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Progressive metal fans have something new to sink their teeth into as Black Note Graffiti (BNG), the rising four-piece from Michigan, unveils their latest full-length album, Resist The Divide , now available on all streaming platforms. For Resist The Divide , BNG partnered with Golden Robot Global Entertainment, whose roster boasts names like Filter, L.A. Guns, and Bass Drum of Death. The album was produced by celebrated producer Josh Schroder, known for his work with Lorna Shore, King 810, and Butcher Babies. Schroder’s influence can be heard on singles like “The Source” and “Place You Lie”—the latter featuring a visually intense music video directed by William Wombat Felch. Resist The Divide , BNG's fourth studio album, is a masterful mix of progressive metal and alternative rock, a sound that has helped the band cultivate a dedicated following in Michigan and beyond. Known for their heavy riffs and emotive lyrics, BNG has built a reputation for captivating live performances. They've shared stages with metal giants like Lamb of God, Bring Me The Horizon, Memphis May Fire, and Dorothy and graced the lineups of major festivals, including SXSW, Upheaval Festival, and NXNE Festival Toronto. But there’s more to BNG’s music than just intensity; their lyrics dive deep into the internal struggles people face, from addiction and trauma to mental health challenges. Themes of sacrifice, mindfulness, and transformation are central to Resist The Divide , encouraging listeners to break free from harmful behaviors and find a path to self-awareness and healing. In tackling these themes, BNG's songs act as both anthems and cathartic journeys, resonating with fans who find solace in music that acknowledges—and seeks to transcend—life's darker moments. With a full tour schedule ahead, BNG is set to bring Resist The Divide to audiences across the country through 2025, solidifying their place as one of progressive metal’s most compelling new acts.

Pierre-Stéphane’s EP, GLASS, is a refreshing fusion of genres that brings together soul, jazz, R&B, and rock in a polished way. Each track highlights a different facet of Pierre-Stéphane’s style, all while staying rooted in his background as both a musician and a construction glazier—a creator in every sense. The EP opens with “Hot Girls,” a smooth blend of soul, jazz, and R&B with a modern blues influence that stands out, setting a warm, groove-filled tone. It’s a track that lets his love for soul shine, and it invites listeners into a relaxed, smoky atmosphere. “The Birds” introduces a pop touch, built on a prominent piano melody that adds a lighter, catchy contrast to the EP’s deeper tones. “Monster,” the third track, takes the EP in a bolder direction, with an alternative rock-inspired melody underscoring a modern R&B vibe. There’s even a sample from Snakes on a Plane, giving it a quirky, cinematic edge that makes it memorable. “Nineveh” and “Trust” round out the EP by diving into introspective themes. They’re contemplative yet rhythmic, adding depth to the project as a whole. GLASS is an impressive display of Pierre-Stéphane’s multi-genre influences, bringing together his roots and creativity in a standout debut. Congratulations on the release of your EP, “GLASS.” The EP blends so many genres and influences—jazz, soul, rock, and R&B. Can you share your inspiration behind this unique fusion? Over the years I’ve listened to many different genres and like many I’ve kept around what’s spoken to me. Music like soul and rock already have many similar sonic elements. You could say that Rock is a sped up version of soul. Tempo has a lot do with a songs feel and overall mood. Over many years of production experimentation I’ve found that certain tempos allow you to make multiples genres at once, or in one song. Growing up in California and now living in Ottawa, how have these different environments influenced the way you create music? California has always been home to some of the greatest entertainment on the planet. Growing up in Pasadena, I spent my early childhood surrounded by private school kids who listened to Kanye and Pharrell. Listening to these icons while also living in Los Angeles, I always felt as though stardom was within my reach. Now living in Ottawa I’ve kept the same foundation. You’ve said your work as a glazier inspires your music—what parallels do you see between building with glass and constructing a song? Constructing a song and constructing with glass, in their essence are both forms of art. Glass ads character to a piece of architecture, and although I never sought out to be a glazier, I can appreciate the beauty in this. Every building starts off with a foundation. Certain rules always apply. Like the key of a song determining what chords can be used. No matter which it is, everything starts with step 1. The cover art pays homage to blue-collar workers. How important is it to you to bring these perspectives into the music industry, and what do you hope listeners take away from that? I think there is somewhat of a stigma against