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Greg Hoy’s “Last Quarter” isn’t trying to be cool; it just is. The track drops you straight into a dive bar where the amps are cracked, the crowd’s sweating, and no one’s pretending. It’s raw, alive, and completely unapologetic. Hoy doesn’t chase trends or algorithms; he builds his own world fueled by riffs, horns, and pure human imperfection. It kicks off with gritty guitar and a steady pulse before the horns crash in and send it flying somewhere unexpected. The brass doesn’t just sit in the background; it hijacks the song and turns it into something larger than indie rock. It feels like a street parade and a protest all at once, existential and fun, bold and vulnerable, questioning the passing of time while celebrating what it means to exist right now. Hoy’s performance is all muscle and soul. Every note feels earned through years of trial and error instead of studio trickery. He wrote, produced, recorded, and played nearly everything himself, even capturing the guitar and vocal takes live together. That decision gives “Last Quarter” a heartbeat that most modern songs just can’t fake. Then there’s the video: three unicorns tossing stacks of cash in a limo, boarding a retro Pan-Am jet, and partying like they run the world. It’s ridiculous in the best way, but there’s a truth hiding in the chaos. We all get limited time, limited “quarters,” and Hoy’s message is simple: spend them recklessly, joyfully, and creatively before they’re gone. “Last Quarter” isn’t nostalgic; it’s necessary. It’s proof that music can still make you feel something real, and maybe even make you believe in unicorns again. What sparked the idea behind "Last Quarter" and its reflection on time? There's a great little coffee shop in the beach town where we lived while I was making the' Hit Music' record - Pacifica, CA - called Craftsman Coffee. Some mornings, my daughter and I would head over there because daddy needed a caffeine fix, and she wanted to play their classic stand-up arcade game Ms Pac Man. (The kind folks there even had a stool for littles to stand on to play it.) Being a parent to a young child means, among many other things, anticipating needs such as hunger, thirst, sleepiness, and temperature, and packing snacks and clothing accordingly. Due to this particular plan, it also meant finding quarters in my pants and car so she could play Ms Pac-Man, and often, more than one. How did the horn section come together, and what did it add to the song's energy? I'd had a dabble with horns in the live band back in 2023 for a show at the legendary Riptide near the beach in San Francisco. I'd hooked up with legendary sax player Tom Griesser through mutual friends. We spent a phone call with me talking through the then-current live set, singing 'Do-Dah-Doot-Dos' for him to turn into magical horn charts. Fast forward to making the new LP, and it stuck with me to try writing with horn parts in mind. The power of the internet got me to trumpeter Kelly O'Donohue. She worked with me writing horn parts for a few of the songs on the album. 'Last Quarter' just has this feel… if you're old enough to have seen the movie 'Space Balls', it kinda feels like the part with the alien dancing on the bar with a top hat, doing a kick dance. And having horns in there for the verses as a call and response felt like the right sonic move. You're known for doing everything yourself. What does total independence mean to you now? There's never been a better time to pick up an instrument, or software program, or any skill really, and just get yourself on the ol' internet to learn something. My nephew calls this being 'YouTube Certified.' Growing up, we were middle-class in Western Pennsylvania. My dad was a school administrator. Yet, I hated school - at least, the book-learning, stack-ranking, grade-making parts. Art and music were the worlds to be built. You could pick up an instrument, listen to the radio, and play along! It's not rocket science or heart surgery. It's rock n roll, and it's yours if you want it. The "Last Quarter" video balances humor and symbolism. What's the story behind it? Some dear pals in Pittsburgh, Pennsylvania, and I decided to go see the almighty Kesha live at the Star Lake Amphitheater in Burgettstown, PA, on her latest tour. She is fantastic, and that new record is amazing. So I thought to myself, 'What a great excuse to rent a limo, and film a music video!' Since the song is about the things we value, why we think they are valuable, and the myth of chasing the almighty dollar, throwing a bunch of $100 bills around as unicorns sort of felt like the right vibe for the video. I've never lost those early middle-class roots, even as my life and career have led to success in all its forms. It's just good to remember to have a little fun with the spectacle of it all. What's your take on where real rock-and-roll fits in today's music landscape? Wow, that's a tough question. We just finished part 3 of the year's 'Hit Music' tour, performing 10 or so dates from Pittsburgh to Nashville. We met a bunch of fantastic small business owners, fellow musicians, and music fans. There is a real craving for authenticity in all its forms. Respect to the journeymen (and women) playing Broadway in Nashville and all, but shoot me in the face if there's ever an iPhone or iPad on my mic stand if I'm performing my own music! Now, for the record, paper on the floor is always fine. It's analog, and it's unobtrusive in connecting me directly to the audience. And that's what we need more of: direct connection, eliminating layers of technology or AI to get to looking each other in the eye. We've always said we are 'Plug-in-and-play rock and roll,' and that's going to be even more important as we evolve into a transhumanistic society.

