With Latin-inspired rhythms, effortless musicianship and genuine warmth, Mick Eddy delivers a single that reminds us why simplicity often makes the strongest impression.

Mick Eddy's latest single, "Hey Julia," doesn't try to reinvent the love song or overwhelm listeners with grand declarations. It captures one of life's simplest and most relatable moments - that exhilarating feeling of meeting someone who instantly commands your attention.

It's a feeling many artists have written about before, yet Eddy approaches it with a confidence that allows the song to feel both familiar and entirely his own.

Built around breezy Latin inspired rhythms and an inviting acoustic foundation, "Hey Julia" immediately creates a vibe that is warm, relaxed and effortlessly engaging. With the opening guitar lines, there is a sense of movement that recalls lazy summer evenings, spontaneous conversations and the excitement that comes with new possibilities.

The production is one of the song's greatest strengths. The addition of live trumpet, performed by Charlie Watson, proves to be an inspired choice. Far more than a decorative flourish, it becomes an essential voice within the song and adds personality, warmth and just the right amount of playful confidence.

Vocally, Eddy delivers the lyrics with an easy sincerity that suits the song's message. He leans into the excitement and nervous anticipation of early attraction. And "Hey Julia" celebrates the smaller romantic moments, the exchanged glances, hopeful conversations and quiet optimism that often means the most.

While modern in its production, "Hey Julia" carries echoes of classic songwriting traditions where melody, groove and storytelling take precedence over fleeting trends. You can hear influences from Latin jazz, singer songwriter pop and soulful acoustic music, yet none of them overshadow Eddy's own voice.

As the latest preview of his upcoming debut album, Strange Weather, "Hey Julia" also expands the emotional landscape established by earlier singles "Come Over" and "About You."

Taken together, they suggest an album that is not confined to emotional perspective but reflects instead the many different seasons of human experience.

About Mick Eddy

Mick Eddy is a Boston based singer songwriter, producer and multi-instrumentalist whose music blends thoughtful songwriting with atmospheric production and groove driven arrangements. Raised across the Czech Republic, Malaysia, the United Arab Emirates, Thailand, the Netherlands, and the United States, his global upbringing has shaped a distinctive musical perspective that draws from a wide range of influences.

After studying Electrical Engineering and later attending Berklee College of Music, Eddy committed himself fully to creating original music, writing and producing the majority of his work himself.

His forthcoming debut album, Strange Weather, showcases an artist equally at home crafting intimate ballads, reflective indie pop and rhythmically rich, emotionally resonant songs like "Hey Julia."

There's a particular clarity that comes from someone who spends their days thinking about risk for a living and their nights writing songs about hope. That's where Winchester 7 & The Runners come in on No Worse For Wear - an album that wrestles with AI, algorithms and the anxieties of a hyper-connected age. And yet, they keep landing on optimism.

It's a perspective shaped by an unlikely origin story: a chance encounter with an amplified ukulele in a Hawaiian coffee shop, and a day job in cybersecurity that's given the songwriter a front row seat to both the promise and the peril of technology.

This dual vantage point - equal parts believer and realist - runs through everything from the band's distortion laced tenor ukulele sound to the Continuum Relay, an AI-powered archive built to let fans interact with the music in new ways.

Ahead of the new record's release, we sat down with the mind behind Winchester 7 & The Runners to talk about writing through uncertain times and why a healthy dose of optimism matters.

Your music often explores technology, AI, algorithms and the modern music industry, yet your songs consistently arrive at a place of optimism. Why was it important for No Worse For Wear to be a hopeful record? 

I think that those themes are so very much a part of our everyday experience that it makes sense for them to have found their way into the songs though it wasn’t anything that I consciously set out to do. I read a lot of news and, with technology, the headlines are often either overwhelmingly negative or seem to impossibly exaggerate its benefits.  The truth of the matter is usually more complex and somewhere in the middle.  It’s just to live with it all and not go nutty, a healthy dose of optimism goes a long way!  And why not?  In the end, we’re all just people trying our best to get by in some difficult times amidst a bit of a technological revolution.  There’s not much to hang onto, so I hang onto hope, family, and connection.  I think that maybe comes through in my writing.   

The electric tenor ukulele has become something of a defining sound. What first drew you to the instrument, and how has it changed the way you write songs compared to your earlier years playing bass in rock bands?

I was having breakfast in Captain Cook, Hawai’i enjoying a lovely cup of coffee when a guy turned up with a ukulele, plugged it into an amplifier, and played a Beatles song.  I had no idea that was even a thing.  I’d always thought that the ukulele was relegated to those small soprano ones and for the purpose of traditional Hawaiian songs and You Are My Sunshine.  I’d even heard a sunrise group playing that tune on their little ukuleles enroute to breakfast and remember remarking to my wife that that’s exactly what put me off of the instrument.  But, when I saw that guy playing a song that I loved, I remember, it struck me immediately – if you can amplify it, you can distort it!  

