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Kelly Padrick moves through heartbreak, acceptance, and the complicated space between the two on her five-track EP, a project that favors emotional honesty over easy resolution. Across But, Blue, Padrick approaches changing relationships from several angles, allowing each song to capture a different stage of realizing that something once meaningful may no longer belong in the present. Opening track “But, Blue” introduces the project before “I’ll Try” shifts toward persistence and the instinct to keep reaching for something even when its future feels uncertain. Rather than presenting vulnerability as weakness, Padrick gives those emotions room to develop, creating a project that feels grounded in the messy reality of trying to understand when effort is worthwhile and when it is finally time to move forward. That realization becomes more direct on “It Doesn’t Matter Anymore,” a title that signals a noticeable emotional turn within the tracklist. By the time “Shine” arrives, the project begins looking beyond what has been lost, bringing a different sense of perspective into an EP otherwise shaped by reflection and emotional transition. Closing track “Butterflies” gives the project its final chapter, rounding out a five-song sequence that moves from uncertainty toward something lighter without pretending that personal growth happens neatly or all at once. Padrick’s songwriting keeps the focus on recognizable emotions throughout, letting the progression of the tracklist carry much of the larger story. Together, the five songs present a concise portrait of emotional change, with Padrick finding strength not in having every answer, but in becoming increasingly comfortable with leaving some questions behind. After exploring more electronic sounds throughout your catalog, what made Butterflies feel like the right project to move toward this nostalgic, retro country-pop landscape? I grew up on country music. I always had the desire to get into more of a country sound. My dad was from the South, and we listened to country all the time. The song Butterflies was written in five minutes, and I definitely heard it in my head with a retro, country kind of feel. The rest of the songs followed the same musical vein as Butterflies- country. It was refreshing to try something new, although I have a couple of country songs that I recorded with my past collaborator, Nancy Hess. So country has always been a big part of my life! The EP repeatedly looks backward while encouraging listeners to keep moving forward. How do you personally distinguish between honoring the past and becoming stuck in it? Well, I always try to be a better version of myself. I've had situations that I like to reflect on while maintaining strength and dignity. It's okay to look back, and it's okay to feel sad, but it's better to let go and to move on. Forgiving is a lot healthier than holding onto bad feelings. It's freeing to say okay, I'm good. I don't like what you did, but I'm good. It's over, and you can go now. A lot healthier that way! The idea of never settling for anything less than “butterflies” is such a simple but powerful standard for love. Has your definition of that feeling changed throughout your life and songwriting career? No, it hasn't. The feeling of being with someone who gives you butterflies is so special - and it's really an amazing feeling to be intoxicated with someone. It makes life so exciting (and in reality gave me a lot of writing material), but in the end, if I was being treated less special than I should have been, I chose to leave that person to find someone who would give me that same feeling, having butterflies, because I'm worth it. And I hope whoever listens to Butterflies knows they are worth it too - to never settle for anyone who doesn't treat you right, or gives you butterflies. How did working with Mark Copely influence the storytelling and sonic identity of Butterflies, and did he bring anything out of your music that surprised you? Oh god, Marc is a dream come true! He brought a much more visual vocabulary to the feelings I was expressing. He is so talented musically and so easy to work with. It was never a struggle to write with him; it was fun! He makes every nuance, every sound, sound great and is a master at whatever he does, and may I add, a great guy as well! You’re reuniting with Patricia Chica for the upcoming “Shine” video after creating more than ten music videos together. How has your visual language evolved across that longtime creative partnership? My video concepts have grown as my lyrics have matured through the years. I have much more of a worldly understanding (I hope!), and I've definitely grown in terms of the visual aspects I want to relay in my videos - and also healthier aspects of my life. Working with Patricia Chica, she makes you feel relaxed and will definitely bring out the lyrical intensity of a song. She is such a great visual director and performer.

Toronto-based artist Bye Malo turns up the guitars and loosens his grip on restraint with “Adored,” an indie-alternative release that channels the urgency of early-2000s rock through a moodier, contemporary lens. Inspired by artists including Dominic Fike, Frank Ocean, The Smiths, and The Strokes, Bye Malo continues to build a sound that feels increasingly comfortable moving between influences rather than settling into one lane. “I think in the past, I found myself playing it too safe with my melodies and tones, but I really wanted to take some bigger risks with this one,” he explains, and that willingness to experiment becomes an important part of the track’s identity. Built around a guitar-driven foundation, “Adored” captures the irrational pull of repeatedly returning to someone whose attention is inconsistent or not entirely reciprocated. Rather than romanticizing the situation, Bye Malo leans into its emotional imbalance, exploring the feeling of wanting validation from one particular person so intensely that attention from anyone else becomes almost irrelevant. That tension carries naturally into the production, where nostalgic rock influences meet the darker edges of modern indie without making the track feel like a straightforward throwback. There is an immediacy to “Adored” that suits its subject matter, giving Bye Malo room to take the melodic and tonal risks he previously felt hesitant to explore. Ultimately, he wants the song to work just as well emotionally as it does at full volume. “I hope this is a song that people can play loudly in the car, with the windows down,” he says, adding that he wants listeners to yell along with the chorus and “feel cool when they do it.” With “Adored,” Bye Malo makes a convincing case for taking the safer option off the table. You’ve said you previously played things safer with your melodies and tones. What gave you the confidence to take bigger creative risks with “Adored”? I think taking bigger risks can ultimately give you a better connection with the listener. Kinda like a higher risk, higher reward kinda thing. Making music that is more personal and honest is such a vulnerable thing, but I think it's absolutely necessary. The more I reflect on what kind of artist I want to be, I always come back to wanting a unique and genuine connection and trying to give listeners the same feeling that my favorite musicians/bands give me. Early-2000s rock has been part of your musical DNA since childhood. What records or artists from that era had the biggest impact on the direction of this song? I remember the first band I ever found on YouTube was a Canadian pop-rock band called Mariana's Trench. I actually performed 'All to Myself' by them at a summer camp when I was 9 years old (lol). Around the same age, I found Blink-182, All-American Rejects, Green Day... and I thought they were the coolest people ever (probably cause they were). It wasn't until my late teens/early 20s that I dove into Radiohead and The Strokes. For me, it wasn't just the melodies and riffs that made me fall in love with the music... it was the attitude, the energy, the vulnerability, and confidence in what they were saying. It made me want to play music as loud as possible so everybody could hear. On this