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Some songs entertain. Others document a life. Michael A. Levine’s “Rita’s Song” manages to do both, transforming a deeply personal story into a moving piece of musical storytelling that resonates far beyond its subject matter. Written and produced by Levine, the soulful jazz ballad chronicles the journey of Rafaela “Rita” Crevoshay, whose decision to transition at 76 became an act of courage, self-discovery, and ultimately liberation. Rather than approaching the topic with heavy-handed dramatics, the song unfolds with grace, compassion, and remarkable emotional restraint. From its opening piano chords, “Rita’s Song” establishes an intimate atmosphere that feels reflective and deeply human. The arrangement is beautifully understated, keeping the story front and center. Angelica Innocente delivers a powerful vocal performance filled with warmth and sincerity, while Sam Levine’s saxophone work adds a layer of melancholy and hope that perfectly complements the song’s emotional arc. What makes the track particularly effective is its focus on universal themes. While Rita’s experience is unique, the song speaks to anyone who has ever struggled to embrace their authentic self. Lyrics centered around shedding shame, finding identity, and stepping into the person one was always meant to be give the record an uplifting quality without sacrificing its emotional depth. The accompanying visual narrative further reinforces the message, illustrating a life that moves from muted uncertainty to vibrant self-expression. Yet even without the video, the song stands on its own as a compelling piece of songwriting. At a time when authenticity often feels reduced to a marketing slogan, “Rita’s Song” offers something genuine. It is a celebration of self-acceptance, resilience, and the belief that personal transformation can happen at any stage of life. The result is a heartfelt and inspiring musical tribute that lingers long after the final note fades. What was your initial reaction when Michael presented you with the idea for “Rita’s Song,” and how did it feel hearing your story translated into music? Michael surprised me when he brought me home from the hospital, where my gender conversion surgery was completed. He gave me the audio version of Rita’s Song. I had assumed no one had paid attention to my M-to-F transition. Rita’s Song showed that Michael had been closely observing my transition for years. He had absorbed the minutiae of my journey and expressed it as a moving and coherent musical work. I had no idea that he had been working on this. His gift elicited gratitude and astonishment from me. The song carries themes of identity, courage, and self-acceptance. What message do you hope listeners take away from it? I hope listeners will come to appreciate that their reality is not rigid and that they can shape their lives in alignment with their authentic identity. We don’t have to adhere to the pre-packaged identities assigned to us. This is not a case for promoting gender revision. It’s much broader than that. It’s a reminder that every human being on this planet has an opportunity to become the best version of themselves. Our task is to grow and improve our original physical and mental equipment. That ought to yield several billion unique human versions. The song explores the idea that it’s never too late to become the person you were always meant to be. How has the response from listeners reflected that message to you since the song’s release? Listeners’ responses have overwhelmingly cited courage as the key to transformation. Everyone admires courage, but most of us seem to believe that we lack it. Many have noted my courage, it’s not so – I just do what I must. The trick is to delete fear from the equation. After receiving recognition at the Golden State Film Festival, what are your hopes for how “Rita’s Song” and your larger mission will continue to inspire people moving forward? Winning that award launched my life into a new dimension. It elevated the entirety of my life’s aspirations and brought success into view. It featured my agricultural mission and its accompanying book, my astrology, and my language studies. It refocused my goals at a higher level. It gave shape and substance to the amorphous. The chrysalis matured and out popped a butterfly.

On "BIG FISH," Philadelphia rapper Jus NBL isn't interested in proving he's swimming with the competition; he's making it clear he built the waters they're all navigating. Serving as the second track from his 2025 conceptual album Thoughts, "BIG FISH" stands apart from the project's largely introspective landscape. While much of the album explores internal reflections and personal observations, this record flips the perspective outward, allowing Jus NBL to embrace a more confident, commanding presence without abandoning the thoughtful storytelling that defines his work. From the opening skit, listeners are pulled into a carefully constructed world where Jus NBL positions himself as the creator of the ocean itself, engaging in a symbolic conversation with the so-called "big fish." Through vivid sea-life imagery, references to Atlantis, and layered metaphors rooted in nature, he crafts a narrative that challenges hierarchy and perception. The message is simple but effective: someone may appear larger than life to everyone else, but in the grand scheme of creation, they're still operating within a world someone else built. What makes "BIG FISH" compelling isn't just the confidence behind the bars, it's the intentionality behind the concept. Jus NBL approaches songwriting with the mindset of a composer rather than simply a rapper, building records as immersive experiences rather than collections of verses. Every element feels deliberate, from the thematic production choices to the cinematic use of skits and character-driven storytelling. The result is a track that functions as both a lyrical showcase and a chapter within a larger narrative. That attention to structure reflects Jus NBL's broader artistic philosophy. Influenced by everyone from Miles Davis and Prince to 2Pac and classical composers such as Ravel, Rachmaninoff, and Stravinsky, he brings an arranger's mindset to hip-hop. Rather than focusing solely on technical ability, he prioritizes crafting songs that serve a larger vision, allowing each piece to contribute to the overarching story of an album. As a standout moment on Thoughts, "BIG FISH" showcases Jus NBL's ability to balance sharp lyricism with ambitious world-building. It's a reminder that confidence in hip-hop can be most effective when it's backed by imagination, purpose, and a clear artistic identity. For an artist who hopes listeners see him as one of the defining voices of hip-hop's next era, "BIG FISH" makes a convincing case that he's already charting his own course.

