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BUZZMUSIC was built on a simple belief: independent artists deserve to be heard. This year, we've helped hundreds of artists share their stories, introduced new music to audiences around the world, expanded our network of media partners, and built a growing community that believes in the power of independent music. Our mission has always been bigger than press coverage. We want to create real opportunities, make music discovery exciting again, and give emerging talent the recognition it deserves. To every artist, reader, and industry professional who's been part of our journey, thank you. We're proud of what we've built together, and we're only getting started. 11 Artists Who Are Elevating Us This Season Bijou Belle At just 17 years old, South Dakota's Bijou Belle is making serious moves in the independent music scene. Following a standout appearance on NBC's The Voice as a member of Team Adam, Bijou Belle has continued building momentum with a growing catalog of emotionally driven alt-pop releases. Coming from a musical family, with a grandfather who co-wrote the rock classic “Rocky Mountain Way,” Bijou Belle began performing alongside sibling band The RathCo, touring throughout the Midwest before releasing their self-titled debut EP earlier this year. Following her national television debut, Bijou Belle released a cover of Billie Eilish's “Wildflower,” which she performed on The Voice, alongside original singles “Close the Door,” “Blind Crush,” and “Cuz of Me.” Her latest release, “See You,” showcases her haunting vocals and vulnerable songwriting, exploring the heartbreak of holding onto someone who's already moved on. With national television exposure, years of live performance experience, and an expanding discography already behind her, Bijou Belle is establishing herself as an exciting young voice in alternative pop. GISELLE Los Angeles-based singer-songwriter and multi-instrumentalist GISELLE is building an independent music career defined by versatility, ambition, and creative independence. Originally from Boston and raised in Buffalo, GISELLE moved to Los Angeles at 21 to pursue music, going on to perform at iconic venues including Whisky a Go Go, The Viper Room, The Hotel Cafe, and iHeartRadio events. Playing five instruments and blending pop, R&B, rock, and alternative influences, GISELLE has released three full-length studio albums while taking a hands-on approach to directing, writing, filming, and editing original music videos and short films. Following the August release of her third album, JUST SAY SORRY, and a busy year of singles and visual projects, GISELLE is preparing to release “REAL WITCH” on October 17, 2026. The Halloween-inspired single explores self-protection, personal power, and confronting negative energy, accompanied by a music video that expands its supernatural themes. With a growing international audience and an annual Halloween performance at Whisky a Go Go scheduled for October 29, GISELLE continues to demonstrate what it means to be a truly independent, multidisciplinary artist. Joy Brown Memphis-based pop artist Joy Brown is making her mark as a triple threat: singer, songwriter, and producer. After years of helping other artists build their careers behind the scenes, Joy Brown stepped into the spotlight with her self-written and co-produced debut single, “Prowl,” in 2025. Since then, she's performed at a Memphis Tigers basketball halftime show, hosted a multi-artist showcase for Memphis's 901 Night, and collaborated with acclaimed creative director Maxx Reed, whose career includes work with Michael Jackson, Mariah Carey, Beyoncé, and Usher. Her latest single, “Bender,” delivers infectious pop hooks and unapologetically honest lyrics about embracing life's messier moments. With a music video on the way, a reimagining of the University of Memphis anthem “We Da Tigers” in development, and plans for a debut EP and tour in 2027, Joy Brown is building a career that celebrates individuality, creative independence, and her Memphis roots. Eric Hirshberg Los Angeles-based singer-songwriter Eric Hirshberg has one of the most unconventional backgrounds in independent music. Before pursuing songwriting, Eric Hirshberg spent eight years as CEO of Activision Publishing, overseeing global franchises including Call of Duty, Guitar Hero, and Destiny, following fourteen years at Deutsch LA, where he served as CEO and Chief Creative Officer. Named one of AdAge's “50 Most Creative People in Business,” Eric Hirshberg has since turned his attention toward music exploring human connection, sobriety, family, and modern life's distractions. His collaboration with Aloe Blacc on “For Real” led to his national television performance debut on Live with Kelly and Mark, where Kelly Ripa called the song “an anthem.” His music has also earned coverage from American Songwriter, Relix, and Americana Highways. Released October 2, 2026, his latest album, More Is Not The Answer, examines technology, polarization, gratitude, and the importance of staying connected in an increasingly distracted world. With an extraordinary career spanning entertainment, advertising, and now songwriting, Eric Hirshberg brings a refreshing perspective to contemporary music, reminding listeners that sometimes the most meaningful things in life have nothing to do with having more. Kimaya Diggs Western Massachusetts singer-songwriter, poet, and producer Kimaya Diggs is an accomplished independent artist whose music blends indie pop, soul, R&B, folk, and spoken word into deeply personal storytelling. Having shared stages with legendary performers including Mavis Staples, Emily King, Trombone Shorty, and Tank & the Bangas, Kimaya Diggs has also performed at Green River Festival, Club Passim, and Rubblebucket's Dream Picnic. Her work has earned recognition from the New England Music Awards, a prestigious Callaloo poetry fellowship, and recent features from WBUR and NEPM. Following a serious vocal injury and years spent rebuilding her voice, Kimaya Diggs has returned with Green, her new album released October 2, 2026. Serving as the project's lead producer and engineering approximately a quarter of the record herself, Kimaya Diggs explores belonging, grief, resilience, and personal growth through a rich, genre-spanning sound. Recorded in part with Dr. Dog drummer Erick Slick, the album also features a dedicated music video for every song. With a hometown album release performance at Northampton's Academy of Music Theatre and an upcoming West Coast tour featuring another support date with Mavis Staples in January 2027, Kimaya Diggs continues building an impressive career rooted in artistic independence and meaningful connection. BYE MALO Toronto-based indie artist Bye Malo is bringing a fresh perspective to alternative music, blending the nostalgic energy of early 2000s guitar-driven rock with modern indie production and emotionally charged songwriting. Drawing inspiration from artists including Dominic Fike, Frank Ocean, The Smiths, and The Strokes, Bye Malo is developing a genre-fluid sound defined by distinctive vocals, raw emotion, and infectious melodies. His latest single, “Adored,” marks a bold creative step forward, embracing riskier vocal arrangements and guitar-driven intensity while exploring the complicated feeling of constantly returning to someone whose affection isn't always reciprocated. Built around a powerful, sing-along chorus and a moody alternative rock atmosphere, the track captures the excitement and frustration of wanting attention from the one person who matters most. With a sound that bridges nostalgic rock influences and contemporary indie sensibilities, Bye Malo is establishing himself as a promising new voice in Toronto's independent music scene. OBEE Nashville-based electronic artist obee is carving out a distinct space in dance music, blending heavy bass, euphoric synths, and emotionally charged songwriting with influences spanning Skrillex, Daft Punk, Deadmau5, and New York's underground club scene. After discovering electronic music through skiing videos, obee began producing beats while studying film at Ithaca College, eventually DJing parties and working as a photographer for artists in New York's nightlife circuit. Drawing from those experiences, his music explores love, heartbreak, addiction, and the complexities of the human experience, pairing infectious dance-floor energy with meaningful social commentary. Following the release of his sophomore EP, SODA, earlier this year, obee is introducing his most ambitious project yet with ATOM, his debut full-length album. Inspired by the energy, connectivity, and emotional frequencies of music, the record moves between euphoric electronic production and introspective lyricism, showcasing an artist unafraid to push genre boundaries. With a sound that balances club-ready intensity and genuine vulnerability, obee is bringing a refreshing perspective to independent electronic music. ISHANA Montreal-based indie-pop artist ISHANA is building an impressive independent career through distinctive vocals, emotionally driven songwriting, and a genre-blending sound shaped by gospel, classical, acoustic, and contemporary pop influences. A recipient of Canada's competitive FACTOR Artist Development Grant, ISHANA has collaborated with acclaimed producers including Glen Robinson, whose credits include The Ramones, The Beach Boys, and Céline Dion, and Billboard-charting producer Olivier Bassil, known for work with Don Toliver and Mary J. Blige. In 2025, ISHANA won the Singing Success Valentine's Day contest, earning the opportunity to train in Nashville with renowned vocal coach Brett Manning, whose clients include Taylor Swift, Hayley Williams, and Keith Urban. She also traveled to Los Angeles to co-write and record original material, further expanding her creative reach. Following her 2024 album Coconut Cowboy, her self-produced EP The Answers So Far, and a string of singles including “Ghost Rider” and “Canvas,” ISHANA released “The Odyssey” on August 13, 2026. Entirely self-produced, mixed, and mastered, the single explores the emotional uncertainty of a relationship's ending and the complicated journey toward acceptance and healing. With an increasingly diverse catalog and a hands-on approach to her artistry, ISHANA continues to establish herself as a versatile and compelling voice in Canada's independent pop scene. THE DELLA KIT Vancouver- and New York City-based vocalist, producer, DJ, and sonic architect, the della kit is redefining the boundaries of alternative R&B, soul, jazz, and electronic music through immersive production and deeply personal storytelling. Since releasing her debut album, moonbeams + frequencies, in 2022, the della kit has surpassed one million streams worldwide, earned recognition from MTV Canada, and opened for major artists including Lil' Kim, Questlove, Madison McFerrin, and Son Little. Her growing career includes collaborations with Grammy Award-winning producer Chris Sholar, selection for Alissia's Amazon Music Producer Camp and Music Publishers Canada's Women in the Studio program, and DJ residencies in Los Angeles and New York City. Released August 21, 2026, through Birthday Cake Records, her latest album, Dreams Speaking in Colour, marks her most self-directed project yet, blending analog soul, hip-hop rhythms, lush vocal harmonies, and atmospheric