record, I am trying to bring my own version of those feelings. I feel like a lot of the song is at a conversational tone/level, and I am trying to capture more emotion with my tone and delivery, rather than the words themselves. “Adored” revolves around craving attention from one specific person, even when that energy isn’t necessarily returned. Why did that dynamic feel worth writing about? I think it's a feeling that's more common and familiar than what a lot of people will admit. I think everyone wants to feel adored by the person they adore. Your influences stretch from Frank Ocean and Dominic Fike to The Smiths and The Strokes. How do you bring those very different musical worlds together without losing your own identity? Sometimes it's hard to find the balance of what artist you want to become. I find myself struggling sometimes and overthinking my songs like... "Would Frank Ocean and Julian Casablancas think this record is cool?" I think I've slowly come to realize that you can fall in love with someone's music, and it's okay to make something that has a completely different vibe from what your favorite artist is making. However, I think it's cool to take inspiration from the little things from the artists you admire. Something that made me fall in love with 'The Strokes' is the effortlessly cool vibe you find on pretty much all of their records... mixed with the sort of melodramatic lyrics that you would also find on a lot of records from 'The Smiths'. As a Toronto artist developing a genre-fluid sound, where do you want to take Bye Malo next after “Adored”? I have so many ideas that I'm working through now, and I'm really excited to share them with people. I really want to have my own sound that is familiar, but is also refreshing and new. I just want to make people feel cool with my music and make them fall in love with the vibe/sound.

Vancouver and New York-based artist the della kit enters a new chapter with Dreams Speaking in Color, a self-directed album that expands her blend of R&B, jazz, hip-hop, and soul while placing creative ownership at the center of the project. The release marks a significant evolution for the vocalist, producer, songwriter, and DJ formerly known as Erica Dee. While her 2022 debut, moonbeams + frequencies, was co-produced alongside AstroLogical, Dreams Speaking in Colour places the della kit firmly behind the controls, with the majority of its production shaped by her own hand. That independence is audible across the album's ten tracks. Opening with “Rebirth,” the record immediately establishes its focus on transition and personal evolution before moving into the atmospheric “Falling Stars” and “Consumed.” “Pitfall,” featuring AstroLogical, introduces another dimension to the record's collaborative side, while “Stuck Boi” and “New Heights” push the project forward through shifting rhythms and the della kit's layered vocal approach. Drawing from hip-hop, meditative R&B, jazz, and '70s analog soul, the della kit treats her voice as both storyteller and instrument. Stacked harmonies drift between dusty beats, Rhodes, soulful samples, live instrumentation, field recordings, and unexpected rhythmic turns informed by years behind the decks. “This is the first record where I truly felt the freedom to be myself,” she says. That freedom extends beyond production. Dreams Speaking in Colour documents the difficult process of leaving limiting relationships, professional structures, and former versions of yourself behind. “Goodness,” featuring Junia-T, and “Real Time,” with Chris Sholar, bring ideas of connection and transformative love into focus, while the latter stretch of the album moves through “City Came Back” before closing with “Home in Heart.” Collaboration remains essential to that world, with contributions across the project from Junia-T, Chris Sholar, AstroLogical, DIOMO of Re.verse, Samir El Bousaadi, Jenny Lea of IMUR, Nate Drobner, and others. After a career that has taken her from teenage performances at British Columbia raves to stages across Brazil, Morocco, Europe, and North America, the della kit sounds less interested in arriving at a fixed destination than in embracing everything she has become along the way. Dreams Speaking in Colour ultimately makes that multiplicity its strength. Across ten tracks, the album moves between rebirth, uncertainty, connection, independence, and finding a sense of home within yourself. For the della kit, the record feels less like an arrival than the beginning of a chapter entirely on her own terms. You’ve described Dreams Speaking in Colour as the first record where you truly felt free to be yourself. What did you have to unlearn or let go of before you could reach that freedom creatively? This was the first project where I felt like I could follow my intuition and my instincts as a producer, songwriter, and vocal producer. I had to let go of the feeling that I wasn’t enough. The music industry can be full of people who want to keep you small. For many years, I was the vocalist sitting behind a man running my sessions, but now I am the woman leading and producing everything. I had to start believing in my own capabilities and trust that my ideas were worth following. This is where my freedom came from; I stopped waiting for somebody else to tell me that I was ready and started trusting myself to be the artist and producer I knew I could be. Producing the majority of this album yourself represents a major shift from moonbeams + frequencies. How did taking greater control of production change the way you understood your own voice as an artist? The beautiful thing about the voice is that it is an instrument. Sometimes I hear an idea in my head that I can’t necessarily play, but I can still communicate that idea to my musicians and collaborators to bring it to life. Having people around me who believe in my vision as the producer is key. I grew and learned so much throughout this project. I expanded my sonic palette, strengthened my communication skills, and learned that I was capable of guiding a team of people with Grammys and major accolades of their own. That was a huge part of stepping into my identity as a producer. Your background as a DJ can be heard through the album’s beat flips, transitions, and rhythmic choices. How has DJing shaped the way you think about building an album rather than simply writing individual songs? I love that you noticed that! My experience as a DJ taught me to think about the bigger picture, paying attention to tempo, genre, transitions, and how the songs will move together. I’m always thinking about how one song leads into the next, how the music translates on the dance floor, and how the overall energy can build and shift throughout the experience. Much of Dreams Speaking in Colour deals with leaving relationships, professional structures, and older versions of yourself behind. Was there a particular song where that process felt especially vulnerable to put into words? Honestly, “Rebirth” was incredibly vulnerable to write because I was exposing something very real while I was still living through it. Being honest about my feelings while I was still sorting through them, and putting that truth out into the world before I had any resolution, felt incredibly raw. I felt naked in a way. I think a lot of people protect themselves by keeping certain parts of themselves hidden, and I wanted to do the opposite. You’ve spoken about wanting femmes and queer artists to trust their voices and take up space without waiting for permission. What do you wish someone had told you earlier in your own journey about claiming that creative authority? I spent a very long time being the only woman in predominantly male spaces, especially in the electronic music festival and DJ scenes. There were definitely moments where I was made to feel less than and small. It took me a lot of time and dedication to build confidence in my skills. That confidence gave me permission to take up space and lead. I did have to put in the work and learn my craft, but I didn’t need to wait for someone else’s approval to validate me. Though I wished someone had told me “You belong here”. That never happened! Instead, I’ve grown into the woman who affirms herself. I AM ENOUGH!!!