As life becomes increasingly consumed by distractions, deadlines, and endless scrolling, LightlongLife offers a timely reminder to slow down and appreciate what’s already in front of us. On his latest single, “Living A Moment,” visionary artist Alex Tsaga transforms gratitude into an immersive pop experience that feels both uplifting and deeply personal. Inspired by Tsaga’s travels through Bali and his broader journey of spiritual and personal discovery, “Living A Moment” radiates positivity without falling into cliché. The track balances thoughtful reflection with an undeniable sense of momentum, encouraging listeners to embrace the present rather than postpone happiness for some future destination. Musically, the song blends expansive electronic textures, shimmering synths, and reverberating vocals, creating a sense of openness and possibility. The production feels polished yet organic, keeping the emotional core of the song front and center. As the arrangement gradually builds, so does its message, evolving from quiet appreciation into a full-scale celebration of life itself. Tsaga focuses on a universal truth: nothing is guaranteed. Rather than approaching that reality with fear, he frames it as motivation to live more intentionally, love more openly, and pursue the experiences that truly matter. It’s a perspective that feels increasingly relevant in a world often dominated by anxiety and uncertainty. The accompanying music video further amplifies the song’s message, pairing breathtaking landscapes with themes of reflection, freedom, and self-discovery. Together, the visuals and music create an experience that feels less like escapism and more like an invitation to reconnect with what makes life meaningful. Your music often explores themes of personal growth and self-discovery. What specific life experiences shaped the message behind “Living A Moment”? The song is about those rare moments where you stop mentally living in the future or the past and suddenly realize how incredible it is to exist right now simply. We spend our whole lives stressed about problems — and forget that just being here, breathing, alive, that's already the best thing that ever happened to us. We're so lucky to live in this magical world, where we can fly to any corner of it and witness the beauty of nature. Our brains are naturally wired to focus on what's wrong, what's missing, and what we don't have. We spend so much time chasing what we don’t have, and we often fail to notice how much we already have. The problem is that we tend to take these things for granted. We don't fully appreciate them until they're gone. And once we lose them, we suddenly realize how valuable they were. The message behind this song is simple: don't wait until you lose something to appreciate it. Appreciate it now. Be grateful for what you have today—the people in your life, your experiences, your health, and even the small moments that often go unnoticed. Start paying attention to the good things that are already present in your life. Sometimes happiness isn't about getting more; it's about recognizing what is already there. The song was inspired by your time in Bali. Was there a particular moment during that trip that became the emotional foundation of the track? The idea came to me years ago while walking through the jungle in Bali during sunset. The main melody and hook appeared almost instantly, like the song already existed somewhere and I just received it. That feeling is hard to describe, but I wanted the song to capture it emotionally. The feeling of being completely alive, being part of something huge, experiencing this world — feeling it, hearing it, seeing it — it's bigger than what a camera can catch. You’ve lived in environments ranging from the Amazon rainforest to Buddhist temples. How have those experiences influenced your approach to songwriting compared to more traditional music industry paths? Not directly, but spending time in different cultures has definitely influenced my music. Traditional Buddhist and shamanic music has a unique atmosphere that I find very inspiring. I love instruments like the handpan, as well as chimes and other organic sounds that create a sense of space and presence. I incorporated some of these elements into the production to add depth and emotion. The influence is subtle—it's more in the mood and sound design than in the songwriting itself—but it's definitely there. The music video travels through some incredible landscapes while exploring themes of memory and mortality. What story were you hoping viewers would take away from the visual experience? The music video is about the value of the present moment and the importance of truly living while we can. Life moves incredibly fast. One day you're young, and before you know it, you're looking back wondering where the time went. That's the story the video tries to tell. It's a reminder not to postpone life for some future moment, but to appreciate what you already have right now. The message is simple: enjoy the present, be grateful for the moment you're living, and experience life as fully as possible. “Living A Moment” encourages listeners to let go of fear and embrace the present. What fears have you personally had to overcome in order to fully live by that philosophy? For many years, I lived in fear, and I still have fears today. But I've learned that the difference between a brave person and a coward is not the absence of fear. A coward is afraid and doesn't act. A brave person is afraid too, but acts despite that fear. That's why I see fear as a valuable indicator. If something scares you, it may be exactly where you need to go. Beyond fear, there is growth, strength, and often the life you want. The opportunities, experiences, and achievements we seek are usually waiting on the other side of fear. My philosophy is simple: if I'm afraid to do something, that's often a sign that I should do it. I try to face my fears because every time I do, I grow a little more. In that sense, fear can be a great ally. The fears that affect me most are the fear of rejection, criticism, failure, and not being good enough. Sometimes it's also the fear of making the wrong choice or not being perfect. But the more life experience I gain, the less power these fears have over me. I've realized that fear often shrinks the moment you step toward it. The more you face it, the more it disappears.