construction workers. Some people might say we’re just a bunch of loudmouths. They wouldn’t be completely off base if we’re being 100% honest. But another truth is that there are also a lot of brilliant minds here who choose not to be in the spotlight. It’s a constant reminder that the world is always bigger than what we’ve been told to imagine. As a producer and musician, how has your creative process evolved over the past decade, and what did you discover about yourself while making GLASS? Although I decided to become a musician at 13, I didn’t start making beats and producing until I was around 17. It wasn’t until that time that I was able to bring my ideas and melodies to life. After many years of experimentation and three EP's later, I can proudly say that I believe to have found my sound with GLASS. Currently, Im focusing on playing primarily with live instruments. Instagram

Music truly is a window to the soul. A true visionary in every sense of the word, Dr. Mamie Smith has spent her life using music to inspire, teach, and heal. A Detroit-based author, educator, and musician, Dr. Smith’s journey has been marked by a blend of creativity, resilience, and an unshakeable dedication to uplifting others. Also an accomplished author, Smith’s first book, “The Unfolding of a Rose,” was published after the heartbreaking loss of her daughter, eventually becoming a guide for readers grappling with grief. Subsequent works (both literary and musical) continued to prove that no matter the medium, Smith consistently touches the hearts of her contemporaries with her personal and empathetic approach to the human condition. With a background in classical music, Dr. Smith’s credentials reflect her dedication: a Bachelor’s in Music from Austin Peay State University, followed by advanced degrees from Wayne State University. Her decades-long career in vocal education saw her teaching children across the U.S. and in Japan. She shaped lives through music and values like hard work, discipline, and responsibility, attributes she considers essential for a meaningful life. Dr. Smith recorded her first CD at the twilight of her career, proving that it’s never too late to pursue one’s dreams. To that end, one of her latest releases, a touching rendition of the classic “You Raise Me Up,” sees the esteemed Dr. return to familiar territory. Having turned to classical music in times of turmoil, both inner and external, Smith looks to share some of that healing power with listeners. Over a simple yet elegant instrumental performance, Smith’s vocal performance belies the experience of someone who intricately understands this art form from a technical level. Smith’s passion is evident and shines through in every note, making for a touching release befitting someone who’s dedicated so much to music and the healing power it brings. For Dr. Smith, music remains both a balm for the soul and a bridge between hearts, and through her work, she continues to leave a legacy as powerful as any melody. Whenever you’re ready, tap in and stream Dr. Mamie Smith’s release “You Raise Me Up” on all major streaming platforms. We loved “You Raise Me Up” it’s so awesome that you’re still fulfilling your dreams; it inspires us all. We wanted to ask, what made you choose this particular song for today? Does it have some special meaning to you? I chose "You Raise Me Up" because it reaches the core of my being and soothes the doubts, fears, and disheartening voices that scream "failure" and discouragement. It urges, "Try one more time" or "I know it's hard, but you can do it!" Life throws many challenges at us, but the song tells me that "the stormy seas" can be crossed, and the mountain tops can be reached. In 2005, my daughter passed away from breast cancer, and for many days, I struggled to survive emotionally, mentally, and spiritually. The lyrics of the song lifted me above guilt, pain, and grief, and I was able to fight another day. What’s your biggest source of motivation when you make your music, and as an extension of that, what does music mean to you? When making music, my biggest source of motivation is song lyrics. They tell a story. Sometimes, the story is about love, joy, peace, pain, or suffering. Whatever it may be, my job as a vocalist is to communicate that to the listener. Often, I focus on a similar experience the song suggests and become the person in the story. It's not acting, it's connecting! Music is an art that eliminates mercilessness, cruelty, and disdain. It deals with feelings. That is why it is essential to have music education in public schools. I believe much of the lack of compassion in society today stems from the lack of ability to deal with our feelings. What does music mean to me? It is the spark that illuminates man's humanity to man. As someone who devoted so much of your life to music and connecting people in general, what goals or changes do you want to achieve, or do you hope you’ve achieved through your music? I hope my music gives people a sense of joy and determination--the ability to recognize that if you "feel it," you can achieve it. Unlike