electronic production. The 10-track album explores liberation, love, healing, and self-discovery while showcasing her evolution as a producer. With placements on Apple Music playlists including Feels, Indie Soul, and Astral Escape, alongside regular airplay on CBC Music and SiriusXM, the della kit continues expanding her reach as a multifaceted independent artist with a distinctive creative vision. Mason Thomas Singer-songwriter and multi-instrumentalist Mason Thomas is stepping into the spotlight with a deeply personal debut album, My Shell Is Gone, a seven-year creative journey shaped by grief, self-discovery, and the difficult transition into adulthood. Having built an impressive musical background as a bassist for projects including Pretty Embers, Sarah Shook and the Disarmers, Liam Bauman, and Nordista Freeze, Mason Thomas brings years of collaborative performance experience into a project that is entirely his own. Written in the aftermath of his mother's passing, the album began with its emotional title track and gradually evolved into a collection of songs exploring loss, anger, depression, anxiety, and personal growth. Rather than offering simple answers, My Shell Is Gone invites listeners to find their own meaning in its stories, reflecting the complicated emotions that accompany major life changes. Following the release of two introductory singles, Mason Thomas is now bringing the full album to audiences through an ongoing release tour. With years of experience supporting other musicians and a debut record rooted in genuine vulnerability, Mason Thomas is establishing a new chapter in his career as a solo artist. ORIAN Florida-based independent pop singer-songwriter ORIAN is bringing a refreshing sense of romance and emotional honesty to contemporary synth-pop. Having relocated to the United States four years ago, ORIAN has spent years developing her songwriting around love, heartbreak, self-discovery, and the pursuit of meaningful relationships. Drawing inspiration from her lifelong love of music and romantic storytelling, she began playing piano and writing songs at a young age, eventually transforming her personal experiences into a growing catalogue of heartfelt pop releases. Following her 2026 singles “101 Days” and “Dwell,” which explore emotional uncertainty, self-worth, and learning to walk away from unhealthy relationships, ORIAN is preparing to release “Walking on the Moon” in late October. The upcoming single marks a hopeful turning point in her musical journey, capturing the excitement of finally experiencing the kind of love she once thought existed only in movies. With a forthcoming EP in development, ORIAN is also expanding her live presence with November performances scheduled at Boomtown Brewery in Los Angeles, Corbin Bowl in Tarzana, and House of Blues Anaheim. Combining relatable songwriting, dreamy pop influences, and an independently driven creative vision, ORIAN is building a promising foundation for her next chapter. Final Thoughts As we close out our Fall 2026 edition, one thing has never been clearer: the future of music belongs to those willing to create it on their own terms. Throughout this issue, we've celebrated artists who are challenging expectations, building careers without permission, and reminding us why independent music deserves a bigger spotlight. But beyond the releases, interviews, and industry conversations, there's something worth remembering. Success doesn't look the same for everyone. Not every artist wants a record deal, a viral moment, or millions of streams. Sometimes, success is simply making something you're proud of and finding people who connect with it. To the artists taking risks, starting over, figuring things out, and refusing to give up, keep going. Your work matters, even when the numbers don't reflect it. And to everyone who continues to discover, share, and support independent music, you're helping shape what comes next.

New York-born, Orlando-based singer-songwriter David Diaz returns with his latest single, “Are We Gonna Talk?." Marking his first solo release since 2023, the track introduces a fresh chapter in his musical journey, blending nostalgic 1980s synth-pop influences with a deeply personal story about fractured friendships, unanswered questions, and learning when it's time to walk away. Driven by shimmering synthesizers, rhythmic basslines, layered vocal harmonies, and infectious new-wave energy, “Are We Gonna Talk?” brings the unmistakable charm of retro pop into a modern setting. Beneath its upbeat production, however, lies a much more complicated emotional experience, one that anyone who has ever been left waiting for an explanation will recognize. The inspiration behind the single stems from a friendship that left David Diaz questioning years of emotional investment and whether the effort had ever truly been mutual. After weeks of attempting to reconnect and receiving little in return, one final message became the foundation for a song that explores the frustration of being met with silence when all you're asking for is an honest conversation. Originally written in 2023, “Are We Gonna Talk?” maintains much of its original demo vocal, allowing the raw emotion behind its creation to remain intact. Rather than revisiting the recording with a completely different perspective, David Diaz preserves the vulnerability of that moment while surrounding it with polished, energetic production that makes the track equally suited for late-night reflection and the dance floor. “The message behind this song is that we don't always have to wait for someone else to give us closure, and that, sometimes, silence is an answer,” David Diaz explains. With more than three million career streams and a 2023 Wavy Award for Production of the Year, David Diaz continues to build a catalog that prioritizes creative intention and storytelling. His latest release demonstrates how personal experiences can translate into something universally relatable without sacrificing the excitement and accessibility of a great pop record. Ultimately, “Are We Gonna Talk?” is about recognizing that not every relationship comes with a satisfying explanation, and sometimes moving forward means accepting the conversation that never happened. David Diaz turns that realization into an undeniably catchy return, proving that even the most frustrating experiences can inspire something worth dancing to. “Are We Gonna Talk?” originated from a friendship that left you questioning the balance of emotional effort. Looking back now, did writing the song help you find closure, or did that understanding come much later? Honestly, no. I wouldn't say writing the song necessarily helped me find closure. It was more of a musical expression of my frustration with the situation. The actual process was much simpler than most people might expect. I found closure by reflecting on what happened and on our friendship, and eventually realizing that I didn't need one final conversation with him to move forward. I had already expressed how I felt, and at a certain point, I just had to accept that I might never get the response or explanation I was looking for. And I was okay with that. Much of the final vocal recording comes from your original 2023 demo. As someone who handles nearly every aspect of your production, how do you recognize when an imperfect but emotionally honest performance is more valuable than a technically polished one? I find that I do that a lot with my songs when it comes to demos and stuff like that. I just kind of always fall in love with the first couple of passes, just because I feel like it captures the most feeling of whatever it is that I'm trying to say. But for this song in particular, it just fit. I don't know—I think I tried to record it a couple of times after I had the reference vocal, but I always ended up coming back to the earlier version, and I never re-recorded it, so I kept it as is. When it comes to perfection, it really isn't worth it. I've learned that perfection, while it might seem desirable in the moment or ideal, is actually so fucking boring. There's nothing relatable about perfection, and there's nothing to strive for once you’ve reached it. There's no lesson to learn. There's no nuance to be had, or discovered, or whatever. Perfection is a wall that you can’t go past because, by definition, nothing is more perfect than perfection. So, in terms of music, technically, yeah. Perfection is possible, but I don’t aim for it anymore. I aim for honesty, and authenticity, and fun, and passion. I think I'll always bring a technical side to it, in how I use my voice and the way I sing, because of my technical background and training. But other than that, I really try hard not to get caught up in the perfectionism, which is a more recent development. I mean, I think I've understood that perfection is overrated in the past, but I don't think I really started to process it, and actually act on it until, like, recently. So I'm really glad that I'm able to, A., give myself a little bit of a break, and then B., give myself room for the soul of the song to connect with people. And perfection doesn't connect with anyone. All it will ever be is pretty. And if all you can be is pretty, then I don't feel like you're worth much. I mean, why do you think we say “it's a good thing you're pretty” to pretty people or things with no substance? They have nothing else to offer us besides looks, and I want nothing to do with that. You've spoken about stepping away from the pressure to release music and chase industry expectations constantly. Was there a moment when you realized pursuing success was starting to interfere with your enjoyment of creating? Oof, yeah. I think—I don't know when exactly it was that I came to that realization. I can't put a date on it or anything, but it was so exhausting trying to follow the formula artists in the music industry use so commonly today. And I mean, since the music industry has existed, it's stayed largely the same; it’s just evolved over the generations into what it is now, and if humans are still around, it'll change into something else. Hopefully not any worse than it is now. I know I probably sound overly pessimistic, but I'm just—I have less of a tolerance for the music industry nowadays because the word itself denotes a heartbreaking lack of humanity. I mean, it's in the word: industry. It's a machine. And when you start to do things for the machine and for the satisfaction of others, and everything that you do is for public validation or approval, I think it takes away the soul from the thing that you're making. I don't know when I finally understood that, but I can honestly say that it wasn't until recently that I actually did something about it. Because I realized, a lot of the time, what I would do, or what I would find myself doing, would be complaining about the music industry, or the people that I've met that I didn't like, or that I didn't connect with. And I would subject myself to those same people, and those same issues, and those same fucked standards. And I would always walk out exhausted and drained and uninspired. It was just crushing me. So, I just decided to… stop. I realized I didn't have to subscribe to the bullshit they're selling, and I could do my own thing. And sure, maybe that means I won't be as successful as the artists who choose to play the game, fine, but I don't want to play the