San Diego-based producer Qolaj challenges conventional remix culture on Re-Adoption, an adventurous electronic EP built on transformation, curiosity, and evolution. Electronic music has always been rooted in transformation, but few projects embrace that idea as completely as Qolaj's Re-Adoption. Rather than treating remixing as a simple rework of existing material, the San Diego-based producer approaches each track as an opportunity for reinvention, creating an EP that feels less like a collection of remixes and more like an entirely new body of work. Throughout Re-Adoption, Qolaj challenges the notion that music is ever truly finished. Existing ideas are stretched, reshaped, and reconstructed into something unexpected, reflecting the project's central themes of growth, flexibility, and evolution. The result is an EP that thrives on movement, constantly shifting between moments of intensity, playfulness, and reflection. Tracks like "Incite" deliver bursts of uplifting energy, while "Cheddar" embraces personality and spontaneity. Elsewhere, "Between" offers a quieter and more contemplative moment, allowing listeners to sit with the project's emotional depth. Together, the songs create a dynamic listening experience that mirrors the unpredictability of personal growth itself. What makes Re-Adoption particularly compelling is how closely it reflects Qolaj's own artistic journey. As a producer, DJ, community builder, and immigrant navigating an ever-changing creative landscape, he approaches music with a willingness to adapt rather than resist change. That openness becomes the project's greatest strength. More than a remix EP, Re-Adoption feels like a statement of intent. It showcases an artist unafraid to challenge convention, explore new creative territory, and let ideas evolve naturally. In doing so, Qolaj delivers a project that is thoughtful, adventurous, and refreshingly unconcerned with staying inside the lines. The concept behind Re-Adoption challenges the idea that music has a final form. What first sparked your interest in giving existing tracks a completely new life? Honestly, it started with DJing. A lot of the remixes and edits I make come from wanting a track to fit differently in my sets. I'd hear something and think, "What happens if I push this in a completely different direction?" Over time, that became more interesting to me than just making a traditional remix. There's something fun about taking a track that already has an identity and seeing how far you can stretch it before it becomes something new. It feels less like editing and more like having a conversation with the original. Plus, there's less pressure for me to win remix contests when my main intention is not to win, but to have a familiar track added to my sonic palette. I think it also reflects where I'm at creatively. Lately, I've been really interested in the idea that things don't have to be fixed. Music, identity, creativity... all of it can evolve. So the idea that a track can have multiple lives and multiple versions of itself feels pretty natural to me. Looking back, Re-Adoption ended up becoming about more than just music. It's about being open to change, letting things transform, and not feeling like you have to stay attached to a single version of yourself or your work. Each song on the EP explores a different emotional space. Did you intentionally sequence the project as a journey from tension toward contentment? Yeah, definitely. I didn't necessarily start the project with that plan, but once the tracks began taking shape, I realized there was a natural emotional arc emerging. "Incite" carries a lot of urgency and forward momentum. It's intense, but there's also optimism in it. "Cheddar" loosens things up and brings in more playfulness and personality. Then "Between" acts almost like a pause, a moment to breathe and reflect. Looking back, it mirrors where I've been personally. The last few years have involved a lot of change, uncertainty, and growth, and I think the EP unintentionally documents that process. It starts from a place of searching and movement, then gradually settles into something more peaceful. I don't know if I'd call it a resolution because I don't think life really works that way, but there's definitely a sense of acceptance by the end. And honestly, that's something I hope people can take away from it, too. There's enough urgency in the world right now. A little contentment can be revolutionary. As both a producer and community builder, do you see parallels between remixing music and creating spaces where people can reinvent themselves? Yeah, I think there are a lot of parallels. Both remixing music and community building involve creating conditions for transformation. You're taking something that already exists and giving it room to evolve into something new. A lot of that comes from my own experience searching for belonging. As an immigrant, adaptation has been a constant part of my life. You're always learning new contexts, translating between different worlds, and figuring out where you fit. Over time, I've realized that belonging isn't necessarily about finding the perfect space. Sometimes it's about helping create one. That's probably why I'm drawn to both remixing and community work. In a remix, you're taking familiar pieces and reassembling them into a new identity. In community building, you're bringing together people from different backgrounds and