the sciences, music connects us to higher levels of thought, breaks down barriers, and generates a sense of identity. At an early age, I taught myself to play the piano, sold eggs to pay for music lessons, and explored the "harmonies and melodies of life" for excitement and growth. I believe there is nothing like music...what would the world be like... without it? What’s your fondest music-related memory? My fondest music-related memory dates back to high school. The only reason the choir director allowed me to join the chorus was because I learned the music quickly and played the piano. No one thought I could sing! Even though my piano skills were very limited, college saw me choosing piano as a major. The degree I sought was a music performance degree. The curriculum demanded all piano majors study private voice for two years. Each voice student had to prepare a vocal composition and perform it in front of the class. I practiced and practiced, but most of the rehearsals saw me singing as I plucked out the melody on the piano. Therefore, I was not accustomed to singing with the accompaniment of my vocal selection. So, during the performance, every time the accompanist played with me, I sang off-key. It was a disaster! To make matters worse, the class roared with laughter. I wanted the floor to open up and swallow me! Additionally, all piano students had to sing in what was called "the vesper choir." As time went on, I was determined to sound better. One day, Dr. Henry, Head of the Music Department, announced he was placing me in "the concert choir!" I wasn't sure what that meant, but I was overjoyed. As it turned out, that choir traveled across the country and represented the college. Later that year, my major was changed from piano to voice. And...by junior year, I was back up for the best soprano in the school. And...I became one of Dr. Henry's vocal students...he only worked with the best! What’s next for you, Dr. Smith, and is there anything you’d like to say to your listeners? What's next? I will continue marketing my music worldwide, but I do not see myself releasing another CD or album. I partner with a business called "Meta Rose Art & Business" that works with musicians as a booking and marketing agency. That is so fun! I am also writing my fourth book (I haven't titled it yet), will continue interviewing people on the "Talk to the Author with Dr. Mamie Smith" radio show, and enjoy life. Facebook

TT’s latest single, “Heal My Mind,” is a soulful dive into the complex emotions of loss, love, and finding peace. Pulled from his upcoming debut album, Man on the Corner, the song draws from deeply personal experiences. “I lost someone close to me,” TT shares. “Even after they were gone, I felt them everywhere—in my dreams, my emotions, even physical moments. It was comforting, but it hurt too. This song captures that push and pull.” The music video, directed by Tom Flynn and Mike Watts, mirrors the emotional weight of the song. It follows a man haunted by the memory of his soulmate, who appears and vanishes like a flicker of light. He’s caught between holding on to their love and the pain of knowing she’s gone. As he returns to the ocean—the place where they shared their happiest memories and where she passed—he pleads for her to let him go. In a heartbreaking final moment, she gives in, slipping back into the sea, leaving him with both closure and sorrow. TT’s story is one of resilience. Diagnosed with a chronic kidney disease as a child, he spent years recovering and found refuge in music. When the disease returned in 2023, TT decided to pour everything into his passion, recording Man on the Corner with a fierce sense of purpose. “Heal My Mind” is far more than a song—it reflects the TT’s journey of survival, letting go, and embracing healing and peace. Hello and welcome to Buzz, TT! “Heal My Mind” touches on love, loss, and spiritual presence. How did writing the song help you process those emotions? Was it more cathartic or painful to create? That is such an insightful question. It was both. There were times of loss, sadness, and hurt while I wrote the song, but our relationship and their life were beautiful. I worked hard to convey that beauty through the notes, chords, and arrangements in both the music and video. Creating it helped me focus on the beautiful moments we shared and the extraordinary person they were, which is how they would want to be remembered. I did feel their presence, both spiritually and physically. Hollywood and novels often depict ghosts in a certain way, but I genuinely welcome the spirits of loved ones who have passed. I find comfort in their visitations. In "Heal My Mind," the lyrics explore the presence and absence of someone you’ve lost. How do you personally make peace with that duality in everyday life? For me, it’s all about faith. I believe that our loved ones pass to a better place, and if we open our minds and hearts, we can feel them. Sometimes, it’s like they are letting me know they are happy, in heaven, and watching over me. I certainly miss the daily interactions, but remembering