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Most jazz albums do not begin with violence. Cody Steinmann did. The Minneapolis-based guitarist, composer, and improviser is not interested in turning pain into a mythologised origin story for an artist. Stray Bullet Blues  is a fully instrumental body of work shaped by something far more immediate. A violent moment that shattered any illusion of safety and forced everything into sharp focus. On October 7, 2023, a stray bullet tore through Steinmann’s home. No one was physically harmed, but the psychological impact lingered. Instead of retreating inward, Steinmann picked up his guitar and let the emotion speak for itself. What emerged is a volatile blend of jazz, blues, metal, and rock that mirrors the unpredictability of trauma. The album moves like a sequence of emotional states. It opens with “I Feel Like We’re Bleeding,” a slow-burning eruption that captures shock and hyper awareness. That unease escalates on “I Feel Like We’re Dying,” an eight-minute spiral through fear, adrenaline, and mental overload. By the time the title track “Stray Bullet Blues” arrives, the album begins to reclaim the moment rather than relive it. “Who Am I” leans into vulnerability, using restraint and space as emotional tools. Tracks like “Fleeting Moments” and “Patience And Understanding” soften the edges without losing weight, tracing a gradual return to clarity. The record closes with “They Are You” and its companion track, reinforcing the project’s core message of empathy and connection when it feels hardest to reach out. Steinmann assembled a formidable lineup to carry that weight. JD Allen on tenor sax, Solomon Parham on trumpet, Chris Bates on bass, and Abinnet Berhanu on drums all bring restraint, fire, and intention. The entire album was recorded in six hours. No overdubs. No polish. Just five musicians responding to the same emotional current in real time. Despite its intensity, Stray Bullet Blues  is rooted in forgiveness and empathy. It does not explain itself or soften its edges. It simply tells the truth, without words, in a language that cuts deeper than explanation. This is not a record designed to comfort. It is designed to wake you up and maybe help you feel again. That moment the bullet entered your home, how did the shock settle into music instead of silence? At what point did you know this experience had to become a full album? I think the next day is when it hit me. I didn’t know how to process it. I was in such shock as to what happened and how much damage a single stray bullet could do. I felt blessed, because it could have been much worse. But I didn’t really have words to describe how I felt. I just knew I had a yearning for connection at that point. All I could really feel was energy and it came to me as music. I was almost a sort of bystander in the whole process.  This project pulls from jazz, metal, blues, rock, and improvisation in a way that feels almost volatile. How did the emotional state you were in shape the sonics of each track? I’ve always been influenced by a wide variety of music. I never really saw the difference between genres, they’ve always been music to me. I did feel strongly about certain types of music at certain times, but no matter what “mask” I put on as a kid I actually did enjoy all styles of music. I’m neurodivergent, so I have a different angle on all of this. The volatility probably comes from the loops of emotions I felt throughout the coming weeks and months after the event. It was truly an emotional rollercoaster for me. Each of the tracks represents a different emotional state somewhere in that cycle.  You recorded this entire album in six hours with an elite lineup. What did that session feel like? Were you all tapping into the same emotional current, or did each musician interpret the moment differently?  Yes, it was great! I did a lot of learning making this record. It felt intense, I feel we were all on edge due to the times we’re living in. Everyone absolutely crushed it though. We all knew the story and they were in communication with me during or shortly after the event, so I think that energy permeated the room. We all knew we only had one day in the studio to make it happen too, so we were very focused.   You’ve said you hope this album teaches people empathy and forgiveness. What part of the creative process pushed your own understanding of those concepts the most? Yes I do hope the album teaches people to empathize with one another and helps us to forgive each other and ourselves. I feel like we’re all too hard on one another. The creative process taught me how to forgive people, and how to truly let go. It led me to James Baldwin interviews that affirmed my perspective and also taught me to see others more deeply as part of myself too. Which in turn led me to having a better and more kind relationship with myself. I had a lot of hate in me after this, I learned to let it go completely. I learned all safety is an illusion. I had a clearer idea in my mind of how to hold others accountable and forgive, while not socially isolating them.  Your work is always pushing genre boundaries, but this album feels like a deeper evolution. After Stray Bullet Blues, what does “jazz” even mean to you now? I don’t know, I honestly don’t think about it much. Jazz is a four letter word. Depending on the context, to me, it refers to a particular approach to articulation, rhythm, form, phrasing and space that is inherent in the tradition of Black American Music. More personally, I agree with Wayne Shorter that Jazz means “I Dare You”. I believe what I enjoy about this music the most is the swing and the freedom. I’m eternally grateful that I get to participate in creating and making the music I do today. I hope others will continue to step out without a net and put their work out there.

