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After a breakout summer opening for Grammy-winner Macy Gray across Europe and the U.S., Terra Renae is slowing down emotionally, not artistically. Her new EP, All I Have (Acoustic Sessions), strips back her pop sheen to reveal the essence of her artistry: storytelling, vulnerability, and soul. The project reinterprets three standout tracks from her debut album All I Have : “Lights Down Low,” “Over & Over Again,” and “Party in the Sunshine.” But this time, gone are the lush pop layers and glossy production. What remains is something far more intimate—Terra’s voice, an acoustic guitar, and the stories that started it all. The lead single, “Lights Down Low (Acoustic),” opens like a deep breath after chaos. It’s raw, emotional, and full of that ache you feel when you finally let your guard down. The song, once an anthem of passion, becomes a quiet confession —a love letter whispered rather than shouted. Her delivery is effortless but heavy with meaning, every note tinged with nostalgia. “This project reminded me that music doesn’t need much to be powerful,” Terra says. And she’s right. Each track feels like an open window into her creative soul, the kind of performance that would silence a room. “Over & Over Again” finds new weight in its simplicity, transforming from radio-ready to gut-wrenching. Meanwhile, “Party in the Sunshine,” once a vibrant summer jam, now carries a bittersweet warmth, like looking back on good times through a sepia lens. It’s a bold move for a rising pop artist to slow things down in an industry obsessed with virality and spectacle. But Terra’s acoustic era feels like a declaration of artistic independence, a statement that her voice and songwriting can stand entirely on their own. It’s a bridge between the confident, world-touring version of Terra we saw in 2024 and the introspective storyteller she’s becoming as she gears up for her next significant era in 2025. There’s something deeply grounding about this chapter. It’s not just about reworking songs; it’s about reclaiming them. All I Have (Acoustic Sessions)  isn’t a step back, it’s a soulful reminder of where she came from and how far she’s willing to go. What inspired you to revisit and reimagine these songs in an acoustic format? Well, after touring and performing those tracks live, I started wondering what they sounded like at their root, just me, a guitar or piano, and the emotion. The production on the originals had been fun and bold, but I realized the heart of each song lives in its lyric and vocal, unshielded. So the acoustic version became a kind of rebirth for those songs, revisiting what I felt when I wrote them, and offering them again in their bare form. It felt like showing you the song’s skeleton so you could really see the soul. How did touring with Macy Gray influence the emotional tone of this new project? So, touring with Macy Gray changed the way I think about connection and space in music. Every night on that road I saw how emotion travels,  you can be in Berlin, Paris, Stockholm, and the song still hits the same core in people. That taught me to trust less in polish and more in presence. With the acoustic EP, I tried to carry that presence in the vulnerability, the live moment, the human breath. Touring stripped away the filters for me, and that shows up in these tracks. What do you hope listeners feel differently when hearing the acoustic versions versus the originals? I hope listeners feel closer. The originals were big and lush, and I love them. But in the acoustic versions , I want you to feel like I’m in the room with you.  I hope you feel the same story but a little deeper, a little bit more raw, and feel how that relationship to the emotion has matured and opened up. Do you see  All I Have (Acoustic Sessions)  as a bridge to your next era, and if so, how? Absolutely. This EP is both a revisit and a reset. It honors the body of work I already created, but it also shows me and my listeners where the next chapter begins. This feels like the official end of my debut era. Being from Kentucky, I think of it like a palate cleanser before you sip a different bourbon. Sonically, I’m about to push further and harder, but emotionally, I’m staying grounded. When you listen to this EP, you’re catching me in a moment of transition and transformation, the space between what I’ve been and what I’m becoming. Can you share any insight into what’s coming next in 2025 for Terra Renae? In the back half of 2025, I’m really laying the groundwork for early 2026. There will be more singles and visuals, bigger, bolder, and more defined than before. And yes, maybe even a few curse words… but only where they really count.  I already have a few songs from the next album in motion, so you'll start to see glimpses of my new era of songwriting. This next phase feels more intentional and self-assured, because I know exactly what I want to say and how I want it to sound.