Love can make you feel alive, or it can make you lose your damn mind. Israeli singer-songwriter YALI  knows that fine line too well, and she lays it all bare on her new single “ Got Me Crazy ,” a raw and cinematic dive into what happens when passion turns poisonous. Produced by WAIN , whose work spans pop, electronic, and folk, the track isn’t just another heartbreak anthem; it’s a full-blown emotional reckoning. From the opening notes, “Got Me Crazy” traps you in its push-and-pull rhythm, balancing tension with release. The verses simmer with quiet confusion and emotional exhaustion, then explode into a chorus that mirrors the chaos of a relationship that’s equal parts magnetic and destructive. It’s that spiraling feeling of wanting someone even when you know they’re not good for you, and finally snapping out of it. YALI’s voice hits like a confessional. There’s power behind her vulnerability, honesty in every lyric, and strength in the way she refuses to hide behind metaphors. Her performance feels personal but universal, the kind of song that makes you reflect on your own breaking point. It’s the sound of someone stepping out of the fog and realizing they deserve more. Behind the boards, WAIN brings his signature cinematic touch, sculpting the production to mirror the emotional turbulence. Each synth swell, beat drop, and ambient layer contributes to the storytelling, transforming the track into a sonic reflection of instability and release. Together, YALI and WAIN make “Got Me Crazy” not just something you listen to, but something you feel. Reflecting on the song’s message, YALI explains: “I hope this song makes people ask themselves one important question: Does love really have to be this hard? Sometimes we confuse intensity with love, but when a relationship becomes too toxic, it drains us in ways we shouldn’t have to pay for. I hope this track reminds people to choose peace and emotional safety to recognize their own worth before they lose themselves.” “Got Me Crazy” marks a bold evolution for YALI, one that finds balance between heartbreak and empowerment, chaos and clarity. It’s the kind of track that hits deep, especially for anyone who’s ever mistaken volatility for passion. This time, YALI’s not just surviving the storm, she’s owning it.

If pop had a black swan, her name would be Renon . The Montreal alt-pop artist isn’t just making music; she’s building a cinematic world that feels equal parts gothic, glamorous, and gut-wrenching. Her latest project (WAY) TOO FAR is a full-circle moment that expands her 2024 EP TOO FAR into something more personal, more deliberate, and more unfiltered. TOO FAR told the story of a party girl’s downfall, each song unraveling into chaos. (WAY) TOO FAR doesn’t erase that narrative but reframes it. The new tracks “Go To Sleep” and “Priorities,” written by Renon and produced by Josh Cunningham, mark her evolution as both a songwriter and storyteller. “Go To Sleep” glides with silky harmonies and a hypnotic bassline. It’s soft and seductive, yet heavy with the weight of denial, touching on escapism and the urge to quiet racing thoughts. Then comes “Priorities,” a synth-soaked confessional that puts Renon’s powerhouse vocals front and center. The song captures the moment of realization that something has to give, closing the project with an unexpected and satisfying twist. Renon’s background as a trained jazz musician is written all over these songs. Her phrasing is intricate, her melodies unpredictable, and her transitions seamless. She doesn’t follow pop formulas; she reinterprets them with a sense of purpose. Every song feels cinematic, like a late-night film scored by heartbreak and glitter. After performing twice at Osheaga Festival and making waves across London, Toronto, and Montreal, Renon’s ascent feels inevitable. (WAY) TOO FAR captures an artist who has lived, learned, and chosen to channel it all into art. It’s confident without arrogance, vulnerable without self-pity, and refreshingly original. Renon isn’t asking for attention; she’s commanding it. What inspired you to revisit and expand the story of TOO FAR  one year later? I had some songs written that fit into the world of TOO FAR that I loved , but I knew wouldn’t fit into my future release plans. So, because TOO FAR was a very special part of my career, I wanted to give it the goodbye it deserves with these bonus tracks.  How has your jazz training shaped the way you approach pop production and melody? I’m very aware that my music is not jazz, but the education I received in jazz definitely changed the way I approach melody and chord choices. I love adding moments in my pop songs that are not typical pop progressions and go outside the key. When I get to add those moments, that's when my songs start to feel more authentic to me.  “Priorities” feels like a turning point emotionally. What was happening in your life when you wrote it? I had just come down from almost a year of consistent partying and drinking and was reflecting on the choices I made during that time. I really got myself into a cycle of making the same bad decisions, and I realized at a certain point I wasn’t going out to have fun anymore; I was going out to distract myself from other things happening in my life.  