James Artissen has never moved like someone chasing a moment. He builds momentum. Grammy-nominated, Queens-born, and deeply grounded in both the technical and emotional sides of music, Artissen’s career reads less like a highlight reel and more like a deliberate climb. From years spent behind the scenes with major names in R&B and hip hop to fully stepping into his own artistry, his evolution has been patient, intentional, and real. Raised between New York and Atlanta, Artissen absorbed the rhythm of both cities. You can hear it in his work. The grit. The polish. The soul. The restraint. His background as a producer and audio engineer shows in every decision. Nothing feels accidental. Nothing feels rushed. That clarity is exactly why his latest single, “Down 4 Whatever” with Bigg Baggz, lands with quiet confidence. The track lives in a late-night headspace where desire, trust, and street loyalty overlap. It is smooth without being soft and confident without being loud. James opens the song with melodic ease, gliding over a slow-burning trap R&B beat built on deep 808s, crisp hi hats, and a smoky, cinematic mood. The intimacy feels intentional, never forced. Bigg Baggz enters with a verse that feels lived in. No gimmicks. No over explanation. Just presence. The chemistry between the two artists feels natural, like they operate by the same unspoken code. This is not a surface-level collaboration. It sounds rooted in mutual respect. Lyrically, “Down 4 Whatever” moves past surface attraction. It centers discretion, loyalty, and choosing someone who understands your world without needing context. A connection that does not need to be public to hold weight. The record signals a clear shift for Artissen toward mood, control, and long-term vision, away from chasing moments. After years of critical acclaim, charting releases, and collaborations with icons like Whodini, Raphael Saadiq, and Goodie Mob, Artissen is now fully operating on his own terms. With the launch of his label imprint Humble Sound Records in partnership with Sony Orchard and a debut album set for 2026, “Down 4 Whatever” feels like a quiet statement. Not a comeback. Not a reinvention. Just the next chapter. “Down 4 Whatever” feels more restrained and atmospheric than some of your past work. What pushed you toward this sound? I have been experimenting with new styles, and sound for my audience to grow with me alongside the change of my brand. This also shows the range, and versatility of who I am as an artist while going through my new journey. It feels great.  You’ve spent years behind the scenes as a producer and engineer. How does that technical background shape how you approach your own records? It's everything because I know how a record is supposed to not only sound like, but feel like. I pour all my experiences, and knowledge into my own to create masterpieces along the way. You really can't have a great piece of work without the elements of a producer, writer or an engineer. The chemistry with Bigg Baggz feels effortless. What made this collaboration feel like the right fit? I'm always looking for who's up next, and those who I feel would compliment my sound. Bigg Baggz is one of those artists who has been quite easy to work with, and DFW is the first of many collaborations with us.  Loyalty and discretion are big themes on this track. How much of that comes from personal experience versus storytelling? The subject matter is very much personal for us because we seek loyalty in any situation from those we hold dear to us. The song is just a small depiction of that. Of course here, and there a good storyline helps sell the concept, but most of my lyrics are my real experiences. With your debut album coming in 2026, what mindset are you in right now as an artist and label owner? Right now my mind is set on delivering an amazing groundbreaking body of work. Something that keeps you coming back to listen, and help you understand who James Artissen really is. As a label owner I'm proud that I have achieved the opportunity to launch my own imprint, and help other artists achieve their goals as well. Humble Sound Records is a home for all creatives.

Coming together to emphasize Black History Month rightfully, American singer-songwriter James Artissen  teams up with House Dance singer Robin S  to release the latest single, “See It My Way.” Written and produced by James Artissen, Ronell Sessoms, and Robin S, “See It My Way” is the lead single, pulling us into the grooves of this dark, psychedelic, disco-meets-synth-pop track. It’s immediately apparent that the passion of James Artissen exceeds our expectations. Liveliness in the instrumentation creates a vibrant dynamic between the vocal layers that accompany these magical components. When you tune into the depth of the words professed, you latch onto this anthem that circles around manifestation, self-confidence, and a desire for the best life has to offer. As each note whisks us into this sonic beam of positivity, James Artissen releases his new musical style into the world for the first time. Playing into his quintessence of uplifting himself and those around him, “See It My Way” radiates Black excellence. Whether it’s Black History Month or any day of the year, this is the pride and hunger we love to see from Black creatives as they raise their voices and share a rich narrative you can’t help but dive into. This collaboration between you and Robin S resonates with us in such a powerful way. What moment or story inspired you to create such an upbeat record filled with radiance? I am happy you guys enjoyed the song. This one is very special to me because I wanted to display a positive message in a powerful way that can be translated through dance music. The moral of the song is to outline the features of Manifestation and self-belief in yourself to continue going in life. I have been working with Robin S for some years now, and we are like family. I am blessed and honored to have her a part of this masterpiece we have created. What was it like working with Robin S to bring "See It My Way" to life? How did this collaboration come to be? Robin is a sister. We have worked together for quite some time. We created this record about two years ago and wanted to release it at the right time. We both have been through many things in our lives, so music is our therapy. How long did it take you to write this piece? Could you please share a glimpse of the creative process? It really didn't take long because we already knew what to say. I remember us being in the studio talking about a situation with someone we both knew, and it made us think about how we needed to rise above all negativity. I gave her the concept for the chorus, in which the vocals needed to match the production's energy. Once I told her that she did two takes, and the rest is history. Since you've taken on a new style, what similarities and differences have you found in your creative process? To me, it really isn't about a new style. It's just more creativity that I want to express to my fans. They are growing with me as much as I am growing creatively, which is amazing. What's next for you? So many projects are in progress. My debut album, new singles, collaborations, television/film projects, and touring.