In a world where pop music is often polished past the point of sincerity, WAIN stands out for doing the exact opposite, making everything personal. The producer, songwriter, and mix engineer doesn’t hide behind filters or vague metaphors. His debut album,   Still Colorful ,  is the sound of someone putting every messy, beautiful emotion on display and daring you to look closer. The project is an 8-track, self-produced masterpiece that feels like a full-circle confession that's raw, real, and human to its core. Instead of treating songwriting as a solo sport, WAIN built this project through connection. Each song features a different vocalist and co-writer, creating what feels less like an album and more like a collective journal of emotional snapshots. “I hope people feel seen in their quiet moments,” WAIN shares. “The ones they never post about. These songs are small snapshots of real emotion. If someone listens and feels understood, that’s everything to me.” At its heart, Still Colorful  is about remembering who you are after you’ve lost sight of yourself. It’s that moment when life finally feels vibrant again after years of grayscale. The title itself is poetic because even when things fall apart, there’s still color somewhere beneath the static. Across its eight songs “Three or Four,” “Take Me Home,” “Hit the Ground,” “I Wish I Could Fly,” “Breathe,” “We Don’t Belong,” “The Yellow Sign,” and the title track “Colorful," WAIN pieces together a story that feels universal, even without explaining the details. Each track becomes a small window into a different state of being, a different emotion, a different version of yourself you might recognize. The folk-pop textures of warm guitars, organic percussion, and soft harmonies blend effortlessly with WAIN’s crisp, modern production. It’s the kind of sound that feels both grounded and cinematic. One minute you’re floating in your feelings, the next you’re hit with a hook that stays in your head for days. Each song plays like a page from WAIN’s diary, except it’s written through someone else’s voice. There’s something beautiful about that decision; it’s as if he’s proving that emotion doesn’t belong to one person. Whether it’s heartbreak, acceptance, self-doubt, or hope, these tracks pull you in with the same intimacy as a late-night talk with a friend who just gets it. One of the most impressive things about Still Colorful  is how cohesive it feels despite featuring eight different singers. That’s where WAIN’s ear as a producer shines. Every voice, every lyric, every mix choice feels intentional. He doesn’t force the artists to fit into his world; he builds the world around them. Over the years, WAIN has released over 100 tracks for artists across the U.S., U.K., and Israel. That experience shows. You can hear it in the way he layers acoustic and electronic elements without losing emotion, in the way he leaves space where lesser producers would fill it. Just when you think you’ve got WAIN figured out, he pivots. Alongside the vulnerable honesty of Still Colorful , his next chapter takes a full 180, into the world of electronic dance music. His upcoming single “Got Me Crazy” with artist YALI, co-written with Lian Shahar and Tay Lerner, drops October 30, 2025. On this one, WAIN goes all in, producing, mixing, and mastering the track himself. The result? A vibrant, uplifting dance anthem that still carries his emotional DNA. It’s proof that he can move seamlessly between genres without losing the storytelling that defines his art. That versatility, the ability to create something intimate and acoustic one moment, then a euphoric dancefloor record the next, is exactly what makes WAIN one to watch. What makes Still Colorful  so special isn’t just the talent behind it; it’s the intention. It’s rare to hear an album that feels this human in today’s landscape of algorithmic pop and overproduced singles. WAIN’s music reminds you that simplicity can still hit hardest when it’s honest. He’s not chasing streams. He’s chasing truth. From surviving the chaos of self-doubt to finding peace through connection, WAIN’s debut album isn’t just a collection of songs; it’s a reminder that vulnerability isn’t weakness, it’s art. And if Still Colorful  is any indication, this is just the beginning of something much bigger.

