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Los Angeles-based indie duo II steps into bold new territory with their latest single, “ Found A Home .” Blending the emotional resonance of Pop Rock with the sleek atmosphere of Synth Pop, the track serves as a poignant reflection on love, belonging, and the fragile spaces in between. Formed by Claudio Parrone Jr. and Mauricio Guerrero Jr., II has built its identity on minimalist storytelling and emotional honesty. “Found A Home” crystallizes that vision, offering listeners an intimate yet cinematic journey. Inspired by the old-world concept of genius as a spirit that chooses when and where to land, the duo reimagines the myth through the lens of love. What if love, like genius, is a fleeting presence that only stays if it feels safe? The track explores this question through sweeping soundscapes and deeply vulnerable lyricism. Musically, “Found A Home” is lush and deliberate. The duo layers atmospheric synths with soaring guitar work, building toward a cinematic guitar solo that captures both euphoria and fragility. Vocally, the performance balances quiet vulnerability with undeniable power, a delivery that feels both personal and universal. It is a song that could soundtrack a late-night drive, a first dance, or the quiet moment of realizing love may not last forever. “Found A Home” is also the opening chapter of II’s upcoming project, House On Fire. The larger body of work will chart the arc of a relationship from passion to collapse. The next single, “Burn It Down,” leans into the toxicity and codependency that often follow such intense beginnings, while later chapters navigate heartbreak and moving on. Collectively, the project reveals the bittersweet truth behind the phrase “they get on like a house on fire.” For fans of The 1975, James Blake, or Tears for Fears, II offers something rare: music that does not just tell a story, but listens to its listeners in return. With “Found A Home,” the duo sets the stage for a body of work that is equal parts intimate, cinematic, and unafraid of emotional depth. "Found A Home" uses the myth of genius as a metaphor for love. How did this concept first come to you? Claudio: This old myth of "genius" being something accompanying the person, rather than something that exists within the person, really intrigued me. So much so that I actually believe that to be true. After considerable deliberation with myself and others, I decided to present a new topic to the class. What if love were this way? What if the reason none of us can agree on what love is is because it legitimately IS different for each of us? What if the reason why certain people have such a hard time finding it is that it doesn't want to be found? What if love needs time alone? What if it only goes where it's needed? This idea swept me up in a whirlwind for a bit. I then took it a step further and asked, What if love finds its way back to you? Would it remember you? After all of its traveling and all of its new stories, how could it? Then, if it did, what would you do differently to keep it around? I tend to spend a considerable amount of time thinking about these hyper-romantic ideas. It's a hobby of mine. Mauricio: I remember the day when Claudio came to me with the idea for "Found a Home". We went into the studio because he was like, "Dude, I have this awesome idea," And he just started going off… He painted this picture about Love, how it was something that we are obsessed with finding as a society. We're looking for "the ONE" for the perfect person to "complete us" and that if we just FIND them, then everything will be well; that all will be resolved and we will never feel sadness, pain, or insufficiency ever again… But that's not how love works, is it? No, Love is a beautiful entity that finds you in different seasons, comes in and out of your life, hoping to see if you are ready for it to stay with you. Now, often we aren't ready, and that's why it has to go. Often, we mistake other things for Love, or we misconstrue Love for something it isn't. When I tell you this, HIT, man, it really hit. Because it's true. Love needs to grow and develop just like you do. Love needs time alone to become the best version of itself, just like you do. So, hopefully, by the next time you meet, Love can find a home in you, and you in it. Your music leans heavily on minimalism and atmosphere. How do you decide what to leave out versus what to layer in? Claudio: I think a painter would probably answer this the same way. Not every painting needs to be busy. Nor does it need to include every color on the spectrum. This first track, "Found A Home," definitely has some space to it. I like to include space in the sonic element of the song if I want the listener to engage more deeply with the lyrics. The lyrics in this song are very conversational, which could lead the listener to assume that I'm talking to a person. I never write things with the hope or expectation that people will interpret them in a certain way. However, I do try to allow the songs to breathe, and sometimes that also gives the listener permission to focus on other aspects of the song.  As far as atmosphere goes, when Mauricio and I started this project, we decided that we wanted it to carry the nostalgia of the 80s. We remember how things make us feel. I credit the fact that we still listen to so much music from that decade to the feelings it evoked. Mauricio: As a producer, I feel like each song is like its own mini planet. And an album is like a solar system. So in a way every song is different, but orbiting the same sun. So, when Claudio and I started this project, we were both kids who grew up listening to all kinds of music, but gravitated to that sonic universe of the '80s. We were two sad boys (lol) who wanted to channel our feelings into these songs and create something that soothed our souls, and hopefully, others' as well. So we approached this from a place of nostalgia, as if we wanted things to turn out differently than they did, but knowing that was impossible. So what did we do? We listened to a wide range of music, including Tears for Fears, The Police, Hall & Oates, Prince, and Michael Jackson, among others. Our approach was simple: How can we capture the nostalgia we feel for music from that era, while still adding our modern touch to these sounds? So we played! In the creative