experiences and creating a space where they can show up more fully as themselves. At their best, both are acts of reimagining. They create opportunities for people, ideas, and even parts of ourselves to become something more expansive than they were before. How has your experience as a Filipino immigrant shaped your perspective on transformation, adaptation, and creative evolution? I think being an immigrant makes you very familiar with transformation because you're constantly learning how to stay connected to where you came from while growing into where you are. At the same time, adaptation doesn't mean abandoning your roots. If anything, it's made me appreciate them more. I've come to see my roots not as something that limits me, but as a jump-off point. They provide grounding, context, and perspective, while still leaving room for growth and exploration. Looking back, that's probably why movement has become such a common theme in my work. Not just physical movement on a dancefloor, but movement between identities, communities, ideas, and stages of life. I'm drawn to music that feels like it's going somewhere, because that's how I've experienced growth myself. It's less about arriving at a destination and more about staying open to what comes next. That perspective definitely shows up in my creative work. I'm naturally drawn to transformation, whether that's blending different musical influences, reinterpreting existing tracks, or exploring new directions that don't neatly fit into a single genre or scene. Change isn't something to resist. It's something you can actively participate in and shape for yourself. You're currently working on an EP of Tagalog dance tracks and collaborating with more BIPOC artists. How do you see those projects expanding the world you've begun building with Re-Adoption? I see them as a natural continuation of a lot of the ideas that Re-Adoption explores. If Re-Adoption is about transformation and embracing multiple identities, then these newer projects are about being more intentional with where those identities come from and who I'm building alongside. The Tagalog EP is especially meaningful because it allows me to bring language, culture, and dance music into the same space. Growing up, I didn't hear a lot of Tagalog represented in the electronic music I was discovering, so there's something powerful about creating work that reflects that part of my identity. Representation matters, not just for visibility, but because it expands what's possible and imaginable for the people who come after you. The collaborations with BIPOC artists come from a similar place. I'm really interested in cross-pollination, in what happens when different perspectives, histories, and creative traditions meet. Some of the most exciting things in music happen at those intersections, where people bring their full experiences into the room and create something none of them would have made alone. More broadly, I want the world I'm building around my music to feel expansive rather than exclusive. The goal isn't to create a single sound or identity, but a space where different influences, cultures, and forms of expression can coexist, evolve, and inform one another. That's where I think real growth happens, both creatively and in community.

Some songs are built around grand ambitions. Others thrive in the beauty of staying present. On his latest single, "Our Plans Can Wait," Toronto-born pop artist Julian Hunt chooses the latter, delivering a bright and heartfelt anthem that captures the excitement of possibility, self-discovery, and embracing life's unexpected turns. Opening with the charming line, "I don't want to rule the world, I just want you to dance with me," Hunt immediately establishes the playful spirit that defines the track. Rather than chasing certainty, "Our Plans Can Wait" leans into spontaneity, celebrating chance encounters, fresh starts, late-night adventures, and the thrill of stepping into the unknown. Released during Pride Month, the song doubles as a celebration of queer joy and authenticity. Hunt's delivery feels personal and conversational throughout the verses before exploding into a chorus that carries the energy of a communal chant. It's the kind of hook that feels designed for singing with friends at full volume rather than quietly listening alone. Produced alongside Mark Henning at Boutique Empire Studios in Vancouver, "Our Plans Can Wait" draws inspiration from the larger-than-life pop records that defined the 2000s and early 2010s while maintaining a distinctly contemporary edge. Layers of synths, stacked vocals, and theatrical flourishes create a cinematic atmosphere that mirrors the song's optimistic outlook. What makes the release particularly compelling is Hunt's confidence as both a songwriter and storyteller. Rather than relying on vocal acrobatics, he leans into character, perspective, and emotional honesty. Every lyric feels intentional, capturing the mindset of someone learning to trust themselves while embracing change. As Hunt continues building momentum ahead of an upcoming EP, "Our Plans Can Wait" stands as his strongest statement yet. It's joyful, sincere, and refreshingly unafraid to celebrate hope in a world that often rewards cynicism. For anyone standing on the edge of a new chapter, Julian Hunt offers a simple reminder: sometimes the best moments happen when you stop worrying about the plan and start enjoying the possibility.

