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There are breakup songs. There are love songs. And then there are songs about not even making it to the date. On “First Date Ghosted,” Craig Greenberg takes one of the most painfully modern rituals of romance and does what any seasoned New York piano man would do: he turns it into a theatrical, self-aware rock-pop confessional that feels equal parts catharsis and comedy set to keys. The track is the fourth single off his upcoming sixth full-length album, and it lands with the kind of seasoned songwriting confidence you only get after 15 years and over 1,000 shows deep. Greenberg has long been praised as one of NYC’s most compelling post-millennial piano storytellers, carrying the spirited ivory lineage of icons like Billy Joel, Ben Folds, and Randy Newman into something sharper, more self-aware, and distinctly his own. “First Date Ghosted” is based on a true story, though Greenberg leans into humorous exaggeration. The narrator is a self-proclaimed sad sack, spiraling in real time after being left hanging before a first date even begins. But instead of wallowing, he goes meta. In the lyrics, he openly sings about turning the experience into a song. It is heartbreak processed through craft, frustration filtered through melody. Recorded at The Ice Plant in Long Island City by Wayne Silver and produced and mixed by Silver alongside Greenberg, the track sounds tight but alive. Hiroyuki Matsuura’s drums give the song its pulse, Tony Tino’s bass keeps it grounded, and Greenberg handles piano, vocals, synth, and percussion with theatrical flair. The mastering by Alex Psaroudakis adds a polished edge without sanding down the emotional texture. Lyrically, the song taps into something culturally bigger. Ghosting is no longer an exception. It is standard operating procedure. Romantic, professional, and even friendships. Messages left on read. Plans evaporating without explanation. Greenberg does not just lament it. He calls it out. The frustration with unclear communication runs through the track, but so does defiance. By the final stretch, the narrator refuses to be crushed. There is a wink in the warning, too: ghost someone, and you might end up immortalized in a song. With “First Date Ghosted,” Craig Greenberg proves that even in an era of disappearing acts and digital detachment, sharp songwriting still wins. The date may have vanished, but the story stuck around long enough to become a hook. “First Date Ghosted” is funny, but it also hits on something culturally bleak. Do you think ghosting has changed how we handle conflict emotionally, or has it just exposed how bad we’ve always been at communication? Hmm, well ghosting isn’t a new phenomenon (I’m old enough to remember when it was called being “stood up”….  “Ghosted” is definitely a better word for songwriting, btw..lol), but for sure in the current cultural landscape it seems to be pretty endemic and everyone has been ghosted at some point, if not romantically, then in friendship or professionally.  And I have always had a hard time when people can’t communicate clearly, and rather than just being honest, avoid dealing with a situation entirely.    For sure, modern technology, smartphones, and social media have only exacerbated things, b/c the sheer volume of other people we’re in contact with is larger than at any point in human history.  I think that can have the effect of reducing people’s sense of empathy . You literally wrote a song about writing a song about being ghosted. Was that meta angle intentional from the start, or did you realize mid-spiral that the art was becoming the revenge? Great question! I actually wasn’t sure about when the meta angle became part of the song, so I just went back to look at the lyric draft and see that it didn’t come in until a few revisions in, and then the final twist, when it almost becomes “super-meta”, came at the very end.  But I think having it in there gives the song a certain existential oomph, and for sure makes it unique in my catalogue.  You’ve played over 1,000 shows and built a reputation as a modern NYC piano storyteller. How does a track like this fit into the larger emotional arc of your upcoming sixth album? Well, I think it’s probably the most intentionally humorous song I’ve ever put out, and most of the new record has a somber tone, so I think the bit of humor is a nice contrast.   It also stands out because it’s very specific and situational, whereas many of the songs on the record deal more with universal themes.  The narrator in the song starts off defeated but ends defiant. Was that shift something you consciously crafted, or did it reflect where you actually landed emotionally after the experience? Well, first, I think just the writing of a song to process an upsetting experience is a defiant act. I was certainly pissed off in the moment, and that came through in the song’s emotional feel, and channeling the frustration helped me avoid a meltdown that day.  But like often in my songs, there's a part that's real and personal, and there's a part that's exaggerated for artistic effect.  I consciously made the subject more of a dramatic and slightly pathetic character, like having him "wait another 20"..  But it felt right to give him a proud moment of sticking his fist up in the end, and it also kind of tied the song together in a nice little bow.   You’ve shared stages with legends and carried that classic piano tradition forward. In a dating world driven by apps and disappearing acts, do you feel like old-school romantic songwriting still resonates, or are we in a more cynical era now? Well, from the times I’ve performed this song live I can say for certain that it definitely still resonates, b/c people really connect with it, and maybe as quickly as any song I’ve ever done.  But speaking more generally, while listening audiences may be more cynical or detached these days, it’s the job of a songwriter to work hard to push against that, and I still truly believe that a great song, in any style, will be able to cut thru people's defenses and short-circuit that cynicism.