Bay Area indie rock project Everything But The Everything  continues its creative momentum with the release of A&B Sides Volume 3, a double single that once again showcases the vision of songwriter and producer Izzy the Gent. Now streaming everywhere, the release adds a new chapter to Izzy’s growing catalog of genre-blending tracks that fuse new wave textures, driving basslines, and emotionally charged vocal performances. Following last year’s A&B Sides Volume 2, this latest entry delivers two standout collaborations that highlight both the depth and versatility of Izzy’s production. “Never Said Goodbye” pairs him with acclaimed San Francisco artist Rykarda Parasol, whose smoky vocals and cinematic lyrics bring a haunting energy to the track. Known for her dark, poetic sound and loyal European fanbase, Parasol’s voice drifts through Izzy’s shimmering guitars and moody rhythms like a dream half-remembered. The second track, “Horse Bit,” marks the return of Sophia Prise, a frequent collaborator celebrated for her ethereal electronic pop sound. Her airy vocals and dynamic range perfectly complement Izzy’s layered production, creating a track that feels both intimate and expansive. Together, they find that sweet spot between edge and elegance—a sound that lingers long after the last note. Co-produced by Izzy the Gent and Rex Shelverton, A&B Sides Volume 3 features contributions from longtime bandmates Ian Dowd, Andrew Lund, and Chad Roxxit, whose chemistry adds a live, electric pulse to the recordings. The result is a sleek and soulful listen that feels tailor-made for city nights, glowing lights, and playlists that thrive on mood and motion. Everything But The Everything will celebrate the new release with two hometown shows: October 25 at O’Reilly’s Pub and November 5 at The Ivy Room in San Francisco for Bang the Bay. A&B Sides Volume 3, featuring “Never Said Goodbye” with Rykarda Parasol and “Horse Bit” with Sophia Prise, is now available on Spotify, Apple Music, and all major streaming platforms.

New York City’s favorite piano poet Craig Greenberg is back, and this time, he’s bringing the horns. The multi-award-winning singer, songwriter, and self-proclaimed “post-millennial piano man” drops his newest single, “ Some Peace of Mind, ” an upbeat, boogie-woogie ode to finally finding calm after the chaos. It’s the kind of track that feels like sunshine on the subway, soulful, grounded, and seasoned by a lifetime of hard-won lessons. Greenberg has been a staple of NYC’s live music scene for over 15 years, known for his sharp lyricism, Billy Joel-meets-Ben Folds piano energy, and larger-than-life storytelling. But “Some Peace of Mind” marks a fresh chapter, not just musically but personally. “It took me into my 40s to really feel inner peace,” he shares. “But it feels good to be in a place where I don’t go off the rails from daily dramas like I used to.” Produced by Wayne Silver and recorded at The Ice Plant in Long Island City, the single bursts with personality and groove, featuring Indofunk Satish on trumpet and Seth Eisenstein on saxophone, marking the first time Craig’s brought live horns into his catalog. Add in Hiroyuki Matsuura on drums and Tony Tino on bass, and you’ve got a sound that feels both classic and electric, a reminder that real musicianship never goes out of style. Despite its playful rhythm, “Some Peace of Mind” carries a message of resilience. It’s about growth, forgiveness, and turning every heartbreak, setback, and existential meltdown into art. “Though the song has a truthful message, it’s light-hearted,” Craig says. “I just want it to get people moving and feeling good.” It’s that duality, joy wrapped in honesty, that makes Craig Greenberg such a rare breed in the modern scene. With five albums behind him, hundreds of shows across the world, and a reputation for electrifying live performances, he continues to remind us that storytelling and soul still matter in the age of algorithms. “Some Peace of Mind” will serve as the opening track to Craig’s upcoming 2026 full-length album, setting the tone for what’s shaping up to be his most inspired work yet. So, if you’ve been looking for something real, something that grooves but also means something, Craig Greenberg’s got you covered. Because sometimes, finding peace of mind sounds exactly like this. "Some Peace of Mind" feels both joyful and reflective. What moment or realization in your life inspired this new sense of calm? Well, it came in part from, after having resisted for a while, accepting that I'm now in "middle age", and for the first time in my life, I'm not just moving forward, but also looking back, and reflecting on things I've done and accomplishments I've had. It comes from the realization that I'm no longer trying to "become" something. Obviously, we want to always be growing as people, but what I'm talking about is a feeling of being established in my place in the world, which gave me a sense of peace and allowed me to relax into myself.   The song has "Some" in the title because it is only some that I feel I've attained. I'm still nowhere near being completely at peace, lol.    You've been compared to Billy Joel and Ben Folds, but your sound has clearly evolved. How would you describe your unique lane in the modern piano rock landscape? Well, those guys were huge influences on me, and I'm trying to keep in the piano rock tradition. But I've had my own life experiences that make me who I am (for example, starting as a songwriter while living abroad in Chile and Spain), and I use them in my music.  