Ty Dolla $ign The fight to end multiple sclerosis took center stage in Los Angeles as the 33rd Annual Race to Erase MS Gala brought together some of entertainment's biggest names for an unforgettable evening of fundraising, advocacy, and live performances. Naomi Bulochnikov-Paul Held at the Fairmont Century Plaza on June 5, the annual event raised more than $1.8 million to support Race to Erase MS and its groundbreaking Center Without Walls program, a collaborative research initiative focused on advancing treatments and ultimately finding a cure for multiple sclerosis. Naomi Bulochnikov-Paul and Nancy Davis Hosted by television personality Jesse Palmer, the evening honored Disney Entertainment Television Communications Executive Vice President Naomi Bulochnikov-Paul with the organization's prestigious Medal of Hope. Recognized for her leadership, advocacy, and resilience while living with MS, Bulochnikov-Paul delivered an emotional acceptance speech encouraging those facing uncertainty to choose strength over fear. Nancy Davis Founded by longtime MS advocate Nancy Davis, Race to Erase MS has become one of the most influential fundraising organizations supporting neurological research. Since its inception in 1993, the foundation has helped raise more than $58 million and contributed to research efforts that have resulted in over 25 FDA-approved therapies for people living with multiple sclerosis. Ty Dolla $ign Entertainment remained at the heart of the evening, with performances from seven-time Grammy-nominated artist Ty Dolla $ign, Rock & Roll Hall of Fame inductee Richie Sambora, and Emmy Award-winning singer-songwriter Rachel Platten. Cheche Alara, Rachel Platten Dancing with the Stars professionals Alan Bersten and Emma Slater opened the gala with a captivating dance performance before guests enjoyed a runway presentation from luxury fashion brand L'AGENCE. Richie Sambora Ty Dolla $ign energized the room with crowd favorites including "Paranoid," "Psycho," "Don't Kill The Party," and "Carnival." Later in the evening, Sambora delivered powerful renditions of Bon Jovi classics "Livin' on a Prayer" and "I'll Be There for You" alongside David Osmond. Platten followed with inspiring performances of "Stand By You," "Set Me Free," and her global anthem "Fight Song." Food God The event drew an impressive guest list featuring Ashley Benson, Carmen Electra, Food God, Chandra Wilson, Diane Warren, Jane Seymour, Jenna Dewan, Kathy Hilton, Montana Tucker, Stassi Schroeder, Tia Carrere, Virginia Madsen, Jonathan Cheban, and many more from across entertainment, fashion, and media. Brandon Davis & Ashley Benson One of the evening's most anticipated moments came during the luxury live auction, where attendees bid on exclusive experiences ranging from private yacht charters in the Bahamas and luxury Tuscan villa escapes to Aspen getaways and New York Fashion Week experiences. Addressing the crowd, Davis reflected on how far MS research has come since launching the foundation more than three decades ago. "When I started this journey, doctors told me there was nothing we could do for MS," Davis shared. "Today, there are over 25 FDA-approved therapies because of the generosity and determination of this community. But we're not finished until every person living with MS is healed." The gala concluded with Race to Erase MS's signature performance of "Lean On Me," bringing performers and attendees together in a moving finale that underscored the organization's mission of hope, unity, and continued progress toward a cure. As Race to Erase MS enters its 33rd year, the organization continues to fund innovative research through partnerships with leading institutions, including Harvard, Yale, Cedars-Sinai, UCLA, USC, Johns Hopkins, and UCSF, helping push the search for a cure forward one breakthrough at a time.

Carl Radke - OREO Cakester “Soft Life” Pop Up OREO Cakesters officially kicked off summer in New York City with the debut of The Softer Spot, an immersive pop-up experience celebrating the brand's signature soft-baked personality and encouraging visitors to embrace a more carefree, comfortable lifestyle. Held in Manhattan's Meatpacking District on June 11, the exclusive VIP Preview Night welcomed creators, tastemakers, media personalities, and brand partners for a first look at the interactive activation. Guests entered a fully transformed "OREO: Soft Mode" environment, complete with experiential installations, branded moments, and music from DJ DILLY. DJ Dilly - OREO Cakester “Soft Life” Pop Up The evening was hosted by Bravo star Carl Radke, who also showcased his non-alcoholic beverage brand, Soft Bar. Radke introduced guests to a curated menu of mocktails designed specifically for the event, including the Golden Hour, Soft Summer Spritz, Bitter Beginning, and Tonka Noir. The collaboration highlighted the growing popularity of alcohol-free social experiences while complementing the event's overarching "Soft Life" theme. Among the notable attendees were fellow Summer House cast members Ben Waddell and Sabrina Belle, alongside Vanderpump Rules and The Valley personalities Scheana Shay and Brock Davies. Additional guests included Charity Lawson of The Bachelorette, Elenora Srugo from Netflix's Selling the City, and Jade Shenker from Netflix's Owning Manhattan. Adding to the evening's entertainment, hip-hop artist Kosha Dillz delivered a surprise freestyle performance, including a custom rap inspired by OREO Cakesters and a live rendition of his viral New York Knicks anthem. Throughout the venue, attendees explored a variety of interactive activations designed to bring the OREO Cakesters brand to life. Highlights included a Soft-Baked Bakery Counter featuring product sampling, a Blind Bag Oven Experience offering surprise prizes, and a Cloud Pillow Pit lounge installation designed for social-first content creation. Guests also explored fragrance-inspired Scent Discovery Stations and multiple photo opportunities throughout the space. The activation showcased OREO Cakesters' four core flavors: Original, Golden, Double Chocolate, and Confetti Cake, while reinforcing the brand's playful approach to comfort and self-expression. Following the VIP launch, The Softer Spot opened to the public on June 12 and June 13, inviting New Yorkers to experience the immersive installation, participate in giveaways, and enjoy exclusive merchandise at 22 Little West 12th Street. As experiential marketing continues to evolve, OREO Cakesters' latest activation demonstrates how brands are increasingly creating immersive, shareable environments that extend beyond product sampling and into lifestyle-driven consumer engagement.