phase, we played like kids in a sandbox, anything cool or anything that sounded sick went in, and we had FUN. Then, when it came time to trim, we were scientists, cutting guitars, vocals, and removing synths that we absolutely loved, but which didn't serve the song. "House On Fire" tells a story across four chapters. Why did you choose to frame the project like a narrative? Claudio: To speak plainly, I think music is slowly but surely making its way back to being album-oriented. The "single" era was a lot of fun. But people want an experience. Myself included. I've always loved the albums that take me for a ride from start to finish. Albums like Dark Side of the Moon, Welcome to the Black Parade, good kid, m.A.A.d city, Man on the Moon... In this case, Mauricio and I had gone through similar situations within a year of each other. This led to both of us sort of looking at one another like, "We gotta tell this story right?" It wouldn't be right to pretend that what happened to us wasn't reminiscent of an old Hollywood romance. Thus, House On Fire was born. Mauricio: Growing up, my parents would tell me bedtime stories of famous musicians as heroes and heroines, and I would eat it up. The Beatles, Antonio Carlos Jobim, Pink Floyd, Fleetwood Mac, Phil Collins, Tears for Fears, and many others were my superheroes. As I grew up, their albums started becoming more meaningful because I would realize that each album was like a snapshot into the lives of who they were in that moment. For example, "Rumors" by Fleetwood Mac, you can hear the tension and pain between Steve Nicks and Lindsay Buckingham as they navigated their breakup, while also being part of a band that had to see each other every day. That's what we tried to accomplish with "House on Fire" in a 4 chapter novella. We wanted to paint a picture of the cycle of Love coming, settling in, and then finally leaving. A cycle everyone who has ever loved someone is all too familiar with. How do you want listeners to feel after experiencing "Found A Home" and the full project? Claudio: I'd love it if they left "Found A Home" feeling woefully optimistic. I want them to be sad in a way that encourages them to move forward. I feel like we view sadness as a bad thing, something unnatural, or something that has to stop us in our tracks.  "Just pause for a bit and feel it. Acknowledge it." Why is sadness so heavy that we can't carry it while we advance? Grief is one of the most human experiences we have. So, to answer your question more plainly: I hope they leave a little sad but excited for the future. Mauricio:   I hope when people listen to "Found a Home" that they feel a little bit of sadness, but a LOT of hope. "Found a Home" and the rest of "House on Fire" tell a sad story that many people are familiar with —a story that many have lived through, but guess what? You're still here, you're still growing, and even though it feels like it's the end of the world, you're still kicking. I hope that when people listen to this project, they are transported to those moments, both good and bad, and that it inspires them to look forward and see that what comes ahead is always so much better. What do you think is missing in the way love and relationships are usually portrayed in modern pop music? Claudio: I think that we lean too heavily into the "love is pain" or the "love is immense sacrifice" or my favorite, "I'd die for you". What this does is subliminally tell us that if the person pursuing you isn't willing to change their entire life around or make significant sacrifices for you, they may not truly love you. That idea is so unhealthy. I think music needs more honesty. More raw vulnerability. Music is very open — but open isn't vulnerable. Show me how much it hurts that they took you for granted. Walk me through the recovery of a toxic relationship, and don't skip the messy parts. Be honest. Be complex. Be human. More humanity in pop music would be nice. Mauricio: One of my closest friends said, "90% of songs are about two things: falling in love or falling out of love — the difference is how you say it." I think modern pop music tends to focus on the big feelings. But what I'm missing is the YEARNING we used to hear… those iconic lyrics that would leave you with your jaw on the floor. Like Paul McCartney's "Maybe I'm amazed at the way you love me all the time, Maybe I'm afraid of the way I love you…" Or Paul Simon's devastating "She comes back to tell me she's gone, As if I didn't know that, As if I didn't know my own bed." That's what's missing — depth without being inaccessible. That's what we hope to give people with this EP.

For Dead Freedom , music isn’t just art, it’s survival. The country-rock-blues artist with a folk-metal twist has lived enough lives for three people, carrying the scars of depression, PTSD, ADHD, anxiety, and a troubled past. But rather than letting it all swallow him, he’s turned it into fuel, building a career on honesty, grit, and a refusal to quit. His new album,  NOMAD ,  is the clearest reflection of that fight yet, an unflinching, acoustic-driven collection written to confront demons, document survival, and share light with those still searching for it. Dead Freedom’s journey is as unconventional as it is inspiring. After hitting rock bottom, he converted his Honda CR-V into a camper van and embraced life as a nomad, healing through the road and the music he carried with him. That mission, turning scars into stories, led him from busking in the streets to supporting acts like Toploader, John Newman, Puddle of Mudd, and Lynyrd Skynyrd guitarist Mike Estes. Now, with three albums and an EP already under his belt, NOMAD represents both the rawest and most personal work of his catalog. Recorded live and acoustic, the album thrives on its lack of polish. Each track plays like a diary entry cracked open, the stories behind them often as gripping as the music itself. On “Dopamine,” Dead Freedom lays bare the daily battle of depression and ADHD, searching for sparks of light in a heavy fog. “Bad Blood” reflects on growing up misdiagnosed and misunderstood in the ‘80s and ‘90s, when kids with ADHD were written off as “problem children.” With “Heroin Rose,” he chronicles a toxic, lightning-bolt romance that burned fast and left scars, while “The Request” takes a sly, tongue-in-cheek jab at overplayed crowd demands like “Wonderwall.” But the