February is short. No filler. No room for mid. Either you show up, or you get skipped. And somehow, in the middle of grey skies, industry burnout, and algorithm fatigue, a handful of artists actually delivered. Not background-noise drops. Not trend-chasing singles built for 15-second clips. Real releases. The kind that made us pause mid-scroll. The kind that reminded us why we care about this in the first place. This month felt less like a numbers game and more like an energy shift. Artists leaned into vulnerability without sounding rehearsed. Production felt intentional instead of overcrowded. Hooks stuck for the right reasons. Whether it was an independent breakout refusing to water themselves down, a genre-bender bending expectations, or a slow-burn record that demanded headphones at midnight, these releases did more than exist. They elevated. These are the 10 releases that showed up in February and made the month feel bigger than 28 days. 10 Releases That Showed Up And Elevated Us In February Bekka Dowland - "Be A Little Kinder" Western Massachusetts country-pop artist Bekka Dowland enters February with a message that feels refreshingly grounded. Her latest single, “Be A Little Kinder,” blends classic country storytelling with modern pop polish, reinforcing what she does best: writing songs that feel personal, relatable, and rooted in real life. Known for her emotionally honest lyrics and strong, warm vocals, Bekka has built her artistry around themes of love, heartbreak, resilience, and growth. This release narrows the lens to something deceptively simple: the small, everyday choices that shape the world around us. A door held open. A smile to a stranger. A moment of patience instead of frustration. “Be A Little Kinder” highlights the unseen battles people face and reminds us that even the smallest gesture can create a ripple effect. There is a quiet perspective at the core of the track. We are all just a speck on a spinning rock in space, sharing limited time. If that is true, kindness becomes less of a grand statement and more of a daily responsibility. Bekka’s message lands softly but powerfully. In a season often defined by big declarations of love, she reframes connection as something simpler and more universal. Sometimes, the smallest actions make the biggest difference. Connor Nelson - "Red Mountain Light" Vancouver pop artist Connor Nelson steps into the spotlight with Red Mountain Light, a debut EP that feels both cinematic and deeply personal. A true student of pop, Connor approaches the genre with intention and precision, crafting songs that balance polished production with emotional weight. His music has already made serious waves, landing on Netflix’s Ginny & Georgia, charting on Shazam in eight countries, including the Top 100 on Shazam Australia Pop, and earning airplay on CBC Radio One. But Red Mountain Light is where the full picture comes into focus. At its core, the EP is a coming-of-age record shaped by heartbreak, grief, obsession, and self-doubt. Connor does not shy away from the mess. Instead, he walks straight into it. Across the project, he confronts emotional “monsters” head-on, tracing the chaos that follows a breaking point while threading in the clarity that eventually emerges. Sonically, the EP blends sleek alt-pop textures with raw, hook-driven storytelling, capturing both the spiral and the strength that follows. Chloe Mayse - "Horoscopes" Toronto’s Chloe Mayse continues carving out space in alternative pop with vulnerability at the center. A queer singer-songwriter and multi-instrumentalist, Chloe’s journey began early, from singing at two years old to winning a competition that placed her onstage backing up Tegan and Sara at the JUNO Awards. That moment helped shape her vision, not just as an artist, but as a voice within Toronto’s queer community. Advocacy, identity, and emotional honesty are not side notes in her career. They are the foundation. Featured on her debut EP Dear Love, the track “Horoscopes” captures Chloe at a crossroads. Written during a period of unemployment and deep self-doubt, the song wrestles with purpose, insecurity, and the fear that no one outside her inner circle was truly listening. In search of reassurance, she weaves in metaphors of seeking signs from the universe, from psychics to lottery tickets to bingo halls, reflecting that very human desire for confirmation that we are on the right path. “Horoscopes” feels like an open journal entry set to melody. It does not pretend to have all the answers. Instead, it sits inside the discomfort of uncertainty and allows space for it. Chloe’s message resonates deeply: it is okay to question yourself. It is okay to feel lost. Growth does not always arrive with immediate clarity. Sometimes, the strength is simply in staying present long enough for the light to find you. Marcus Alland - "EYES ON YOU" Christian Hip-Hop artist Marcus Alland brings conviction and clarity to this February edition with his latest album, EYES ON YOU. A 2× Grammy-considered artist and voting member of the Recording Academy, Marcus stands at the intersection of artistic excellence and spiritual purpose. His music does not blur the line between faith and culture. It confronts it directly. Known for pairing bold lyricism with Christ-centered messaging, Marcus delivers hard-hitting production layered with transparent testimony. EYES ON YOU is rooted in one central idea: maintaining focus on God in the middle of distraction, pressure, and spiritual warfare. Across the album, he wrestles with identity, obedience, perseverance, and the tension between cultural noise and divine calling. The project moves with range. Some tracks arrive with intensity and declaration, driven by confident flows and sharp production. Others slow down, creating space for vulnerability and reflection. Marcus balances street-influenced cadence with scripture-grounded truth, building a body of work that feels both contemporary and spiritually anchored. At its core, EYES ON YOU functions as more than a collection of songs. It is a posture. A reminder that direction is not found in trends, applause, or external validation, but in steady focus. Marcus Alland’s message is clear: no matter the pressure or the fight, keeping your eyes on God is what keeps you aligned. Gregory Tan - "Zenith" Composer and producer Gregory Tan continues to prove that cinematic music does not just live behind the scenes; it drives the moment. Specializing in emotionally charged, trailer-ready production, Gregory has built a career crafting large-scale soundscapes that amplify some of the biggest franchises in entertainment. With placements spanning Fast & Furious 9, Jurassic World: Dominion, Star Wars: Andor, Kung Fu Panda 4, World of Warcraft, and more, his work thrives where tension, impact, and storytelling collide. For this feature, the spotlight turns to the official trailer for A24’s Ne Zha 2, which uses Gregory’s track “Zenith” from start to finish. Published and represented by Grooveworx Trailers, “Zenith” anchors the entire visual arc, underscoring the scale and emotional gravity of the film’s rollout. It is the kind of placement that reminds audiences how powerful music can be when paired with striking imagery. The right composition does not just support a trailer. It elevates it. Beyond the spectacle, Gregory’s journey highlights something equally important: the strength of sync licensing as a creative and financial lane for producers and composers. Film, television, gaming, advertising, and trailers all present opportunities