Love songs are often written from a place of certainty. Either the feelings are mutual, or they aren't. CAPPA's latest single, "Say You Love Me," lives in the far more complicated space in between that drives us all crazy. Built around the emotional tension of wanting someone who refuses to make their feelings clear, the track explores the frustrating reality of mixed signals and unanswered questions. It's a feeling most listeners know all too well: when someone's actions suggest one thing, their words suggest another, and you're left searching for clarity that never quite arrives. What makes "Say You Love Me" so effective is its emotional directness. CAPPA doesn't hide behind metaphors or overcomplicate the message. Instead, she leans fully into vulnerability, capturing the desperation and hope that often coexist when you're waiting for someone to finally say what you desperately want to hear. The song's standout lyric, "you're in my blood, I'm in your brain, so say you love me now," perfectly encapsulates the dynamic at the center of the record. There's confidence in the connection, but uncertainty in the outcome. CAPPA understands that sometimes the hardest part of falling for someone isn't the feeling itself, it's not knowing whether they're willing to meet you there. The track balances emotional weight with undeniable pop appeal. The melody is immediate and memorable, allowing the lyrics to land without feeling overly heavy. Every element of the production supports the tension running through the song, creating a sense of longing that lingers long after the final chorus. At its core, "Say You Love Me" is about wanting certainty in an uncertain situation. It's about the emotional limbo that exists between friendship and commitment, attraction and confession, hope and heartbreak. Rather than offering a resolution, CAPPA embraces the discomfort of not knowing. In doing so, she delivers a love song that feels refreshingly honest. Because sometimes the loudest emotions aren't found in grand declarations. They're found in the silence before someone finally says the words you've been waiting to hear. What inspired you to write about the space between attraction and certainty rather than a traditional love story? I've always been more interested in the moments before love has a name. Sometimes I feel like the uncertainty is just as intense as love itself. "Say You Love Me" lives in that gray area where two people clearly feel something, but whether they choose to step into it is sometimes a different story. The lyric "you're in my blood, I'm in your brain" is incredibly vivid. What was the story behind that line? Thankyou! That line came from thinking about how two people can experience the same connection in completely different ways. One person feels it emotionally, physically, instinctively (it's in their blood). The other person can't stop thinking about it, analyzing it, questioning it, so it basically all lives up in their brain. It's about how two people can carry love and connection completely differently, even while they're in the same relationship. Do you think mixed signals have become more common in modern dating, or have people always struggled to communicate their feelings? Oh, 100%. I think people have always struggled with vulnerability, but modern dating just gives us more ways to avoid clarity. It's much easier to avoid feelings now and run away from them instead of facing them. Now, we have thousands of distractions at our fingertips in any given moment. Was there a specific emotion you wanted listeners to sit with after hearing "Say You Love Me"? I feel like the main idea is longing. Not necessarily sadness, but that feeling of wanting something that's almost within reach, but you're not sure if you'll ever have it. If the person in this song finally answered honestly, what do you think they'd say? I think they'd admit that the feelings were real. Not because they're suddenly ready for the relationship or choosing it, but because they're finally ready to stop hiding from the truth of what they felt. I think sometimes honesty isn't "I love you" but rather "I felt it too." Whether the person chooses to run from that or not is a different story.