heart of NOMAD beats loudest in its deeply personal moments. “Paige’s Song” is written for his daughter, who bravely opened up to him about her own struggles with self-worth at twelve years old. “Led Me To You,” “Better Part of Me,” and “Days Gone” weave together chapters of toxic relationships, domestic abuse, alcoholism, and the eventual discovery of a love worth surviving for, even if that love came too late. “What Did I Do Wrong” cuts to the core of childhood abuse and the lifelong echoes of being made to feel unwanted, while “My Wretched Shoes” reflects the burnout of working 90-hour weeks as a chef, realizing life had to be about more than clocking in and breaking down. Elsewhere, Dead Freedom taps into the bigger world. “The Eve of War,” written on February 24, 2023, confronts the tragedy of global conflict and its toll on innocence. “Light of the Dawn,” the closer, feels like a hymn, absolute devotion to someone caught in their own storm, paired with the reminder that strength ultimately lies within. It’s also the track Dead Freedom hopes will find a home in Taylor Sheridan’s Yellowstone , a show that shares his mix of grit and hope. “I honestly write these songs as therapy for myself,” Dead Freedom shares. “I’m not looking to please everyone, just to give a voice to those who need it in a dark place where they feel alone, to know that they aren’t. We’re all human, we all struggle, and it’s alright to need help sometimes. We can heal, it just takes time, and a change of perspective to want to continue.” NOMAD is more than an album. It’s a document of resilience, a soundtrack for anyone who’s been pushed to the edge but found a reason to keep going. Dead Freedom doesn’t romanticize struggle; he names it, sings it, and turns it into proof that even in the darkest chapters, music can still light the way forward. NOMAD feels like it was ripped straight from your own diary; raw, vulnerable, and unfiltered. What moment made you realize this collection of songs had to come together as an album instead of just staying as personal stories? Originally, it was meant to be three, six-track EPs called: Heathen, Nomad, and Origins! I'd already put out the Heathen EP in the originally planned format, but I had these (Originally 13) tracks, which were going to make up the other two EPs but I'd already been playing these songs at gigs, and the production just felt like it fit so well together and told more of a story, you know? And then in very short succession just before I was due to announce the release I wrote the last three songs "Moth To Your Flame", "Hoodoo Queen" and "The Light of The Dawn" and it sealed the deal for me it was like yeah this is an entire project this needs to be an album because like you say it kind of had that straight from the diary feel!! Tracks like “Bad Blood” and “Dopamine” tackle mental health in brutally honest ways. Was it difficult to put those struggles into words, knowing how close to home they hit? In all honesty, the tracks kind of beat themselves out of me, like the real struggle was coming to terms with what I was feeling, what I'd been burying for so long! Writing them kind of helped free that up and gave me a way to reflect on those issues in a healthier way!  You’ve lived as a full-time nomad, converted your CRV into a camper, and taken your music everywhere from the streets to stadiums. How did that lifestyle shape the sound and spirit of NOMAD? I think at the point that I started recording I'd been on the road for a couple of months at that point and I was already feeling much healthier and happier in myself like there was such a positive impact on my state of mind and my attitude, like before I struck out on the road I'd have put it off and put it off and hidden away more it's where I was, I was in this dark pit that living on the road saved me from! So when I turned up to record with Tom, we found the sound that I get live on stage and were just like, yeah, this is the one, and we smashed out a sixteen-track album in two days! When i was stuck in the house I'd have never dreamed that I'd accomplish that! And it's because of that change that these bigger opportunities have presented themselves, just through sort of fighting my demons, being true to myself, and saying I ain't giving in and plowing into the work headlong, that's been the real game changer, I think! “Paige’s Song” is one of the most personal tracks on the record, written for your daughter. What was it like turning such an emotional moment into music, and did writing it change your perspective as both a father and an artist? Yeah, as a father, you never expect not to notice your kid going through something like what she was going through! So when that happened, I was first and foremost proud as hell of her, like it takes so much guts to open up like that!! But it also gave me the push I needed to sort of pull myself up and realize that things have been tough, sure, but I needed to stop letting old wounds take my focus because it was clouding the ability to look after those who needed me! So it kind of gave me this new perspective to start fighting my demons more! Diving deeper but in a healthier way, a sort of thing that impacted my relationships with others, especially my daughter! But also how I open up as an artist and talk about things on stage!  Looking back at everything you’ve survived—PTSD, depression, toxic relationships, burnout. What’s the one message you want people to carry with them after listening to NOMAD from start to finish? Id say the one message that I'd want people to take from it is, that we all have these moments in our lives where we feel cut off alone, where we struggle and get stuck in our battles with the dark, because Life is hard man, it really is but through writing this album, putting the struggle out there, performing it live I came to realise that these struggles are more common than we think!! And though it's okay to feel stuck and not okay, better days will come; it's hard work, but you can do it. You can make something beautiful, whether it's art, music, film, stories, or even more importantly, just a sense of belonging within your own life. You are capable even when you think you're not! And when you think you're all alone and no one understands, that's the best time to call out for help, so in short, despite all my ramblings!!! YOU ARE NOT ALONE!! YOU CAN DO THIS!"