I also think my lyrics tend to come from a more introspective and emotional place. I've also been pretty outspoken about my political views at work. This track features live horns for the first time in your career. What inspired that addition, and how did it change the energy in the studio? Well, it's something I've thought about doing for a while, but the right song hadn't come around.  But right from the jump in writing "Some Peace of Mind," I was hearing brass in the intro, so when it came time to record it, that was the first instrumentation we (i.e, myself and co-producer Wayne Silver) added after the basic tracks.  Indofunk Satish (trumpet) and Seth Eisenstein (saxophone) did an excellent job of picking up the vibe I was going for, and it definitely informed the rest of the production on the track.    I wanna send some praise to the rhythm section too--my long-time drummer, Hiroyuki Matsuura, and Tony Tino on bass, really nailed the groove on the tune as well! You've performed in over a thousand shows around the world: from Lincoln Center to Cambodia. How have those experiences shaped your songwriting perspective?    Well, experience and travel only broaden your perspective, and that certainly seeps into and informs your songwriting. I think it always helps as a writer to try to see as many angles of a situation as possible, to have the broadest palette to sculpt from (I'm overlapping mediums here, but you get my point!), and getting outside of your daily routine is a great tool for keeping vital as an artist.   You've said the song is about resilience and turning hardships into art. What's your personal process for transforming life's chaos into something musical, and maybe even joyful?  Well, the best thing about being a songwriter/artist is that whatever's happening in the world, or in my personal life, that's all fodder for my creativity.  At this point, writing music is how I process existence.  And the song touches on some of the hardships I've had, both dealing with others (e.g., the lyric "I've been crushed a million ways, but it's what I've gotta say"), and my own moody temperament ("Mood is gonna rise again, I know I'll get there in the end").  We all go through pain and suffering in life, but to be able to turn that into art is a gift, and I think staying positive and joyful is a choice we make.

Photo by Lisa O’Connor / Startraks courtesy of Unruly When Unruly throws a party, it’s not just another LA event; it’s the event. And this year, Unruly Agency’s 6th Annual Halloween Party, hosted by Memehouse Productions, took things to a whole new level. Held on October 25, 2025, at the legendary CBS Studios in West Hollywood, the invite-only bash drew over 2,000 guests with a waitlist that could fill another venue. The numbers alone speak volumes: 5,000 RSVPs, 1,200 on standby, and a lineup that read like a VIP section at Coachella, if Coachella had fangs and a dress code straight out of a fever dream. Photo by Lisa O’Connor / Startraks courtesy of Unruly Star Power and Controlled Chaos Photo by Lisa O’Connor / Startraks courtesy of Unruly Headlined by Miguel, Juicy J, Massume, and the globally loved EDM duo Loud Luxury, the night delivered explosive performances that had even the undead on their feet. Unruly’s founder Tara Electra once again proved why her agency runs the influencer universe, turning a Hollywood soundstage into a full-blown cinematic haunted world. Photo by Lisa O’Connor / Startraks courtesy of Unruly Think: live zombies, fog machines, eerie lights, and a crowd that looked like Halloween’s hottest runway. The energy? Unreal. The costumes? Insane. The crowd? A collision of music royalty, top creators, and internet icons, including Chance the Rapper, Anderson.Paak, and Machine Gun Kelly to Tana Mongeau, Hannah Stocking, Amber Rose, and Mario were spotted tearing up the dancefloor or vibing in VIP. Photo by Lisa O’Connor / Startraks courtesy of Unruly A-List Everything: From Drinks to Drip Drinks flowed like witch’s brew thanks to El Tesoro Tequila, Haku Vodka, and Perrier-Jouët Champagne, while the “Model Lounge” offered lobster tails, caviar, and vibes so exclusive it practically needed a password. The immersive set design transformed the CBS lot into a nightmare-meets-neon paradise, complete with 40 VIP tables, endless photo ops, and performers crawling out of crypts (literally). Food? Dave’s Hot Chicken handled the post-turn-up cravings while Tailitations kept it boujee with lobster and caviar late-night bites. Every corner of the event screamed luxury meets chaos, perfectly Unruly. Photo by Lisa O’Connor / Startraks courtesy of Unruly This year’s party wasn’t just big, it was viral bait in 4K. Top creators like Breckie Hill, KayKay, Mike Majlak, Trevor Wallace, and Mokoa were all in attendance, and if you didn’t see it on your feed, you probably weren’t online that night. Backed by sponsors including Rumor, FanFix, Pizzaslime, Red Bull, Voss, and Smartwater, Unruly once again blurred the line between party and production. Every detail was curated, every moment content-worthy, and every second unforgettable. Mark and Jonnie Houston, Gabriel Luna, Anderson .Paak - Photo by Lisa O’Connor / Startraks courtesy of Unruly Six years in, Unruly’s Halloween party isn’t just an event, it’s a cultural moment. The agency continues to redefine what it means to merge entertainment, influence, and experience. It’s not just the guest list or the headliners, it’s the energy, the execution, and the fact that nobody else in LA does it like this.