This song was me finally being honest with myself about the changes I needed to make.  After performing at Osheaga twice, how do you feel your live shows have evolved? Preparing for a show like Osheaga made me focus on my performance skills so much more. I trained for months to get my voice in great shape, and I practiced my set almost every day. It also made me build a stronger set with transitions, choreography, and new arrangements, which is something I will do at every show now. It just made me step up in terms of professionalism overall.  Your aesthetic is so distinct, from pink-and-black visuals to gothic pop tones. How do you merge your image with your emotional truth in the music? I love the idea of having this popstar persona mixed with alternative/vulnerable music. My brand is so authentic to me but exaggerated to the fullest, from the outfits, makeup, lyrics, and production. I want my music to always be true to myself while also being able to dance on stage in campy pink & black gothic fits and still be taken seriously as an artist and songwriter.

Los Angeles-based alt-pop artist Betty Moon has never been one to follow the crowd. Over the course of her multi-decade career, Moon has turned creative independence into both an ethos and a business model, one that continues to fuel her longevity in an industry that’s constantly evolving. After launching her career with A&M Records, Moon made the bold move to go fully independent, establishing her own label, Evolver Music, to gain complete control over her sound and vision. Since then, she has released more than ten albums that blur the lines between rock, soul, punk, and electro-pop. The result is a body of work that’s unapologetically her own, full of energy, emotion, and an unmistakable sense of authenticity. Moon’s catalog includes a number of standout singles, such as “Life is but a Dream” and “Sound,” which have charted and remained staples in retail and radio playlists around the world. Her music has also found a home in film and television, with placements in Californication, Dexter, Teen Mom: Young & Pregnant, Bounty Hunters, Walking the Dead, and the upcoming feature Butter. As an independent artist, Moon has built a global following through consistent releases, visually striking videos, and an unrelenting DIY spirit. Her work has garnered praise from Exclaim!, Huffington Post, Celebmix, Ask Men, and Rawckus, further cementing her reputation as a genre-defying force in the modern music landscape. Her most recent project, Undercover (2022), serves as a reflection of everything Moon has built, an artist in full command of her craft, unafraid to take risks, and constantly evolving. Whether she’s producing in the studio or connecting with fans online, Betty Moon stands as a testament to what’s possible when passion and independence intersect.

Jorden Albright  isn’t just making music, she’s conjuring it. On her new single “Habit,” the Knoxville-based artist blends hip-hop, pop trap, and a dose of divine feminine energy into something that feels less like a song and more like a ritual. Known for her dreamy electro-pop sound and ambient textures, Albright now dives headfirst into darker waters, and it suits her terrifyingly well. From the jump,  “Habit”  sets the tone with commanding self-talk:  “The song is about to start. Okay, I’m gonna do an abundance ritual.”  It’s part manifestation, part mantra, and all boss energy. Albright takes the often-misunderstood language of spiritual hustle and filters it through hi-hat spells and 808 smoke. The result is a track that bangs and breathes intention at the same time. Lines like  “Keep my spirit fed off all this bread, that’s just my habit”  bridge the sacred and the material, reimagining money, success, and self-worth as forms of spiritual practice. This isn’t toxic positivity, it’s alchemy. Albright’s flow is confident but not performative; her cadence snakes between silky and sharp, holding the listener in the kind of trance you only snap out of once it’s over and you hit replay. Production-wise, the record glows with precision. Each ad-lib, bass thump, and atmospheric layer feels placed with intention, like sigils in sound form. It’s got the head-nodding rhythm of a hip-hop club banger but the aura of a midnight spell circle. Following her 2024 project  Pretty Party , praised by  Earmilk  for its “delightfully dynamic” range,  Habit  feels like a statement piece. It’s proof that Albright can shapeshift genres without losing her essence. If  Pretty Party  was her ascension,  Habit  is her manifestation. “Doing magic takes practice,” Albright says. “But once you find your rhythm, it’s just habit.” With this release, she doesn’t just talk about it; she proves it. “Habit” feels like both a trap banger and a spiritual ritual. Where did that concept originate? The song feels very reflective of where I am in life right now. I’ve put the work in and fumbled a lot, but I’m finally in a place where I feel confident in my ability to call abundance into my life. And we're shaking ass at every turn. You’ve said manifestation becomes “second nature.” What real-life habit inspired this track? I’ve fallen into this habit of believing in my