game. I'm done doing that, and I have had, and am having, so much more fun, clarity, passion, and inspiration than I have in a very, very long time since I decided to change how I operate. I'm an artist. I'm a human being. I am imperfect, I make mistakes, and I like being creative, but the industry took everything enjoyable about those things away from me because I let it. So, yeah, I stepped away because I needed to find out who I want to be as an artist and as a person. I was getting caught up in separating David the human from David the artist, from David the business, and so on and so on. So, now, it's just me doing the things that I like and want to do, with the people that I like and the people that I want to do them with. And it's so nice. It's so, so nice. The music video transforms a painful experience into an elaborate 1980s horror-comedy. What inspired that creative direction, and how did working with Kahlil Antonio and Abiesel Báez help bring the concept to life? I can honestly say that, when it comes to the music video, they had a complete hand in creating the concept and bringing it to life. I basically just wrote the song and trusted their vision and creativity, and the amazing cast and crew they brought on board, who were on set with us, also helped bring it to life. Kahlil and Abi are frequent collaborators of mine, and over the years, we’ve developed a really close friendship. I cherish them so much because we've become really close, helped each other creatively, and been there for each other during our own creative slumps. They helped turn that experience into something fun, which is what I like to do. When you're able to take a really hard situation and come out of it with understanding and hindsight, you grow from that. You're able to laugh at it, and poke at it, and observe it, and turn it into anything you want. They really helped me do that. When it came to the concept, and even the final version you see now, they pulled from a lot of classic '80s horror tropes, most of which I'm unfamiliar with! But I have enough general pop culture knowledge to understand what they were going for! As I said, I just trusted their vision. However, I will say it did take a lot to convince me because I am a huge baby and don't like scary stuff. Still, they sat me down, shared their ideas, showed me what they had in mind, and I trusted them, liked it, contributed what little I could, and we put it all together. So, yeah, working with them was just, was, and is always an absolute pleasure. I told them the only requirement I had for the music video was that if there was going to be blood, it had to be blue because it's my favorite color, haha. Philosophy has played an important role in your songwriting and personal development. Has your understanding of human relationships, particularly the difference between someone's intentions and their actions, fundamentally changed since writing “Are We Gonna Talk?”? I think my understanding of those things has definitely deepened because, with experience, even a bad one, we can learn from it if we choose to. I've come to appreciate that intentions and actions are both incredibly important, but they're not necessarily the same thing. We all have the freedom to make our own choices, and while our intentions may influence those choices, what we intend to do and what we actually do don't always line up. That's why I need to consider not just what someone says or intends, but what they consistently demonstrate through their actions. Because ultimately, our choices have consequences, not just for ourselves, but for the people around us. I've also come to understand that meaningful relationships have to be voluntary, reciprocal, and mutually beneficial. They require both people to willingly participate, contribute, and demonstrate that they value one another. You can't force someone to care, communicate openly, or match the effort you're putting into a relationship; you shouldn’t. Even when someone's intentions are genuinely good, it doesn't mean their actions aren't harmful. Enduring uniquely difficult experiences in life can be really hard in the moment. Sometimes you just need time to process what happened, heal from it, and figure out how to move forward without allowing it to completely consume you. But I think there's something valuable in recognizing that, while we can't control the choices other people make, we can control how we respond to them. We can choose to learn from those experiences, reexamine our perspectives, and, hopefully, become more thoughtful and discerning humans because of them. So, I don't know if it's accurate for me to say my understanding has fundamentally changed, but I can say that it’s certainly continued to evolve. I think understanding is something we develop throughout our lives. That is, if we're willing to question what we think we know and stay open to learning. In this case, I’m just glad that I could turn what was initially a painful experience into the song it is now.

Los Angeles-based alternative pop artist and producer Reese Oliver has released his debut EP, multicolored, a deeply personal five-track project exploring identity, vulnerability, and the emotional consequences of growing up in a world that demands conformity. The EP marks a compelling new chapter for Reese Oliver and sets the stage for an upcoming debut album. Originally from Atlanta, Georgia, Reese Oliver draws on childhood bullying, societal expectations, and the complicated journey toward self-acceptance. Blending alternative pop, indietronica, and experimental electronic influences, multicolored transforms difficult memories into an unapologetic exploration of individuality. Each track represents a different emotional experience, moving through loneliness, empathy, perfectionism, sadness, and ultimately strength. Songs like “roadkill” confront the damaging expectations placed on young boys, while “golden” examines the exhausting pursuit of validation. By the closing track, “sidewalk chalk,” the project arrives at a powerful declaration of resilience. Beyond its personal significance, Reese Oliver is donating 50% of the EP's proceeds to The Trevor Project, supporting LGBTQ+ youth in crisis. With another single planned before year's end, multicolored offers more than an introduction. It's the beginning of a larger story about reclaiming identity and finding freedom through self-expression. Growing up in the South, you experienced pressure to fit into traditional expectations of masculinity. Looking back, what was the defining moment when you realized you wanted to stop changing yourself for other people's approval? I don’t know if there was one defining moment as much as there was a gradual realization: I needed to simply accept that not everybody would like me for who I was. Trying to change yourself for others is exhausting. It’s ineffective, too, ‘cause nobody can truly love you if they don’t know who you really are. A lot of multicolored unpacks the detriments of trying to be someone you’re not. I hope the songs can help listeners struggling with their identity to come to this realization as well. Each song on multicolored represents a specific emotion. How did you approach translating those feelings into production choices, and were there particular sounds or techniques that helped communicate what words couldn't? When producing the EP, I knew I wanted the production to be loud, dramatic, colorful, queer, and unique: all characteristics that others told me to hide. My favorite production choice that I played with, though, was distortion. For “roadkill,” I wanted the track to feel aggressive and dark. I used a ridiculous amount of distortion on the bass and crunchy FX sounds throughout to craft the song’s environment, which I wanted to feel somewhat hostile. I also played with a lot of synthetic, electronic sounds on “afterparty (it’s all blue)” to reflect the internal struggle of needing to be vulnerable but feeling afraid to. The cold, computerized sound parallels the front the speaker puts up. It takes a lot of strength to fight against your instincts and break free from the fears and bad habits that control you. The abrupt, glitchy sounds represent those moments of breakthrough. “golden” explores the destructive pursuit of perfection and validation. Do you think social media has made this pressure even more intense for younger generations, particularly those trying to discover their identities? Definitely. Social media enables people to compare themselves to literally everyone in the entire world. That’s not natural. On top of that, curating a ‘profile’ forces us to carefully consider how we present ourselves to the world. For younger generations, an Instagram or TikTok account can be their first intentional exploration of self-expression. As the algorithm places metrics on how much we’re “liked” and comments allow anybody to leave their unsolicited opinion on us, it’s no surprise that Gen Z and Gen Alpha struggle with anxiety, perfectionism, and an addiction to validation. For young people trying to discover themselves, please don’t let social media pollute your mind. The internet is nothing like the real world, and your worth is not determined by others You're donating 50% of the EP's proceeds to The Trevor Project. What inspired that decision, and how do you hope your music can reach young listeners who might be experiencing the same isolation you once felt? When I first started writing music in middle school, it healed me. Listening to vulnerable songs by artists like Conan Gray and Billie Eilish inspired me to confront my emotions and identity. Their music helped me realize I wasn’t alone in my struggles, which gave me the courage to start writing my own songs and unpacking my feelings. It did wonders for my mental health. I knew I wanted my first EP to give back in the same way that music had given so much to me. My goal as a musician is to help others. I decided to donate 50% of the proceeds to expand the power multicolored has to create an impact on the world. Throughout the project, I explore the importance of expressing yourself and sharing your emotions, even the ones that feel scary to talk about. Everyone deserves to have somebody they can talk to, and The Trevor Project provides that for LGBTQ+ young people across the country. I hope multicolored can provide listeners with the courage to confront their insecurities, let their emotions out, and realize they don't have to face their struggles alone. Through The Trevor Project, I hope to help connect people with the support they deserve. You've described multicolored as a prelude to your debut album, teasing what's next with the word “escape.” Without revealing too much, how does the upcoming album build on this story, and what does escape mean to you creatively and personally? Multicolored takes place in a world where you can’t be yourself. Inspired by my own struggles with identity and homophobia, the songs provide a backstory. Who was I before I learned how to be myself? The album I’ve been working on exists in that same world, but it explores a metaphorical breakthrough. When I was younger, I thought I’d be trapped in sadness and hatred forever. The next chapter investigates the complexities of growing from your past and learning to let things go, even when it’s hard to move forward. When you decide to choose yourself, you can finally figure out who you really are.