Los Angeles-based alt-pop artist Makena  just dropped her latest single, and it’s the kind of track that hits you right in the chest before you even realize you’ve been sucker-punched. “ Delusional ” is a bittersweet, glittery gut-check about clinging to the fantasy of something that’s clearly falling apart. It’s pop with bite, sad, cinematic, and a little too relatable for anyone who’s ever tried to romanticize a red flag. Written during a Nashville trip with Kate Ryder and Anthony Rankin (who also produced the track), “Delusional” takes the kind of heartbreak most people try to numb and turns it into art you can dance to. Wrapped in shimmering synths and dreamy production, Makena’s vocals float through the mix like they’re trying to convince themselves it’s fine, it’s all fine, while every lyric screams otherwise. That’s the magic of “Delusional.” It sounds like a breakup text disguised as a love letter, vulnerable, self-aware, and too damn catchy to skip. The track captures the emotional hangover of mistaking potential for reality, and it does it with a wink. It’s heartbreak for the overthinkers, the daydreamers, the ones still replaying what could’ve been. But don’t get it twisted, Makena isn’t crying in the club. She’s reclaiming her power one track at a time. The single marks the first release from her upcoming project The Valley, which promises to peel back even more layers of love, loss, and identity through her signature “salty bitch pop” lens, a genre she coined to describe her own brand of brutally honest, emotionally intelligent alt-pop. With over 400,000 organic streams as an independent artist, Makena’s proof that you don’t need a label to make people feel something. Her music lives in that space between heartbreak and self-discovery, where delusion meets clarity and you realize maybe the only thing you ever really needed to hold onto was yourself. So if you’re still convincing yourself they’ll change, go hit play on “Delusional.” It’s the soundtrack to finally admitting the truth, and loving yourself for surviving it.

When life stood still during the pandemic,  Dani Ivory  found her voice again. The Nashville-based artist, known for her work with Beyoncé, CeeLo Green, and Imagine Dragons, steps into the spotlight with her latest single “Hope,” a deeply personal track written during the quiet chaos of new motherhood and global uncertainty. Created shortly after the birth of her daughter, “Hope” captures the vulnerability and strength that come from starting over. The song’s delicate piano, soulful vocals, and raw lyrics create a space where exhaustion, love, and perseverance coexist. It’s not just a song about survival but about rediscovering belief in yourself when everything feels heavy. Ivory’s decade-long career has taken her across the world’s biggest stages, but “Hope” marks a new era of authenticity and introspection. Drawing inspiration from Amy Winehouse and Erykah Badu, she channels their emotional honesty into something unmistakably her own. As she prepares to release her upcoming EP  No Other Way , Ivory’s latest single reminds us that sometimes the smallest spark of hope can ignite everything. “Hope” is available now on all streaming platforms and gives listeners a glimpse into a new side of Dani Ivory—bold, honest, and beautifully human. “Hope” feels incredibly personal. What inspired you to write it during such a transformative time in your life? It was one of those magical, middle-of-the-night moments. I often hear music in my dreams and wake up with melodies looping in my head. Too many times, I’ve told myself,  “You’ll remember it in the morning,”  only to lose it by sunrise. But this time—around 3 a.m.—I got out of bed, wandered half-asleep into my home studio, and sat down at my Rhodes. The first third of the song just poured out of me. It was during COVID, when everything felt uncertain and heavy, and I think the world—myself included—needed a reminder that hope still existed. How did becoming a mother influence the emotions and message behind the song? Motherhood completely transforms your relationship with life. When you become a mother—especially for the first time—you suddenly feel the fragility and the miracle of existence in every moment. I remember stopping my car in the middle of the road once just to let a turtle cross. I couldn’t even swat a fruit fly. That tenderness cracked my heart open wider than ever before. Through all the sleepless nights and new responsibilities, my daughter became my anchor—my source of hope. Hope for my lineage, my spirit, and my music. She gave everything new meaning and became my muse. You’ve performed with major artists like Beyoncé and Vance Joy. How does stepping out as a solo artist compare to those