There’s a certain kind of loneliness that only exists in big cities at night, and The Mystic Underground knows exactly how to soundtrack it. On “Darkness Hides At Dawn,” the New York duo blends shimmering alternative electronic production with emotional weight that feels both intimate and cinematic. The track moves like a late-night subway ride through a city that never fully sleeps, balancing longing, exhaustion, romance, and release against a pulse built for the dance floor. Drawing influence from artists like Pet Shop Boys, The Smiths, and Talk Talk, the duo channel post-punk melancholy and new wave atmosphere into something modern and emotionally alive. “Darkness Hides At Dawn” doesn’t just aim to make listeners move. It captures the strange comfort of losing yourself in music long enough to forget the chaos waiting outside the club doors. “Darkness Hides At Dawn” feels emotionally heavy while still carrying dance-floor energy. How do you balance melancholy and movement without one overpowering the other? V: It’s always a tricky balance to maintain, to be sure. On that particular song, the overall vibe was such that it cried out for a rather introspective yet maudlin set of words to go with it. In my mind, I envisioned it as a song that could be played comfortably in a dimly lit dance club with lovelorn bodies swaying to the rhythm. Really, it’s about the music and allowing it to guide you to a natural place where everything simply fits. One hopes the balance arises as a result. New York City feels deeply embedded in your music. How much does the city itself influence the emotional atmosphere and storytelling behind your songs? V: New York City is a chameleon. It always takes on different forms depending on which part you traverse. So many different people from different places all coming together with myriad stories to tell. The thing that we as New Yorkers always have in common is the daily struggle to get to where we need or want to go, physically and metaphorically. The daily hustle, the grind never stops, and the city itself is never at rest, so there is never a lack of fertile ground to derive inspiration for songs from. Our songs, on a granular level, are about the human condition. The sensitivity one feels, always having to be on alert and ready to perform, since life itself is a performance. That constant tension, internally and externally, that the city presents will always find its way into informing what I write. Your sound pulls from post-punk, synth-pop, and alternative electronic music, but there’s still something very modern about it. What artists or scenes shaped the identity of The Mystic Underground most strongly? V: Ben and I overlap on a few different things, notably dance music, but a lot of what makes us work is the clash of influences that one could say make up our respective musical upbringing. Ben was more a fan of progressive rock and metal bands such as Rush and Metallica, whereas my musical scope centered around post-punk, punk, rap, Britpop, and more. For me personally, my major influences have long been the scenes coming out of the 1970s New York City CBGB era, compared to the music emerging from the UK. Bowie is a massive influence, as were bands like Siouxsie and the Banshees, The Smiths, Joy Division, Radiohead, and Suede. I could seriously be here all day listing all the bands that informed my musical outlook. The club environment is often treated as escapism in your music, but there’s also something spiritual about the way you describe it. What does nightlife represent to you emotionally? V: I think the thing with nightlife is that it offers the opportunity to cleanse oneself from the harshness and hectic nature of the day. Whether it be a long day at work, at school, or whatever else life throws at you, nighttime is where we can truly be ourselves. There is no longer the requirement to perform as what society would like you to perceive as “normal.” The nighttime gives you permission to be your best self, your true self, your naked self. The club is a form of communion where we can congregate, engage together, and purge ourselves of the person we are forced to be. We bask in the revelry of being ourselves, even if only for a few short hours. Our music tries to reflect that feeling of freedom you experience when heading out into the streets for a nocturnal adventure. “Life… set to a dance beat” is such a strong mission statement. Do you think electronic music sometimes gets unfairly dismissed as emotionally shallow? V: It absolutely does. In 2026, I find it hard to believe and frankly laughable when someone still believes electronic music is something anyone can make by simply pushing a button, or that it’s inherently cold and mechanical. Some of the most beautiful melodies written over the last half-century have emerged from synthesizers and the voices floating above them. Songs like Unfinished Sympathy by Massive Attack, Do I Have To? by Pet Shop Boys, or Bachelorette by Björk are perfect examples. I’d put those songs up against anything someone would offer as a counterargument. Like any genre, it’s the responsibility of the songwriter and composer to make the listener feel something transformative and transcendent. Electronic music offers a compelling vehicle to do exactly that. So Close, So Far explores contradiction: intimacy and distance, heartbreak and ecstasy. Why were those emotional opposites important for this album specifically? V: Exploring contradictions in life has long fascinated me and often finds its way into my lyrics. With this record in particular, I felt more comfortable delving even deeper and allowing it to become more immediate and personal. To varying degrees, we’re all hypocrites teetering on the edge of giving in to the worst parts of ourselves. Many of these songs were inspired by that admission. They allowed me to turn the spotlight inward and hyper-focus on how I observe the people around me, as well as the motivations behind the way they operate. You mentioned wanting to prove electronic music can still have soul. What do you think is missing from a lot of modern electronic releases right now? V: I think there is a lack of daring in a lot of what’s happening within electronic music. With the ubiquity of software and equipment, you would think there would be more experimentation and exploration, which would naturally lead to greater originality. Instead, there seems to be too much sameness. Too many artists aren’t focused on writing songs—they’re simply putting out tracks. It feels like some are satisfied creating content that might go viral on TikTok rather than music that genuinely reaches the heart and mind. There also seems to be a vast void of artists yearning to say something meaningful, to create music that lasts. It’s a shame because there are so many things happening in the world that could inspire music rooted in anger, doubt, escape, passion, or hope. That said, I do believe this is a phase. We have faith that audiences still crave substance, and we hope people feel that we are one of the bands committed to creating exactly that.