for music to travel further than traditional release models might allow. When a track finds life in a major campaign, it introduces the composer’s work to audiences who may never have discovered it otherwise. Gregory Tan represents a different side of artistry. One where music fuels blockbuster storytelling, and where sync is not a compromise, but a powerful stage of its own. Traumatone - "Identity" Phoenix-based hard rock force Traumatone arrives in this February edition with Identity, an EP that lives up to the project’s tagline: “The Soundtrack To The Broken World.” Spearheaded by multi-instrumentalist Jesse Broniste, Traumatone is less a traditional band and more a full-scale emotional outlet. The sound fuses alternative rock, industrial metal, and post-punk textures into something cinematic and unrelenting, where ambient tension collides with hard-hitting riffs and resonant, urgent vocals. Identity dives straight into the internal war most people avoid naming. Across the EP, Traumatone explores the pull between light and dark, wrestling with anger, resentment, depression, and the constant pressure to let those forces take control. The production leans into that tension. Gritty guitars grind against atmospheric synths, creating a soundscape that feels both claustrophobic and expansive, mirroring the battle happening within the lyrics. Identity pushes listeners to fight for the parts of themselves that remain compassionate, grounded, and human in a world that often feels colder by the day. Traumatone stands as a reminder that confronting your darker side does not mean surrendering to it. Sometimes strength looks like refusing to become hardened by the chaos around you and choosing to hold on to who you truly are. Asmi Alderay - “Leaving Still Wanting You” Not every breakup ends in anger. Sometimes it ends in awareness. On “Leaving Still Wanting You,” LA-based singer-songwriter Asmi Aderay captures the quiet devastation of walking away from someone you still love. A 2025 Berklee College of Music Performance graduate originally from India, Asmi blends intimate lyricism with restrained alternative pop production. The track floats on haunting melodies and emotionally exposed vocals, mirroring the push and pull of desire and self-preservation. It lives in that uncomfortable middle ground, not bitter, not healed, just honest. What makes this release resonate is its emotional maturity. It validates the contradiction of missing someone deeply while knowing that leaving was the right decision. Strength here is not loud or dramatic. It is subtle. It is choosing yourself even when your heart is still attached. “Leaving Still Wanting You” feels cinematic but deeply personal, a reminder that sometimes the bravest thing you can do is be the one who gets away. Amar Miller – “FOUL 38” (feat. Wakai & Dre Wave$) Amar Miller doesn’t just rap. He builds environments. On “FOUL 38,” the Clemson-born, Dallas-based artist pulls from spacey jazz textures and modern trap rhythms to create something that feels less like a single and more like a late-night atmosphere you step into. Raised between Toledo’s proximity to Chicago’s music lineage and later shaped by time in Texas, Amar’s sound carries layered influences. You can hear the melodic sensibility inspired by artists like Curtis Mayfield, woven into production that nods to the fluid, genre-bending energy of today’s alt-rap scene. Instead of packing the track with bars for the sake of proving a point, “FOUL 38” leans into mood, restraint, and texture. Featuring Wakai and Dre Wave$, the song feels collaborative in the right way. No one is fighting for the spotlight. The verses breathe. The melodies stretch. The production feels intentional, atmospheric, and slightly futuristic, which makes sense coming from an Oklahoma State aerospace studies graduate who approaches music like exploration. “FOUL 38” marks a shift in Amar’s creative philosophy. It is less about over-explaining and more about letting the experience unfold. Instead of forcing listeners to dissect every lyric, he invites them to sit in the layers, the bounce, the subtle jazz accents floating under trap percussion. As he gears up for his upcoming project, Theme Music, this track feels like a statement. Amar Miller is not chasing a viral moment. He is refining his world. And “FOUL 38” proves he is learning that sometimes the strongest flex is knowing when to let the music speak for itself. Giselle - “SWEET BABY” Boston-born, Buffalo-raised, and now fully rooted in Los Angeles, Giselle has been building toward this moment since she was five years old. A true multi-instrumentalist who plays piano, drums, guitar, violin, and ukulele, she is more than just a vocalist with a good hook. She is a musician with range, grit, and the kind of stage presence sharpened by years of gigging across New York before taking the leap to LA at 21. Since landing in Los Angeles, she has performed at iconic venues like The Hotel Cafe, The Mint, Whisky a Go Go, Hotel Ziggy, and even iHeart Radio, proving she has both the toughness and talent to thrive in a competitive industry. Her latest release, “Sweet Baby,” flips a tired narrative on its head. Instead of pitting women against each other, Giselle reframes the story. The track is about reclaiming your voice, telling the truth, and refusing to fight over someone who was never honest in the first place. Rather than blaming the other woman, she warns her. She unites with her. The real accountability lands where it belongs. Sonically, the record balances emotional vulnerability with bold conviction. There is strength in the delivery and clarity in the message. No petty energy. Just empowerment. With “Sweet Baby,” Giselle is not just sharing a song. She is encouraging listeners to speak up, walk away from dishonesty, and let the truth be known. Terrence Esquire Huggins - "fck being famous" Terrence Esquire Huggins makes one thing clear: he is not here to chase clout. fck being famous lives in the space where authenticity matters more than algorithms. The project feels intentional from start to finish, like a late-night confession set against moody drums and soulful production. A Latin Grammy-nominated producer with deep DC roots, Huggins approaches the album with a sharp ear and steady control. The beats never overpower him. They leave space. On tracks like “fine with me” and “meditate,” warm chords and minimal percussion allow his lyrics to breathe. When the tempo tightens on “wow” and “never quit,” the hunger in his delivery rises with it. Ambition, doubt, loyalty, and exhaustion all sit side by side, creating a sound that feels honest instead of polished for approval. The closing track, “Dreaming Big,” brings everything full circle. Fame is not the destination. Growth is. Survival is. Self-respect is. That tension gives the album weight. With LDR Entertainment preparing for international festival performances in the UK and beyond in 2026, Huggins is focused on longevity, not headlines. As he puts it, “It's okay to be authentic in your creative process. Raw, unfiltered, and human.” This project proves he means it. February doesn’t hand out trophies. It just exposes who came prepared. The artists on this list didn’t rely on gimmicks or inflated hype cycles. They delivered records that felt lived-in, intentional, and replay-worthy. The kind you return to when the noise dies down, and you actually want to feel something. If this is the energy we’re setting two months into 2026, the rest of the year better keep up. We’ll be watching. And listening.