Alt R&B is drowning in pretty lies right now. Vibes over substance. Aesthetic over honesty. Gianna Alessi is not here for that. On “It’s Only Heaven,” she gently but firmly pulls the curtain back on romance built on projection, flattery, and emotional smoke screens. The track floats in on sparkly keys and warm guitar lines, but do not confuse softness for weakness. Gianna’s honeyed vocals feel controlled, intentional, and emotionally awake. She sings like someone who has already done the self-reflection and is now watching someone else struggle to keep up. That quiet confidence is the song’s real power. Produced by Gavi Grodsky, the groove is dreamy but grounded. Stacked vocals swirl without suffocating the mix, giving the song room to breathe. Daniel Neiman’s mix and Dan Millice’s mastering keep everything lush without slipping into background music territory. This is headphone music that still hits emotionally, not sonic wallpaper. Lyrically, “It’s Only Heaven” questions why we romanticize connections that never actually see us. Gianna pushes back against love that sounds good but feels empty. She is not angry. She is awake. That distinction matters. The song lives in the tension between wanting to be desired and needing to be understood. As the second single from her upcoming EP Soft n’ Lush , this track signals a project rooted in emotional presence, not algorithm chasing. In a culture addicted to speed and surface-level intimacy, Gianna Alessi is choosing depth. That choice alone makes her one to watch.

Blackstate is not here to babysit anyone’s ego. With “#FollowMe,” Filip Tasevski-Fitz throws influencer culture into a blender and hits max speed, serving up an EDM track that feels like a glitchy, neon meltdown in real time. This is the soundtrack for every moment you open your phone and instantly regret it, but still keep scrolling like a hostage. The man spent two decades tearing up hardcore punk stages, and that chaotic DNA is all over this track. It is unhinged in a way EDM wishes it were more often. The production hits like a boss-level video game you were not ready for. Hyperactive synths, grinding drops, and a rhythm that never sits still. The whole track feels like it is daring you to keep up. Blackstate blends humor with panic, critique with adrenaline, and the result is honestly addictive. This is not a passive listen. This is a full-body experience that grabs you by the face and shouts, “Look at what we’ve become.” Vocally, Tasevski-Fitz leans into the parody hard. He fully commits to the influencer character, which makes the whole thing hit twice as hard. He captures the hollow confidence, the compulsive need for validation, and the manic energy of someone “living their best life” as they slowly evaporate offscreen. His delivery is sharp enough to cut through the EDM chaos, and every line lands like a jab at anyone who has ever faked a perfect life for content, which is basically all of us at this point. The music video takes the concept and runs laps with it. Livestream rooms with cheap props, podcast setups for people with nothing to say, fake plants doing their best to look alive, ring lights frying pupils into oblivion. He exposes the smoke and mirrors behind the illusion, then jumps right into it himself. Once he puts on that cheetah print coat, he becomes the monster he is mocking, which is the point. In a plastic world, authenticity has no chance. “#FollowMe” is for anyone who feels suffocated by the digital circus but still cannot look away. Blackstate weaponizes EDM to call out the absurdity of the era, and the result is loud, clever, and absolutely unforgettable. When you stepped into the influencer persona for “#FollowMe,” what part of that character felt uncomfortably close to real life? What felt uncomfortably close was the instinct to perform - to turn even criticism into content. We live in an age of constant internet performance, and even when you think you’re resisting it, you’re still playing a role. Even parody becomes performative. Stepping into that character forced me to confront how easily I slip into self-curation without noticing. Real life  still exists, of course - but it’s constantly distorted by algorithms and systems designed to shape behavior. Hardcore punk and EDM are not exactly neighbors. What element from your punk background shaped the chaos in this track? Hardcore punk is still my backbone. The form evolved, the attitude didn’t. Sonically, I’ve moved forward, but the core messages remain intact. Seeing society from the outside is one of the blessings of punk. The video exposes the fakery behind content creation. What moment during filming made you think, “Yeah, this is exactly how ridiculous it actually is”? The process of writing the script and gathering inspiration for it was quite long - it took more than a year. One documentary that influenced me a lot was “Fake Famous”, which clearly shows that being an influencer isn’t actually that easy. It’s demanding, dedicated work that requires significant effort and energy. In any case, the point is that people want fame simply because they desire it. Most of them have no substantial message to convey - no message aimed at the common good, at sharing something useful or humane. They lack empathy and compassion toward their own kind, the planet, and animals. They become human billboards, part of a capitalist machinery, selling their own persona to the algorithm. I think many people are lost. And those who truly do have something to say (artists, educators, intellectuals…) are overshadowed by the stupidity of these other ones. What a time to be alive. Your production style leans into sensory overload. What is one sound or texture in “#FollowMe” that almost felt too unhinged but ended up being essential? There are a couple of moments where the piece clearly crosses a line and doesn’t apologize. At the time, it felt almost too unhinged, but the second you make it comfortable, it stops saying anything. For me, overload is the language of the work - it’s how the idea communicates. The video mirrors the mental state of the reality it’s responding to. If listeners walk away from this track questioning their own online habits, what conversation do you hope they start having with themselves? Be more real. Get off the internet (for a while). Live your life. Use your (online) powers for good. Be authentic. Enjoy life. I enjoyed this interview in particular. Thank you for these great questions and for letting me share my thoughts.