worth plus tax. Learning to see the abundance in every situation and building upon that. It’s this journey from my first Google search years ago about ‘how to manifest’ to now understanding it on a soul level. The intro feels like a genuine ritual. Was that a real recording or creative direction? Just a little skit moment that gives you a preview of the track’s energy. It’s also a shoutout to my hometown, Memphis. We’re talking Bass Pro Shops Pyramid levels of opulence. How does your Knoxville background influence your sound and energy? I’m a Knoxville transplant, and I’m happy to have been accepted so fully in the music scene. We don’t see a lot of pop trap moments out here, so it always inspires me to lean even more into my own style. If “Habit” were a spell, what would you want it to manifest for listeners? Abundance! More life! More love! In my perfect world, I would share the secret recipe to making their dreams come true through this track. But if the most they get from it is a witchy twerk anthem, that will be more than enough for me.

Los Angeles-born singer-songwriter Lara Wilson  is bringing heart and soul back to Electro R&B with her latest single, “ Twist of Fate .”  The track doesn’t just sound good, it feels lived-in, personal, and achingly real. It’s not a fantasy or a love song built in a boardroom. It’s the story of two people who grew up side-by-side, found their way back to each other, and turned that connection into something immortal through music. Written and recorded in just a few hours during a session with producers Chapters and Holly NuRock  (who also happens to be Lara’s husband), “Twist of Fate” captures lightning in a bottle. The song’s smooth, hypnotic production balances warm synths with soft R&B grooves, while Lara’s vocals pour out emotion with an effortless cool that still cuts deep. You can feel the chemistry between her and Holly; it’s more than musical; it’s spiritual. Their relationship, which evolved from childhood friendship to creative partnership to marriage in late 2024, fuels every lyric. The track is a testament to timing, faith, and the kind of patience that comes when you know something’s meant for you but life keeps making you wait. “ I hope people connect with the message behind the song,” Lara shares. “That life doesn’t always move in a straight line. Sometimes it takes patience, perseverance, and faith that a twist of fate can change everything in an instant. ” Having already earned love from Apple Music’s R&B playlists and features in Netflix campaigns, Lara continues to carve her lane, one built on authenticity and connection, not algorithms. “Twist of Fate” proves that the best stories aren’t written; they’re lived.

Brigitte Eve isn’t afraid to bleed a little for her art. On her debut EP Stitches of the Heart , the 19-year-old indie artist from Ontario unpacks the messiest parts of love with striking honesty. It’s not a sad-girl soundtrack; it’s a survival story. The opener, “Pretty Boi,” nails the digital heartbreak era we’re all guilty of living through. Brigitte Eve' s lyrics about scrolling through an ex’s life and confusing fantasy for closure hit way too close to home. The alt-pop production glimmers like nostalgia on a cracked screen, making the track both beautiful and haunting. “Space” takes on a different ache. It’s about wanting someone who’s already taken, that slow burn of jealousy and longing. Brigitte Eve' s voice carries it effortlessly, fragile one moment and fierce the next, like she’s trying to convince herself she’s over it even as she’s spiraling deeper. Then there’s “Fake Love Garden,” a highlight that blends soft rock warmth with emotional wreckage. The song turns betrayal into poetry as she sings about everything that was once perfect, now feeling plastic. It’s cinematic, vulnerable, and incredibly self-aware. What makes Stitches of the Heart stand out is how it refuses to wallow. Brigitte Eve ’s perspective is rooted in growth. “Being out of a relationship is a chance to rediscover yourself,” she says, and that lesson pulses through every note. Her voice feels lived-in, like someone who’s been through it and came out with a notebook full of truth. Brigitte Eve ’s fusion of alt-pop and indie rock feels effortless, pulling from the intimacy of Phoebe Bridgers and the attitude of Olivia Rodrigo. Stitches of the Heart is both confessional and confident, proving that Brigitte Eve isn’t just another heartbreak artist. She’s writing the manual on how to heal. You’re 19 and already writing about heartbreak with so much wisdom. What life moment sparked Stitches of the Heart? A specific moment that really sparked Stitches of the Heart was when I switched schools during my teenage years. It was a big transition for me personally. I was trying to figure out who I was, all while navigating new friendships and starting to date. That period opened a whole new chapter in my life. I began noticing that people around me were going through similar emotional experiences —heartbreaks, first loves, identity struggles — and it made me realize that this mess of feelings wasn’t just mine. It felt universal. That’s what inspired me to start writing from a more reflective and emotional place. “Pretty Boi” feels