There’s nothing quite like finally getting over someone, only for their name to light up your phone and suddenly make you question every bit of progress you've made. Vancouver Island's rising country-pop artist Kerrington Gillespie knows that feeling all too well, and her latest single, “Three Missed Calls,” turns the emotional whiplash into an infectious, personality-filled release. At just 17 years old, Kerrington Gillespie is already developing a recognizable musical identity, blending the storytelling traditions of country music with the playful confidence of contemporary pop. “Three Missed Calls” leans into that crossover, pairing glossy production and an upbeat attitude with the frustrating reality of unresolved feelings. Co-written alongside Tavish Crowe and producer Jared Manierka, the single draws inspiration from the relatable experience of an ex resurfacing at precisely the wrong moment. Rather than treating heartbreak as an entirely devastating experience, Kerrington Gillespie finds the humor in emotional setbacks, embracing the contradiction of knowing better while still feeling tempted to answer. The result is a refreshing take on modern relationships, where a few missed calls can carry more emotional baggage than an entire conversation. “This song came from that moment when you’re finally over someone and genuinely doing great, and then they reach out, and it sends you right back into the spiral you thought you’d left behind,” Kerrington Gillespie shares. The release also marks another impressive milestone in Kerrington Gillespie's rapidly growing career. With ten singles released in under a year, more than 300,000 Spotify streams, and editorial playlist recognition from Spotify's New Music Friday Canada, North Country, and Fresh Finds Canada, the young artist is building momentum well beyond her British Columbia roots. “Three Missed Calls” captures what makes Kerrington Gillespie's approach appealing: relatable storytelling, youthful personality, and an understanding that moving on isn't always a straight line. Three Missed Calls” explores that frustrating moment when someone from your past resurfaces just as you've finally moved on. What inspired you to approach that emotional setback with humor and confidence rather than traditional heartbreak? I didn't want to write another breakup track where the person from your past has all the power. From the beginning, I wanted “Three Missed Calls” to feel more like a sing-along anthem than a heartbreak song. The idea naturally lent itself to something playful, and I wanted to lean into that energy. It's upbeat, relatable, and meant to be the kind of song people blast with their friends and have fun singing along to. You co-wrote this single with Tavish Crowe and Jared Manierka. How did that collaboration shape the song's personality, and was there a particular lyric or moment that completely changed during the creative process? The song came together over two days. Jared and I had written most of it on day one, and we knew we were onto something, but it wasn't quite hitting the way we wanted it to. Then Tavish came in the next day with this guitar riff that completely changed the feel of the track. The second he played it, it felt like “that's the song, and it brought out all the attitude and fun that ended up defining “Three Missed Calls.” Country music has always been rooted in storytelling, while pop thrives on infectious melodies and attitude. How do you balance those two influences without losing your own artistic identity? That balance has been something I've been chasing. Over the last year, with every release, I've learned more about what feels most authentic to me. I love telling a story, but I also want people to have fun listening to my music. With “Three Missed Calls”, it felt like those worlds finally came together. It has the narrative side of country music, but the energy and attitude of a pop song, and that felt like a real turning point for me creatively. You've released ten singles in under a year, which is an impressive pace for any artist, especially at 17. How has your perspective on songwriting evolved throughout those releases, and what have you discovered about yourself along the way? Putting out that much music in such a short time definitely pushed me to grow fast. Every song taught me something new, and I feel a lot more confident in my writing now than I did a year ago. It has challenged me in the best way and helped me discover new parts of my sound. I think I've learned to trust my instincts more and not overthink everything. With growing streaming numbers and recognition from Spotify's editorial playlists, your music is reaching listeners far beyond Vancouver Island. What's one creative risk you haven't taken yet that you're excited to explore in your next chapter? Honestly, I'd say making an EP. Releasing singles has been amazing, but I'm really excited by the idea of creating a project that's more intentional from start to finish. I feel like I'm getting closer to the sound I want to be known for, and an EP would give me the space to explore that on a deeper level.

Southern California-based hip-hop artist Ron Brown is bringing a familiar love story into a new era with “Martin & Gina,” a collaborative single featuring Niko Noir that blends contemporary R&B influences, relationship storytelling, and a nostalgic nod to one of television's most recognizable couples. Inspired by the beloved '90s sitcom Martin, the record explores the complicated space between uncertainty and commitment. Drawing on Martin and Gina's unforgettable relationship, Ron Brown and Niko Noir explore what happens when two people recognize their connection is worth fighting for, even as outside opinions and personal doubts threaten to complicate things. The single came together unexpectedly during a trip to Georgia, where Ron Brown was visiting family. After an initial recording session failed to capture the direction Ron Brown envisioned, a fresh instrumental from his A&R sparked an entirely different approach. By the end of the night, they had completed “Martin & Gina.” Originally from Hammond, Louisiana, Ron Brown has spent years refining a lyrical approach rooted in authentic storytelling and versatility. While hip-hop remains his foundation, collaborations like “Martin & Gina” highlight his willingness to explore melody and R&B without sacrificing his identity as a rapper. “Martin & Gina” draws inspiration from one of television's most iconic relationships. What about Martin and Gina's dynamic felt particularly relevant to modern relationships, and how did you translate that into the song? I think their relationship reflects the uncertainty that can come with knowing what you want but allowing outside influences to affect how you pursue it. Whether it’s friends, family, or society’s expectations, sometimes that can make you second-guess something you already know is right for you. If you pay attention to their relationship, they’re really just navigating through the people around them that influence their decisions. I wanted to capture that tension between uncertainty and knowing how you really feel, because I think that’s something people can relate to in their own relationships. You mentioned that the original recording session wasn't going in the direction you wanted before your A&R sent over a new beat. What immediately clicked when you heard that instrumental, and how did the creative process unfold from there? Lately, I’ve been drawn to slower records, so when my A&R sent the production, it naturally caught my attention. Sometimes the melody comes first for me, and sometimes it’s the lyrics. This time, the first thing that came to mind was “wassup, wassup.” It immediately felt right, and it made me think of Martin’s catchphrase “WZUP.” From there, everything else flowed naturally. Once I’m creatively locked in and I know what a song needs to be, I’m pretty intentional about seeing it through. I put the hook and verse together, and I knew early on that I wanted Niko Noir on the record. The whole process came together pretty quickly. Niko Noir is someone you've collaborated with frequently. What makes your musical chemistry work, and what does Niko Noir bring to a record like “Martin & Gina”? Niko brings a certain level of soul that I know a record needs. She has the natural ability as a singer-songwriter, and I knew she would take the song to another level. I also wanted to bring a Detroit artist into the record, given the show’s connection to Detroit, and I referenced her project “Who Can Blame Niko?” early in my verse. So, from the beginning, I already had her in mind. We’ve worked together before, and there’s a level of trust there. I knew she was going to give the song exactly what it needed. You describe yourself as a lyrical rapper at heart, but “Martin & Gina” explores a more melodic, R&B-influenced direction. How do you balance staying true to your hip-hop roots while experimenting with sounds that might introduce your music to a different audience? I think it comes down to who I am as a person. I have a pretty dynamic personality, and my musical taste reflects that. I don’t listen to hip-hop exclusively. I listen to R&B, oldies, and a little bit of everything, so naturally, those influences find their way into my music. One day I might make something quote unquote “lyrical” or conscious; the next day, something R&B-influenced or trap. I understand that listeners want consistency, but I don’t want to limit myself to one sound when there’s so much that inspires me. My foundation is always hip-hop, though. I started out focused on the complexity of words and trying to be the best rapper. In turn, I think that experience helped me become a better songwriter, and even when I’m making something more melodic, that foundation is still there. To me, creating music is really about just studying people—understanding how they think, feel, and interact with the world. That mindset carries across every type of record I make, so even when the sound changes, I can remain true to myself. You've spoken about the importance of building relationships, creating opportunities, and putting in the groundwork as an independent artist. What's been the biggest lesson you've learned about building a music career outside the traditional industry system? One of the biggest lessons has been learning the importance of putting myself out there more. There are so many artists navigating the same challenges I am, and an artist like myself might never realize how much we have in common until we start having these conversations. There are so many talented people out there; they might be right around the corner. And if you don't put yourself out there to network and collaborate, as musicians and creatives, we mistakenly waste resources. You have to be outside building genuine relationships. That doesn’t mean you have to be an extrovert, but you do have to be willing to connect with people. I believe that, at its core, making music is about people and telling their stories, and building a career in music requires that same understanding. Talent matters, but so does your ability to relate to people. As an independent artist, you can’t always wait for the right opportunity to find you. Sometimes, you have to create it yourself.