Most eighth graders are worried about homework, acne, or whether their crush noticed them. Mane Thompson is out here delivering a country rock performance with the emotional weight of someone who has lived through three chapters of heartbreak. “Rewrite The Past” proves he is not dabbling in music. He is throwing himself into it with a maturity that feels almost unreal. From the jump, Thompson’s voice lands like gravel dipped in honey. It is rough in the right places, warm when it needs to be, and confident in a way that makes you double take his age. He does not sidestep the pain in the lyrics. He charges straight into it. There is a growl in his delivery that feels earned, not imitated, and it gives the regret-filled storyline a surprising level of believability. His performance does not feel like a kid acting out heartbreak. It feels like an artist channeling something deeper. The Racing Pulses back him with production that has no interest in sitting politely behind the vocals. The bassline is rubbery and full of swagger. The guitars punch with classic rock impulse. The drum crashes land like emotional warnings. Together, they build a sound that belongs on open highways, faded boardwalks, summer fairs, and every place people go when they need to think about the choices they cannot undo. It is country storytelling fused with indie garage grit, and the combination hits harder than expected. The live performance pushes everything into overdrive. Filmed at the Mead Witter Foundation Concert Hall, the video captures real chemistry between Thompson and the band. No awkwardness. No hesitation. Just pure energy. Thompson takes command of the stage like he was born there, feeding off the crowd and locking in with a confidence that should not be possible for someone his age. Culturally, this track lands at a time when country music needs more genre bending and more young voices refusing to stay in preset lanes. The collaboration feels real, not engineered. Thompson shows potential that is impossible to ignore. And the replay value is ridiculous. It is catchy, cathartic, and built for looping on long drives. When you performed “Rewrite The Past” live, what part of the story hit you the hardest in real time? When I listen to the song “Rewrite The Past,” whether I'm performing it or just listening… What hit me the hardest in real time would be: “If I could rewrite the Past, I would listen to you like a songbird.” That reason being… I hear it, I feel it; it can change during different times. Different people have different ways of listening to a “songbird,” & that can help them. For me, I don’t actually listen to a songbird, but I wish I could go back in time and fix some mistakes. For example, if I could rewrite the past.. I’d go back and sing the song that my Aunt Juanita requested before she died. Your vocals have a grit that feels way beyond your age. What mindset helps you tap into that intensity when recording? My music taste is very different for my age! That’s what makes me a good singer. Growing up, I was REALLY inspired by Michael Jackson - From his dances, his walk, the way he talked, his style, his vocal changes, and everything! I wanted to be Michael Jackson when I was younger. I grew up listening to Michael Jackson, Chris Stapleton, Brooks & Dunn, The Temptations, Al Green (with my Dad), Alan Jackson (with my Mom), etc. If you combine all of those inspirations into one. My music taste varies, I love great lyrics like J. Cole or Alan Jackson’s powerful storytelling, it’s what makes me! Working with The Racing Pulses is a cross-generational creative leap. What surprised you most about blending your worlds? I don’t think I was surprised by the age gap or anything about our different worlds! I was always told I had an “Old Soul” and an older look. So, for me, the goal was to make a song that everybody could relate to. Every song I love to listen to has meaning; I wouldn’t want to listen to a song with no message. Rewrite the Past has a powerful message that people can relate to. I could relate; The Racing Pulses could relate; my parents could relate; and others could relate.   In the live video, there is a moment you fully lock in. What changed in your head or heart right then? A lot of times, it takes me a minute to realize what I’m doing. I’m chasing a dream of mine, I’m doing what I LOVE to do, so I enjoy myself. After a couple of minutes of me singing, I realize what it took to get here, what led me to sing this song with The Racing Pulses, the feelings I broke, the mistakes I made, and all the obstacles I faced to get to this moment. I get reminded of my purpose. I believe my purpose is to sing, but what am I doing it for besides “purpose”?Then I realize all of those things that helped build Mane Thompson. Country and garage rock have totally different textures. What detail in the arrangement convinced you that this fusion actually worked? I personally think a good song is a good song for one. I think as long as you can make something catchy, lyrically good, and something that can almost please everybody, you’ll be fine. Those are some of the reasons my band, The Racing Pulse, did so great together. We both had similar goals but different backgrounds, and it worked. I think a Classical music and Punk Rock artist could collaborate on a song. They have 2 completely different sounds, but both have dedicated fan bases. We saw a project where all different artists came together for one song - “We Are The World” written by Michael Jackson. That was so many artists from different genres in one.