Dan Conway doesn’t just write songs; he writes promises. The Long Island-based singer-songwriter delivers “Wildflower,” a track born from the quiet chaos of 3 a.m. anxiety and the clarity that comes from unconditional love. Written for his daughter, the song is part lullaby, part life lesson, and part self-discovery, wrapped in acoustic pop warmth that feels as intimate as a late-night talk at the kitchen table. The story behind “Wildflower” is painfully real. After a failed marriage, sleepless nights, and the sudden weight of fatherhood, Dan woke up drenched in sweat with a melody stuck in his head. Instead of letting it fade, he poured his heart into a piece of music that became the anchor for an entire album dedicated to his daughter. It’s a promise that no matter what life throws at him, he’ll always be there, guiding, teaching, and growing alongside her. But “Wildflower” isn’t just for her; it’s for him too. When Dan sings, “As you go tumbling, stumbling down, fumbling I found, I’m found,”  it lands like both a confession and a revelation. It’s an acknowledgment that watching his daughter grow has forced him to grow as well. The song captures that delicate balance of love and accountability, the way loss, responsibility, and self-reflection can strip you bare and rebuild you stronger. Musically, Dan keeps things stripped to the essentials: his voice and his guitar. And honestly, that’s all you need. His sound lives in the sweet spot between pop and acoustic storytelling, catchy enough to hum along to but deep enough to linger in your chest. It’s music that fits just as naturally at a family gathering as it does in those quiet moments when you’re alone with your thoughts. At its core, “Wildflower” is about positivity, resilience, and staying true to your values as you pass them on to the next generation. Dan Conway isn’t just writing songs; he’s crafting a blueprint for growth, love, and authenticity. “Wildflower” reminds us that the most powerful songs don’t need big production or star features. They just need the truth. And Dan Conway delivers it straight from the heart. "Wildflower" was born out of a 3 a.m. moment of anxiety and inspiration. Can you take us back to that night and explain how the song first came together in your head? Most songwriting comes from a feeling and a lyrical theme. Wildflower began with a feeling, the need to give my daughter the lifelong gift of personal songs and music. No matter where she is, if there is a place to stream music, she can hear her song; the song her daddy wrote just for her. When I wrote "Wildflower," I picked up my guitar and let my hands guide me. The structure of the song was dictated by those moments where I explored the guitar and experimented with how it would support the vocals and lyrics. This song spilled out of me as I focused the lyrical content around inner growth, confidence, and authenticity. All the magic she needs is already in her; she just needs to remember to go out there and make something of her life. "I was born into this world with no rules, only follow the trees toward the big, big blue." These are the first words that I sang, and I never looked back. I want her to remember to grow and never let anyone or anything hold her back. You've said this project is dedicated to your daughter. How has becoming a father changed not only your perspective on life but also the way you approach songwriting? Having purpose is the single most important asset you can have. When my daughter was born, my purpose and reason for being changed and grew. As parents, we are not only responsible for saying the right things to our children but also for demonstrating them. I want my daughter to see the love and joy I have for songwriting because it is my passion. I want her to see that it is important to have passions and a creative outlet. The joy of creating music stems from playing acoustic guitar and singing. This style of writing, which I call the "dance" between guitar and voice, is how I do most of my writing. Previous music projects I recorded were a piece of me, but not the core of who I am as a songwriter. To have this style of music available to her is very important. The lyric "As you go tumbling, stumbling down, fumbling I found, I'm found" feels deeply personal. What did writing those words teach you about yourself in that moment? Close your eyes and imagine watching your child experience the world for the first time. Being a parent, you also experience life again in a new way. The child-parent relationship is inherently similar, as both parents and their children engage in something new. These lyrics are personal, as a similar phonetic sequence was found in a book my daughter and I have read together since she was very young. This book, which we first borrowed from the library, is now a copy at home. Adding a personal experience like this lends power to the words, especially when performing them. This gives the lyrics more weight. Being her guidance and support while she is learning life lessons is a reminder of my values; in this way, I am "found." Your music balances simplicity, just your voice and guitar, with really heavy emotional themes. Why do you feel that stripped-down style is the best vehicle for your message? I often hear older generations say how contemporary music is just noise, and the message of the song is lost. People who have inspired me musically and speak of previous eras of music often discuss how the 1960s and 1970s impacted their lives through the artists' lyrical focus. Music is a great opportunity to connect with others. If the listener hears what you have to say, they can really feel what you are saying. Have you ever sung a song and felt like the writer understands your life or understands what this chapter of life is all about? I want the audience to sing my words and feel my message. "Wildflower" carries both positivity and accountability. What do you hope listeners who may not share your exact story still take away when they hear it? I think that with the bullying and negativity constantly swarming the internet, it is essential for people to feel special and seen. Sing "I'm a wildflower, I don't answer to anyone, I listen to the breeze, I found me a place to be free." What does that feel like? Be authentic. Be fearless. Find your voice. Be confident. It is not only a message of nurturing a mindset at a young age, but it could also be a reminder for many to be themselves or grow into the person they want to be.