experiences? It’s definitely a different world. I’ve spent years trying to establish myself as a solo artist, but it’s not an easy road. The “sideman” role has always been more accessible to me—those opportunities with major artists opened quickly, while the artist door has taken more persistence to unlock. Touring with legends like Beyoncé and Vance Joy has been a gift and an education. But stepping into my own artistry feels deeper and more vulnerable. It’s where I’m investing my heart—and honestly, my resources, too. With big tours, you earn; with your own music, you invest. Still, that’s the dream: to see my name on the marquee and share my story on my own stage. Your sound blends elements of pop, soul, and folk. How do you approach balancing those influences when writing? I don’t approach songwriting with genre in mind—I lead with emotion. As long as the song feels genuine and soulful, I let it take its own shape. I grew up surrounded by soul and R&B, studied classical music, and absorbed pop through the radio, so those influences just live in me. The instrument I’m writing on—whether it’s piano or guitar—also guides the energy and tone. I like to think of each song as its own universe, and I just follow where it wants to go. As you lead into your new EP,  No Other Way , what do you want people to feel when they listen to “Hope”? I truly  hope  the song helps people reconnect—with themselves, with someone they love, or with a feeling they may have lost. Maybe it stirs a memory, brings a smile, or reminds them that light still finds its way through the cracks. If “Hope” gives someone comfort or a renewed sense of optimism, then it’s done what it was meant to do.

Melbourne-based singer-songwriter Lara Villani is done playing it safe. With her new EP Whiplash, she takes the wheel, crashes straight through the chaos of love, loss, and self-discovery, and somehow makes it sound effortless. It’s the kind of project that hits hard, dances harder, and bleeds honesty in a way that’s rare in today’s pop landscape. From the first track, Villani sets the tone: this isn’t a heartbreak project, it’s a reclamation. Whiplash is what happens when you’ve lived, loved, and learned the hard way, and you’re finally ready to turn that pain into art. Each of the five songs feels like a chapter in a breakup diary you didn’t mean to publish, but everyone needed to read. The opening track, “I Love It,” bursts in like a shot of confidence straight to the chest. It’s flirty, fun, and laced with that dangerous kind of energy that makes bad decisions feel good. Villani’s vocals glide over a glossy R&B-pop beat, her delivery smooth but full of attitude. It’s the soundtrack to falling in love when you know better, but do it anyway. Then “Losing My Mind” hits, and things start to unravel. The tempo slows, the production grows darker, and suddenly you’re in the middle of that chaotic in-between, the place where infatuation meets anxiety. Villani captures the modern mental spiral of love so well that it’s almost uncomfortable. “It’s that push and pull,” she explains. “When you’re addicted to something that’s not good for you but can’t walk away yet.” It’s intoxicating, like she’s whispering your worst thoughts back to you over a late-night drive. By the time “Make It Go Away” arrives, the cracks start to show. This is the emotional low point, the moment where reality sets in, where you can feel her peeling off layers of denial and pain. It’s a raw, bluesy cut that ties back to her early roots in Rock & Roll and soul. No filters. No pretenses. Just pure catharsis. Then comes the flip. “Second Chances” changes the tempo, the tone, and the attitude; it’s Villani getting her groove back. It’s cheeky, confident, and full of that post-heartbreak adrenaline where you start to remember who you are without someone else’s shadow hanging over you. Filmed in a laundromat named after her dog (yes, really), the music video is as vibrant as the track itself, a mini movie full of flirtation, color, and independence. “It’s one of those songs that gives me energy every time I perform it,” she says. “It’s fun, it’s powerful, it’s me.” The EP closes with “Too Late,” a soft-spoken powerhouse of a song that delivers the ultimate mic drop moment. It’s not angry, it’s free. Villani sings from a place of peace, like someone who’s finally stopped trying to fix things that were never hers to fix. “It’s that moment of strength,” she explains. “When you’ve given everything and realize you deserve better. It’s powerful, honest, and a little bit savage, in the best way.” Across Whiplash, Villani proves she’s not just writing love songs, she’s writing truths. Each track stands on its own, and yet, together they form a complete evolution: the thrill of new love, the chaos of losing yourself, the grief of letting go, and the power of coming home to who you really are. Visually, the project is just as ambitious. Every track got its own video, not because she had to, but because she wanted to. “I wanted people to see the songs, not just hear them,” she says. “Every song has its own world, its own little story.” Working alongside an all-female creative team, Villani built a series of cinematic moments that feel personal but universal, kind of like flipping through your camera roll after your first real heartbreak. Co-written with producer Steven Harris, Whiplash is a body of work that feels both deeply personal and refreshingly confident. It’s Villani’s most “her” project yet, blending classic R&B textures, modern pop hooks, and the soulful honesty of someone who’s been through it and came out the other side glowing. “These are songs I’d actually listen to myself,” she says. “They’re fun, they’re honest, and they sound like me.” And maybe that’s the real magic of Whiplash, it doesn’t try to be anything but authentic. It doesn’t perform heartbreak; it transforms it. It’s Villani’s sonic diary — full of chaos, clarity, and courage. “At the end of the day,” she says, “you’re the one you need to impress. You’re the one you need to fall in love with.” With Whiplash, Lara Villani doesn’t just impress, she commands attention. The EP is a bold, cinematic statement from an artist fully stepping into her power. It’s not just pop music. It’s pop with bite, blues with beauty, and soul with scars. And as far as we’re concerned, she’s only getting started. There’s a real emotional duality in  Whiplash . It’s vulnerable but also confident as hell. How do you balance being open about pain without letting it define you? For me, it’s about owning the emotion without letting it own me . I can be vulnerable, I can be hurt, I can be real - but I don’t stay stuck there. I turn it into something powerful. I’m all about being authentic, and I want that to come through in my music. At the end of the day, it’s about taking something raw and turning it into strength.   The title  Whiplash  instantly gives off the intensity of a sudden emotional turn. What made you choose that name, and how does it represent where you’re at right now? I named it Whiplash because every song on the EP carries a completely different emotion. I remember sitting in the studio with my producer, just chatting after we’d listened back to everything, and I said, “I feel like she’s giving me emotional whiplash.” I always refer to myself as she after I’ve laid down a vocal -  it’s like my little alter ego comes to life. And honestly, listening to it back, I was like… is she in love? Is she heartbroken? Or does she just hate men today? That’s literally where the name came from. It felt chaotic in the best way, real, raw, and totally me. Tracks like “Losing My Mind” and “Make It Go Away” dive into the mental chaos of love and self-doubt. Was writing them more like therapy or confrontation for you? You know what - sometimes I don’t even know how I actually feel about a situation until I write it down. I know that might sound a little wild to some people, but songwriters will get it. Once I start writing and just let it flow, that’s when I figure out what’s really going on inside. I kind of love that process because it pulls me closer to how I actually feel. It’s like therapy… but louder and a lot more public. You co-wrote the EP with Steven Harris. How did that collaboration shape the sound and storytelling of the project? What did he pull out of you that maybe you hadn’t shown before? I love working with Steve - he’s not just an incredible producer, he’s genuinely such a good human. He creates a really safe space, which is so important when you’re songwriting because it can get real and vulnerable. He has this amazing way of pushing me creatively without ever making it feel forced. He sees things in me that I sometimes don’t see in myself, and he helps bring them to the surface. This project was honestly so much fun to create with him. It felt like we were unlocking little pieces of me I hadn’t fully shared before. You’ve talked about already moving into your “next era” after  Whiplash . What does that look and sound like? Is it evolution, rebellion, or something completely unexpected? Okay, so this next era is gonna be hot, spicy, and fun. I’m so excited to share what’s coming. I’ve been collaborating with some really amazing writers and producers to tap into a whole new side of Lara Villani. We’re leaning into my Italian heritage and roots to bring the spice  - big energy, bold sounds, and that fiery attitude. It’s definitely an evolution… but with a little extra heat.