When you look at artists who use music as a form of self-therapy, It’sJustVon stands out as someone who doesn’t just write songs, he documents chapters. Ever since he released his debut album welcome to the state of denial in 2020, his artistry has been rooted in honesty, emotional depth, and the willingness to confront the parts of life that most people avoid. What makes his story even more layered is his second musical identity, LLV, short for Lost Love, a name he uses when the art demands a darker lens, a different tone, or a more vulnerable headspace. Two identities, one storyteller, and a growing discography that reflects real human struggle. 2025 became an important year for Von because it marked a shift from internal battles to outward conversation. His single “Someway Somehow,” chosen for BUZZMUSIC’s Best Independent Artists of 2025, is a track that channels his personal reflections on mental health into something relatable for anyone who’s ever carried pain in silence. The song is a reminder that healing isn’t linear, and that resilience doesn’t always look loud, sometimes it’s just surviving one more day, one more moment. The track’s calm intensity and message show exactly why Von’s voice matters in a genre where vulnerability is often treated like a risk. But this year wasn’t defined by music alone. Outside the studio, Von stacked milestone after milestone: graduating from college with a BA, earning his Class A CDL, managing at three major companies, and stepping into a project manager role for a robotics company, traveling, learning, and leveling up professionally. These real-world achievements mirror his internal growth. They show a version of Von who isn’t just writing through pain, but actively building a life outside of it. What comes next feels like a new era. With “Leaving the State of Denial” on the horizon, Von is preparing to expand the narrative he started years ago, shifting from survival to evolution, from reflection to forward motion. And whether it’s through It’sJustVon or LLV, one thing is clear: his music remains rooted in honesty, faith, and the belief that timing — God’s timing — is everything. You’ve released music under both It’sJustVon and LLV, two identities that tap into different emotional spaces. How do you decide which parts of your story belong to which artist name, and what does each alter-ego represent for you creatively? ItsJustVon is who I was, and is leaving the state of denial. My last song, “You Read My Mind” on my album, says “...what? You never met LLV.” So, to answer your question, how do I decide which parts of my story belong to which artist name? ItsJustVon is heartbroken by what happened to him, but LLV is ready to move on. My last release under LLV should have been ItsjustVon, but it just didn’t feel right. LLV is ready to move on, but in his recent release alone, he has not made that leap, which is why it didn’t make the album. ItsJustVon waited years after “Welcome to the State of Denia” to reveal why the breakup occurred on leaving the state of denial, but knew the whole time. LLV stands for lost love forgot the s.. forgot the t… {lost} forgot the o… forgot the e{love}. LLV is ready to move on, making upbeat music to have fun with. ItsJustVon makes hip hop storytelling. I honestly want to say that after leaving the state of denial itsJustVon is finished, but after so many people who have heard my album before its release, it's a high possibility ItsJustVon returns to make music that hits home. “Someway Somehow” is all about mental health and the unseen battles people carry. When you were writing it, what moment or realization pushed you to speak openly about what you were going through? Honestly, I just felt free to share. Writing to me feels free; I just write it out on my cell phone, then record it. The second verse really comes to mind when you ask that question. I have nothing to hide; the unseen battles I, as well as many others, fight every day. I feel obligated with all my accomplishments to share what I have experienced. As I always say, “you're not alone,” let's go, “ the sky is the limit. “ I was a robotics project manager. Amazon area manager. Etc. You’ve talked about wanting your music to spark conversations around emotional struggle, resilience, and healing. What’s one thing you wish more people understood about mental health, especially within hip-hop and R&B? Honestly, we should not look to musicians for life advice. I have read over a hundred books, the majority on business, self-help, and religion. But musicians make music for entertainment for the most part. When it comes to mental health, I honestly believe you should be your own doctor in a way. Decide what is and what is not working for you. Keep it going to be the best version of yourself as possible.  