so real for anyone who’s ever stalked an ex online. How do you balance honesty and privacy in your songwriting? I strike that balance by using metaphors and keeping my lyrics simple yet emotionally charged. I think there’s power in subtlety; you can say a lot without revealing every personal detail. Songwriting, for me, is about being honest in how something feels, not necessarily documenting exactly what happened. That allows me to stay true to my experiences while still protecting parts of myself. There’s maturity and self-awareness in your lyrics. Where do you think that emotional depth comes from? Emotional depth comes from a mix of lived experience and how you process it. We all go through similar life events — love, loss, or change — but the way we internalize them is different. For me, I’ve always been a bit introspective, and with time, I’ve learned to sit with my feelings instead of running from them. That kind of reflection builds maturity. Also, songwriting helps me understand what I’m feeling, like it’s like therapy. Each track hits a different stage of heartbreak. If you had to pick one song that defines who you are right now, which would it be? Right now, the song that resonates with me most is If This Tour Doesn’t Kill You, I Will by PUP. It’s about the kind of relationship where you’re constantly clashing with someone, especially someone you used to love, or still do in some complicated way. That tension and emotional frustration are very real to me right now. Even without focusing on the lyrics, the rawness of the instruments and the chaotic composition hit me emotionally. It captures exactly where I am, in a way —angry, kind of heartbroken, but still trying to push through it. You mentioned this project is about rediscovery. What have you learned about yourself through making it, and where do you see your music heading next? This project really taught me that self-love isn’t just a buzzword; it is essential. I learned that loving myself is way more important than seeking validation or love from someone else, especially a man. Self-respect became a huge theme for me while healing from a breakup. Through writing these songs, I started rediscovering who I am outside of relationships. In the future, I think my music will still explore emotional vulnerability, but with a stronger voice and one that knows her worth and isn’t afraid to claim it.

Deva Mahal doesn’t just sing, she transforms. In the latest release from Grammy-winning producer Scott Jacoby’s new project Cantinuum, the powerhouse vocalist reimagines Cyndi Lauper’s 1980s anthem “Girls Just Want to Have Fun” as a stirring, soul-soaked ballad. What was once a bright pop celebration becomes a slow-burning reflection on freedom, femininity, and emotional truth. Guided by Jacoby’s visionary production and Sarah Tamir’s creative direction, Mahal’s version peels back the glitter to reveal the song’s core: resilience.  The daughter of blues legend Taj Mahal, Deva brings raw emotion and lived experience to every note, bridging past and present with stunning grace. Together, Jacoby and Mahal remind us that timeless songs never fade, they evolve. BuzzMusic caught up with both artists to discuss their collaboration, the creative process behind Cantinuum, and how reimagining the classics can uncover entirely new meanings. Deva, what drew you to "Girls Just Want to Have Fun," and what  emotional space were you channeling while recording it? When Scott came to me to be a part of this project and shared the concept,  I knew that the song we covered had to be one that I could deeply connect to. I needed to find a way in that felt genuine and authentic.   We looked at so many records, and none of them were as embedded in my fibers as 'Girls Just Wanna Have Fun'. It seems very poignant. Women, of all types, are facing a world where our very bodies are under attack and our very existence seems to be seen as a threat to some. I think about all the women who just want to have autonomy over their lives and live in peace. To be able to dream of a future where we are not judged by how we look, who we pray to, the color of our skin, or what is between our legs. We just wanna live.  I have been a fan of Cyndi Lauper for my entire life, and she has always embodied those themes for me. When I considered this song for the project, the pieces just fell into place, and it felt right for me, Scott, and Sarah. Scott, what made Deva the perfect voice to reinterpret such an iconic track? Deva is pretty much the perfect voice for just about anything. I'm a huge fan of her voice and artistry. The process for this particular track involved Sarah and me working with Deva to find the ideal song. We could have picked a song for her ahead of time, but it was very important that she feel a real connection to the message. After considering literally about 20+ songs, we hit upon "girls just want to have fun", there was a long pause, and then… "that's it!!!" it was the perfect track in all respects: ripe for a drastic reinterpretation, cindy is forever relevant, a depth in the lyric that could benefit from a different musical and vocal approach, and of course an iconic, era-defining song. It has all the elements. And Deva brought