Releasing music independently has never been easier, but building a sustainable career requires a lot more than uploading a song and hoping the streams roll in. Music industry executive, entrepreneur, and author Dani N. Thompson is helping artists take control of what happens behind the scenes with Before You Drop: An Independent Artist's Release Readiness Guide, a digital resource designed to make music business education more accessible while helping musicians protect their work, understand their rights, and make smarter decisions before releasing new music. As the Founder and CEO of DNT Entertainment, an independent record label and artist development company with worldwide distribution through The Orchard, a subsidiary of Sony Music Entertainment, Dani N. Thompson knows firsthand how easily talented artists can overlook the business side of their careers. While independent distribution has opened doors for musicians everywhere, it has also placed greater responsibility on artists to understand everything from ownership and publishing to royalties, contracts, and long-term release strategies. That's exactly where Before You Drop comes in, offering practical guidance for artists who want to approach their next release with more confidence and fewer costly mistakes. The guide explores essential topics including copyright ownership, publishing administration, royalty collection, distribution agreements, and chain of title, which establishes the legal ownership and rights associated with a recording. These are the details that might not seem exciting when you're preparing to drop your next single, but overlooking them can create serious complications when licensing opportunities, royalty payments, or future business deals come into play. Dani N. Thompson also recognizes that these challenges aren't exclusive to emerging artists, addressing musicians transitioning away from major-label deals who suddenly find themselves responsible for business matters previously managed by an entire team. Rather than burying artists in complicated industry terminology, Before You Drop delivers practical checklists, preparation tools, and actionable advice that musicians can actually put to use, whether they're preparing their debut single or planning their next major release. Available as a digital download for $49.99, the guide delivers a timely reminder that being independent means more than owning your creative direction; it means understanding the business decisions that determine what happens to your music after it's released. With Before You Drop, Dani N. Thompson is encouraging independent artists to think beyond release day, take ownership of their careers, and build a foundation that supports their ambitions long after the initial excitement of a new song fades. Explore the guide: Before You Drop: An Independent Artist's Release Readiness Guide. You've worked closely with both emerging and established artists through DNT Entertainment. What was the biggest recurring mistake you witnessed that ultimately inspired you to write Before You Drop? One of the most shocking things I've experienced throughout my career is just how many incredibly talented artists have absolutely no understanding of the business behind their own music. I've asked artists who their performing rights organization is, what their IPI number is, what percentage of their masters and publishing they own, or whether they have a publishing administrator, and I'm often met with a blank stare. And I'm not just talking about beginners. I'm talking about artists who have attended prestigious music schools, released multiple albums, built catalogs of 50 or more songs, and even established songwriters and producers. The talent is there. The music is there. But the business knowledge? That's often missing entirely. Through DNT Entertainment, I've been fortunate enough to work one-on-one with artists to build that foundation, establish their royalty infrastructure, protect their intellectual property, and understand how to operate as a business. But I kept thinking about the thousands of independent artists who don't have access to that kind of mentorship. Who's teaching them? Who's making sure they understand what they're signing away, what they're entitled to collect, or what opportunities they could be missing? There are royalties sitting unmatched or unclaimed because creators don't always have the knowledge or infrastructure to identify and collect what they're owed. And under certain royalty distribution systems, money that remains unclaimed can eventually be redistributed to other eligible rights holders. That should concern every independent creator. I realized I couldn't personally mentor everyone who needed help, but I could put that knowledge into their hands. That's why I wrote Before You Drop. I wanted to make the business of music more accessible, remove some of the mystery surrounding the industry, and give creators the tools to protect themselves before they make mistakes that could follow them for the rest of their careers. Talent might get you noticed, but understanding the business is what gives you a fighting chance at building a sustainable career. Many independent artists believe that uploading their music to streaming platforms means they're officially in business. What's happening behind the scenes that artists often overlook, and how could those mistakes affect their careers years later? Uploading your music to a distributor is probably one of the easiest parts of releasing a record. It's everything happening behind the scenes that most artists don't understand. Distribution makes your music available to the public, but that doesn't automatically mean you've established the infrastructure necessary to collect every royalty you're entitled to, protect your rights, or maximize the commercial opportunities surrounding that release. Most basic distribution services focus primarily on delivering and monetizing the sound recording. But every original song has two distinct copyrights: the master recording and the underlying musical composition. Each has its own ownership structure, licensing considerations, and potential revenue streams. Artists need to understand performing rights organizations, publishing administration, mechanical royalties through organizations like The MLC, eligible digital performance royalties through SoundExchange, international collections, and content identification systems like YouTube Content ID. These aren't all handled automatically just because your song is available on Spotify. Another major oversight is chart eligibility and tracking. Artists dream about appearing on the Billboard charts, but many don't understand the importance of accurate metadata, ISRCs, UPCs, and making sure their releases and applicable sales activity are properly recognized by reporting systems like Luminate. Depending on the chart and reporting source, additional registration or reporting steps may be necessary. Imagine generating enough legitimate activity to compete for a chart position, only to discover that some of your eligible activity wasn't being captured correctly. Then there's the ownership side. If you haven't established clear agreements with your producers, co-writers, featured artists, and other collaborators, you could be creating problems that won't surface until the song becomes successful. Even something as simple as using a nonexclusive beat can create complications for Content ID eligibility and future licensing opportunities. And these mistakes compound over time. Five years later, when someone wants to license your song for a film, invest in your catalog, or acquire your masters, they're going to want to see clean ownership documentation and accurate royalty records. Being distributed doesn't mean you're properly protected, fully monetized, or operating like a record label. It just means your music is available. There's a huge difference. That's why labels and professional teams exist. True independence requires more than access to a distribution platform. It requires understanding and managing the business behind the music. You place significant emphasis on establishing a proper chain of title before releasing music. Can you share a real-world example of how incomplete ownership documentation can cost an artist a major opportunity? Here's a hypothetical scenario that illustrates a very real problem in our industry. An independent artist releases a song without properly documenting ownership agreements with their producer and co-writers. The song goes viral on TikTok, generates 100 million streams, and suddenly everyone involved wants to know where their money is. The problem? Nobody signed a split sheet. Nobody clarified who owns the master. The producer believes they're entitled to a percentage of the recording, the writers disagree about their publishing shares, and now everyone is fighting over money that should have been accounted for before the song was ever released. Now imagine a major film or television production wants to license that same song. The music supervisor requests clearance for both the master recording and the underlying composition. Ideally, they want one-stop clearance, meaning one authorized party can approve the necessary rights. But the artist can't provide it. One of the three writers is unreachable, another is disputing their ownership percentage, and there's no written authorization allowing anyone else to approve the license on their behalf. That opportunity could be worth thousands, potentially tens of thousands of dollars or more, depending on the placement. But productions operate on deadlines. If they can't secure the necessary rights, they may simply move on to another song. So now you've potentially lost a major sync placement, you're dealing with an ownership dispute, and you could be spending more money on attorneys than it would have cost to establish proper agreements in the first place. And here's what artists need to understand: The more successful your song becomes, the more valuable your paperwork becomes. Chain of title isn't just legal housekeeping. It's what allows your intellectual property to function as a commercially valuable asset. You cannot confidently sell, license, or leverage something if you can't clearly establish who owns it and who has the authority to make decisions about it. That's why I emphasize getting everything in writing before the release, when everyone is excited, collaborative, and working toward the same goal. It's much easier to establish those agreements before there's money on the table than after. As more established artists leave major labels to pursue independence, what do you think they're most unprepared for, and what should they understand before making that transition? I think the biggest misconception is that independence means operating alone. It doesn't. Independent does not mean alone. Many of the most successful independent artists still have an entire business infrastructure behind them. They have management teams, attorneys, publishing administrators, marketing professionals, distribution partners, and sometimes independent label partners providing many of the same services traditionally associated with major labels. Some even have distribution or label-services agreements that allow them to retain ownership of their masters while accessing the resources and infrastructure of a major music company. What changes is the business structure, the level of control, and who assumes the financial risk and operational responsibility. When you're signed to a major label, there may be entire departments managing things you never even knew were happening. Royalty accounting, licensing, metadata, registrations, marketing, rights management, and distribution don't suddenly disappear when you become independent. Those responsibilities become yours to manage or delegate. And that's where artists can get into trouble. They leave the label system excited about creative freedom and ownership, but they don't always realize they're also stepping into the role of CEO of their own music