You’ve had a big year outside of music: graduating from college, earning your CDL, and stepping into project management and robotics. How have those real-life responsibilities and wins shaped the way you write, think, and create? Honestly, I just got a chance to wear different hats. I tell people who have met me, “everybody knows Von from Amazon. It's really the best place to work; people high up really care about what you think and your views toward making the organization a better place. Robotics really wasn’t for me, not to bash another company, but trust me, I don’t mind doing that either lol. Amazon has been the #1 company in the world, and I’m proud to say I started as a temp and worked my way up to Manager. I have a CDL and love my relaxing occupation. I think as time progresses, it will shape my music currently. I’m glad to have finished leaving the state of denial.  You mentioned “Just Me and the Studio” as a possible inclusion for Best Of 2025 if the timing works. What kind of energy or message does that unreleased track carry, and how does it continue the story you’re telling this year? Just me and the studio just feels right. The calmness after the storm, the energy I feel it brings.  It brings a message of being alone and being alone is ok. I’m working alone by choice, single by choice, looking for the right people to allow in my life. This year sets the table for the next guest llv. Get ready for him, but also, if he is too much to take, you can always message me and say we miss ItsJustVon. You dropped two tracks in 2025 “Someway Somehow” and LLV’s “alone.” When you look at both, what do they say about where you are emotionally and artistically compared to when you first released “welcome to the state of denial” back in 2020? ItsJustVon welcome to the state of denial, brings attention to, and my ex-girlfriend being on a break to officially breaking up. Leaving the state of denial is the raw, uncut reason why the relationship ending begins the album with “hurt my soul,” hopefully something everyone enjoys. With the album over, I look forward to the next person I date. Emotionally free as well as artistically free. I can make whatever kind of music I like. A new chapter is beginning, and I hope my fans are next to me to read what’s about to be written.  Heading into 2026 with “Leaving the State of Denial” on the horizon, what shift do you feel happening inside yourself? What do you want this next chapter to reveal about you as both a person and an artist? Get ready for LLV! All I can say.

Sweet Relief Musicians Fund is doing what it does best: showing up for the people who built the culture. The nonprofit has announced its annual benefit concert for February 21 at the Masonic Auditorium in San Francisco, this time honoring blues icon Taj Mahal, a living legend whose influence stretches far beyond the genre he helped redefine. The lineup is stacked in a way that feels intentional, not nostalgic-for-nostalgia’s sake. Confirmed performers include Van Morrison, Stevie Van Zandt, George Thorogood, Mike Campbell, Patty Griffin, Jim Lauderdale, Will Hoge, Joe Henry, Ruby Amanfu, Bobby Rush, Trombone Shorty Kids, and Taj Mahal himself, with special guests and additional artists still to be announced. Tickets go on sale Friday, December 19 . This isn’t just a tribute concert. It’s a statement. Taj Mahal’s career spans more than five decades, but his relevance hasn’t faded with time. Emerging in the late 1960s, he expanded the blues by weaving in Caribbean, African, Hawaiian, and Latin influences long before “genre fusion” became an industry buzzword. Albums like Taj Mahal and The Natch’l Blues didn’t just preserve tradition, they stretched it, creating a global, joyful approach to roots music that still resonates today. His influence can be heard everywhere, whether artists know it or not. “Thrilled to be honored by Sweet Relief and to celebrate with good feeling music,” Taj Mahal shared. “Thank you Sweet Relief for all that you do and for bringing us together.” For Sweet Relief, the night marks both a celebration and a mission-critical fundraiser. Executive Director Aric Steinberg called the event “long overdue” and emphasized its deeper purpose. “This will be a special show indeed, and is also a critical fundraiser for our music community in need of emergency financial assistance for physical or mental health care,” Steinberg said. “More artists will be announced in the coming weeks, and there are always a few surprises.” The concert follows Sweet Relief’s 2025 tribute to Joan Baez, which featured performances by Bonnie Raitt, Emmylou Harris, Lucinda Williams, Margo Price, Tom Morello, and more. If that event proved anything, it’s that Sweet Relief understands how to honor a legacy without turning it into a museum piece. Beyond the stage, Sweet Relief Musicians Fund continues to be a lifeline for career musicians and industry professionals, providing financial assistance for medical care, insurance, housing, food, utilities, and other essential living expenses. In an industry that often abandons its artists once the spotlight dims, Sweet Relief fills a gap the system refuses to acknowledge. February 21 won’t just be a concert. It’ll be a reminder of why music matters, who built it, and why taking care of artists should never be optional.