the good times and their companionship, counsel, and love is consoling. What’s your go-to playlist when you need a pick-me-up? I have a pretty eclectic taste, which comes through in my music. I consider myself a country, pop, and rock artist, but I was raised on theatrical and classical music, too! If I’m feeling rowdy, I will go for rock. For a sing-along with insightful lyrics, it is country, and I’ll turn to pop for a party mood. When I’m working (but not on music), I like classical or smooth jazz—something without lyrics. And if I really need to relax, I will put on reggae. You’ve faced a lot of challenges with your health. What role has music played in your physical and emotional healing journey? My faith, family, and music have saved me. These challenges have defined me. I have this constant drive to prove myself and a feeling of inadequacy like I’m never doing enough to help others. Plus, I’m an introvert. Through music, I can express my heart and soul. Sometimes, I feel this intense need to let something out, and music lets me do that, even if I can’t express it directly. Writing, singing, and playing have always been incredibly cathartic, whether alone or in front of others. With Man on the Corner coming soon, how does this project represent where you are in life right now? What do you hope people take away from the album? Man on the Corner is a collection of stories about life, its journey, and the challenges and hopes we all face. It came from a life-changing event that led me to fully pursue my passion for music and leave everything else behind. I was very ill as a child, in and out of hospitals, and unable to walk for a time, which put me on the receiving end of bullies when I returned. Later, my condition returned with a more serious prognosis. It made me reflect on how short life is and inspired me to leave behind art I could be proud of. During the album’s recording, I went into remission for the second time. Though my musical journey began when I was three, my dedication to this album was insatiable. I have now permanently established my musical career with no looking back. Recording this album has been one of the most satisfying experiences, and the outcome is exactly as I envisioned it. Instagram Facebook

Genre-bending artist and explorative singer-songwriter Jan Edwards returns with 20 original holiday tunes in her festive new album, Welcome Back Christmas . From Minneapolis to Naples, Florida, Edwards has built a reputation for blending country, jazz, pop, folk, and blues into her own unique sound. Her songwriting prowess has earned her a #1 hit on Texas charts and placements in film and TV. Welcome Back Christmas  marks Edwards' 4th holiday album. This time, she's packed the project with 20 original songs that capture every mood of the season. From Thanksgiving through New Year's Eve, the album takes listeners on a complete holiday journey. The album kicks off with "Friendsgiving Day" and "Counting Down the Days," setting a warm, anticipatory tone for the season. The jazzy title track, "Welcome Back Christmas," flows perfectly into the upbeat "Let the Jolly Begin," blessing listeners with feel-good holiday vibes from the jump. In "Confessions of a Santaholic" and "Jingle On (Santa's in the House)," Jan brings some of the most playful energy we've seen from her yet. Mid-album highlights include the whimsical "Candy Cane Cottage" and heartfelt "Christmas Without You," perfectly setting the tone for the mystical, child-like energy of "Santaland."  On track 10, "The Christmas I Remember," Jan gets deeply personal about wishing to spend the rest of her holidays with someone special, like how it was before. The vibes turn 180 when hitting play on "Holy Shit It's Christmas," adding some humorous spice to the mix and keeping the spirit alive in the thoughtful 12th track, "What Santa Wants."  The album's later tracks showcase Edwards' range, from the romantic "Mingle Neath the Mistletoe" to the traditional warmth and well wishes of "Comfort and Joy." Edwards blesses us with one of the catchiest songs on the album, "Fa La La Christmas," following up with immersive story-like lyrics in the 16th track, "A Mouse's Holiday." In "Christmas All Around The World," Jan brings that same storytelling charm while inviting the world to leave their stressors behind and celebrate the season of giving. She falls into another deeply personal song with "Suitcase Christmas"—a story for the wanderers, the nomads, and those who might not be able to gather with loved ones.  The collection winds down beautifully with "Wish You Well (Midnight Bells)" before concluding with the pop-infused New Year's celebration anthem, "When the Confetti Flies." Each song from Jan Edwards' new holiday album, Welcome Back Christmas , adds its own flavor to this musical holiday feast. It's a deeply immersive listening experience that touches on practically every holiday scenario, and any listener is sure to appreciate it. Get into the spirit early this year with Jan Edwards' new album Welcome Back Christmas , now available on all major streaming platforms.