Divergent aren’t here to play it safe, they’re here to play it loud. Their latest single, “Not Until It’s Right,” feels like the kind of track that gets you out of your chair before you even realize it. It’s not just a song; it’s a full-body experience, built from pure instinct, tight chemistry, and a decades-long friendship that’s clearly paying off. The trio: James Richards, Mike McAlister, and Paul Richards, are longtime collaborators who finally decided to stop overthinking and just do the damn thing. After years apart, they’ve reunited under a new name and a new energy that’s impossible to fake. “Not Until It’s Right” takes everything Divergent have been teasing, from their free-spirited debut “Runnin’ Free” to their evolving live sound, and spins it into something fresh, magnetic, and just the right amount of dirty. The song kicks off with Paul’s crisp drumsticks snapping you to attention before James’ keys and Mike’s bass slither in like co-conspirators. The groove is playful, confident, and just a little dangerous, like flirting under neon lights knowing exactly how the night’s gonna end. Lyrically, it’s simple and straight to the point: boy meets girl, girl’s not settling for half-assed love, and the only way to earn it is to move to her rhythm. “No, no, no,” she says, and that hook sticks. It’s cheeky, it’s catchy, and it drives home the idea that love, like music, only hits when the timing’s right. Where Divergent really flexes its muscle is in the performance. You can feel how much fun they’re having. James lays down this hypnotic piano line that started, as the story goes, on his old Chickering upright piano, and it sounds like a memory turned into motion. Mike’s bass walks with swagger, sliding between the rhythm like it’s second nature, while Paul’s drumming brings that big-room energy that reminds you these guys are meant to be onstage. It’s not polished to death, and that’s what makes it work. It’s alive. Then there’s the video, filmed at Sweetwater Studios, which captures exactly who Divergent are: three dudes locked into their craft, vibing like they own the room. There’s no ego here, just passion and groove. You watch it and instantly get the sense that they’re right there, not posing for a brand, but playing because they have to. It’s the kind of authenticity you don’t see enough of anymore. Divergent may be seasoned musicians, but this new era feels like the start of something wild. If “Not Until It’s Right” is any indication of what’s coming on their upcoming album, Rev It Up, then buckle up, this band isn’t done making noise. They’re just getting warmed up.

Columbus alt-rock duo Jady  have officially hit their breakthrough moment with Silver , a record that feels bigger, heavier, and more emotionally grounded than anything they’ve done before. It’s not about chasing trends or trying to sound like anyone else. This album is straight-up therapy through distortion pedals and heartbreak. From the jump, you can hear the band stepping into a new kind of confidence. Jarrett Doherty and Ashton Bergdorf don’t hide behind production tricks or fake edge. Silver  is honest to a fault, the kind of record that says, “Yeah, we’ve been through some shit, and we’re not pretending it didn’t happen.” The songs hit a balance most alt bands can’t find. It’s clean but raw, emotional but still ready to blow out your speakers. There’s that arena energy running through it, not because it’s commercial, but because it’s earned.  They’ve done the grind: 150+ shows, multiple tours, real sweat equity. You can hear every late-night drive and existential crisis baked into this thing. Production-wise, it’s stacked. Heavy names like Erik Ron, Curtis Peoples, and Sam Tinnesz help polish the sound, but they don’t sand down the edges. There’s still that Midwestern bite, that “we built this from nothing” tension that makes each chorus hit harder. What makes Silver  work is how human it is. The lyrics dig into honesty, imperfection, burnout, and self-discovery without ever feeling whiny or fake-deep. It’s an album about growth, the kind that hurts before it heals. By the end, you’re left with something that’s both personal and massive in scope. Silver  isn’t just their next chapter; it’s the start of Jady’s headliner era.

Some artists write songs. Shoni writes survival stories. With the release of her new album Shades of Blues , the New York-based singer-songwriter delivers a body of work that doesn’t sugarcoat the weight of love, loss, family, or faith. Instead, she leans into every emotion, raw, unfiltered, and deeply human, blending contemporary blues, R&B, and neo-soul into a project that proves beauty can bloom out of chaos. From the very first track, Shades of Blues  feels less like an album and more like a journey. Opening with “Hwy 95,” Shoni paints the picture of being stuck between ambition and fulfillment, using the highway as a metaphor for life’s waiting places. That feeling of limbo, the restless grind of wanting more while being trapped in the in-between, sets the tone for what follows: honesty without compromise. In “Page,” she opens up about the unspoken emotions in relationships, capturing the tension between the fear of vulnerability and the hunger for real connection. The project’s emotional core resonates most deeply on “Daddy’s Girls.” Through biting irony (“clap your hands for the father of the year”), Shoni shines a light on paternal absence and the scars of generational trauma, all while speaking directly to those who have had to find validation in broken places. It’s a song that feels both specific and universal, a testament to her ability to tell stories that resonate far beyond her own life. What makes Shades of Blues  so powerful is its balance. Heavy themes are met with messages of faith, gratitude, and celebration. “Won’t Complain” grounds the album in resilience, carrying the reminder that hope isn’t naive; it’s a matter of survival. Then, “Bassline,” featuring Jae Writez, shifts gears into something magnetic and sensual, honoring music itself as both an escape and a salvation. The feature is more than just a guest verse; it’s a full-circle