s about peeling back the layers we wear to seem whole, and finally sitting with the parts of ourselves that feel messy, soft, or unresolved. With folky warmth and a voice that balances delicate strength with raw emotion, Tenise lets us into her world — no edits, no filters. Sonically, “Off The Record” merges acoustic folk-pop textures with hints of R&B and Middle Eastern instrumentation, incorporating elements like piano, guitar, and the oud. The result is a sound that feels both familiar and expansive, rooted in classic songwriting traditions but carried by a global, genre-fluid perspective. Tenise doesn’t just write songs — she documents the soul’s evolution. Her music has always reflected a deep curiosity and hunger for meaning, and this new release continues that tradition with quiet grace. Whether reflecting on love, heartbreak, or the complex journey of self-acceptance, “Off The Record” feels like an artist gently but firmly stepping into her truth. “It’s a reflection of my spiritual journey and emotional tendencies — the ways I used to sugarcoat pain or hold it all in. This song is about releasing that.” “Off The Record” is such an intimate and layered track. What was the moment or experience that first sparked the idea for this song? This song was inspired by my 2023 trip to the Assyrian homeland in Iraq, made possible by support from the Canada Council for the Arts. I wrote it after returning to Canada, as part of my Research & Creation songwriting project. I had already written an initial batch of three songs about my time in Assyria, before wanting to go “Off The Record. Without being aware of it, my songwriting had been externally focused on the people and the places I had grown so deeply connected to in such a short time. After more reflection, I was able to recognize that I had sugar-coated some things and glossed over some of the more personal details. When I finally endeavoured to describe my own internal experience, I peeled back the layers to express some of the rawest emotions I was less comfortable talking about. The trip to Assyria was an overwhelmingly positive experience; I could not have anticipated just how comfortable and connected I would feel in a place I had never visited. It never is just rainbows and waterfalls, though. With “Off The Record”, I wanted to honour the range of emotions I had experienced in an unfiltered confessional. As someone who has mixed heritage and grew up without a close connection to my Assyrian heritage and cultural identity, I did experience some feelings of shame, discomfort, and inadequacy for being mixed and non-fluent in Assyrian. “I was lost for words” is a reference to the language barrier I experienced, as well as my difficulty articulating my thoughts and feelings in the English language. I had decided to approach this travel opportunity with an open mind and no expectations. “I was crying in the church” is a personal anecdote from a very intimate spiritual moment I experienced early in my trip. Learning about and connecting with my Assyrian heritage has been a very emotional journey of processing intergenerational trauma. Some of my emotions finally caught up to me the night before we were scheduled to visit Simele, where thousands of Assyrians were murdered in the 1933 Simele Massacre. While trying to mentally prepare myself to see Simele, I became overwhelmed by the weight of my family’s trauma as genocide survivors. I escaped to the church for a quiet moment, and in my prayers, I found comfort and, unexpectedly, felt deeply connected to my maternal grandmother, Esther, whom I never had the opportunity to meet. She is my connection to my Assyrian blood; I felt her presence so strongly in that moment, and continued to feel her blessings throughout the rest of my trip. The song also alludes to the possibility of romance, ruminating on stolen glances and words exchanged. It describes the excitement of connecting with someone new, evoking themes of longing and desire. You’ve spoken about shedding perfectionism — how has that shaped the way you approach songwriting now compared to earlier in your career? Interestingly, I don’t think perfectionism ever permeated my songwriting. I have always wanted my lyrics to be an honest expression of my own experience, regardless of how they may be perceived by other people. I think my perfectionism has been most present in the recording process. Naturally, when we have the opportunity to immortalize our art, we want to ensure we are making choices that support our work. My focus is always on the song and on how I can best preserve the meaning and the intention through arrangement and production choices. My approach to songwriting might be different than some people. I’m not concerned with the genre or the song structure when I’m writing, and I don’t really make a lot of revisions in about 90% of my work. To me, perfection