Chicago rapper Lilsno is using “Sorry Not Sorry” as an opportunity to remind listeners that versatility can be just as important as having a signature sound. Born and raised on the South Side of Chicago, Lilsno grew up freestyling with his older siblings and began recording music while still in high school, developing the sharp wordplay and lyrical instincts that continue to sit at the center of his music today. On “Sorry Not Sorry,” Lilsno puts his own spin on the record originally released by Lil Yachty and Veeze, but imitation clearly isn't the goal. Instead, he treats the familiar foundation like an open canvas, using it to experiment with his delivery, personality, and writing while proving how naturally he can adapt to different musical environments. There is an easygoing quality to the track, but beneath that energy is the kind of writing that rewards a closer listen. That balance is intentional. Lilsno describes the release as a chance to have fun with music again while still giving listeners bars and wordplay that may not fully register until a second or third play. More importantly, the track represents his refusal to lock himself into a single lane, allowing creativity to dictate where he goes rather than expectations about what kind of rapper he should be. That mindset becomes even more interesting when placed alongside Lilsno's story. After losing his mother in 2024, he reached a turning point that pushed him to take his career more seriously. Now, rather than rushing to define himself through one specific sound, he is building an identity around range, with melodic music, trap, drill, and other styles all existing within his creative world. “Sorry Not Sorry” ultimately feels less like Lilsno trying to prove he belongs in one corner of hip-hop and more like him showing why he doesn't need to. His message behind the release is simple: trust what makes you different and don't be afraid to think outside the box. For an artist still revealing the full scope of what he can do, that freedom might be exactly what makes the next chapter worth watching. Sorry Not Sorry” is built around having fun with music again while still giving listeners bars they might not catch immediately. How do you balance making something that hits on the first listen with writing lyrics that reward people for coming back? For me personally, I’ve always been a big Lil Wayne fan, so I base my wordplay on being metaphorical and making sure the delivery lands perfectly for the listeners who understand this type of sound I’m bringing in this “Sorry Not Sorry” track. You’ve said versatility is a major part of who you are as an artist. What do you think separates being genuinely versatile from simply experimenting with different genres and sounds? I don’t think anything separates the two; I feel like u won’t know how creative u can actually be if u don’t experiment. When u step outside the box and try different sounds without losing the ability to create and catch listeners' ears the way you would in any other genre, that’s when u become an artist in my book. To me, an artist is someone who's not held to one style or genre. You chose to put your own spin on Lil Yachty and Veeze’s “Sorry Not Sorry.” What did you hear in the original that made you want to enter that world, and what was most important for you to change or bring to it? Mainly, what caught my attention was the beat and the 2 different flows that Lil Yachty and Veeze carried in the track. Hearing something that I really like and that catches my attention sometimes makes me wanna go try to see if I can come up with something better or just as good, putting my style on the same instrumental. The most important part was that I approach my version of the Sorry Not Sorry track as if I were being remixed on the song, making sure to keep their Cadence for most of the song but still add my own and show what I would’ve done if I were actually on the song with those guys. Losing your mother in 2024 became a turning point that pushed you to take music more seriously. How has that experience changed the way you approach your career, your writing, and what you want to accomplish through music? This experience changed my approach because she really believed in me, and I wasn’t giving it my all by being consistent, so it really showed me that I can’t waste my time and talent. It also helped me become more vulnerable in the music space, to the point where I’m now venting more in my music. What I want to accomplish in music is to be able to hit the big stages, show my gift, become the provider my family needs, and to show everybody I can actually do it You’ve mentioned melodic music, trap, drill, and other styles as directions you can move between. As you build out your catalog, what do you want listeners to recognize as the common thread that makes every record unmistakably Lilsno? I just want my listeners to relate to my music and understand im not targeting just one specific type of audience. I want my catalog to be big enough that I have music for all ethnicities and people from all cultures, not just mine.