Some artists chase trends. The Star Prairie Project chases stories, and 2025 marked one of their most compelling chapters yet. Helmed by Wisconsin songwriter Nolen R. Chew Jr., the project has always lived at the crossroads of Americana, indie rock, and free-form creativity, pulling in collaborators from around the world to turn rough ideas into fully realized worlds. But Little Gems , their standout release of the year, feels like something different. Not louder, not flashier, just deeply alive , threaded with the kind of curiosity, humor, and emotional honesty that makes the Star Prairie Project such a rare presence in independent music. The album’s origin story is as unpretentious as its name: a handful of unfinished tracks Nolen pulled back off the shelf after wrapping two very different projects. But in revisiting them, with the help of longtime collaborators Rudiger and Ivy Marie, he unlocked something surprisingly cohesive. Little Gems became the kind of record you stumble into and end up staying with, where every track has its own personality, its own life lesson, its own charm. From the cheeky gender-role flip of “Down Boy” to the lovable-loser wink of “Poor Pitiful Me,” the album bounces between playful pop-rock and reflective Americana without ever losing its identity. Nearly a million combined streams later, those instincts proved right. Yet behind the scenes, 2025 wasn’t just about looking back — it was about building forward. Nolen spent the year crafting new albums with collaborators across genres and continents, from a 12-song Americana project with Rudiger to a rock-forward record with his Portugal-based team. The Star Prairie Project is constantly moving, constantly evolving, constantly creating. And that’s exactly why Little Gems feels like such a defining release: it captures the heart of the project, the storytelling, the global collaboration, the joy of discovery, in its purest form. As Nolen looks ahead to 2026, the mission stays the same: make music because you love making music. Forget the noise, forget the industry grind, forget the discouraging parts of being indie. The Star Prairie Project is proof that when you follow the joy of creation, the work will always find its audience. When you picked those unfinished songs back up, what moment told you, “Oh wait, this is an album”? Nolen: In that pile was the song ‘Poor Pitiful Me’ along with ‘I Like it My Way’, Tess, and           ‘Sunshine Skies’. I thought that was a really good start for an album. So I pretty much knew right away that it was enough to build on because when I would listen to the songs back to back, they flowed together well and seemed to fit. I think it was at that point that I commented to my wife that there were some little gems in this pile of songs. You collaborate with musicians around the world. What’s the most surprising thing you’ve learned from working cross-continent? Nolen: I learned that the one factor that brings us all together is music. It’s all about the music. Writing and recording music is joyful, and to collaborate and share that joy is one of the precious experiences of being human, in my opinion. We all love the music aspect of our craft and almost universally deplore the industry we work in as it relates to Indie Artists. Maybe the fortunate ones that are signed with the large labels feel differently, but nobody does that I work with, ha! What made Rudiger and Ivy Marie the right voices for shaping the emotional core of Little Gems? Nolen: Their voices merge and blend in a very unique and natural way. Our 2023 album ‘New Day at Dawn’ featured Rudiger and Ivy, so I knew what I could expect from them on ‘Little Gems’. They each sing their own songs, but there are a few songs where they sing together, which is a special treat for the listener because their duets are fantastic and dynamic. They can belt it out together like they do singing on ‘Poor Pitiful Me or they can blend their voices softly like they do on the acoustic version of ‘When I Look at the World’. Yes, they were the perfect voices for the ‘Little Gems’ album. This album has playful highs and reflective lows. Which song changed the most from its first draft? Nolen: That would have to be ‘When I Look at the World’. The first mix actually was the full version that appears at the end of the album, right before the finale ‘Without You’. The acoustic version sounded pretty much like the original demo structurally, but Rudiger added that box drum percussion, which I thought was really cool, and it was at the last minute that we decided to add Ivy, and then at first Ivy was singing backing, and we finally changed it to a full duet. But it kept its original charm throughout, and the full rock-out version and the campfire version are both great. How do you stay creatively energized when working on multiple albums across completely different genres? Nolen: It just comes naturally. It just wells up and overflows. When it’s working right, I don’t have to do anything but guide it. It’s called creating, and I believe it is humanity's greatest gift. I really believe that. We are creators, and we co-create in the universe. People ask what we would do with our time if we didn’t work. The answer is we would create. We would create in our own individual ways because it is joyful and natural, and yes, productive. You know what’s