Swedish songstress and daughter-in-law of legendary singer-songwriter Roy Orbison, Åsa Orbison, is making her musical debut with a jazz-infused album titled Blue Bayou. From Stockholm to Nashville, Åsa Orbison's journey in music has been anything but ordinary. Married to Roy Orbison Jr., son of the legendary Roy Orbison, Åsa has found her own voice in the music world. Her background in Swedish music school and marketing has uniquely prepared her for this foray into the American music scene. Blue Bayou marks Åsa's first full-length album, a passion project that showcases her soft, breathy jazz-pop style. Produced by her husband, Roy Orbison Jr., the album features a mix of classic covers and original songs, all given a fresh interpretation. The album opens with the title track, "Blue Bayou," a reimagining of the Roy Orbison classic. Åsa's version brings a jazzy, modern feel to the beloved song, with Charlie McCoy's harmonica and Jim Horn's saxophone adding depth to the arrangement. Her vocals are both sultry and sweet, breathing new life into the familiar lyrics. "Green Eyes" follows, showcasing Åsa's ability to swing. This original track is as smooth as silk, with Åsa's voice gliding effortlessly over a lush jazz arrangement. The piano work by Bruce Dudley is particularly noteworthy, providing a perfect backdrop for Åsa's vocals. Åsa's rendition of "Unchained Melody" is a testament to her vocal control and emotional depth. Her soft, breathy approach brings a new intimacy to this timeless classic, stripping it down to its emotional core. The minimal arrangement allows Åsa's voice to take center stage, creating a hauntingly beautiful version that stands out from the many covers of this beloved song. "Satin Doll," featuring Grace Kelly on saxophone, is a smooth jazz gem. Åsa's playful vocals dance around Kelly's sultry sax lines, creating a delightful interplay that brings new life to this Duke Ellington classic. The track perfectly captures the essence of a smoky jazz club, with Åsa's voice serving as the perfect cocktail to accompany the sophisticated instrumentals. Later in the album, we're treated to a duet with Roy Orbison Jr. on "Love Is Strange." This playful cover of the Mickey & Sylvia hit highlights the chemistry between the couple, both musically and personally. Wayne Moss's guitar work adds a touch of Nashville twang to the jazzy arrangement. The album closes with "Baby I'm Yours," a tender ballad and cover of Barbara Lewis' fan-favorite hit that puts Åsa's emotional range on full display. The piano-heavy arrangement makes her voice shine, ending the album on a heartfelt, passionate note. Take a musical journey from Stockholm to the Blue Bayou with Åsa Orbison's debut album, now available on all major streaming platforms. We're head over heels for the jazzy atmosphere of Blue Bayou. What inspired you to create such a smooth, jazz-leaning album? Wow, thank you!!! I grew up listening to a lot of jazz, Monica Zetterlund, Julie London, and Miles Davis. When I met my husband, Roy, he had just gotten into jazz as well, and we started to play and sing together. He told me my voice was perfect for this singing style: breathy, intimate, and vulnerable. I had not been singing for many years when we met, but I've always enjoyed singing, so I went with it, and the result is this album! We had so much fun recording, and people seemed to like it. It's super exciting! Your version of "Blue Bayou" puts a fresh spin on a Roy Orbison classic. How did you approach reimagining such an iconic song? In 2019, we were working on my father-in-law Roy Orbison’s album “Unchained Melodies” with the Royal Philharmonic Orchestra, where I sang background vocals. One of the great honors of my life. My husband Roy and I rehearsed and had so much fun playing together. Roy was playing with jazzy chords, and we devised the rearrangement on the spot. Roy’s really good at that kind of thing — it runs in the family. Together with my “Swenglish” approach to the lyrics and vocals, it became something we are really proud of. The Blue Bayou album features some incredible guest musicians. Can you tell us about working with such a talented team? What were those collaborations like? This whole album started with one song – Blue Bayou. My version of the song is built on the foundation of my marriage. Different branches of the song extend to relationships from my father-in-law Roy Orbison’s career. From 1950s Sun Records & Johnny Cash (Ana Cristina Cash, My first friend when I moved to America, on background vocals) to Roy’s zenith in the 1960s at Monument Records (Charlie McCoy on harmonica & vibraphone), through his 1980 comeback with “You Got It” & The Traveling Wilburys (Jim Horn on saxophone & Richard Dodd mastering), a posthumous album with the Royal Philharmonic Orchestra (on which I sang in 2019). The album has a tremendous spiritual depth and bridges laughter & tears from seven decades for everyone who played on, hears, and understands its significance. Accompanied by Mr. Harmonica, Charlie McCoy, who played on the original “Blue Bayou” and part-time Traveling Wilbury, Jim Horn, on saxophone, and a stellar jazz quartet lead by my husband, Roy. Recording with these people, some of them I knew before but some of whom I met for the first time, was one of the greatest experiences of my life. I will treasure It forever, and it’s beautiful how it’s all captured in this album for me to relive and share with the world. "Love Is Strange" is such a fun duet with your husband, Roy Orbison Jr. What was it like collaborating with him on this cover? "Love is Strange" is a duet I do with my husband; it’s very light yet meaningful at the same time. It was recorded all analog on very old tape machines, I can’t wait to hear it on vinyl when it comes out! We worked with the legendary guitarist Wayne Moss, so it has a sound you can’t really get anymore. And, of course, it's everybody’s favorite song from “Dirty Dancing!" Roy and I do everything together. I can count the days we’ve been apart in our ten years on my two hands. So, at this point, the things we do together come more naturally and easier than doing things individually, which is a lot more fun. I trust Roy on everything! Especially in music, where he has much more experience than me, I trust him, and things tend to end up great! What do you hope listeners feel or take away from your debut album, Blue Bayou? This is music from another time. To disappear into a different world. For me, the songs are memories from specific times and places. Whatever it is to the listeners – only time can tell. We all have our “Blue Bayou” and “Green Eyes” for which we long. What does it mean to you?