shouldn’t be a goal of songwriting. I don’t even think there is such a thing as an objectively great song. There is so much nuance and so much nostalgia involved in what makes us feel connected to music. I think any song can be a great song as long as someone derives meaning from it. Shedding perfectionism is a process, but I really tried to find the right balance with recording this time around; for better or for worse, I wanted this album to be an accurate representation of where I’m at. The musical textures in this track are rich and unique. How did your journey to Iraq and your Assyrian heritage influence the sonic direction of this release? This track does have influences from a few different genres. Initially, the keys, vocals, bass, and drums set the stage for reverence, integrating elements of Soul and Gospel music appropriately matched with the church reference. For me, the introduction of the nylon string guitar is reminiscent of Iraq, because during my time there, I found nylon strings to be more prevalent than steel strings. In the climax of the song, the drumming is influenced by a popular Assyrian dance called “Sheikhani”, as another gesture to the homeland. The pairing of synthetic and acoustic instruments is something that is heavily used in contemporary Assyrian music, and I have always been drawn to this kind of sonic juxtaposition. There’s a gentle honesty in your lyrics that feels both personal and universal. How do you navigate writing from a place of truth without over-exposing yourself emotionally? Honestly, I try not to worry about it too much, because no matter what I write, people will interpret it based on their own experiences. This song, in particular, has a lot of double meanings hidden in the lyrics. For example, when I wrote “It was hard to breathe / My scars are deep”, I was actually literally referring to the pubs in Ankawa and Nohadra where people still smoke cigarettes inside, and the burns I had from the astroturf on the soccer field in Diyana. I think in general, I have accepted my fate as a songwriter, knowing that I may be accused of “over-sharing” on my journey to discover truth and meaning through my art. As this song leads into your full Off The Record album, what larger themes or stories can listeners expect from the full project? I chose “Off The Record” as the title for the album because it feels like it encompasses the entire collection of songs. The album reflects different parts of me; it's a record of all of the ways I have changed and grown in the last three years. It leans into the concept of duality. Several of the songs were inspired by my trip to Assyria and touch on themes of home, belonging, and identity. Other songs were inspired by other parts of my life, which are seemingly less profound, but still part of my journey nonetheless. There’s a breakup song I included as much-needed cathartic closure. There's a Country Pop tune as a nod to my rural roots, and there’s even a straight-up Pop track called “Glitter,” coming as the album’s second single on June 13th. You can expect a little more romance, a couple more spiritual references, and a lot more unfiltered honesty. I write what’s in my heart, and my art often reflects what is happening in my life. I wanted to make a record that reminds us of the fragility and value of human life, while encouraging people to continue to seek joy, meaning, and gratitude for our existence.

South Florida-born, L.A.-based artist myah has officially stepped into the spotlight with her debut EP, IS THIS WHAT I SEE? — a vulnerable, cinematic, and deeply nostalgic indie-pop project that reads like the diary of a romantic overthinker. Blending ambient synth textures, emotionally charged guitar riffs, and the kind of vocals that hit you in the gut and wrap you in a hug at the same time, myah has carved out a sound that’s both fresh and familiar. Think: the heartbreak of Phoebe Bridgers, the angst of early 2010s alt-pop, and the storytelling flair of “Emo Taylor Swift”—a title she wears well. Each track plays like a scene from a carefully constructed film, and that’s no accident. As an award-winning filmmaker, myah treats her songwriting like scriptwriting, with emotional arcs, motifs, and even direct references—like Holes and Titanic —woven into her lyrics. Whether she’s offering her voice to a lost loved one ( lost at sea ), or dancing through fleeting moments of romance ( summer love ), myah delivers her truth with a rawness that makes every line feel like it was written for you . Standouts like “i’ll be your light” and “flames” showcase the duality of her emotional world—hope clashing with heartbreak, beauty nestled in pain. The entire EP is laced with this contrast: optimism and loss, existential longing and soft-spoken clarity. Self-funded and independently released, IS THIS WHAT I SEE? is a bold first step from an artist who