Independent singer-songwriter ZOE continues to shape her emotionally candid approach to pop with “Honest,” a release that examines what happens when love creates space for complete transparency. Following February’s “Closure,” “Honest” feels like another piece of a larger conversation ZOE is building around relationships, growth, and self-understanding. Rather than treating vulnerability as something fragile, the indie-pop artist approaches it as one of intimacy’s greatest strengths. “Honest” centers on the rare relationship where performance becomes unnecessary. It is about finding someone who can see beyond the curated versions of ourselves and still offer a sense of security. That distinction gives the song its emotional weight. ZOE isn't interested in presenting love as a transformation for someone else. Instead, she explores how the right connection can encourage a person to become more truthful about who they already are. “I hope people hear ‘Honest’ and think about the person they can be completely themselves with,” ZOE shares. “For me, love is not about becoming someone else for another person. It is about finding someone who sees you clearly, keeps you honest, and still makes you feel safe enough to be exactly who you are.” That perspective carries a maturity that fits naturally within ZOE’s developing catalog. Where contemporary pop can sometimes mistake emotional exposure for oversharing, “Honest” is grounded in something quieter and arguably more difficult: allowing yourself to be genuinely known. The single has begun receiving independent radio, playlist, and media support across multiple markets as ZOE continues developing new material and expanding her presence across press, radio, and festival spaces. With “Closure” and now “Honest,” ZOE is establishing a clear foundation for what comes next, one built less around spectacle and more around emotional specificity. “Honest” explores the freedom of being completely yourself with another person. Was there a specific moment or relationship that made you realize how powerful that kind of honesty can be? I think it came from realizing there’s a difference between someone loving the version of you that you present and someone knowing you well enough that you don’t have to present anything at all. That’s where “Honest” came from. The song starts from feeling almost exposed — bare and undone — but instead of that becoming uncomfortable, it becomes freeing. Being fully seen and still feeling safe is what makes the relationship in the song powerful. You describe vulnerability as something powerful rather than frightening. Has writing music changed the way you approach vulnerability in your own life? Definitely. Writing has made me realize I can acknowledge something without having to solve it first. I used to think vulnerability meant having this huge confession or explaining exactly what happened. Now I think it can be as simple as admitting, “This is how I feel right now.” Music gives me somewhere to put feelings that might contradict each other. I can be completely exhausted in “Burn Out” and then turn around and be insatiable for life in “Field of Flowers.” Both can be true. “Honest” follows “Closure,” and both releases explore relationships from different emotional perspectives. Do you see the two songs as connected chapters in your growth? Absolutely, but I think the biggest connection is actually the difference between them. Closure looks backward. There’s a lot of trying to understand what happened, what something meant, and how to move forward from it. Honest feels much more present. Instead of asking the past for answers, I’m exploring who I am now — in love, overwhelmed, ambitious, grounded, burned out, hopeful, and spiritual. Closure was about processing. Honest is much more about living. As an independent artist, how do you balance creating deeply personal music with the pressure to build an audience and navigate the industry? I’m still learning that balance. There’s always another number you can look at — streams, followers, playlists, views — and if you’re not careful, music can start feeling like a scoreboard. “Burn Out” touches that part of ambition for me. I want to grow. I want people to hear the music. I want to perform in bigger spaces. But I don’t want chasing the next thing to make me stop feeling the things that are already happening. The music has to come first because that’s the part people eventually connect with anyway. You’re continuing to develop new material while expanding into press, radio, and festival spaces. What do you want the next chapter of ZOE to reveal that listeners haven’t seen yet? I want it to be louder. Honest showed more sides of me than Closure, but I still think there’s an edge that listeners haven’t completely heard yet. The new material is moving further toward indie and alternative rock, with more attitude, bigger instrumentation, and a little less restraint. I don’t want every album to sound like the one before it. I want people to recognize my voice and writing, but still wonder where I’m going next.

For years, SoundCloud has been one of the internet’s most important places for discovering new music, particularly for independent artists operating outside the traditional label system. Now, the platform is pushing further into direct-to-fan commerce with a new feature that allows artists to sell downloadable music directly from their SoundCloud profiles, keeping the discovery and purchase experience in the same place. SoundCloud launched the direct music sales feature in beta on August 26, initially opening it to approximately 200 U.S.-based Artist Pro creators with Fan Support enabled. Participating artists can select eligible tracks they want to sell, set their own prices and offer downloadable files in formats such as MP3 and WAV. Fans can then purchase the music directly through SoundCloud instead of being redirected to another storefront. Perhaps the biggest part of the announcement is SoundCloud’s decision to take zero commission from these music sales during the beta. Artists receive the proceeds from purchases minus applicable payment processing fees and taxes, giving independent musicians another potential source of income beyond streaming royalties. At a time when artists continue to question how much streaming actually pays, the ability to turn even a relatively small number of dedicated listeners into direct customers could carry significantly more value than simply generating additional plays. SoundCloud Is Bringing Music Purchases Back to the Platform SoundCloud already has evidence that its audience is interested in purchasing music. According to the company, more than 250,000 artists have linked over 2.4 million tracks on SoundCloud to external purchasing platforms, while more than half a million users leave the platform each year to buy music elsewhere. Bringing those transactions directly onto SoundCloud removes an extra step between discovering a song and financially supporting the person who made it. The move also points toward something bigger happening at SoundCloud. Rather than competing solely as another streaming service, the company has steadily been building an ecosystem around independent artists and their most engaged listeners. Artist Pro includes distribution and monetization tools, while SoundCloud has also developed Fan Support, artist storefronts, fan-powered royalties, follower-exclusive releases and options for artists to sell or promote physical products. Taken together, those features suggest SoundCloud increasingly wants to occupy the entire