Photo by The Syn If you are sleeping on sync, you are leaving money and exposure on the table. Straight up. Streaming revenue alone is not a sustainable plan for most independent artists. Touring is expensive. Social content burns you out. But sync licensing? That is where songs can quietly change your financial situation. One placement in the right TV show, trailer, brand campaign, or video game can outperform months of playlist hustle. Before we get into the agencies, let’s break down what sync actually is, how artists get paid, and why pitching the right partner matters more than blasting your Dropbox link to 50 random emails. What Does a Sync Agency Actually Do? A sync agency represents music for use in visual media. That includes film, television, commercials, trailers, video games, streaming series, sports broadcasts, branded campaigns, and sometimes influencer-driven digital content. They act as the bridge between music supervisors and artists. When a Netflix show needs a moody alt-pop track for a breakup scene, they do not scroll TikTok for six hours. They go to trusted sync agencies and ask, “What do you have that fits this brief?” A good sync agency does three core things: They pitch your music directly to supervisors and brands. They negotiate licensing fees and terms. They handle contracts, usage rights, and payment collection. The better the agency’s relationships, the more serious the opportunities. Do Artists Actually Make Money From Sync? Yes. Real money. There are typically two revenue streams in sync: The upfront sync fee for the license. Performance royalties are collected when the show airs or streams. Fees vary wildly depending on the project. An indie web series might pay a few hundred dollars. A national commercial can pay tens of thousands. A global campaign or trailer placement can reach six figures. Even modest TV placements can generate meaningful backend royalties over time. The key difference between sync and streaming is scale. One placement can outperform millions of streams. That is why serious independent artists treat sync as a business strategy, not a bonus. Why Connecting With the Right Sync Agency Matters Not every sync company is aligned with every artist. Some focus on indie rock. Some lean cinematic and trailer-heavy. Others dominate advertising and branded content. Some work primarily with one-stop music, meaning they prefer tracks where the master and publishing are cleared in one place. You also need to be “sync ready.” That means clean instrumentals, high-quality production, clear ownership splits, and metadata organized properly. If your paperwork is messy, supervisors will skip you. The goal is not just to get placed once. It is to build long-term relationships with agencies that understand your sound and can pitch you repeatedly. Now, let’s get into 14 sync agencies independent artists should absolutely have on their radar before their next release. 14 sync agencies independent artists should absolutely have on their radar before their next release. 1. Crucial Music Crucial Music is a Chicago-based sync agency known for curating strong independent artists across indie rock, pop, hip-hop, electronic, and alternative genres. They work heavily in television, advertising, and trailers, with placements across major networks and global campaigns. For artists with polished, emotionally resonant tracks that translate well to visual storytelling, Crucial is a serious contender. They prioritize quality and are selective, which means if you are in, you are in for real opportunities. 2. That Pitch That Pitch operates as a modern sync pitching company connecting independent artists with music supervisors and brands. They emphasize building relationships and providing hands-on pitching rather than acting as a massive catalog warehouse. Artists who are proactive, organized, and ready to collaborate on brief-specific submissions may find That Pitch a strong strategic partner. 3. The Syn The Syn focuses on pitching forward-thinking independent music to film, TV, and advertising projects. They are known for working closely with artists to ensure tracks are properly prepped for sync use. If your music leans alternative, moody, or emotionally cinematic, The Syn can be a strong fit, particularly for artists looking for curated representation rather than volume-based distribution. 4. UnitedMasters UnitedMasters operates as a distribution platform with a strong brand and sync partnerships. They have secured placements and collaborations with major sports leagues, gaming brands, and lifestyle companies. While not a traditional boutique sync agency, UnitedMasters offers independent artists access to brand-facing opportunities and sync-style deals without signing away ownership. For artists with momentum and a strong digital presence, it can be a powerful hybrid model. 5. Musicbed Musicbed is one of the most respected platforms for cinematic and commercial sync licensing. Their catalog is widely used in film trailers, brand campaigns, wedding films, and online content. Musicbed is known for quality control and emotionally powerful music. If your sound is atmospheric, indie-folk, alt-pop, cinematic, or instrumental, this platform is particularly strong. 6. A&G Sync A&G Sync specializes in pitching music for advertising, film, and television. They are known for boutique-style representation and personalized pitching strategies. Artists with strong hooks, dynamic production, and clean masters may benefit from A&G’s targeted approach. 7. Sandbox Studios Sandbox Studios operates as both a music and creative studio with strong ties to visual media production. Their approach often blends composition, production, and licensing. Artists who are comfortable collaborating, creating custom work, or delivering brief-specific edits may find Sandbox to be a strong creative partner rather than just a licensing outlet. 8. Third Side Music Third Side Music is a global music publisher with deep sync relationships across film, TV, and advertising. They focus heavily on publishing representation and have secured placements for a wide range of independent and legacy artists. For songwriters who control or co-control their publishing, Third Side can be a powerful long-term sync partner, particularly in indie, alternative, and cross-genre spaces. 