You've definitely heard her sing, but not as a solo act. Singer-songwriter and music industry powerhouse Kaye Fox hit our speakers with a soul-stirring sophomore single titled "WWYD." Having spent years lending her talents to platinum hits by J. Cole, Kanye West, and Nas, Kaye Fox has been an undeniable force in shaping modern music. Her vocal arrangements and songwriting have helped create some of the most memorable tracks of the past decade, including J. Cole's "No Role Modelz" and collaborations on multiple tracks from Nas's Life is Good. Now, Kaye is stepping into the spotlight. In her newest single, "WWYD," she brings listeners into her personal world with an incredibly passionate R&B banger that many can relate to. It's a prime example of why Fox has already landed over 2.2K monthly Spotify listeners with just two singles under her belt. Diving into "WWYD," the haunting and faded drums create a soothing atmosphere where Kaye Fox's radiant vocals shine through. The production provides a perfect foundation for her soulful delivery as she explores the delicate questions one wonders when falling in love. We can't help but nod along in agreement to such emotionally rich, thoughtful, and cathartic lyrics. What makes "WWYD" particularly special is how it manages to feel both polished and deeply personal. Fox's vocals are reminiscent of soul legends while maintaining her own distinct style, and she conveys the universal feeling of wondering: what would you do? This track proves that Fox isn't just a behind-the-scenes talent—she's an exceptional artist in her own right. Experience it yourself and find Kaye Fox's sophomore single, "WWYD," on all major streaming platforms. After years of shaping hits for other artists, what inspired you to release your own music, like your sophomore single "WWYD?”  I started my career as an artist years ago. I was the lead singer of a girl group when I was 15 years old, and I had a deal with Def Jam as a solo artist at one point.  So, this was always the goal. How different was it writing such a personal song for yourself like "WWYD" versus collaborating with other artists?  It’s different.  I’m much harder on myself when it comes to my work. You have the luxury of someone else leading the ship when collaborating with the artist on their projects; it’s what they want ultimately.  Ultimately, you’re just there supporting their vision. When it’s me, I have to take responsibility for the vision.  How does "WWYD" compare to your debut single, "BLISS"? What makes these songs different?  Bliss is about being confident and sure about who you are, like tapping into your inner power and sitting in that strength. WWYD is about when you’re not feeling so sure when you’re vulnerable. When you ask yourself if this is the right thing Or the right one?  Working with artists like J. Cole and Kanye West taught you a lot. How did those experiences influence your solo work?  Those experiences taught me to take the time needed to give your work all that it deserves. Quality over quantity, for sure. Those guys make magic. And magic takes time.  What do you hope listeners experience with "WWYD"? What was your goal?     I hope listeners feel understood. I hope it makes them feel like someone isn’t afraid to say how they can be insecure, vulnerable, or unsure. It’s a part of life and growth.  Instagram

American Idol finalist Jovin Webb released his debut album, Drifter , on October 18, 2024, a record that dives deep into his life’s highs and lows with blues, Southern rock, and soul. Drawing from his Louisiana roots and gospel influences, Webb brings a raw, soulful edge to each track, shaped by his journey. Produced by Grammy-winner Tom Hambridge, Drifter shines in tracks like “Drunk On Your Love,” where Webb’s raspy yet smooth vocals convey the thrill of new love. Described as a “romantic slow-burner,” the song leans into sultry, bluesy melodies, and an accompanying in-studio video strips it down further, letting fans feel every note and lyric. “Drunk On Your Love” easily captures the feeling of being fully swept up in early romance—the electric rush of emotions, those butterflies, and the excitement of each moment. Other notable tracks include “Livin’ Reckless,” which leans into those gospel influences and explores finding direction amid life’s chaos, and “Blues for a Reason,” a song where Webb’s gritty vocals address struggles with identity and financial hardship, embodying classic blues themes with a modern edge. Drifter ultimately feels like an extension of Webb’s soul. Listeners get the joy, the pain, and everything in between. It’s a real testament to the artist he’s become since American Idol. You can catch Drifter and the video for “Drunk On Your Love” on all streaming platforms. Drifter feels deeply personal, like your own music autobiography. Can you share the journey that led you to pour your story into this album? I felt that this debut album should be personal. I wanted to lay it all out on the line. This is me; this is where I'm at in life at this point--the vulnerability, the love, the lust, the pain, the loss, and the trauma is what has shaped me to be the man I am today. I've been through a lot these 34 years; this is my testimony. I sing the blues for a reason. In Drifter, you explore themes