collaboration with Adrian (Jae Writez) C. Young Jr., who helped Shoni push past her doubts and finish the record. For Shoni, this project is also about place. Recorded in Virginia Beach, Shades of Blues  is a bittersweet love letter to the city where she grew up, one that shaped her through both obstacles and resilience. The weight of those experiences bleeds into the record’s DNA, giving every track the kind of authenticity you can’t fake. As she explains, “I hope people know the importance of feeling every emotion as it comes and pushing through life’s blues. Regardless of what may be happening in your life and in the world, beauty can emerge from chaos. There is always a light at the end of the tunnel.” Since her 2019 debut single “Good Vibes,” Shoni has proven that her artistry isn’t about trends, it’s about truth. Whether through her seductive soprano vocals, her work narrating audiobooks, or her role as founder of the Beauty & Soul movement, she continues to create spaces where honesty and healing take precedence. With Shades of Blues , she takes that mission further, offering listeners not just music but a reminder: you’re allowed to feel, to stumble, and to grow stronger for it. Shades of Blues  is more than an album; it’s Shoni’s testimony. It reminds us that even in the darkest chapters, resilience is possible, and beauty is never too far away. You've called Shades of Blues your "bittersweet love song to Virginia." How did recording in Virginia Beach shape the sound and the emotion of this project? When I first started recording, I had a hard time connecting my voice to the words that I wrote. I had to take a step back and think about why I was creating the project. Once I connected with my "Why" of Shades of Blues being a bittersweet love song and a goodbye to VA, everything just fell into place. By recording in Virginia, I was able to drive around my hometown, go to my school's homecoming, and reconnect with friends and family. Each moment reminded me how far I have come and how much I have grown into the woman I am since I left. Throughout the project, the timidity and uncertainty transformed into frustration, then confidence, and ultimately contentment. I experienced all of those emotions living and learning in VA. "Daddy's Girls" is one of the most raw and vulnerable tracks on the album. What gave you the courage to tackle generational trauma so directly in your music? My daughters. I can turn into a lioness in 0.5 seconds if you mess with my family. No lol. Sadly, my daughters both came to meet with me on two different occasions, upset about their father, which ultimately upset me and made me sad for them. To deal with those feelings, I did what I do best: I started writing about them. I began writing Daddy's" Girls" as a poem about how fathers' actions affect their daughters. As a daddy's girl myself, it was easy to write. The song is the most raw and unexpected on the project. I wanted to showcase a different side of myself vocally and bring people along on life's crazy rollercoaster ride, while also shedding light on an issue that many women can relate to. The album balances heavy, emotional storytelling with lighter moments of faith and celebration, such as "Won't Complain" and "Bassline." How intentional was that balance when putting the tracklist together? One of the things I admire about the Blues genre is its rawness and heaviness. However, I believe in balance. Balancing the energy with the tracklisting was very intentional. "Hwy 95 "starts from a place of despair and longing for more out of life, while knowing you still need to take care of your responsibilities. As a single mom, my dreams have to be put on the back burner at times to prioritize the needs of my family; that's not always easy. That longing fueled a desire for connection and partnership, which is reflected in the song "Page." As hard as it is, eventually you have to speak up and say, "Hey, maybe I do want more," which again is not easy but is courageous. Then, after the ruggedness of "Daddy's Girls", I wanted to bring in a little sweetness with "Bassline." "Daddy's Girls" explores the frustration and anguish women and girls experience as a result of their fathers' actions, while "Bassline" presents a balance between women and men through the lens of music. At the end of the day, we all need each other, and to drive that point home, "Won't Complain" concludes the project, highlighting that despite all the feelings, twists, and turns, the simple things are what's most important.  You've built a platform with your Beauty & Soul movement to talk about health, wealth, love, and business. How does that mission connect with the themes you explore on Shades of Blues? Great question! I created Beauty & Soul at a time when I was looking for community and friendship. That desire for purpose and connection can be heard in "Hwy 95" and "Page." The Beauty & Soul Brunch and Podcast helped me evolve and find my purpose with community building, wellness, and music. They all work together. If I were to place Shades of Blues and Beauty & Soul on the timeline of my life, Shades of Blues would be first, and Beauty & Soul would come in during my spoken word piece, Soulfully Shoni. They both highlight self-discovery and evolution. You've said you want listeners to "push through life's blues and find the beauty in chaos." What's one moment in your own life when music helped you do exactly that? Truthfully, I've been pushing past life's blues since the beginning. When I released my debut single, Good Vibes, I was currently experiencing the opposite. I had just started a new job I hated and was extremely overworked, but one day I asked myself if I could write about the perfect day, what would I say? I then thought about all the good moments I experienced in NYC and incorporated them into the song. To this day, I love seeing how people positively react to that song because it reminds me of the power of music. I created a positive experience for myself by remembering the great moments in my life and turning them into art. How cool is that?! I'm curious what else I can manifest with my words.