9. Audio Network Audio Network provides high-quality music for film, television, advertising, and corporate clients worldwide. Their catalog spans multiple genres and includes both commissioned composers and independent artists. Artists who create versatile, production-ready tracks with broad appeal may find Audio Network to be a strong volume-based licensing platform. 10. Marmoset Music Marmoset Music is known for its boutique, taste-driven catalog and strong presence in advertising and branded campaigns. They curate carefully and often work with distinctive indie artists whose sound stands out. If your music feels authentic, cinematic, and emotionally nuanced, Marmoset can position it effectively within the advertising world. 11. Position Music Position Music operates at the intersection of artist development and sync licensing. They have built strong relationships in trailers, sports broadcasts, and television placements. For artists whose music has high energy, dramatic builds, or strong lyrical themes that translate to sports and action visuals, Position Music is particularly relevant. 12. Secret Road Secret Road functions as both a publisher and sync agency, working closely with songwriters and artists to secure placements across major networks and streaming platforms. They focus heavily on songwriting strength. If your catalog includes well-written, emotionally compelling songs with clean rights, Secret Road can offer substantial sync access. 13. Lyric House Lyric House focuses on music supervision and sync strategy across film, TV, and branded media. They are known for working closely with creative teams and aligning music with narrative tone. Artists with cohesive branding and storytelling-driven music may benefit from pitching to Lyric House, particularly if they are open to strategic collaboration. Final Thoughts Photo by The Syn Sync is not a lottery ticket. It is a strategy. If you want placements, treat your music like a product that needs to fit a brief. Have instrumentals ready. Own or clearly document your publishing splits. Register your works properly. Make sure your production quality is competitive. The right sync agency will not just pitch your song once. They will keep you in rotation for future opportunities. That is how real money and long-term exposure happen. If you are releasing new music soon, do not just think about playlists. Think about scenes. Think about trailers. Think about moments where your song could soundtrack someone’s story.

Boston indie rock veterans The Sheila Divine have spent decades confounding expectations — releasing songs that deftly weave power-punching political criticism amongst mundane daily frustrations, that expose purest grief alongside deepest love. Frontman Aaron Perrino has never been interested in the easy read, and The Middle Ages , the band's sixth album due May 22 on Trash Casual, doesn't offer one. "I Climbed Inside a Whale" is the first taste, and it hits like a reminder of exactly why this band matters. Perrino's voice is front and center — that unmistakable belt, raw and unguarded, the kind that doesn't perform emotion so much as inhabit it. The song carries all the indie emo DNA that made The Sheila Divine essential in the first place, but it sounds like now: urgent, alive, and completely unbothered by nostalgia. This is a band that didn't come back to revisit anything. They came back because they had something to say. The Middle Ages  is a deeply human document of everyday life. Across ten new tracks, Perrino bares his soul and searches his heart in songs that navigate the wide gamut of lived experience: the wrenching loss of his mother, parental anxieties for his children's wellbeing, the strains of congested city life, fractured relationships, and rage at what his nation has turned into. "I refuse to live in a world where people trade empathy for apathy, curiosity for cruelty, humility for hubris," Perrino says. as been built up over time and an extreme desire to avoid current commercial dance music sensibilities. For more info head to the band's website Linktree !

Photo by Tanner Deutsch Los Angeles trio Kid Sistr aren’t easing into 2026 quietly. With their new single “American Teenage Prophecy,” the band leans hard into messy feelings, reckless attraction, and the kind of romantic chaos that only exists when you’re young enough to believe love can rewrite the world. But underneath the rush is a deliberate vision. Kid Sistr frames the song as a reimagining of teenage romance where queer love isn’t political or controversial, it’s just life. First kisses, prom nights, dorm room heartbreak, all the rituals that pop culture has historically reserved for straight love stories get reclaimed and expanded. Inspired by a late-night watch of The Runaways, the single imagines an alternate lineage of rock romance and asks a simple question with massive weight: what stories could exist if nothing stood in the way? Following their punchy previous release “Shitshow,” the new single signals a year where Kid Sistr is clearly done playing small. Having already shared stages with artists like K. Flay, Willow, and Carly Rae Jepsen, the trio channels that live-wire experience into a track that feels cinematic, rebellious, and strangely tender. “American Teenage Prophecy” isn’t nostalgia. It’s a rewrite. American Teenage Prophecy” imagines a world where queer love is treated as ordinary and celebrated. When you were writing it, did it feel more like fantasy, protest, or a glimpse of a future you genuinely believe is coming? Writing this song definitely felt like reaching into a fantasy of a different past. I had just rewatched the 2010 Runaways biopic. I was left with this vivid image in my head of two '70s-era American girls kissing under city lights. I combined that with an internal question I was struggling with at the time: how would my life be different if I had my first queer relationship at 17 instead of 27?   When I was coming into my identity in my mid 20s, it was really hard to accept that I would never have the thrill of a teenage romance with another girl. There was a lot of grief with that. So the song became a space where I could retroactively imagine it for myself. The other elements (of protest and global aspirations for queer joy) just came out naturally when I took myself to that place.  