of love, loss, and redemption. Which of these themes has been the most challenging to write about, and why? To be honest, none of the themes were difficult to visit. They are all how I feel. Off stage, I really don't like to share my feelings. This is the only way I know how to let all of that out. Through music, I can articulate everything that I can't say aloud in normal conversations. "Drunk On Your Love" beautifully captures the feeling of new love and infatuation. How do you approach writing about love in a way that feels authentic and fresh? We all can remember a time in our lives when we have longed for someone or have been in love. I just tried to tap into what I felt like when I went through it. The blues is usually about heartbreak. No one can break your heart if they don't have your heart. So, I wanted to capture the love before the pain. You’ve been praised for your "barbecue sauce" voice, a comparison to the richness and warmth of Southern soul. How did you develop this distinctive vocal style, and who were your early vocal influences? I think, well, I know, it came from Southern Baptist church, no matter how cliche it sounds. I naturally had sort of a raspy voice, even as a child. I just didn't know how to use it. With maturity, I learned how to appreciate what I had and how to make the most of it. There's pain, hope, fun, and redemption behind my wails. Growing up in Louisiana, the birthplace of jazz and blues, how did the cultural richness of your environment shape your sound and artistic voice? Depending on where you go in Louisiana, the vibes will cater to blues, zydeco, jazz, country, and southern rock. I dove into that gumbo and took it all in. When someone listens to my album, they will get all of that with my razzle dazzle on it. Instagram Facebook

Faithless Town’s “ California Come Home ”  feels like a musical love letter to Los Angeles—blending acoustic rock and Americana vibes that make you want to roll down the windows and hit the open road.  This nostalgic track looks back on frontman Gene Owens' early days living in LA with his wife, capturing the magic of falling in love with both a person and a city. It’s sun-soaked, heartfelt, and effortlessly easy to sing along with. Known for their infectious sound and powerful performances, the Faithless Town band has built a reputation through energetic shows at iconic venues like The Whisky a Go Go and The Viper Room. “California Come Home”  reflects that same spirit—an ode to California’s classic sounds, with nods to The Beach Boys and the Laurel Canyon scene. The “California Come Home”  video pairs perfectly with the song’s nostalgic vibe, offering scenic shots of beaches, amusement rides, and city highways that feel like pages from a personal scrapbook.  Owens describes it as a snapshot of his first year in LA—a celebration of love, life, and the city’s electric charm. Congratulations on the release of “California Come Home.” How does this song reflect where you are as a band today? I think the song reflects a lot of what Faithless Town does really well: infectious melodies and timeless sounds, all presented in a new and unique way. 
 Gene – What was it like shooting the music video for “California Come Home” across Los Angeles with your wife? It was our first time collaborating on anything artistic, and it was a really fun experience that brought us closer together. Since then, we’ve collaborated on other music videos, some of which have received accolades from some independent film festivals. Did you have any unexpected or special moments while filming? We learned a lot about filmmaking while shooting the video. We filmed everything on an iPhone, experimented with a gimbal for smoother shots, and used different lenses and frame rates to achieve various effects. It was really cool to see what you can create with just an iPhone and a few affordable accessories, especially considering that in the past, such quality required expensive cameras, film, and costly editing software.
 How did living in Los Angeles influence your sound and approach to songwriting? I have always held a certain romanticism for LA and the music that has come out of that city, especially The Doors and the Laurel Canyon scene of the 1960’s. I think my affinity for that music has definitely influenced the way I write. While living there, I also studied improv at Groundlings, which I think opened me up to new creative avenues that enhanced my writing and artistic expression. Are there specific places or moments in the city that shaped your creative process? There’s a quiet, often empty stretch of beach in Playa Del Rey where I used to bring my guitar to play and write. It’s the same beach where I’m performing the song in the video for “California Come Home.” Watching the waves roll in is something deeply inspiring about being by the ocean.
 Your music blends Americana and rock with thoughtful lyrics. How do you balance storytelling and creating something that feels energetic and infectious? I just try to write from an honest, personal place. Sometimes, that involves writing about my relationships or the people and places that have shaped my life; other times, it involves me observing things that are happening in the world and trying to express my thoughts and feelings about it.