business. I'm a huge advocate for artists retaining ownership and control whenever it makes sense for their careers. But ownership without the knowledge or infrastructure to manage and monetize those assets isn't necessarily a winning strategy. If you want to operate independently, build a team. Understand your rights. Know where your revenue comes from, what you're paying for, and what responsibilities your partners are actually handling. And if you're choosing a completely DIY approach, educate yourself before you release. You don't need a major label to build a major career. But you do need to understand what a major label actually does. That's one of the biggest messages behind Before You Drop. Independence should be an informed business decision, not just an attractive marketing label. The music industry frequently celebrates independence and creative ownership, but rarely discusses the responsibilities that come with them. What needs to change about how the industry educates artists, and what impact do you hope Before You Drop will have on the next generation of independent musicians? I think one of the biggest problems in the music industry is that we've made music distribution more accessible than ever, but we haven't made music business education equally accessible. We celebrate independence, ownership, and creative freedom, but we don't spend nearly enough time educating artists about the responsibilities that come with them. For decades, much of the knowledge surrounding royalties, publishing, licensing, rights management, and the economics of the music business has been concentrated among labels, publishers, attorneys, and industry executives. It's not that the information is necessarily a secret, but understanding how to actually apply it often requires access to professional resources and mentorship that many independent artists simply don't have. And I'll admit something that might surprise people. As a label owner, I spent years questioning whether sharing this level of knowledge publicly was a smart business decision. Why would I want to educate other artists on how to compete with the talent I'm investing my own time, money, and resources into developing? From a competitive standpoint, I understood the argument for keeping that knowledge close. But my perspective changed. I realized that an artist's success shouldn't depend on how much industry knowledge someone is willing to share with them. It should depend on their talent, their vision, their work ethic, and their ability to execute. We're entering an era where more established artists are exploring independence, emerging creators are building careers outside the traditional label system, and technology has removed many of the barriers to releasing music. But access to distribution is not the same as access to opportunity. If we're encouraging artists to own their masters, control their publishing, and operate independently, we have a responsibility to help them understand what that actually entails. That's why I created Before You Drop. I wanted to take the knowledge I've accumulated through years of developing artists and operating a record label and turn it into something practical, affordable, and accessible. Not another book filled with complicated industry terminology, but a step-by-step resource that artists, songwriters, and producers can actually use to protect their intellectual property, establish their royalty infrastructure, and approach their careers like business owners. I don't believe the industry benefits when talented creators fail simply because they didn't understand the business. And I certainly don't believe artists should feel forced to give up ownership or sign agreements they don't fully understand because they weren't aware of their options. Today, I'm confident enough in the artists we're developing, the music we're creating, and the work we're doing at DNT Entertainment that I'm no longer concerned about sharing what I know. In fact, I welcome the competition. Knowledge shouldn't be the competitive advantage. The quality of the music, the strength of the vision, and the execution should be. My hope is that Before You Drop helps level the playing field and gives the next generation of creators a real opportunity to build sustainable careers on their own terms. Educate the artists. Empower the creators. Level the playing field. May the best music win.

After nearly four decades of shaping Canada's next generation of music industry professionals, Toronto's Harris Institute has announced it will permanently close its doors in December 2026. The decision marks the end of an influential chapter in Canadian music education, leaving behind a legacy of award-winning graduates, industry leaders, and creative professionals. Founded in 1989 by John Harris, the internationally recognized institution built its reputation through specialized programs in music production, arts management, and entertainment business education. Over its 37-year history, Harris Institute graduates have gone on to earn some of the industry's highest honours, including GRAMMY and JUNO Awards, while establishing successful careers across music, film, television, and entertainment. According to an official announcement released October 13, the closure follows significant changes to Ontario's postsecondary education landscape. The institution cited restrictions on international student visas for private colleges, changes to Ontario Student Assistance Program (OSAP) funding, and the elimination of grants for private college students as contributing factors. For Canada's music community, the announcement represents more than the closure of another educational institution. Harris Institute has spent decades connecting aspiring artists, producers, executives, and entrepreneurs with the practical knowledge and professional relationships needed to build sustainable careers in entertainment. A Personal Connection to BUZZMUSIC Among the institution's accomplished alumni is one of BUZZMUSIC's co-founders, who graduated from Harris Institute's Arts Management program with honours and multiple awards, distinguishing themselves as one of the program's top graduates. Their connection to the institution extended well beyond the classroom. Following their academic achievements, the BUZZMUSIC co-founder worked directly alongside founder John Harris as his Executive Assistant, gaining firsthand experience in the leadership and operations of an established music industry institution. They also returned to the classroom as an instructor, teaching Venue Management and helping prepare the next generation of entertainment professionals for careers in live events and music business operations. That combination of education, professional mentorship, and teaching experience reflects the philosophy Harris Institute championed throughout its history: preparing students to become active contributors to the music industry rather than simply observers of it. Today, that foundation continues through BUZZMUSIC's work supporting independent musicians, providing editorial coverage, creating opportunities for emerging talent, and helping artists navigate an increasingly competitive industry. The connection serves as a reminder that the influence of an institution like Harris Institute extends far beyond its classrooms. Its impact continues through the careers, businesses, and creative communities its graduates have helped build. Celebrating 37 Years of Music Industry Education Despite the circumstances surrounding the closure, John Harris is approaching the institution's final chapter as an opportunity to celebrate its achievements. "We've had a good run, and now it's time to celebrate," Harris shared in the official announcement. "We have made a difference in people's lives and helped to build a bigger and better music industry in Canada. I got to work with extraordinary people until I was almost 80, and it doesn't get better than that." The institution has announced a special Going Away Party scheduled for February 20, 2027, bringing together graduates, faculty, staff, and friends to commemorate its history. Alumni and members of the Harris Institute community are also encouraged to submit memories and reflections for a commemorative Book of Memories, which will be published during the celebration. While Harris Institute will officially cease operations this December, its influence on Canadian music education and the broader entertainment industry will remain. For the countless graduates who walked through its doors with ambitions of building careers in music, Harris Institute was more than a college. It was a place where professional relationships began, careers took shape, and opportunities became realities. After 37 years, Harris Institute may be closing its doors, but its legacy will continue through the people who helped build Canada's music industry and those still working to shape its future.

The tenor banjo is deeply embedded in Irish traditional music. However, with so many different options available, buying one can be confusing. Whether you are a beginner tenor banjo player or an experienced one, the blog post below will help you understand how to choose the right tenor banjo. 1. Choose the Right Scale Length Usually, tenor banjos are available in two different lengths: 17-fret standard tenor and 19-fret Irish tenor. The one you choose will depend on the type of music you play. Jazz players with smaller hands usually go with shorter scales, whereas those looking to play Irish traditional music choose the larger one for better reach and tone. 2. Consider the Head Size and Material The material of the tenor banjo head has a direct impact on the tone it produces. Plastic heads are extremely durable and ideal for beginners. However, natural skin heads produce warmer tones, which are closer to the vintage sound of a tenor banjo, but these require maintenance as well. 3. Evaluate the Pot and Resonator The circular body of the tenor banjo is known as the pot. Full pots offer softer and mellower tones, which are more aligned with folk and Irish music. Resonator banjos project a higher volume and a more punchy sound, which makes them suitable for jazz. 4. Inspect the Neck Profile and Fretboard Tenor banjos with smaller necks are suitable for players with smaller hands. On the other hand, thicker necks should be preferred if you are looking for more stability and better grip. Of course, the material matters as well. Those made from rosewood and ebony are easy to hold and play. 5. Check the Tuning Pegs and Hardware Without the right tuning and controls, it is really difficult to learn the tenor banjo. That is why you need to always look at the tuning pegs and hardware that come along with it. The best option is to go with one that has planetary tuners, as these provide precise tuning. However, if you are a beginner, you can choose a manual banjo with friction tuners as well, since they are easier to operate. Additionally, you need to look at the hardware that is included, like the tailpiece, bracket, hooks, and coordinator. The more hardware that's included, the easier it is to play and maintain it. 6. Set Your Budget and Know Your Brands In addition to the parameters discussed above, it is also important to decide on a budget and the brands that are available in that budget. Entry-level tenor banjos are usually priced between $200 and $400, whereas mid-range banjos will cost you anywhere from $400 to $900. If you need professional-grade quality, be prepared to spend upwards of $1,000. The most trusted brands that sell tenor banjos include Goldtone, Deering, Recording King, and Tenor. 7. Match the Banjo to Your Music Style Lastly, choose the tenor banjo that aligns with the type of music you want to produce. For example, that means jazz players can go with the resonator banjo, whereas Irish traditional players can prefer the open-back 19-fret model that produces a warm tone. Final Thoughts So, if you are looking to buy a nano band, compare the different options on the seven parameters and choose the one that will be easier for you.