The song captures that reckless, instant attraction energy. How do you balance romantic chaos with emotional honesty in your songwriting without it turning into cliché? Clichés rock!! Honestly, trying to stay away from a cliché can sometimes be a death trap with writing. So many themes centered around love and attraction are cliché, but that’s what makes them so relatable and honest. I think the trick is to just trust yourself as a songwriter while you’re working, and you can always edit after. Anyone listening to the song will relate to it in their own specific way with their own specific memories.  You’ve cited The Runaways as inspiration. What does rock history get wrong or overlook about queer stories, and how are you trying to correct that through your music? The history of rock music and queerness is very entangled IMO. Artists were highly celebrated for adopting a gender bending style because it was counter-cultural. However, they were marketed as heterosexual sex symbols regardless of their queer appearances. Take KISS, for example; KISS was literally doing insane flamboyant drag, but all of their songs are about the graphic sexual pursuit of women. On the other end of the spectrum, tomboys like Joan Jett and Chrissie Hynde were sold to male audiences as sexy, left-of-center bad girls. It’s disorienting and disappointing to look back at this stuff, but luckily, we are living in a time of huge queer visibility in music. I think what has been really corrective is seeing archetypal queer images that in the past were marketed as hetero, now paired with queer artists. We are really hoping to accomplish that with the music video for American Teenage Prophecy, which is out now on YouTube! After “Shitshow” and now this release, there’s a clear sense of momentum. How has performing with bigger artists shaped the way you approach your sound and identity as a band? Thank you! Momentum is good, lol, and that’s definitely thanks to our amazing management and label team, as well as our incredible producer Suzy Shinn. Suzy is a complete genius and worked painstakingly with us to complete these songs. We sent her American Teenage Prophecy as a half-written voice memo, and she encouraged us to work on it; she walked with us every step of the way from voice memo to final master. The amazing thing about living in LA and doing music is that the work is collaborative in nature. Suzy, our team, and our incredible friends inspire us every day to do what we do. It’s an amazing ecosystem. If Kid Sistr could write the ultimate coming-of-age movie soundtrack for queer teens, what themes or scenes would absolutely have to be in it? It’s cheesy, but I’d love a prom scene. I imagined going to prom specifically while writing ATP. Getting drunk for the first time. I’d also love to see a girlie roll up on her girlie’s shitty boyfriend to rescue her so they could ride off into the sunset in her Chevy two-door.  Cutting each other’s hair with kitchen scissors. Femme girl cuts femme girl's hair, turning her into MASC BADDIE. Definitely a swimming scene, probably in undies and sharing playlists and headphones

Mark Janicello has lived about twelve artistic lifetimes. Operatic tenor. Elvis interpreter crowned by Elvis’s own composer, Ben Weisman. West End playwright. Award magnet. The résumé is insane. So when a man like that drops a song called “ My BFF Jack Daniels ,” you lean in. This track was eight years in the making, and you can hear the mileage. What started as a country-leaning ballad mutated into a rock confession that swings somewhere between The Eagles, Queen, and a late-night Guns N’ Roses spiral. It feels intentional and unfiltered at the same time. Vocally, Janicello is not playing small. His classically trained tenor slices straight through the mix, but there is grit in it now. Not polished opera-house perfection. There is abrasion. You can feel the New Year’s Eve heartbreak baked into every line. He does not just sing about rage. He taps into it. The chorus hits like a toast you regret making but mean anyway. Production-wise, the guitars carry a muscular swagger that keeps the song from drifting into adult-contemporary territory. There is drama, but it is not cheesy. It is lived-in. The drums push forward with urgency, like time is running out before midnight. The hook is sticky in a way that makes you replay it, half for catharsis, half because you low-key want to scream it in your car. Culturally, this lands at a weirdly perfect moment. We are in an era obsessed with curated healing and “soft life” aesthetics. Janicello basically says no. Sometimes you need the ugly stage. The angry stage. The whiskey stage. As long as you do not move in permanently. That honesty feels refreshing. Who needs to hear this? Anyone who has ever had a holiday implode. Anyone who pretended they were fine while internally combusting. Anyone over 30 who knows heartbreak hits differently when you are supposed to be emotionally evolved. “My BFF Jack Daniels” is not about glorifying the bottle. It is about admitting you needed a minute to fall apart. And in 2026, that kind of emotional transparency still hits. You rewrote this song with four different composers. What did the first three versions get wrong about your anger that the final one nailed? I wouldn't say the first three versions were "wrong," as I've worked all three composers numerous times... but all of them were leaning too much into my past.  My "normal" Adult Contemporary Pop feel... with a bit of country thrown in.  There was a feeling that the melodies didn't fully reflect what I was feeling inside when I wrote the lyrics -- but at that point, I couldn't put my finger on what was bothering me.  I knew that "Jack" needed more "bite" than anything that the first three writers came up with.  I tried, and tried. I rewrote the lyrics to suit the first 3 melodies, and I just never felt happy with the song... so, I kept looking.  When I heard the track from Sahar Twito (aka Moon), it BOTHERED me.  It was not (at all) what I originally imagined for "Jack Daniels"...but there was something very RIGHT about it, and it wouldn't leave me alone.  I worked for quite a long time to find the arrangement and to get "Jack" where it is today.  I think Sahar's track had the underlying RAGE that I didn't really realize was in the song, until I heard his music.      You built a career on big romantic ballads. Were you afraid fans would reject a more abrasive, rage-forward side of you? Of course.   