clearly has much more to say. With her debut full-length album, i don’t know what i’m feeling slated for release this June, myah is proving she’s not just here to make music—she’s here to make you feel . Your EP feels so cinematic—each track like a scene in a movie. How does your background in filmmaking influence your songwriting and sound? I fell in love with filmmaking at a very young age. I would daydream about making movies and putting myself in all these different scenarios as a form of escapism. Growing up, we didn’t have much – I was raised by my mom, and I’m the youngest of five siblings. I’d journal music video concepts for songs I loved, and I still have that journal, which is funny to look back on now. My favorite moments in movies were always the ones that were paired with a great score or soundtrack. The way those scenes made me feel really resonated with me when I was younger, and they still do today.  It’s just a feeling you can’t describe when it’s done right, like in  If Beale Street Could Talk , when Tish is talking about Fonny’s love for her and Agape starts playing – the whole atmosphere changes, and the montage on screen becomes so much more because of the sound. It’s felt so viscerally that it sticks with you. Or in Lars in the Real Girl , there’s this scene where Lars goes to a house party and he’s feeling out of place, and Talking Heads “Naive Melody” starts playing – the juxtaposition of that song with Lars shifts the whole emotional tone, and it’s easy to relate to Lars because most of us know what it’s like to feel like an outsider. Without music, I don’t think these moments would have the same impact. I went to film school,l so the more exposure I got from watching decades and decades of cinema, the more I valued pairing music and visuals as an art form. Since I was about ten years old, the first thing I’ve always done in the morning is roll out of bed and put my headphones on. I don’t really know what life sounds like without music playing, so it makes sense that my songs live in that space between story and sound. When I write, I can’t help but picture the scene that goes with it, and a good number of my songs also have film references peppered in them.  Film is an escape for a lot of people, and I try to write music that can be an escape for people, too. The goal is that when you’re listening to my tracks, you feel less alone or like someone out there understands what you’re going through – even if it’s just for a few minutes. I think that’s why storytelling is so important to me, because I know there’s a lot of value in it. It’s a reminder that we’re all human, just trying to figure things out. "lost at sea" is such a moving tribute to your brother. What was it like writing and recording something so personal from his perspective? When I started writing lost at sea, it wasn’t originally about Hunter. As the metaphor for the song took shape and I started to think about it more, it became clear to me that the song was  for him. He always had this spirit of adventure, and when he was in his late teens, he bought a sailboat and decided to sail to the Bahamas from our hometown in Florida, but things didn’t go as planned. He ended up alone on the sailboat and fought for his life to get back to safety. There was a very bad storm, and he said a few times he was pretty scared and didn’t think he would survive – he just prayed he’d make it home. Whenever he would tell that story, I’d always imagine what that must’ve felt like, and how brave and strong he was. So in the end, I took that visual and made it more romantic by writing a song where the character has another person with them, but Hunter is the one who gets them home safe. Since he passed away, it’s hard for me to listen to that track because I miss him so much, but when I close my eyes, I see my big brother on that sailboat, and it reminds me of how fearless and strong he was. I think all of my songs are quite personal, but losing a sibling and having a song be an ode to them is very different from a breakup track — it’s a grief that reminds you of your whole life, vs. a relationship that was just for a certain period of time. You've been called the “Emo Taylor Swift.” How do you balance the emotional depth of emo with the structure and catchiness of pop? Yeah, I was called that a few times when my first couple of singles dropped. I think it’s because my lyrics are usually built around a relationship or two people trying to figure things out, and when you’re a newer female artist trying to break into the industry, people tend to compare you to Taylor Swift right away. I think that comparison now is starting to fade with all of my new music because most of the elements and details I use in my music production don’t feel like Taylor; it’s really just my sound.  