relationship between an artist and their audience. An independent musician can upload a song, find listeners, build a following, distribute a release to other streaming services, monetize their audience and potentially sell music directly without having to build that entire infrastructure somewhere else. For emerging artists already using SoundCloud as a discovery platform, that could make staying within its ecosystem considerably more attractive. Why Direct-to-Fan Sales Matter for Independent Artists The direct-sales feature also arrives as the music industry pays increasing attention to superfans. Streaming made listening incredibly convenient, but it flattened much of music consumption into the same monthly subscription. Whether someone casually plays a song once or listens to an artist every day, the opportunities for that fan to spend directly with the artist can still be limited. Giving listeners the ability to purchase music creates another level of engagement beyond simply following, liking or streaming a track. For independent musicians, that distinction matters. A single fan purchasing a $5 or $10 release can potentially represent the financial equivalent of a significant number of streams, depending on the platform and royalty structure involved. More importantly, a purchase signals that someone values the artist enough to actively spend money on their work, creating the kind of fan relationship that can later translate into ticket sales, merchandise purchases, physical releases and long-term support. SoundCloud also occupies an unusual position in this conversation because discovery has always been central to its identity. The platform became synonymous with emerging rappers, electronic producers, DJs, remixes, demos and independent musicians uploading work before much of the traditional music business knew who they were. Adding direct purchases to that environment could make the distance between discovering an unknown artist and financially supporting them considerably shorter. SoundCloud Is Building More Than a Streaming Service There are still limitations. The direct music sales feature remains in beta and is not currently available to every SoundCloud artist. Its long-term impact will depend on how widely SoundCloud expands access, how prominently purchasing is integrated into the listening experience and, most importantly, whether listeners actually develop the habit of buying music directly through the platform. Still, SoundCloud’s broader direction is becoming increasingly clear. The platform appears less interested in winning a straightforward streaming war against Spotify or Apple Music and more interested in becoming infrastructure for independent artists. Discovery remains part of that equation, but distribution, monetization, fan relationships and commerce are becoming equally important. Streaming changed the industry by making access to music nearly frictionless, but it also created an environment where massive listening numbers do not necessarily translate into meaningful income for emerging musicians. SoundCloud’s latest move suggests the next phase of music platforms could focus less on generating another stream and more on figuring out what happens after someone becomes a fan. If SoundCloud can successfully connect discovery with direct spending, its biggest advantage may ultimately be something it has had all along: an audience that goes there specifically looking for artists they have not discovered yet. Now, the platform is building a business model around giving those listeners more ways to support the artists they find.

For independent artists, awards can serve a purpose beyond adding another badge to an Instagram bio. The right nomination or win can become a useful piece of career collateral, giving artists something credible to include in an EPK, pitch to media, share with booking teams, or use when introducing their music to a new audience. More importantly, major-label representation isn't a requirement for every awards program. There is an entire ecosystem of independent, international, and genre-specific awards accepting work from artists operating outside the traditional label system. Some focus on the recording itself. Others recognize songwriting, performance, music videos, cultural communities, or an artist's broader career. Eligibility also varies considerably, so artists should always check the current submission rules before entering. Here are 15 music awards and competitions independent artists should have on their radar. Hollywood Independent Music Awards The Hollywood Independent Music Awards were built specifically around the independent music community. Based in Hollywood, HIMA recognizes emerging and established artists alongside songwriters, composers, producers, independent labels, publishers, and other recording professionals from around the world. The organization places particular emphasis on music created outside the major-label system, making it one of the more directly relevant awards programs for independent artists looking to build industry recognition. InterContinental Music Awards The InterContinental Music Awards take a particularly international approach, recognizing musicians from around the world while placing an emphasis on cultural diversity, international visibility and artist development. The competition welcomes independent and emerging musicians across numerous genres and disciplines, including songwriters, composers, performers, producers and instrumentalists. For artists attempting to build audiences beyond their home market, its international positioning makes it worth watching. The Josie Music Awards The Josie Music Awards have become one of the larger awards programs dedicated specifically to independent music. Artists can be recognized across categories including Artist of the Year, Song of the Year, Album of the Year, EP of the Year, Music Video of the Year, Songwriter and Rising Star, alongside numerous genre-specific categories. Unlike competitions focused solely on individual songs, the Josies extend into broader career recognition, making the program relevant to artists who have already begun developing a catalog and professional presence. Unsigned Only Music Awards The name pretty much explains the appeal. Unsigned Only is designed specifically for artists operating outside major-label deals. Rather than judging songwriting alone, the competition focuses on the complete artist, giving musicians another opportunity to have their work evaluated without needing major-label backing. For artists deliberately building their careers independently, it is one of the most directly relevant competitions on this list. John Lennon Songwriting Contest For artists whose strongest asset is the song itself, the John Lennon Songwriting Contest is worth separating from conventional artist awards. Founded in 1997 and made possible by Yoko Ono Lennon, the international songwriting competition covers categories including rock, pop, hip-hop, country, jazz, R&B, folk and electronic music. Rather than rewarding an artist's popularity or career momentum, songwriting competitions can give emerging musicians another route to recognition based primarily on the material they're creating. Global Music Awards Global Music Awards is an international competition recognizing independent musicians across a particularly broad range of styles and disciplines. Its categories and recognition span contemporary music, jazz, classical, world music, experimental projects and other forms of recorded music. For independent artists working outside