I'm a classically-trained tenor.  I cut my teeth singing with the "bel canto" (beautiful singing) style -- where beauty and ease of tone are EVERYTHING.  "Jack" required me to use my voice in an aggressive manner with that amount of rage and anger in my singing that I've never put on record before.  Artistically and vocally, it was also a big step for me.  However, I wanted "Jack" to HOWL, and I couldn't do that using my regular singing style.  I've gone from Opera to Elvis to Musicals and all other styles of music, and UP UNTIL NOW I've been fortunate enough that most of my fans have followed me -- wherever I felt I needed to go musically.  "Jack", however, is a real departure.  Let's see how they react to this one.     As someone who has played Elvis 400 times, how do you separate theatrical intensity from real-life emotional exposure in the studio?  That's a very interesting question.  Singing, when it's done right, is about pure emotion.  Music speaks to the human soul.  It goes past rational thought and touches the heart and the emotions of the listener.  However, that only works on a purely emotional plane that is honest and truthful.  You can't "fake" real emotion.  People try, but the audience always knows.  I've never felt that my theatrical singing was less "exposed" emotionally than what I do in the studio.  For me, it's more a question of emotional "projection."  I've made a lot of movies.  When you make movies, the camera catches your thoughts when you're in a close-up.  In contrast, when you're performing onstage, you have to "project" those same thoughts and emotions to the last row of the house.  For me, singing's the same.  When I'm in front of a microphone, I need neither the vocal volume nor the emotional projection to transmit my feelings, as the microphone is capturing my thoughts in real time.  Those thoughts and feelings, in turn, color the sound of my voice.  The recording process transmits my emotions for me, instead of my using lung power to do it. You have lived in 13 countries. Did that global perspective change how you process heartbreak and masculinity in this song? I've lived in 13 countries, and I've performed in 52 countries.  People have more in common than they realize.  Audiences all over the world react pretty much the same to certain songs.  When the music and the lyrics are in harmony, even if the listener doesn't understand all the words, the emotional life of the song creates a reaction in the audience. Emotions for men and appearing "masculine" is a universal "problem." Men, generally speaking, have much more trouble showing weakness, showing pain, and showing hurt than women do.  Speaking for myself, my initial reaction to being hurt is to get angry or aggressive --  "You hurt me.  I'll show you!!"  It's involuntary, in my case.  It's a way to push the person hurting me at a distance, so that I can go somewhere, find a cave, and in solitude "lick my emotional wounds."  I think this holds true for a LOT of men all over the world.  The hurt gets buried so that a man doesn't appear "weak."  I think it's a weakness in my own character, but who am I to judge anyone else's way of "hurting??" If “My BFF Jack Daniels” represents a detour into anger, what does the next chapter of your healing sound like sonically? I'm 63 years old. I've been onstage since I was 4.  To survive in the industry, you develop a public facade, a character that serves as an avatar for the "real you" that allows you to be "private in public."  Privately, I've been through a LOT.  "Jack" has given me a lyrical sense of freedom that I've not had before.  I tore away some of the emotional "armor" of my public persona and ditched some of my ingrained vocal habits to let "Jack" come to life.  I plan on writing music that continues in that vein.   While I try to "lift people up" through my music and my performances, "Jack" has made me realize that SOMETIMES you need a CATHARTIC song to allow people to blow off steam.  I'll be blowing off ALL KINDS OF STEAM with my next releases.  I've got a new song I'm working on that deals with the never-ending battle of self-criticism and self-hate that comes with being a "perfectionist."  Wanting to improve is vital to artistic growth, but at what point will it EVER BE ENOUGH?  At which point, will I be satisfied and say, "Yes, I'm finally GOOD ENOUGH?   When do I finally CUT MYSELF SOME SLACK??  These are the ideas that I'm working on for my new music.

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When AL99, pronounced “AL Nine-Nine,” drops a new track, it’s never just another single—it’s an experience. His latest release, “WHY II,” the ninth track from his EP Elevate , is no exception. From the first bars, the song is reflective, pulling listeners into the artist’s world of introspection, faith, and cultural awareness. “I really was in the moment of reflection,” AL99 explains, recounting the creation of “WHY II.” “It was reflective from my own journey, and then reflective in terms of how I think about the world and what was going on at the time. I feel like music is so important to connect us all because then we realize we’re all the same.” The song arrives as part of Elevate , a nine-track collection that sees AL99 seamlessly navigating the highs and lows of life and Hip-Hop. Tracks like “SET IT OFF,” “POP,” “ENIGMA,” “SINK OR SWIM,” “9 GOD,” “PASSION,” and “MOMMA” showcase the versatility that fans have come to expect. Each track feels intentional, with AL99 carefully crafting every beat, hook, and lyric to reflect a broader journey. What makes “WHY II” unique in AL99’s catalog is its collaborative genesis. Unlike most of his music, which he produces himself, this track began with a beat by international producer B Noize. “I found this beat on YouTube, and I was like, ‘Man, this really speaks to me,’” AL99 recalls. “I just started rapping to it… and it kind of started the Y series.” The track continues a thematic exploration of the “why” behind his artistry—a series AL99 says is meant to connect listeners with purpose, introspection, and culture. AL99’s artistry is as much about heart as it is about craft. On “WHY II,” he reflects on the delicate balance between ambition and authenticity: “I had to separate my mindset and how I’m grinding for a goal and my heart… still keep the passion of what I’m doing… it’s all still about the love.” This