I’m a huge empath, and that makes you pretty emo, whether you want to be more or not lol. I grew up during the height of pop-punk, emo, and alternative music, so that naturally influenced my music. I think “Have Faith in Me” and “You Had Me at Hello” were pretty canon songs as a kid — all that early 2000s music was crazy. Karen O’s vocals changed my brain chemistry. I think people don’t realize that these genres are also wildly romantic, which is where the pop hooks come into play. When you’re looking at music through the lens of romanticism, the hook is the outburst, it’s your statement, it’s what you want, what you’re thinking, and it’s gotta be catchy because if it’s not, then your statement is just annoying to the listener. So the lyrics are emo, the influence is emo, but the structure is pop hooks, so people don’t tune out. If my hooks didn’t have that energy, then I don’t think people would get the emotional impact behind it. I foundthat with music I could express myself without having to worry about seeming too much. By laying all my feelings out in my songs, other people sense the freedom to express themselves too. It’s very communal in that way.  Each song on IS THIS WHAT I SEE? feels incredibly intentional. Can you talk about your process of choosing the track order and how you wanted listeners to experience the journey? I approach EPs and albums the same way I approach films. I think it should feel like a story from start to finish, call it the hero’s journey. I love when albums are all connected – one of my favorite albums of all time is “Good News For People Who Love Bad News”, and I feel like it’s the prime example of something connecting from start to finish, it’s just cohesive. From that opening horn intro, you know you’re in for something. IS THIS WHAT I SEE? was written with an outlook in perspective. The tracks occur in the aftermath of the situations, and if you listen to them sequentially, then you start to understand the EP thematically.  “with you” is recognizing that certain people, when you’re with them, you don’t want to lose them, and acknowledging that we only have so much time, so when you’re with the right person, time stops because you know it’s not a waste. The lyric, “This must be the place if we’re in a groove!” is a nod to Naive Melody by Talking Heads and that scene from Lars and the Real Girl.  “i’ll be your light” is when you lose someone and you’re left with that desperate feeling of wanting to go back in time and relive what was once magical, even though you know the other person has moved on. It’s from the perspective of knowing that some relationships only work for a moment in time and aren’t supposed to last forever.  “notice you” is about not understanding if someone is into you or not, but hoping that they will be. I wrote it about a situationship I was in where I thought the person was really into me, but in actuality, I was misreading all the signs because of the romantic side of me, and it didn’t end up working out the way I thought it would.   “summer love” is a reflective track. It’s for the people who are in long-term relationships, because I think a lot of music is about new love or heartbreak, but not too many songs are about those who are together for 5, 6, 8+ years. It’s a nostalgic, remembering type track, and it touches on those ideas of life going so fast that when you stop for a second, the only thing you really want is to be able to go back to that first meeting where things felt magical and you had those butterflies.  “flames” I wrote about one of my exes who has an avoidant attachment style, and again, it’s reflective. It’s when you know it’s over and all you can do at that point is think about what happened, and even though you have to let go, there’s a piece of you that would go run back if the other person came back too. The outro “If only, if only, if only” is a nod to the poem in the movie Holes, which is one of my favorite movies and books. The two characters in the poem are both longing for something that they don't have, and that’s really what flames is about. “lost at sea” is for the hopeful, lets weather the storm romantics, and “running” is about two people fighting and how if life wasn’t so complicated, maybe two people could breathe again and ultimately find a way to be alright. Sometimes in relationships, it can feel as if external factors didn’t influence so much, and two people can be together and actually be happy. I think a lot of people just quit when it gets too hard, and I understand that.  “say it” is when there’s a finality to a relationship being over, but the idea is that once you accept and recognize that, you can find yourself again by being okay with being alone, which is something that I’ve personally struggled with.  If this EP captures the emotional snapshots of a moment in time, what are you hoping your upcoming debut album, i don’t know what i’m feeling , will say about where you are now? I look at IS THIS WHAT I SEE?  