mainstream commercial genres, the breadth of the competition is particularly useful. Not every worthwhile awards program is built around pop, rock and hip-hop. AIM Independent Music Awards The AIM Independent Music Awards are one of the more established names connected to the UK's independent sector. The awards champion independent artists, labels and industry figures while recognizing breakthrough talent alongside standout albums, EPs, tracks, music videos and broader achievements across independent music. Artists should pay close attention to individual category requirements, as eligibility can differ significantly depending on the award. ISSA Awards The International Singer-Songwriters Association Awards celebrate independent artists and music creators from the United States and around the world. Recognition spans entertainers, vocalists, bands, musicians, and other categories, making the program especially relevant to singer-songwriters building careers without traditional major-label infrastructure. For artists developing both their songwriting and performance identities, it provides another avenue for recognition within the independent community. International Acoustic Music Awards Not every independent artist is making heavily produced pop, rap, or electronic music. The International Acoustic Music Awards give acoustic-focused musicians a competition built specifically around their lane. The program spotlights acoustic-driven independent music across genres including folk, Americana, country, roots, instrumental, and singer-songwriter. It's a particularly relevant option for musicians whose recordings are centered on songwriting, live instrumentation, and stripped-back production. Munich Music Video Awards A strong visual can have a life completely separate from the song it was created to promote. The Munich Music Video Awards is an international program centered on music videos and visual storytelling, showcasing artists and filmmakers from around the world. For independent musicians investing heavily in cinematic videos, conceptual visuals, or distinctive creative direction, music video competitions can extend the lifespan of a release while giving the visual another promotional angle. Native American Music Awards The Native American Music Awards occupy a much more specific space than the general independent competitions on this list. The awards celebrate Indigenous music and artists across North America, recognizing both traditional and contemporary releases spanning rock, hip-hop, country, folk, blues, and other genres. For eligible Indigenous artists, culturally focused awards can provide recognition within a community and industry ecosystem that broader music competitions may not adequately represent. International Portuguese Music Awards The International Portuguese Music Awards recognize music created by artists of Portuguese ancestry from around the world. Rather than being geographically limited to Portugal, the awards cover Portuguese-language music alongside a broad range of contemporary genres created throughout the global Portuguese community. It's another reminder that independent artists should look beyond general music awards and research opportunities connected to their culture, region, and community. Canadian Independent Music Awards For Canadian artists, independent music recognition closer to home is also worth watching. Canadian independent music programs spotlight emerging and established talent operating outside the major-label system, helping artists build recognition within one of the world's most active music markets. Canadian artists should monitor current categories, eligibility requirements and submission periods, as these can change between award cycles. UK Country Music Awards Country's independent ecosystem stretches far beyond Nashville. The UK Country Music Awards recognize artists and releases making an impact within independent country music, with a particular focus on talent connected to the UK country scene. For country artists attempting to expand internationally, specialized genre recognition can sometimes be more strategically valuable than entering a completely genre-agnostic competition. Music Video Awards Music Video Awards provide another route for musicians whose visual identity has become as important as the recording itself. The international competition focuses on underground and emerging talent, with categories recognizing not only the overall music video but directing, cinematography, originality, animation, choreography and style. That makes the opportunity relevant not only to artists, but also to the independent directors, cinematographers and creative teams responsible for bringing their releases to life. Awards Should Be Part of the Strategy, Not the Strategy Submitting to awards can absolutely be worthwhile, but independent artists should be selective. A trophy by itself isn't a career plan. Look at who runs the program, previous winners, eligibility requirements, judging process, industry involvement, submission fees, and what recognition actually provides before entering. The smarter approach is to target awards that make sense for your music and where you're trying to go. A songwriter may get more value from a songwriting competition. A visually driven alternative artist might prioritize music video awards. An artist building internationally could focus on programs with global categories. Treat nominations and wins as another piece of the bigger picture: something that can strengthen your press story, EPK, booking pitch, and industry credibility while the music continues doing the heavy lifting.

The economics of being an independent artist have never been particularly forgiving. Now, TIDAL is making a notable change to its direct-to-fan model by eliminating its platform fee on music and merchandise sales. As of August 31, TIDAL has dropped its previous 10% cut to 0% for eligible U.S. artists, meaning the platform itself takes no percentage of a direct sale. Standard payment-processing fees through Square still apply. The move expands TIDAL's push beyond traditional streaming. Independent artists can upload an album, determine their own selling price, and give fans a direct purchase option. Music can be uploaded and sold without requiring either the artist or buyer to maintain a paid TIDAL subscription. TIDAL is also bringing physical merchandise into the equation. Eligible artists can connect inventory from their Square store to their TIDAL profile, allowing fans to discover products while listening to their music. Artists remain responsible for fulfillment, shipping, returns, and customer service. Perhaps more valuable in the long term is the fan relationship. Buyers can choose to share their email address during a transaction, giving artists another avenue to build an audience they can reach beyond algorithms and social feeds. Other features include full-quality music downloads, editorial support, track-radio discovery, and TIDAL's Spotlight program. There is an important limitation: selling is currently restricted to eligible U.S.-based artists, although fans can purchase eligible music in the U.S., Canada, U.K., Switzerland and the European Economic Area. TIDAL says it intends to expand its music and merch sales integration internationally. For independent musicians accustomed to fighting for fractions of streaming revenue, the bigger story isn't simply another feature. It's the continued shift toward direct-to-fan economics, where an artist's audience can become something more tangible than a monthly listener count.