not natural? Two fifteen-minute breaks a day and a half hour for lunch. Charging the artists to create and then taking all the profits, that's not natural. That's gluttony. There is so much to write about by just really looking around us. 2025 seemed like a big “building year” behind the scenes. What shifted in your process during that time? Nolen: We’ve been building since 2019. It’s just that six or seven years go by and the next thing you know we’ve built a discography a decent catalog. But I think 2025 was a building year in terms of the maturity and the depth and breadth of our body of work. The thing is, what is happening behind the scenes in 2025, all the writing and recording of albums and videos won’t be seen by the public for a year or more. What is being heard now on current playlists was written and recorded well over a year ago. It’s weird in that sense, there’s the world of current releases and the behind-the-scenes world we are creating for the future. But if you like The Star Prairie Project up til now, you will love the new material written and recorded in 2025. I think what shifted in that time was the world. We are in the midst of a metamorphosis, in a sense, and our new music reflects it. Rudiger and I just finished an album called ‘Burning Road’ and it has a certain mood about it a brooding but hopeful mood. It reflects that shift that you currently sense. What’s the biggest lesson you wish every indie artist understood about joy, longevity, and carving your own lane? Nolen: Concentrate on the joy of what you do despite the outward rewards. Because it is the internal joy they can’t take from you. The cream rises to the top. If it happens, it happens. If it doesn’t, it doesn’t. But if you reward yourself along the way with living in the natural buzz of creating your music, you win. Sometimes we make it too complicated. If you love making music you will never run out of songs. We’ve recorded ten albums now, and we haven’t run out of music. You have to love how that works. However, that works.

On December 11, 2025, the Giving A Smile Foundation officially announced itself as a serious force for change with its Inaugural Gala at the Beverly Hilton in Beverly Hills, CA. Hosted by Kelsey Grammer and headlined by a special performance from five-time Grammy-nominated artist Robin Thicke, the night blended Hollywood energy with real-world impact. Presented by Rifkin Raanan Dentistry, the gala brought together entertainers, philanthropists, medical leaders, and community advocates in support of one clear mission: providing high-quality, no-cost dental care to underserved youth across Los Angeles. The evening opened with a standout performance by The Voice alum Jacquie Lee, followed by additional performances from Griffith Frank and Lindsay Gitter, with DJ Pookie keeping the energy flowing throughout the night. The room was packed with purpose, not just glamour. Notable guests and presenters included Beverly Hills Mayor Sharona Nazarian, who received the Humanitarian Leadership Award, alongside honoree presenters Harry Goodwins (The Gentlemen), James Tupper (Big Little Lies), Colin Egglesfield (The Client List), and Lesley-Ann Brandt (Lucifer). Additional awards were presented to Lorrie Bartlett (Guiding Light Award), JR Dzubak (Visionary Impact Award), and Dr. Katja Van Herle (Healing Hands Award). The guest list reflected a wide cross-section of Hollywood, philanthropy, and business, including Emma Hernan (Selling Sunset), Emily O’Brien (The Young and the Restless), Joe Simpson, Ryan Garcia, and dozens of industry leaders, supporters, and advocates. The event was hosted alongside the dentists behind the Foundation, including Dr. Rodney Raanan, Dr. Justin Raanan, Dr. Sepehr Nassiripour, Dr. Rosie Nassiripour, Dr. Robert Rifkin, and Dr. Steve Rifkin, whose work anchors the Foundation’s mission. A Night With Purpose Proceeds from the gala directly support the development and long-term operation of the Foundation’s permanent, no-cost dental clinic, ensuring that children and young adults are never denied care due to financial hardship. The clinic will provide advanced dental treatments, preventive education, and essential oral-health resources to vulnerable youth across Los Angeles. Sponsors and supporters for the evening included Doctor’s Orders Wines, Valley Bank, Fuel Cycle, Vitamin Water, Casa Azul, CoDentist, Mamazing.com , Beverly Bar, and more. The auctions featured high-value experiences, including trips to Thailand and Napa, yacht excursions to Catalina, custom artwork by Matt Smiley, and diamond jewelry fro m XVIII Karats by Shery Levy , Beverly Hills. Looking ahead, the Foundation’s vision extends beyond a single clinic. “In addition to building our first stand-alone year-round dental clinic, the Giving A Smile Foundation is raising funds to launch two fully equipped mobile dental units that will bring free, high-quality care directly into underserved communities,” said Dr. Justin Raanan, DDS, MMSc. “These mobile clinics will allow us to reach children and young adults where they are, removing barriers to treatment and expanding our impact across Los Angeles.” With its inaugural gala, the Giving A Smile Foundation didn’t just host an event. It laid the groundwork for a lasting infrastructure of care, equity, and access. A strong start, with real follow-through.