As an alternate reality to  i don’t know what i’m feeling. IS THIS WHAT I SEE?  is built around singular, fragmented moments that I experienced in my life, and gives people an introduction to me as an artist. Yes, it’s a collection of “love” songs thematically, but it’s more about the emotions behind love, vs. just love as a blanket statement. It’s also more mature in it’s resolution – the perspective of IS THIS WHAT I SEE?  Is acknowledgment, growth, and moving on. It’s a wiser version of myself. There’s an understanding that things come and things go. Sometimes you have to just accept it, process it, and move forward on your own, and that’s okay. i don’t know what i’m feeling is more desperate. It’s a 17-track album that explores every feeling I’ve experienced when you think you’ve met the one, but it doesn’t work out. The album is not about one ex or one person, it’s a collection of every emotion – wonder, lust, heartbreak, anger, resolve, feeling butterflies, being in love. I’ve kind of had a crazy ride when it comes to looking for “the one”, and this album, in a way, is a love letter to my 20s. It touches on the crisis you experience as you start to get older and realize that romance and love aren’t what you’ve been told your whole life. It’s toxic and devastating and confusing; it can feel like you’re on top of the world one day and then like your whole world is falling apart the next. Being a romantic is hard because you grow up thinking that you’re going to find your person in a serendipitous kind of way, and then even when you think you do, even THAT could end poorly. Every song is intertwined from start to finish, and it’s meant to be listened to in order. As far as where I am now, I think I don’t know where I am,  because, well,  I don’t know what I’m feeling.

Photo by Justin Patterson Sydney Kane is taking her talents from the timeline to the stage with her upcoming musical comedy special, Wife Material, set to film live at The Green Room 42 on June 18. Known for her painfully relatable takes on dating, Kane has built a cult following with her blend of razor-sharp wit, musical theatre energy, and zero-filter storytelling. With original songs, sketch comedy, and jokes that cut just deep enough to sting, Wife Material takes aim at the eternal chaos of modern love — from ghosting to girl math to the situationship you knew was doomed but still gave six months of your life to. Directed by Andrew Mullins with musical direction by David Dabbon (SNL 50, Cat Cohen, Las Culturistas Culture Awards), the special gives vintage sitcom aesthetics a Gen Z edge. Think I Love Lucy if Lucy had a group chat, went to therapy, and wrote diss tracks about Ricky. Kane describes the show as “a hilarious breakdown of my worst dating decisions, performed for strangers, so my friends can finally rest.” She’s not out to villainize her exes — well, not completely — but rather to hold a mirror up to herself, and all of us, with a wink and a killer punchline. We got the chance to sit down and chat with Sydney about Wife Material and why heartbreak makes the best punchlines — read the full interview below. You describe Wife Material as a blend of a musical, a breakup, and a 1950s sitcom. How did you land on that concept, and what was the "aha" moment that made it click? I always wanted to write a variety show that had original comedy songs and sketches. I was conveniently going through an on-and-off breakup at the time, and I didn’t wanna talk about it. So I decided to write a whole show about it, which is different. And it wrote itself. I chose to write about my experience of dating in 2025 in the vibe of a 1950’s sitcom because, that tone puts such a fun filter on fucked up situations. Sitcom characters are usually going through terrible situations, but the audience always laughs with them and at them. I was outlining the show, I made eye contact with my “I Love Lucy Vitameatavegemin Lunch Box” and said “aha!”  Your comedy often walks the line between self-deprecating and deeply relatable. How do you balance calling yourself out while also calling the dating world on its BS? I know I’m a mess. But so is everyone else. My therapist calls it “self awareness” but only an asshole would say that about themself.  What’s one sketch or song in the show that had your friends saying, “Please don’t include that — it’s too real”? Everyone is begging me not to do this show. You mentioned wanting to take full accountability for your bad decisions in this special. How do you think that flips the script on typical dating content? Oh, I’m not sure it does. But! If I appear confident and say it does, in published ink, then maybe people will start to think that too!  You say we need more women making bad decisions. Bold. Expand on that — what does that mean to you in comedy, and in life? If I were a man, would you ask me to expand on that?