the passion and fire. How did the two of you approach balancing reverence for the original with creating something completely new? Sarah and I had a concept for the music that would really flip the original. It was essentially a triple flip because we not only drastically lowered the tempo, but we also changed the feel of the rhythm from straight time to triplet-based time feel, and we reharmonized the chords. So all of the major qualities of the original song were changed. What remained was the melody and lyric, to which we paid the ultimate reverence. We wanted to honor the original song, while at the same time doing something totally fresh. The goal of the arrangement was to create a soulful soundscape that was dreamy and sentimental, a mix of earthy grit and heavenly air. The sound that opens the piece was meant to evoke a music box with a spinning ballerina, the kind of old toy that a little girl would have. And while there is sadness and longing at the beginning of the song, the idea was that it ends in the triumph and exultation of overcoming adversity. Deva, your performance feels intimate and deeply personal. Was there a moment in the studio that changed how you connected to the song? Having someone who knows your voice makes all the difference. For this recording, I had two such people.  I invited my friend, James Goldsmith, to engineer tracking my vocals in his home studio in Wellington. It's a very intimate and humble space that allows you to just sink into it. We worked closely with Scott initially, so we could all ensure that we were part of the same vision for the sound. Once I was able to tap in, I could feel the energy of the music and find my place within it.   Scott, how does Cantinuum reflect your philosophy as a producer, and where do you see the project evolving next? Cantinuum is the most personal and important project I've worked on in my career. Full stop. It embodies everything I love in music and the gift of making music. There are no guardrails other than the song itself, which for me is the ultimate expression of creativity: taking something that exists - and not just exists, but is iconic - and then doing it your own way. Freedom within a structure. It's an opportunity to work closely with Sarah, and with so many of the incredibly talented artists I've worked with over the last quarter century. The project will evolve true to the nature of a continuum. There will not be a genre of music untouched; every song will have its own sit's and inspiration, drawing from… everything. Our next release will feature the magnificent Lila Dupont singing "Don't You "Don't About Me". It will "be profoundly different from anything else we have released so far. And the release after that will go in another entirely different direction. The link between all of this is the continuum approach and aesthetic.

Brandon Lee Adams has lived enough musical lives to fill a novel, but I’ll Follow Summer feels like the chapter he was meant to write. The Emmy-winning host, acclaimed guitarist, and lifelong student of Americana returns to his roots with a song that captures the delicate balance between gratitude for what’s been and excitement for what’s next. From the first chord, I’ll Follow Summer feels alive. There’s warmth in its melody and confidence in its delivery. The track moves with ease, reflecting Adams’ years of craft and conviction. His voice carries both wisdom and hope, singing of change not as an ending but as an evolution. “The unknown can be its own joy,” he says, and that truth echoes through every lyric. Recorded live with a dream team of musicians, including Vince Gill, Tim O’Brien, John McEuen, John Jorgenson, and Glenn Worf, the song radiates authenticity. You can hear the chemistry between players, the shared energy in the room, and the respect in every note. It’s music that breathes, unfiltered and human. The accompanying music video, directed by Adams’ wife Mindy, strips away all pretense. Shot in the studio with Hayzens Productions, it simply shows the artists playing together, lost in the moment. The result is quietly powerful. There are no distractions or manufactured moments, only genuine artistry on full display. As Adams prepares for new releases and his upcoming shows, I’ll Follow Summer serves as both a reflection and a declaration. It’s a song about stepping forward with courage, trusting the process, and honoring the past without being trapped by it. For an artist who has spent his life shaping sound and story, this feels like him coming home to himself. I'll Follow Summer  feels deeply personal. What sparked the inspiration behind this song?  The fact that I have lived long enough to have some life experiences to reflect on had a hand in it. The DADGAD tuning I learned while touring in Ireland also helped a bit. Many of my songs really start as a feeling. Often, simply strumming a rhythm initiates the process. This song was a bit like that. I don't think I have ever truly been able to exclude some part of myself or my feelings from a song, even if it is just a small piece. How did it feel to record with icons like Vince Gill and Tim O'Brien in the same room?  