philosophy permeates his work, giving tracks a depth that resonates beyond the music itself. Cultural heritage is another driving force. While not Haitian himself, AL99 draws deeply from his family’s roots. “Being around the family and speaking patois and Creole… it was always such a very spiritual, family-oriented situation,” he says. “You can manifest whatever energy you have inside you into reality. We have power in our heritages, we have power in our culture.” The influence of this lineage, coupled with his faith and personal growth, is threaded throughout Elevate , especially on tracks like “9 GOD” and “MOMMA.” Beyond music, AL99 is an entrepreneur and a visionary. Founder of TPC Music Production, he recently signed a distribution deal with Universal Music Group/Bungalo, cementing his independent grind while expanding his reach. From the early success of singles like “POP” to his ongoing rise in the Hip-Hop scene, AL99 continues to define his own path, blending artistry, business, and culture. “WHY II” is more than a track—it’s a testament to AL99’s journey as an artist and as a person. He hopes listeners will take away the essence of authenticity and reflection that permeates his music. “I just want people to go back and listen and feel that I was always speaking what I believed,” he says. “As long as I’m doing that, I’ll be happy, and I hope people now or later on feel that too.” With Elevate , AL99 doesn’t just make music; he offers a roadmap of introspection, resilience, and cultural pride, proving once again why fans call him “Versatile AL” and peers recognize him as “The Genius.” AL99, known for his versatility as a lyricist, performer, instrumentalist, and producer, is redefining the boundaries of Hip-Hop. Drawing inspiration from icons like Tupac, Kendrick Lamar, and Drake, his music blends introspective lyricism, energetic performance, and cultural resonance. Founder of TPC Music Production, AL99 balances artistry and entrepreneurship, delivering music that inspires, entertains, and uplifts. With a mission to create tracks that connect deeply with listeners, AL99 continues to push Hip-Hop forward while remaining authentically himself. Instagram  | TikTok  | Apple Music  | Spotify  | YouTube  | X  | Facebook  | Soundcloud  | Shop merch! “WHY II” on YouTube “WHY II” on Spotify “WHY II” on Apple Music

On his new single “ Lovin’ You Yet ,” the Nashville-based artist Carson Beyer pivots into something softer, warmer, and more intimate. It is not a rowdy Friday night track or a revenge-coded breakup ballad. It is a slow burn. The kind that lingers in the air long after the song fades out. Beyer has been steadily building momentum, and this release feels intentional. His breakout hit “Bones” pulled in over 4 million streams on Spotify and positioned him as more than just another rising name in the Nashville pipeline. With “Lovin’ You Yet,” he proves he is not boxed into one lane. Instead of doubling down on grit, he leans into devotion. The track unfolds with smooth production that wraps around his rich, swelling vocals. Beyer’s delivery has always carried weight, but here it feels more restrained in the best way. Controlled. Focused. Vulnerable. The lyrics capture that suspended moment in a relationship where you realize you are not done falling. Not done choosing the person in front of you. Not done loving them yet. He describes the song as living in the space of midnight air, candlelight, old records spinning, and two people who are not ready to say goodbye. That atmosphere is embedded in the DNA of the record. It does not rush. It simmers. The instrumentation gives the emotion room to breathe, letting the chorus bloom instead of exploding. What makes Beyer interesting in today’s country landscape is the blend. Raised on a Kentucky farm but influenced by artists like Justin Timberlake, Chris Stapleton, and Eric Church, he bridges rural storytelling with a subtle R&B smoothness. Recording in Nashville on Music Row and inside the legendary Muscle Shoals studios has only sharpened that hybrid identity. “Lovin’ You Yet” arrives backed by Lucky Money Entertainment and follows prior editorial support from Spotify and Apple Music, setting the stage for continued streaming growth. But beyond playlists and placements, the real strength of this release is emotional clarity. It feels honest. It feels patient. In an era where everything moves fast, Carson Beyer dares to sit in the moment. And sometimes, that quiet confidence hits harder than any stadium hook.

On “DND,” the Nashville trio Indigo Syndicate trades their alt-pop sparkle for something darker, smoother, and way more calculated. This is not the bright, harmony-forward indie moment you expect from a band with Apple Music playlist love. This is late at night. Phone face down. Ego bruised. Pride activated. Built on a pulsing, R&B-leaning groove, “DND” slides instead of sprints. The production is minimal but intentional. Clean drums. Moody textures. Space. The kind of space where tension lives. You can feel the restraint in it. Nothing is overcrowded. Every beat feels placed, not thrown. Vocally, this is where Indigo Syndicate flexes. The trio’s layered harmonies are still here, but they are more controlled, less explosive. The hook lands with the line “You haven’t heard a thing I said, I’ve been getting left on read,” and suddenly everyone with an iPhone feels personally attacked. The repetition of “wait on me” becomes the emotional center of gravity. It sounds confident. It also sounds like someone is low-key spiraling. And that is the magic. “DND” captures the emotional stalemate of modern dating culture. The ego wars. The power plays. The soft ghosting. It feels like a soundtrack for situationships where no one wants to care more than the other. Gen Z will eat this up because it is honest without pretending to be healed. What makes this track hit harder is that it feels intentional. The band openly wanted to switch it up and make something danceable. Mission accomplished. This is groove-forward, replayable, and built for night drives or dimly lit rooms. It proves Indigo Syndicate is not boxed into one lane. They are genre-fluid by design. If you needed a reminder that indie bands can pivot without losing identity, “DND” is it. Put your phone on silent and run it back. Replay value is high. Emotional self-awareness is questionable. We respect both.