Karaoke in Britain used to arrive with an apology attached. You saved it for the dying hour of a wedding, then denied the whole performance come Monday morning. That era has ended. These days the longest queue in a Manchester or Leeds pub on a Thursday might lead to a booth with a screen in it, not the bar, and the group at the front will have argued over their opening number since Tuesday. Most of them are barely into their twenties. A cohort that lives through its phones has decided, apparently without irony, that the best way to spend an evening is a microphone and a room full of people watching. How TikTok Ended the Ironic Singalong For a start, nobody in this crowd pretends to be bad on purpose anymore. Anyone who spent their teens filming TikTok duets in the family kitchen has already done their most embarrassing singing in public, with strangers in the comments section to prove it. A pub crowd can't compete with that. By the time this lot could legally order a pint, performing for an audience had become so routine that grabbing a mic in front of forty strangers barely counts as a risk. Older tracks will keep going viral decades after release, which means a 21-year-old and their dad can now scrap over the same Fleetwood Mac number at a family do. Spotify probably deserves some blame too. Social feeds have rebuilt the songbook so thoroughly that hits from the 70s and 90s share space with last Friday's releases, and that shared catalog makes karaoke one of the few nights out capable of working across generations. The Numbers Behind the Comeback Behind the revival lies a bigger change in how young Brits go out. UCL research using the Health Survey for England found that the share of teetotal 16 to 24-year-olds climbed from 18% in 2005 to 29% a decade later, and the line has refused to dip since. Sobriety has gone properly mainstream. The Night Time Industries Association’s 2025 consumer survey of 18 to 30-year-olds added that 61% of them went out less than they did the year before, which leaves venues hunting for fresh reasons to tempt that exact age group through the door. When alcohol is out of the equation and the evening suddenly needs an actual activity, a shared microphone plugs that gap better than most alternatives a venue could offer. Trade publications have started counting. According to The Morning Advertiser, one digital karaoke supplier now serves more than 300 UK venues, a 70% jump year on year, with Manchester, Liverpool, Leeds and London leading the charge. One refurbished Clapham pub counts around 500 singers grabbing the mic every month, and Mr Brightside tops the request list there, which will surprise exactly nobody. Guests will book earlier and stay later, and the till rings a little louder for it. Out of the Booth and Into the Living Room Away from dedicated venues, the other half of this story plays out in family living rooms and rented halls. Karaoke machine hire has carried the format into birthdays, weddings, house parties and garden gatherings, where a proper rig with screens, speakers, decent microphones and a library of thousands of songs turns an ordinary get-together into the main event. Hen dos, stag weekends, milestone birthdays and office Christmas parties have all gone the same way. The economics make easy sense. Hiring a kit for a private space will usually cost less per head than any late-night venue, and nobody gets turfed out of the room at 11 pm. That flexibility matters to a generation keeping one wary eye on its bank balance at all times. A hired setup in somebody's kitchen will serve up the same glorious chaos as a private room in Soho, minus the bar prices and the sprint for the last train. Nobody will miss that markup. Why a Singalong Beats Another Night on a Screen Like vinyl and disposable cameras, karaoke has profited from a general weariness with screens. Someone who answers Slack messages all day and unwinds with three hours of TikTok will eventually crave an evening that happens in person, with actual faces in it. Scrolling works perfectly well alone. A duet can't, because somebody has to take the Elton John part while their mate butchers the Kiki Dee bits, and the whole thing collapses without a second voice in the room. The eye contact and the mild dread of going first will stick with people for years afterward. Watching a nervous mate white-knuckle their way through a first verse, then roaring them home for the chorus, builds a kind of loyalty that no group chat has ever produced. The applause comes from actual hands. Nobody has ever welled up over a like count, however big the number. From Guilty Pleasure to Weekend Main Event Hardly any other night out covers so many bases. A karaoke session will cost less than a club and run longer than most gigs. Half the group can turn up stone-cold sober without the evening collapsing, which matters now that so many under-25s won't touch a drink at all these days. Strangers in a pub will often join in, and so will a dozen old school friends crammed into somebody's kitchen with one microphone and nowhere to hide. Acting too cool will only spoil things, because a karaoke room punishes the half-hearted performer far more severely than it ever punishes the one who can't hold a note. That staying power has an unglamorous explanation. Nights out survive generational handovers when they give a group of people a genuine reason to stand in the same room, and a chorus of Mr Brightside at half past eleven will do that job better than almost anything else on offer. There's no technique to learn beyond picking a song and refusing to bail halfway through. Every trend that was meant to bury the format has packed up and gone home early, while the generation that was supposed to kill nights out keeps queueing for the mic.

For independent artists, landing a festival slot rarely starts when the lineup drops. By then, it's usually way too late. The 2027 festival season is already taking shape across the United States, Canada, and Europe, with independent musicians looking for opportunities to get their music in front of festival bookers. Some events are accepting submissions, while others are preparing their next round of artist applications. And these aren't all tiny local stages. The list includes major international discovery events like SXSW, ESNS, and Tallinn Music Week alongside grassroots festivals dedicated to supporting independent and emerging talent. From alternative rock and indie folk to electronic music, jazz, and experimental sounds, there's no shortage of festivals worth exploring. The challenge is knowing where to look, understanding what each event offers, and preparing a submission that stands out. If playing more live shows is part of your 2027 plan, here are 31 music festivals worth having on your radar. SXSW — Austin, Texas Few showcase opportunities carry the same industry weight as SXSW. The Austin festival welcomes signed and unsigned musicians from around the world, creating opportunities for artists across genres to perform in front of fans and music industry professionals. The 2027 SXSW Music Festival runs March 15–21, with official showcases taking place throughout Austin's venues. Artist applications are scheduled to close November 20, 2026. Gussapolooza Music & Arts Festival — Ontario, Canada Gussapolooza has built its identity around independent and emerging music, making it a standout opportunity for Canadian artists looking to expand their live audience. The festival welcomes original musicians across multiple genres, creating a supportive environment for performers to connect with fans, collaborate, and gain valuable stage experience. The 2027 edition is scheduled for August 20–22. Ignite the Arts Festival — Penticton, British Columbia Musicians aren't the only creatives taking over Penticton for Ignite the Arts. The multidisciplinary festival brings together live music, visual artists, performers, and other creatives for a weekend dedicated to artistic expression. The 2027 festival takes place March 26–28, offering independent musicians an opportunity to participate in a diverse arts-focused environment. Sanford Porchfest — Sanford, Florida Forget the traditional festival stage. Sanford Porchfest transforms residential porches throughout the community into intimate performance spaces for a day of live music. The 2027 festival takes place February 27, offering independent musicians a community-driven opportunity to introduce their music to new listeners. Mostly Jazz Funk & Soul Festival — Birmingham, England Despite regularly featuring established performers, Birmingham's Mostly Jazz Funk & Soul Festival also creates opportunities for emerging talent. The 2027 edition runs July 9–11, bringing jazz, funk, soul, and adjacent genres together for a weekend of live music. For independent musicians working within these styles, the festival offers a chance to reach an audience that appreciates musicianship and original performances. Will McLean Music Festival — Brooksville, Florida Independent folk, acoustic, Americana, and singer-songwriter artists should have the Will McLean Music Festival on their radar. Taking place March 12–14, 2027, the Florida festival celebrates the state's musical heritage while supporting original songwriting and acoustic-driven performances. ESNS — Groningen, Netherlands For eligible European artists, ESNS remains one of the most significant international discovery opportunities. The festival brings emerging musicians to Groningen alongside music professionals, booking agents, and festival organizers from around the world. The 2027 edition runs January 13–16, providing a platform for European talent to expand beyond their home markets. WAMA Pickersfest — Washington State Artists working in folk, bluegrass, Americana, roots, and acoustic-driven music should consider WAMA Pickersfest. The festival celebrates traditional and contemporary acoustic music, offering independent performers a welcoming environment built around musicianship, collaboration, and community. JOLT! Performing Arts Festival — Columbia, South Carolina JOLT! Performing Arts Festival sits outside the traditional music festival mold, making it particularly interesting for experimental and multidisciplinary artists. Its programming combines music with contemporary performance and creative exploration, offering opportunities for musicians whose work extends beyond conventional live shows. The 2027 festival runs January 22–24. Twyfest — Twyford, England Twyfest is a community music festival celebrating live performances from bands, solo musicians, and DJs. The 2027 edition takes place June 19, providing independent artists with a welcoming environment to perform, connect with local audiences, and gain live experience. Victoria at Dusk — Victoria, British Columbia Victoria at Dusk combines live music, light installations, public art, and creative performances throughout downtown Victoria. The festival welcomes musicians, DJs, performers, and sound artists, making it an interesting opportunity for independent creatives exploring immersive