It was pretty intense at first. Every musician in the studio that day had a hand in my musical upbringing. Once we all sat down for the session, I just chose to be honest with everyone. I knew that if I didn't focus and get past the moment. I would not have had a chance to deliver the song close to how I had it in my head. So I was just honest with everyone in the room by telling them. "I'm going to do my best to try and pretend that I belong here and I know what I am doing." After that moment of honesty, it was easy to just be part of the band. Those guys are true pros and kind people. It was very laid back and fun. You have worn many hats in your career. How has your time in television influenced your approach to making music?  TV has kind of forced me to face the crowd. I was always very content living in the background and trying to make my way quietly. Being on a show that is seen in so many places has helped me become less afraid of my shadow and has helped me realize that the spotlight isn't so scary or crazy a thing to embrace. The idea that "the unknown can be its own joy" is powerful. How does that mindset shape your creative journey?  There are no expectations when it is just you trying to please yourself. It gives you the freedom to try anything and everything that comes to mind. It won't cost you a dime. It won't alienate anyone because nobody is watching. It is a mindset that I hope to maintain always.  With your next album on the horizon, what can fans expect from this new era of your music?   The easy thing is. You will see more of me on stages as more shows line up. As far as the music goes. I'm not trying to worry about anything other than giving the songs what they are asking me for. I'm not concerned with style or genre interpretation. I'm creating the music to the best of my ability, aiming to fit what feels right to me. I am at peace with knowing that many people won't share the same feeling. I am cool with that. If we all thought, walked, talked, and sounded the same. This world would be the most dull, predictable thing. Only we wouldn't notice.

Neil Potter’s Shipwrecked is not just another folk rock single. It is an emotional voyage through the highs and lows of mental struggle, heartbreak, and the long road to healing. The Liverpool-born artist, who has spent years teaching, performing, and mastering his craft, steps into his own spotlight with stunning purpose. At first, Shipwrecked feels deceptively lighthearted. The guitars are warm, the rhythm easy, and the melody almost peaceful. But beneath that surface is tension building like waves before a storm. Two minutes in, the track shifts sharply. The key darkens, the tempo rises, and the calm gives way to chaos. Potter’s voice cuts through the noise with raw emotion, the kind that makes you stop and really listen. The transformation is striking, mirroring the unpredictable nature of mental illness and emotional turmoil. The story at the heart of Shipwrecked captures two people on the edge. Both are struggling, both are sinking, but only one manages to find solid ground. “I always find myself back to land while you find yourself shipwrecked,” Potter sings, his words heavy with grief and truth. It’s not just a breakup song, it’s a portrait of what happens when love meets internal war. The self-produced music video adds another layer, replacing literal storytelling with symbolic imagery. Potter uses haunting shots of isolation, despair, and release to depict the realities of mental illness. As the song builds toward resolution, the visuals open up into wide, freeing landscapes. The message is clear: peace is possible, but it must be fought for. As someone who has faced OCD and depression firsthand, Potter’s storytelling hits harder because it’s real. Shipwrecked is not about perfection or pity. It’s about survival, growth, and reclaiming strength after being lost at sea. Shipwrecked  feels deeply personal. What experience or emotion first inspired it? I wanted to write about one of the darkest points in my life with mental health, for myself as well as anybody else who hears it. So shipwrecked is what was born out of that.  The shift from light to dark in the song is powerful. How did you approach creating that contrast? I wanted to keep it seeming light, and then when mental health can grab a hold of you and pull you down to the deepest depths. I wanted to capture that in music. So, from major to minor, from light to heavy was the idea. A fairly simple concept, but I think I got what I wanted out of it.  How has your own experience with OCD and depression influenced your songwriting? I find writing easier when discussing personal experiences, much like a poet who can only write with pain, or something similar. I have a few songs about it, as well as breakups and other things that bring me happiness. Not all doom and gloom on the album!  The music video is beautifully abstract. What did you hope listeners would take away from the visuals? That life can be chaos, but we’re built to fight, survive, and stand up and be counted.  With your debut album on the horizon, how does  Shipwrecked  reflect where you are artistically right now? An artist who is trying to write pensively with years of study to try and evoke what I want to say in the best way that I can.