Stephen Day has built a career on making deeply personal songs feel universally relatable. Whether he’s capturing the rush of new love, the ache of nostalgia, or the uncertainty of moving forward, his music consistently finds the emotional details that connect with listeners. Now, the Nashville-based singer-songwriter is entering a new chapter with two standout releases. While “Back In My Bed” reflects on the lingering presence of someone you can’t quite forget, “Rock Bottom Baby” embraces a brighter, more carefree energy built for summer. Together, the tracks showcase the range of an artist continuing to evolve while staying rooted in honest storytelling. We caught up with Stephen to discuss both releases, his creative process, and what’s ahead. “Back In My Bed” and “Rock Bottom Baby” feel like two very different emotional experiences. Was it intentional to introduce this new era through contrasting songs, and what do you think each track reveals about where you are creatively right now? Totally! I think while both of these tunes represent different feelings or emotions, they come from a similar place of desire or wanting something that feels like it doesn’t want you back. Whether it be more of a soulful tilt like on “Rock Bottom Baby” or a playful one like on “Back in My Bed”, I think both of them lean into this type of songwriting that I’ve always been drawn towards, basically trying to pair heartache or longing with the right groove and chord changes that still make you want to get up and dance. I think for me, creatively right now, it feels like I’m stepping into a confident stride of emulating my heroes rather than imitating them. I feel like my voice, vibe, and guitar playing are continuing to develop their own identity as Stephen Day,, and I think these contrasting songs are a close-up look at that! ​ You described “Back In My Bed” as an homage to the music that made you fall in love with guitar and songwriting as a teenager. Which artists or records were inspiring you while creating the song, and how did those influences find their way into the final version? ​ When I was a kid, I fell in love with John Mayer’s album Room For Squares. Every song had an amazing guitar part and a groove. It felt so much more intricate than the pop music I was hearing on the radio. I was so fascinated by someone holding down such a complex guitar part while singing a catchy melody over it. So, I think about this song, and I was trying to get back to some of those roots. Me, a fun guitar part, and a catchy love song. When we were in the studio tracking this song, it came together so quickly. We were referencing Mayer, as well as artists like George Benson and Glen Campbell. Some of the chord changes are very George Benson, and the drum groove has a very “Southern Nights” feel to it. Always just trying to blend all of my favorite things into one delicious cocktail. ​ At the heart of “Back In My Bed” is the idea of not being able to fully shake someone from your mind. Why do you think songs about unresolved feelings continue to resonate so deeply with listeners across generations? ​ I think songs from a place of heartache or longing are a way for humans to feel they belong and aren’t alone. A song about love or loss can become a friend for a lifetime. It can mark an era of your life and bring back good or sad memories, but I think the cool thing about songs is that they have this way of just being there with you. They don’t tell you to feel a certain way or require anything from you. You can go to them, and they’re always there. Whatever feeling you want to feel, there’s a song for that. So, I think great songs just become great friends, and they can be near to you when life is too heavy or too much to think about. They can help you sort through things subconsciously, and/or they can just be an escape. ​ “Rock Bottom Baby” carries an infectious energy and feels tailor-made for summer. What was the creative process like working with Micah Tawlks, Ian Fitchuk, and Ava Suppelsa, and how did that collaboration help shape the song’s personality? ​ I had this really fun guitar part that was basically oscillating between two different chords while the bass note stayed the same, and I couldn’t stop singing the opening line of the song “rock and roll, and then you hit rock bottom baby”, and I brought it to the crew, and everybody was like, “We should definitely chase that down”. It was the perfect group for this kind of song because I wanted it to be fun,, but I also wanted it to have some real meaning for me. So, we were able to craft this lyric that felt heavy but also had a glimmer of hope, and when I read it back now, it could be read either way, which I really love. I feel like we walked this really fine line where somebody could just pay no attention to the lyrics and have a really great time, or really dig in and find some depth in the song, and that is everything to me. Hopefully, folks feel like they can relate and let the music move them to shake off the blues that life can bring sometimes. After releasing Gold Mine, reaching more than 190 million streams, and spending years touring around the world, what excites you most about this next chapter, and what can fans expect from the music still to come? When I sit down and reflect on all the friends and fans that have helped me make it to where I am today, I’m just so grateful. The fact that anybody listens to my music still blows my mind. It’s an honor to make music for a living, and I don’t take it for granted. I think folks can expect a new era of Stephen Day that feels fun, fresh, and authentic. I’m trying to leave it all on the floor with this new music and whatever comes next. I hope they’re ready, because I am!