After I returned home, I tried a few different variations and settled on my tenor.  It kind of unlocked something for me.  When I’d previously written on bass, I was always leaving room for whatever the guitarist felt like playing as I desperately tried to explain the sound I had in my head.  I sort of burned out on it.  But, once I had a ukulele in hand and knew it could be used for more than I’d once understood, there seemed to suddenly exist possibility…and a healthy amount of distortion.

How has your perspective from working in cybersecurity influenced your songwriting, and do you think your understanding of technology has made you more optimistic, or more cautious, about where creativity is headed? 

Let me start with the technology answer as it’s a bit more straightforward.  Technology is what directly enabled me to realize what I’d always had in mind, but lacked the resources to otherwise create.  It’s because of technology that I can multi-track record, shoot and edit video, and release it all to streaming platforms without benefit of a label, fancy equipment, or production teams.  Not that I’d turn any of that down, of course, it’s just possible now to create something compelling without them.  That’s pretty fantastic stuff.

As for the influence of cybersecurity, I’d say that it gives me a cautiously optimistic view, more than anything.  Technology is as good as the people using it and there have always been those with bad intent.  But, there also exists those of us looking to innovate and contribute something positive.  

For example, depending on what you read, something like AI will either prove the death of humanity or the catalyst for the brightest of futures.  Reality is likely less dramatic.  The thing is that risk always exists.  It just does so alongside the good.  Real risks are almost always of human design independent of any technology.  So, artists can use it as a tool to create while leveraging their artistic sensibilities or put their heads in the sand and hope it goes away.  It won’t.

You've built Winchester 7 & The Runners into more than just a band, incorporating music videos, podcasts as well as livestream songwriting. Do you see the project as a traditional band, a storytelling universe, or something entirely new?

That’s a great question.  To me, it’s most definitely a band as it all begins with the music.  That’s the baseline.  But, you’re right.  Across time, the idea has evolved to widen in approach while consciously keeping it all interconnected.  

I think that there may be a good example in the Continuum Relay that I created.  I wanted there to be another way for people to interact beyond simply pressing play.  So, I created an AI agent, but programmed it to be aware of its place in the universe as well as of our archive.  It can tell you what the lyrics, beats per minute, mood, or credits for a given song are, for example.  It just does it in a way that seems to fit with everything else too. 

You've just released No Worse For Wear. What's next for Winchester 7 & The Runners, and are there any new musical, creative or technological directions you're excited to explore?

Well, we’re working on more video content and promotion to support the release.  We’re also writing new material and discussing what more could be done to enhance the Relay.  Beyond that, I’m thinking a podcast on Bigfoot could be fun.

Listen to No Worse for Wear here:

Spoken word artist, author, and mental health advocate Mikey Tableman, has launched his first EP, “My Manic Maze,” an ambitious multimedia project out today, Friday, July 10th through EQUATOR. 

A blended spoken word EP, cinematic visual experience, and live performance series, My Manic Maze transforms Tableman’s personal experiences working as a leader in nightlife and festivals with addiction, trauma, burnout, and recovery into an immersive journey designed to spark conversation and encourage vulnerability through musical poetry, storytelling, and art that turns his personal struggles into thoughtfully woven, collective understanding. 

“My Manic Maze is a deeply personal undertaking I’m sharing. It’s a storytelling project that explores the complexity of the mind. The highs and lows, the spirals, the questions, the growth. It’s not about diagnosing or labeling. It’s about making people feel seen inside their own internal chaos. The initiative blends poetry, narrative, and visual elements to create something immersive and reflective.” – Mikey Tableman 

In early June, Tableman premiered the EP’s first release, "The Tea," during “The Alchemy,” a live event showcase Los Angeles, produced by Tableman’s wellness- creative platform A Mind's Pursuit 501c3, in association with Critical Breakdown and The Juice Joint. Serving as his creative stories introduction, the track explores the often invisible realities of social anxiety, overthinking, and the exhausting pressure to appear okay while struggling internally. Layered with the darker parts of his psyche juxtaposed through cinematic production and spoken word storytelling, the piece sets the emotional tone for the larger journey audiences will experience throughout My Manic Maze. 

The second single, "Down The Rabbit Hole" released June 26th, continuing the downward spiral into his mind, while the third release “Santiago” arrives simultaneously, supported by a highly cinematic music video. These follow-up releases explore the journey of healing, self-forgiveness, and learning to make peace with the parts of ourselves we once tried to escape. Through vulnerable storytelling and emotionally driven spoken word, the track embraces the reality that healing is not linear, but a daily choice to keep moving forward, accept the struggle, and finally choose yourself. 