Rochester-based singer-songwriter Annie Wells has always been known for weaving her life experiences into music that sits at the intersection of jazz, pop, folk, and the Great American Songbook. With her new single “ True Blue Boy ,” Wells offers a deeply personal piece that tells the story of a difficult yet ultimately rewarding courtship with the man who would become her husband. Written as a birthday gift for her partner, Colin, “True Blue Boy” is framed around the journey to true love, one marked by obstacles, heartbreak, and resilience. Wells’ lyricism finds inspiration in blues and jazz greats like Duke Ellington and Muddy Waters, and the song reflects their timeless spirit while adding her own contemporary twist. The result is a track that feels both classic and refreshingly intimate. Musically, Wells surrounds herself with seasoned jazz musicians whose résumés span from the Glenn Miller Orchestra to collaborations with Ray Charles and Archie Shepp. Mike Kaupa’s trumpet lines bring warmth and color, Dave Arenius’ upright bass grounds the song in tradition, and Phil Marshall’s guitar provides texture and rhythm. Together, they build a soundscape that feels as rich as the story it carries. What sets “True Blue Boy” apart is its ability to balance melancholy with joy. The song acknowledges the heartaches and struggles of Wells’ relationship but pairs those reflections with an upbeat, rhythmic feel that mirrors the triumph of love that lasts. Wells’ ethereal voice, often compared to Joni Mitchell and Blossom Dearie, floats above the arrangement with clarity and grace, asking listeners to look deeper into the music rather than chasing instant gratification. This single also sets the stage for Wells’ upcoming album Pictures of Heart , slated for release in 2026. If “True Blue Boy” is any indication, the record will continue her exploration of themes that define her work: resilience, hope, and the beauty found in both loss and love. Annie Wells proves once again that her hybrid style, never fully jazz and never strictly pop, carves out a unique space where authenticity and artistry thrive. “True Blue Boy” is a love song, yes, but more than that, it’s a testament to patience, vulnerability, and the joy that comes from staying true to your vision. You wrote  “True Blue Boy”  as a gift for your now-husband. How did he react when he first heard it performed live? I had a performance date scheduled on Colin’s birthday in August. I worked quickly to finish writing the song in time to surprise him. He was at a table nearby with friends when I announced I had a birthday gift for him. Colin was very moved by the song, and by October, he asked me to marry him. The song wasn’t intended to prompt a proposal, but I suppose it helped to “seal the deal”. Your music balances jazz tradition with modern singer-songwriter storytelling. How do you maintain that balance? Pop melodies and jazz chords. I love to add an unexpected jazz chord progression under a pop melody. The combination of both creates an emotional depth that I feel, and I want the listener to feel. The stories are heartfelt and true. They are drawn from my journals and inspired by art, news events, movies, and life experiences. Crafting fictional characters isn’t my strong suit, but now and then, someone in the story ends up being a patchwork of real-life personalities. I’ve learned so much about songwriting from Phil Marshall ( Phil Marshall ), who played guitar on “True Blue Boy”. Phil is my long-time musical mentor and friend. He comes from the same school of genre blending and storytelling, incorporating his own unique style of writing. He gives me honest feedback that helps shape the lyrics and arrangements.  What was it like working with jazz veterans like Mike Kaupa and Dave Arenius on this track? I have been incredibly fortunate to perform and record with Mike Kaupa and Dave Arenius. They brought a traditional jazz background to the music and deftly turned it on its head, integrating it perfectly with “True Blue Boy”.   Mike played trumpet through a pedal board that created the cool harmonies you hear weaving in and out of the song. His use of electronics adds beautiful, lush textures and layers of sound. Dave played his Bohemian (Czech, Hungarian, and/or German) double bass made ca. 1850 that exudes a deep warmth. Dave is a lyrical bass player. His melodic lines are grounded in jazz. Because it defies categorization, I’ve asked Dave and Mike to help me describe my music. They both say, “It’s Annie”. Dave has called my music “delicious.” Many of your songs draw on strong women and personal history. How does that influence continue to shape your writing? The women I’ve written songs about have inspired me to stay true to my dreams. In the face of adversity or perceived limitations, they did not give up. Family members, artists, musicians, and even a fictional character from a movie have all validated my need to keep making music. In a song I wrote, inspired by a message from my mother—channeled through a psychic medium—she urges me to “sing a song soft and low, just like a mourning dove / It doesn’t matter if nobody hears you, I hear you with my heart” .  Memories can carry a lonely power that transforms into connection when they resonate with the listeners of my songs. When someone is moved by my music, it means the world to me. With  Pictures of Heart  on the way in 2026, what themes or stories are you most excited to share? “She dreams pictures of a heart”  is a lyric line from one of the tracks on my new album.  Each of the seven songs tells a different love story, but not in the way you’d expect. The theme throughout the album is how love takes on many forms and meanings. “True Blue Boy” is about my long road to true love. In “Time Escaped”, time is personified in a love letter to my family during the pandemic. “Devil’s Gonna Get You”  conveys what it’s like to truly love someone who can only respond with conditional love. “Radio Silence”, written by Christopher Earl Zajkowski, tells the story of betrayal and heartbreak. “1000 Hearts”  is about selfless love that came too late for a child with autism who wandered away from his school unnoticed. In “Pictures” , we see a lonely woman longing for love and connection. Her memories are all she has. In the final track, “Blue Aeroplane,” written by my friend Dave Ripton, love carries on beyond mortality. The last time I saw Dave, he confided in me that he had been diagnosed with cancer. He asked me to record his song, and it was an honor to receive that gift from him.