 With a fan-favorite song like “California Come Home” getting new attention, what can we expect from your future releases? Will California remain a source of inspiration? I actually have a new single set to come out this December, and this one is all about my hometown of Pittsburgh, Pennsylvania. So instead of surfing and sun, this one has more snow and gothic cathedrals. Instagram Facebook

Formed in June 2024, Dumb Crush is the latest alt-rock trio pushing back against the predictable polish of modern pop. United by a shared disdain for the mundane, the trio’s approach feels like a call to break free from the formulaic, to bring grit and edge back to the airwaves. The band comprises Owen Hooper, Liam Colbert, and Elliott Isaac—three tenured musicians with deep roots in the DIY scene who’ve graced stages across North America and Europe. Dumb Crush has quickly carved a niche as a high-energy outfit unafraid to disrupt. “Witches In The Dark” is their audacious debut, recorded live in one take. There’s an alt/rock pulse, post-rock depth, and pop polish that gracefully meld into the track. The guitar riffs get sharp, backed by fervent drums and smooth yet gritty vocals that add a textured warmth. It’s catchy in the best way—this is the kind of song you find yourself humming hours later, its hook buried in your brain. In an industry saturated with formulaic hits, Dumb Crush’s instinctive, off-the-floor approach feels like a refreshing jolt—a reminder of the power of spontaneity and raw talent. Your debut single, “Witches In The Dark,” was recorded live-off-the-floor. What about that method appealed to you, and how do you think it impacted the final sound of the track? At first, it seemed like it might be a heavy task to track everything live off the floor, but it ended up being a very freeing and, in the end, pretty efficient way to get the music down. We didn’t get caught in the weeds editing our performances or overdubbing little mistakes. It was also important to us with this project to showcase our music honestly. What you hear is really what you get, we’re three guys playing our instruments, and that’s what this is full stop. Hearing the little quirks on the record is also pretty hilarious. Elliott can count on three fingers the notes he missed. Can you find them all? Please don't. He’d actually hate that. As a band that only formed in June 2024, how did you manage to establish such a cohesive sound so quickly? What was the biggest challenge in bringing the three of your styles together? We’re still amazed at how quickly this project came together. We first met up for a jam to see if we even vibed as a group in early June, and by the end of that 3-hour stream of consciousness jam, we had demos for six songs. At our second jam, we wrote Witches, and it came together really fast. The demo we recorded that day is pretty much the same as the studio version, just unmixed and recorded with one mic on Liam’s kit pointed at his crotch (sounds great, though). Sound-wise, there is some common ground between us, and that’s been an extremely fun part of the whole process. We all contribute to everything, but at the same time, we write the part that personally fits us stylistically, if that makes sense. Owen comes from a super melodic bedroom pop background with Mouth Breather, Elliott has played in dozens of bands ranging from punk to country to R&B over the past 10 years, and Liam is a grooves whiz with his psych project Rise Carmine. I think having us all be delegated a certain aspect of the tune with limited feedback from other members is what gave us a chance to find each other’s strengths and help support each other’s blind spots. Given that Dumb Crush is still a new band, what are your hopes or goals for the group’s identity and direction in the next year? We’ve got new music ready to release next year, including a music video and Canadian tour dates. Stay tuned on our Instagram and TikTok if you like our sound and want to ride the wave with us. We’ve already sold out our first two shows in Toronto in 2024, so we’re so stoked to get on the road and meet some friends in new towns around Canada. International touring is the dream, but we’re going with this band one step at a time. (But bring us to LA, please.) Will your future releases carry out the same live-off-the-floor style as “Witches In The Dark” does? Our next single was recorded live off the floor on the same day as “Witches In The Dark.” The same engineer then mixed it, our main homie Castle Frank. We’re really excited to put that out and get back into the studio to track the rest of our catalog that will someday make up our debut LP. The band name “Dumb Crush” has a catchy and intriguing feel to it. What’s the story behind the name, and how does it reflect your vision for the group? I think we’ve all had a Dumb Crush. It’s harmless but also exciting and also often so, so stupid. Why that person? Why did that one character in that one scene of that one show give me butterflies? Why did the way that person said hello to me send me over the edge? What makes Jack Layton so charming? One fateful summer night, Owen and Elliott went on a self-guided pub crawl in downtown Toronto, looking for inspiration in the bottom of a glass. Against their better judgment, they found it, and more, eventually ending the night at Lucky Shrike (local bar) with 60 or so band names. That one stood out for obvious reasons. Liam needed some convincing but he came around. Instagram