The Star Prairie Project continues to dig deeper with “To Warm a Cold Heart,” the second preview from their upcoming tenth studio album, Shadows on the Wall. What began as a simple question during a walk evolved into a thoughtful rock track exploring compassion, empathy, forgiveness, and what it takes to break through the divisions that separate us. The single also reflects the band's increasingly collaborative approach, with Nolen Chew Jr.'s lyrics serving as the foundation for the music built around them. We caught up with Nolen to discuss the inspiration behind “To Warm a Cold Heart,” the evolution of The Star Prairie Project, and the unexpected themes emerging across Shadows on the Wall. The idea for "To Warm a Cold Heart" began during a walk. At what point did that observation transform into a song concept you knew you had to pursue? Nolen: Pretty much right away. I knew I would write a song revolving around that theme. That inquiry, ‘How Do You Warm a Cold heart’ I began mulling the idea around? So when I got home and I prepared some notes about the idea and I wrote at the top, To Warm a Cold Heart and that became the song title. The central idea being that question involving how as individuals, groups or as a species. How do we open up our hearts? How do we stop the suffering and the cruelty? I think the awareness is key followed by forgiveness and a personal attempt to strive to be decent and kind people. All the worlds religions and philosophies delf into this area although the ideas themselves transcend religion and cultural boundaries. We all know how hard it is to change paradyms and patterns very hard thing to do, especially in todays polarized and conflicted world. It is very thought provoking song. At least I hope it is. The arrangement balances delicate acoustic moments with powerful guitar passages. How did you decide on that dynamic structure to support the song's message? Nolen: Well you really need to interview Marcello and Dikk and Sandrine too. They created that dynamic structure after I sent them the lyrics. For this album we tried some new things and one of them was for me to write the lyrics first then they would build the music around words. In the past I had pretty much written all the music and lyrics. But as a whole the writing in this project has really evolved. Every artist in the Star Prairie Project now are very creative writers. There’s a lot of energy and enthusiasm because everyone creates and shapes the music and everyone is motivated to prioritize the music and the art of making music. This song is a really good example. Songwriting, vocals and production are what makes a great song. I think this song excels at all three aspects. That’s what creates that dynamic structure. Compassion is often viewed as vulnerability, yet this song presents it as strength. Why was it important for you to explore that perspective? Nolen: In the new Speiberg movie “Discloser Day” the actor Emily Blunt stated, in the movie, that her characters superpower was her empathy. I think her message is poignant and powerful and spot on. Jesus, Buddha and many other spiritual teachers have taught about the power of love. One could say that they meant something like Love is a frequency a very powerful energy. We can all dial into that frequency. And those that can resonate at that frequency range can experience a new world. They said that energy can be manifested through our intentions, focus and our thoughts and actions. It is a creative force that can literally manifest the kingdom of heaven upon the earth. When Jesus taught at the sermon of the mount the beatitudes served as his roadmap for us access that kingdom. What if this isn’t myth? What if this was literally true and not just symbolic. What if Love was the universal language? That’s pretty powerful stuff. This is the second preview of Shadows on the Wall. How does "To Warm a Cold Heart" fit into the larger narrative or themes of the upcoming album? Nolen: It’s funny. In the beginning our goal was to make a fun album, a party album but it got pretty deep in a couple of places. But I grew up rocking out to Led Zepplin, Pink Floyd and Alan Parson’s and they got pretty deep. That’s really the challenge. The history of rock and roll is replete with examples of how rock has no boundaries or borders when it comes to messaging while rocking out. So when we began there was no theme or larger narrative but on your way to making an album strange things happen. In this case the message was embedded in the album song by song and they just popped up like clouds in the sky, stormed a bit and then the sun came out again, all on it’s own. And afterwards you notice the connections and you say to yourself “well that makes sense” and it just happen instinctively in real time. By the way, I think it is a pretty good party album when all is said and done. After reaching your tenth studio album, what continues to inspire The Star Prairie Project to keep exploring thoughtful, philosophical themes through rock music? Nolen: It’s just who we are. There’s no branding when you’re making music. The music defines itself afterward. This is such a different album than our last album ‘Little Gems’ in style and substance. But not in quality. They are both awesome albums and I’m very happy and proud of both of them. It’s just that they are so unique and different. Often times when the song is done I’m like, “I can’t believe we just did that”! It’s a lot of fun and just the process of making something from nothing is a trip”! That’s what inspires me.