and unconventional performance settings. The 2027 edition runs February 19–21. Blue Ox Music Festival — Eau Claire, Wisconsin Blue Ox Music Festival has become a destination for bluegrass, roots, Americana, and jamgrass music, bringing established performers and emerging artists together. The 2027 edition runs June 24–26, offering independent roots musicians an opportunity to connect with a dedicated audience in an outdoor festival setting. Mile of Music — Appleton, Wisconsin Mile of Music is practically built for music discovery. The festival transforms downtown Appleton into a network of live performance spaces dedicated to original music. Independent musicians take center stage throughout the event, performing for audiences eager to discover new artists. The 2027 festival runs August 5–8. Beaches International Jazz Festival — Toronto, Ontario Don't let the word "jazz" make you scroll past this one too quickly. Toronto's Beaches International Jazz Festival features a broader mix of music than its name might suggest. The festival brings established and emerging performers together across multiple stages and community events. The 2027 edition is scheduled for July 2–25. Tallinn Music Week — Tallinn, Estonia For independent artists interested in taking their music overseas, Tallinn Music Week is an international discovery event worth knowing. The festival welcomes artists across genres, connecting musicians with international audiences, promoters, and industry professionals. The 2027 music festival runs April 8–10. Mariposa Folk Festival — Orillia, Ontario For developing Canadian artists, Mariposa Folk Festival's Emerging Artist Showcase offers a potential pathway onto a larger festival stage. The program highlights promising emerging performers, with selected musicians participating in a showcase on April 10, 2027. Artists chosen through the program may earn an opportunity to perform at the main Mariposa Folk Festival. Joshua Tree Music Festival — Joshua Tree, California Joshua Tree Music Festival brings independent music, art, and creativity together in the California desert. Known for its eclectic lineup and intimate atmosphere, the festival connects emerging musicians with passionate music fans. The spring 2027 edition runs May 13–16, offering artists an opportunity to perform in one of California's most distinctive festival settings. F*ck the Numbers F*ck the Numbers puts independent creativity at the forefront, highlighting musicians building careers outside traditional industry expectations. With an emphasis on originality and artistic expression, the event is worth exploring for artists interested in reaching audiences beyond the mainstream. Sounds That Move — New York City, New York Sounds That Move spotlights emerging musicians through live performances in New York City, helping independent talent connect with audiences in one of the world's most influential music markets. For artists looking to expand their presence in New York's live music community, the platform offers an opportunity to introduce their sound to new listeners. Live at Heart Festival — Örebro, Sweden Live at Heart brings emerging musicians, industry professionals, and music lovers together for an international showcase festival. With performances across multiple venues, the event gives independent artists opportunities to reach new audiences and develop valuable industry connections. Its international focus makes it particularly appealing to musicians looking to expand beyond their local markets. Pachena Bay Music Festival — Vancouver Island, British Columbia Pachena Bay Music Festival brings emerging and established musicians together for a coastal celebration of live music, arts, and community. With a strong commitment to showcasing independent talent, the festival offers artists an opportunity to perform in a beautiful Vancouver Island setting while connecting with enthusiastic music fans. Norman Music Festival — Norman, Oklahoma Norman Music Festival transforms downtown Norman into a major celebration of independent music, featuring more than 200 performances across outdoor stages and local venues. The free, three-day event showcases original artists across multiple genres, attracting thousands of music fans. The 2027 edition runs April 22–24. Alt Wave Music Fest Alt Wave Music Fest celebrates alternative music and emerging independent talent, creating a platform for artists exploring fresh sounds and creative expression. For musicians working within the alternative scene, the event is another opportunity worth investigating when planning future live performances. Line Spike Frontenac — Harrowsmith, Ontario Line Spike Frontenac celebrates live music and community with a diverse lineup of independent performers. The 2027 edition expands to three days, including programming dedicated to female performers and female-fronted acts. Running July 2–4, the festival highlights the importance of regional events in supporting Canadian musicians. Old Town Live Festival — Stevenage, England Old Town Live Festival brings independent musicians and live music enthusiasts together through performances across local venues and community spaces. Celebrating diverse musical styles, the festival provides emerging artists with an opportunity to perform in a welcoming environment and introduce their music to new audiences. Sailor Jerry Festival — Honolulu, Hawaii Sailor Jerry Festival celebrates the intersection of independent music, tattoo culture, and alternative art. Featuring live performances across Honolulu venues, the festival highlights creative communities and provides a distinctive setting for musicians interested in reaching audiences connected to underground music and culture. Friendzy Fest — Evansburg, Alberta Friendzy Fest combines electronic music, immersive art, and an energetic outdoor festival atmosphere. Showcasing DJs, producers, and emerging performers, the event connects independent electronic artists with dedicated music fans while celebrating creativity and community. ProgStorm Festival — Montréal, Quebec ProgStorm Festival celebrates progressive rock and metal, bringing innovative musicians and dedicated fans together. With a focus on original music and musicianship, the festival provides independent bands with a platform to perform within a passionate genre-specific community. The 2027 edition runs August 20–22. Beaver Island Music Festival — Beaver Island, Michigan Beaver Island Music Festival celebrates original music in a scenic island setting, bringing independent performers and music lovers together. Known for its welcoming atmosphere and diverse lineup, the festival supports emerging talent while creating an intimate live music experience. The 2027 edition runs July 15–17. Nelsonville Music Festival — Nelsonville, Ohio Nelsonville Music Festival brings emerging artists and established performers together for a celebration of independent music in Ohio. Known for its thoughtfully curated lineup and intimate outdoor setting, the festival highlights original music and creative expression across multiple genres, making it an appealing opportunity for independent musicians. Leelanau UnCaged — Northport, Michigan Leelanau UnCaged transforms downtown Northport into a lively celebration of independent music, art, and community. Featuring musicians across a variety of genres, the festival offers emerging artists a chance to perform for new audiences in a welcoming setting. The 2027 event takes place September 25. Tumbleweed Music Festival — Richland, Washington Tumbleweed Music Festival celebrates folk, acoustic, and traditional music, bringing independent performers together for a community-focused weekend. The festival showcases diverse musical styles and original talent in a scenic riverside setting. The 2027 edition runs September 3–5. The New Colossus Festival — New York City, New York The New Colossus Festival celebrates emerging independent artists from around the world, bringing fresh talent to intimate venues across New York City. The festival provides musicians with opportunities to reach new audiences and connect with industry professionals. The 2027 edition runs March 9–14. The Great Escape Festival — Brighton, England The Great Escape Festival is one of the UK's leading events for discovering new music, showcasing hundreds of emerging artists across Brighton's venues. With international audiences, booking agents, and music professionals attending, the festival offers independent musicians valuable exposure and networking opportunities. The 2027 edition runs May 12–15. Start Preparing Before Applications Open Festival applications can look deceptively simple, but a submission form isn't where the work starts. Artists should already have strong live footage, updated promotional photos, current streaming and social profiles, a concise biography, and a clear understanding of what makes their live show worth booking. An electronic press kit can make a significant difference, especially when festival organizers are reviewing hundreds or thousands of submissions. Having everything organized and easily accessible allows bookers to quickly understand an artist's sound, experience, and potential fit. It's also important to remember that not every festival is right for every musician. A singer-songwriter might find more value performing at an intimate folk festival than pursuing a major electronic music event. Similarly, an emerging alternative rock band may benefit from a smaller independent festival with an engaged audience rather than chasing a high-profile booking that doesn't align with its sound. Research previous lineups, understand the audience, and prioritize opportunities that make sense for your music and career goals. More importantly, check every festival's official application page before submitting. Deadlines, eligibility requirements, and festival dates can change, and some opportunities are genre, nationality, or location-specific. Your Next Big Opportunity Could Be a Festival You've Never Heard Of There's a reason independent artists continue to pursue festival performances. Beyond the excitement of playing live, these events offer opportunities to build audiences, establish industry relationships, and introduce original music to listeners who are actively looking for something new. And while major festivals like SXSW and ESNS attract international attention, smaller regional events can be just as valuable for musicians developing their careers. The independent music scene doesn't grow through major stages alone. It grows through community festivals, local promoters, dedicated audiences, and organizers willing to give emerging talent a chance. There are thousands of artists chasing festival slots every year. Waiting until the lineup is announced means potentially missing the opportunity altogether. For independent musicians serious about playing more stages in 2027, the time to start researching, preparing, and connecting with festival organizers is now. Your next audience might be waiting at a festival you've never heard of.