Los Angeles pop artist Giselle is flipping the horror script with her latest release, “ FINAL GIRL ,” a bold, cinematic anthem that fuses glossy pop energy with a Halloween edge. Instead of rooting for the masked killer, Giselle dares listeners to step into the survivor’s shoes, the potential Final Girl, and experience the fear, chaos, and resilience from her point of view. Originally from Boston and raised in Buffalo, Giselle has lived and breathed music nearly her entire life. She began singing at five, writing songs at eight, and mastering instruments such as piano, violin, guitar, drums, and ukulele. After years of performing across New York, she leaped to Los Angeles at 21 and has since graced stages like The Hotel Café, The Mint, Whisky a Go Go, iHeartRadio, and Hotel Ziggy. Her grit and passion are undeniable, and “FINAL GIRL” captures all of it. More than a Halloween-ready bop, the track is a clever critique of pop culture’s obsession with horror villains. Giselle playfully calls out our tendency to idolize killers like Michael Myers, asking why we cheer for the monster instead of the survivor. The result is a track that’s darkly fun, sharp, and impossible to stop replaying. “I hope this song and music video can help people get into the Halloween spirit and finally feel the true fear of the possible Final Girl,” Giselle shares. “It gives a new perspective, and I hope they enjoy the ride while finding empathy for her.” To celebrate the release, Giselle is bringing “FINAL GIRL” to life on stage at her Halloween show at Whisky a Go Go on October 24 , a night guaranteed to mix chills, thrills, and pure pop spectacle. With “FINAL GIRL,” Giselle proves pop can be just as fearless as it is fun, turning fear into fire and solidifying herself as one of LA’s most exciting rising artists. "Final Girl" flips the usual horror narrative. What first inspired you to write from the survivor's perspective instead of the killer's? Yes, it does!! So, my fiancé actually requested that I write a song from that perspective! He said to me, "It would be so cool if you wrote a song from the final girl's point of view… the fear, the panic, and maybe even have the ending be intense!" I said, "I can do that!" And that's how "Final Girl" came to be!  The track is fun, but it also asks a real question. Why do we cheer for the villains? What do you hope fans take away from that reflection? Thank you! I often ask myself that same question, especially when it comes to horror. Not that there's anything wrong with it! It's fiction… I love Michael Myers and Ghostface (to name just two; the list could go on). But I do ask, "Why isn't the general consensus on the Final Girl or Final character(s) a positive one? Why do people tend to be upset when the villain doesn't win?" Most of the time, viewers feel happiness for the final character, but it's also accompanied by a little bit of sadness that the villain didn't succeed. Why is that? With this song and music video, I wanted people to ask themselves that same question. I wanted them to root for me and to feel intense feelings that we might not always feel for the survivor, since we don't usually get their internal monologue while they're running away from the killer!  You've performed at legendary LA venues like The Hotel Café and Whisky a Go Go. How does "Final Girl" feel different to bring to the stage? It will be a lot of fun to bring this to the stage! I'm really looking forward to it, as it will be incredibly theatrical!  As a multi-instrumentalist and songwriter, what was your process in shaping the sound of this track to match its cinematic theme? In my mind, I always heard this as a pop synth 80s-style track. When I wrote the song, the music video was flashing in my mind too! I knew it all had to feel very 80s camp slasher!  Your Halloween show at Whisky a Go Go is coming up. What can fans expect from the performance, and how will you bring the energy of the Final Girl to life? Yes! I'm so excited for it!!! October 24th at Whisky a Go Go is going to be a phenomenal night! It will be pure Halloween fun! Fans can expect to feel teleported to a different world that night AND get some surprises! Final Girl will be performed for the FIRST time at this show! So I don't want to spoil it… You have to be there!

Nashville is no stranger to artists chasing their solo spotlight, but  Steve Mac McCullough’s debut single “Left Hand Lane” feels like something different. The track is a witty yet heartfelt country anthem that takes a familiar frustration and spins it into something universally relatable. The inspiration came straight from McCullough’s real life. While driving between his two Orthopedic and Prosthetic offices in Texas, he noticed how often people clogged the left-hand lane. That observation evolved into more than just road rage; it became a metaphor and a powerful message. “I feel like ‘Left Hand Lane’ is a public service message, as well as a song,” McCullough explains. That blend of humor and truth is what makes this debut a hit. Written with Billboard-charting songwriter Mallary Hope and producer Wade Wenrick, “Left Hand Lane” is crafted with the kind of polish that makes it radio-ready from the start. Wenrick’s production keeps the sound slick and modern, balancing a classic country twang with a mainstream edge that will stick with both diehard fans of the genre and casual listeners. What stands out most is McCullough’s delivery. His voice carries warmth and wit, but it is grounded in authenticity. He sings like someone who has lived the story, which makes sense because he has. Instead of leaning on tired country clichés, he finds fresh ground in something as simple as a highway rule. That originality sets him apart in a crowded field of newcomers. “Left Hand Lane” is more than just a clever debut; it is a mission statement. It shows that McCullough is not afraid to inject humor, honesty, and a little everyday grit into his music. If this is the road he is starting on, fans should buckle up because Steve Mac McCullough is just getting started.

AloneKitty’s Sad Not Sad , out later this month, is the sound of someone forcing themselves forward. The Toronto project began in upheaval—job gone, relationship over, stability erased—and quickly became a lifeline. These songs don’t romanticize collapse. They document it plainly, with guitars pushed to their breaking point. The first single, “Stay The Same,” makes that intent clear. Its serrated guitar layers shift between tension and release, vocals blurred just enough to fuse emotion with noise. The track resists transformation in name but captures the friction of change in sound—abrasive, melodic, and unflinching. Though originally a solo outlet, AloneKitty now operates as a trio with Stefan on drums and Mike on bass. The band recorded the album live at Toronto’s Canterbury Music Company on a vintage 1976 NEVE console, cutting twelve songs in two days with minimal takes. That approach resists the algorithmic polish dominating indie production, trading quantized perfection for instinct and bleed. The sessions were produced by Josh Korody (Beliefs), mixed by Luke Schindler (Alexisonfire, Broken Social Scene), and mastered by Slowdive’s Simon Scott. That lineup adds weight to the record’s shoegaze DNA, even as AloneKitty’s writing veers toward the urgency of punk and post-hardcore. Schindler describes the songs as “something I’d have in my rotation,” while Scott calls them repeat listens—praise that resonates coming from an architect of the genre. Sad Not Sad  isn’t an album about escape. It confronts instability directly, using volume and repetition as a form of endurance. For AloneKitty, the act of moving forward is the point—and the sound of survival is louder than ever. Pre-order the album on Bandcamp