A big difference exists between being annoyed with the world and being completely fed up with it. Oakland- and San Francisco-based CuVa Bimö make that progression loud and clear on their sophomore album, New Western Values, turning political frustration, personal grievances, social exhaustion, and outright absurdity into ten tracks of restless “post-whatever rock.” Formed through Craigslist in 2023, CuVa Bimö consists of Pete Vadelnieks, Ricky Cunliffe, Jake Bilich, and Sebastian Beltran-Moeller. Their refusal to settle comfortably into one genre has become part of the appeal. Alternative rock, post-punk, grunge, and shoegaze collide throughout their music, with influences ranging from Sonic Youth and Fugazi to Ride, Dinosaur Jr., Arctic Monkeys, and Oingo Boingo. Recorded over seven days with Trevor Gabriel of Cactus House Recording/Dark Satellite, New Western Values arrives as an intentional step forward from 2025 debut CB Radio. Where that record documented everyday irritation and a creeping suspicion that civilization might be falling apart, its follow-up sounds considerably less patient. The title track confronts what the band sees as the normalization of government cruelty in America, while “Charm Offensive” turns its attention toward two-faced behavior within local music scenes. “Sound And Fury” aims at election-cycle rhetoric, and “North American Champ” examines American aggression abroad. Elsewhere, the record gets intensely personal, particularly on the head-injury nightmare “1027 Graysin” and the cathartic finale “Too Much.” “Malagradecido,” meanwhile, is performed entirely in Spanish as a tribute to Mexican punk and telenovelas. The band hopes that frustration ultimately becomes productive. As they explain, New Western Values is about using the feeling of being “absolutely fed up” as catharsis, then channeling that energy toward improving everyday life and community. CuVa Bimö isn't offering easy answers. They're documenting what it sounds like when irritation finally reaches its breaking point. Your debut album captured a sense of everyday annoyance, while New Western Values comes from a place of being genuinely fed up. What happened between those two records that intensified your perspective? Pete: For me, I became a father, so my free time became a lot more scarce. That meant that some personal relationships became difficult to maintain and, frankly, some people I knew had their heads so far up their own asses that I couldn’t take it anymore. I was also doomscrolling a lot more while watching my kid, which, thankfully, I’ve quit doing as he got older, but social media was feeding me a narrative that made me fed up with so many people from various walks of life. So, when it came time to write lyrics for these songs, this overall feeling of being “fed up” was very present, so I channeled that into these songs. Cheaper than therapy, let me tell ya. Seb: In the thick of it in Oakland, for better or worse, with several car break-ins, tires stolen, a fist fight break-in, the realities of working in public education, it's so easy to dwell on what’s pushing myself and my bandmates, in their own respects, to feeling fed up, burnt out, and disillusioned. In our first album, some of the lyricism was trying to match our audience with general feelings of frustration and abstractions. Now, seeing the coming to fruition of the New Western Values we have been taught in school and life, our newest album’s lyrics are much more straightforward, directly referencing the details, names, and places of our everyday lives, along with the sensationalist terms we hear in the news or read about in our books. You describe yourselves as “post-whatever rock,” pulling from post-punk, grunge, shoegaze, alternative rock, and beyond. Has rejecting a specific genre made you more fearless as songwriters? Pete: Haha, sure! The truth is that we always start with a riff/groove idea and will build songs from there. It’s always about the idea, not the genre of the idea. When we formed in 2023, we never sat down and said, “We want to be a (blank) band”; we just played to our strengths and whatever ideas fell out of our heads. Sonic Youth is a big influence on me in that they wrote and played whatever felt right to them, not what a “genre” says they should sound like. Seb: I love geeking out on hyperspecific genres, and paradoxically in doing so, find it hard to pin us down to a particular genre. Every time I find an algorithm assigning me the same type of genre, I honestly try to pivot totally away from that. With that being said, there can be times when we will try to jokingly tap into a certain vibe of one of our favorite artists and incorporate a good amount of our different areas of expertise to create “whatever” our mix is. Several songs directly confront American politics and social conditions. How do you write about subjects that are unfolding in real time without allowing the music to become trapped in one particular moment? Pete: Seb and I are a couple of history nerds, and we bonded over a podcast called “Real Dictators." Spoiler alert: what’s happening in current American politics and social conditions has been occurring over the last few hundred years all over the world, but especially when fascism rises up in a country's political environment. Seb: You could say that we’re commenting on the Trump administration, but look at so many post WW2 dictators that popped up during the Cold War, and their rises are interesting. I nerd out on history books for fun and teach what I read, so it's sort of all-consuming, and I really get into my geography, history, religion, and cultural references. Each time I read a new book, I try to take some phrasing, either for lyrics or a title, or concept imagery for artwork. I was really into my Latin American and revolutionary books, but lately I’ve been reading some ancient histories and myths, which always have super cool-sounding terminologies. I also teach in what’s probably the most diverse part of Oakland, so I’m always learning. “Malagradecido” is entirely in Spanish and draws inspiration from Mexican punk and telenovelas. Seb, what attracted you to those influences, and how did they reshape the way the band approached that track? Pete: Seb brought this song into practice, and immediately the 4 of us were drawn to it. Seb: I started to get super interested in the Mexican, and later generally Hispanic rock scene after studying abroad in Cuernavaca in 2020. I went from some of the classics like Hombres G and Cafe Tacvuba into some more modern post-punk acts like Generación Suicida, Grito Exclamación, Sgt Papers, and Los Cogelones. Rata Negra from Spain, and La Ola que Quería Ser Chau, Buenos Vampiros, and Suárez from Argentina are also some big influences, many of which I have been blessed to have seen here in the Bay Area. Otherwise, growing up watching Telenovelas at my grandparents’ back home in San Gabriel during the day was a constant background that I never quite understood but also started picking up on, inspiring some of the translations about love, blood, and ingratitude. Watching pro wrestling is also sort of a telenovela I have been invested in for most of my life, which also contributes to some of our lyrical references. You’ve said you hope listeners use their frustration as catharsis and then do something positive within their communities. What does turning anger into meaningful action look like to CuVa Bimö? Pete: I’d like to caution: baby steps here, but more than anything, try to become part of your local community. If something feels disingenuous, or more bluntly, bullshit, talk to your neighbors about it. More than anything, talk to others in real life. Get out of the house and stop shit-talking about others. Society is getting weirdly distant from social interaction, and we’re not talking to each other enough in real life. Go out to a show, go to a book reading, visit the library, go to a local restaurant. It’s easy to become a keyboard warrior when you’re fed up with something, so try to take the extra step to make your local community slightly better. Seb: My big obvious answer and reminder for myself is to not get so sucked into our surveillance state where we’re constantly judged and judge others. For everyone telling others how to live online: go touch grass and breathe air. Play soccer, read a book, write a dumb song, say gibberish, and more. Anything but IDK, nothing, and doomscrolling; those aren’t answers and can’t change anything. I’m fed up and disillusioned and all that, sure, but I have a pretty good community that helps channel my anger and frustration into something positive and remarkable, whether in my classroom, this band, or at home with my cats. There’s always the list of how I need to be a better person, but what helps that egomaniac mindset is investing in, supporting, and promoting my family, friends, and neighbors immediately around me and just starting there before.