When Italian producer  Coffeeshop  and New York-based artist Rob Roth collaborate, the result feels less like a song and more like a spiritual reset. Their new release, “Dark Days,” captures that rare magic where pain, beauty, and purpose all collide. It’s a track that feels deeply human, pulling listeners through the storm and into the light. Coffeeshop, also known as Giacomo Alloesio, has quietly built a reputation as a visionary producer who gives electronic music something most tracks lack: a soul. With more than half a million monthly Spotify listeners and a growing list of collaborations with artists like Robbie Rosen and Shiah Maisel, he’s become a creative force defined by precision and emotion. His latest work with Rob Roth takes that energy to another level. “Dark Days” begins with gentle piano chords and an almost fragile stillness, then unfolds into a cinematic blend of atmospheric synths and pulsing rhythms. Rob Roth’s vocals are the emotional core, offering a calm yet powerful sense of reassurance. The lyrics speak to perseverance and rediscovering yourself in moments when everything feels lost. Coffeeshop’s production builds around that message, transforming melancholy into movement. The accompanying lyric video expands the song’s emotional scope, showing ordinary people wrestling with invisible battles before finding small, glowing moments of hope. The subtle interplay of light and shadow throughout the video perfectly mirrors the track’s evolution. Each lyric feels as if it guides the viewer toward clarity, making the experience feel immersive and cathartic. “Dark Days” is more than a track to stream. It’s a reflection on what it means to fall apart and rebuild, to find beauty in the chaos. The combination of Coffeeshop’s delicate yet dynamic production and Rob Roth’s heartfelt delivery creates a soundscape that feels both intimate and expansive. It’s proof that EDM can be as emotionally resonant as it is electrifying. At a time when the world feels uncertain and heavy, “Dark Days” offers something rare, genuine light.

When  Kimberly Dawn  sings about a night out, she makes you feel like you’re right there with her. “Nothin’ Like a Neon Night” is her latest country anthem, a song that captures everything good about a carefree evening surrounded by music, laughter, and the kind of friends who keep you dancing until last call. The track kicks off with a piano intro and the sound of a cheering crowd, instantly setting the scene for a live-show atmosphere. Dawn’s voice shines through the mix with warmth and confidence, steering the song with a sense of joy and presence that feels completely natural. She drops listeners straight into the action with lyrics like “Put on my low cut dress to skip the line, called up every crazy rowdy friend of mine.” It’s vivid, cinematic, and easy to relate to. By the time the chorus hits, you can almost picture the flashing lights and clinking bottles. “There’s nothin’ like a neon night, when the sun goes down, it’s time to shine, me and my girls humming along, to a cover band singing our song.” It’s a line built for every small-town Friday night, carrying that spark of freedom and connection that country fans crave. The bridge ties it all together with a wink and a nod to Southern tradition: “And when it’s time for closing down, we can take this party crowd to the legendary Waffle House.” It’s the kind of lyric that proves Dawn knows her audience and knows how to make a moment feel iconic. Known as The Coastal Cowgirl, the Canadian-born, Nashville- and LA-based artist has carved her own lane by blending authenticity with modern polish. With performances at the Bluebird Café, LA’s House of Blues, and the Key West Songwriters Festival, Dawn’s experience shows through in every note. She’s an artist who balances strength and sincerity without ever losing her sense of fun. “Nothin’ Like a Neon Night” is more than a party song. It’s a reminder to enjoy the ride, to celebrate the people who lift you, and to find light in every loud, messy, beautiful moment.