Alongside the music releases, Tableman will also launch, “My Manic Maze,” the book. A  biographical, poetry laden journey surrounding his identity, relationships, emotional wellness, daily purpose, and modern masculinity. The book will be available in print and audio through online retailers on July 28th. 

Rather than existing solely as an album or a book, Tableman invites audiences to experience My Manic Maze through multiple forms of expression. By combining spoken word, memoir-style storytelling, with music, poetry, film, and visual art, the project explores the complexity of mental health through radical honesty and emotional transparency. As awareness surrounding mental health continues to grow, Tableman’s story has arrived as a reminder that vulnerability can be a catalyst for connection, healing, and hope. 

Ken Lovern's latest single from Blind Boone the Musical shines a light on an overlooked chapter of American history.

Some songs entertain. Others educate. The very best manage to do both without ever feeling weighed down by their subject matter.

"Quindaro," the second single from Ken Lovern's Blind Boone the Musical transforms a little-known piece of American history into a moving and deeply human musical experience.

Following the theatrical energy of debut single "Boone Plays It Back," this latest release shifts the spotlight away from John William "Blind" Boone himself and towards the woman whose courage made his life possible. It is a subtle but significant change in perspective, revealing that Blind Boone the Musical is as interested in the people who shaped Boone's world as it is in the celebrated pianist himself.

The song takes its name from Quindaro, Kansas, a free state settlement founded in 1856 by members of the Wyandot Nation and abolitionist settlers. During the years leading up to and throughout the Civil War, Quindaro became an important destination for freedom seekers escaping slavery in neighboring Missouri. Lovern places listeners inside that dangerous journey, telling the story through the eyes of Rachel, Boone's mother, as she travels with a group of enslaved people searching for freedom.

What unfolds is less a history lesson than a deeply personal story of sacrifice.

When Rachel suffers a serious ankle injury, she can no longer continue the journey north. Forced to remain behind, she eventually gives birth to the boy who would grow up to become one of America's most remarkable concert pianists. It's a poignant reminder that history often turns on moments that seem heartbreakingly small at the time.

Musically, "Quindaro" demonstrates just how expansive Lovern's vision for Blind Boone the Musical truly is. Jazz remains at the heart of the arrangement, but it shares this with gospel influences and an unexpected yet entirely natural hip hop edge. Rather than feeling like genres in competition, each musical voice strengthens the storytelling, creating a score that feels rooted in history while speaking directly to a modern audience.

A standout contribution comes from Kadesh Flow, whose rap performance injects the song with contemporary relevance. He draws a clear line between the struggles of the past and the conversations that continue about freedom, identity and belonging. It is an inspired creative decision that does broaden the musical scope of the piece.

As composer, lyricist and creator, Ken Lovern continues to show remarkable confidence in allowing the story to lead the music. The theatrical instinct makes "Quindaro" feel more like an essential chapter in a much larger work. The Underground Railroad, the fight for freedom, and the founding of Quindaro are not presented as distant events preserved in textbooks but they become personal experiences that show how ordinary people made extraordinary choices.

With two singles now released, Blind Boone the Musical is proving to be far more than a tribute to an overlooked musical pioneer. It is emerging as a thoughtful exploration of the people, places and moments that shaped his life.

Ontario artist Justin Maki unveils his sophomore album Technicolor Dreams alongside its lead focus track “Hey,” arriving together as the culmination of one of the most ambitious creative processes of his career. Adventurous, bold, and deeply rewarding, the album finds Justin pushing himself further than ever before, writing and co-writing 100 songs before selecting only the strongest material to make the final cut.

Inspired by a podcast interview with Andy Grammer, who famously writes hundreds of songs before beginning an album, Justin adopted the same philosophy. What followed was an 18-month creative marathon that challenged him to trust both quantity and quality in equal measure.

Recorded alongside acclaimed production duo VAŪLTS (David Mohacsi and Maïa Davies), the album became an exercise in embracing change and letting go of pre-conceived ideas. After living with rough demos for nearly a year, Justin found himself challenged to rethink arrangements, rewrite sections, and allow the songs to evolve beyond their original forms.

While Technicolor Dreams doesn't follow a singular narrative thread, its collection of songs reflects a period of artistic growth and creative confidence. Rather than building around a central concept, Justin selected tracks based purely on their quality, resulting in an album that explores a wide range of experiences, emotions, and perspectives while remaining united by strong songwriting and adventurous musicianship.

Leading the project is “Hey,” a fun, hopeful, and irresistibly catchy pop single that perfectly captures the album’s spirit of possibility. Built around an infectious groove, bright synth textures, and a memorable singalong chorus, the song follows a protagonist dreaming of escape from routine and imagining a more fulfilling life beyond the daily grind.

“I think I was speaking to my past life,” Justin reflects. “Clocking in and clocking out and wishing I had more freedom and a beautiful life partner to share it with.”

The track’s playful energy is balanced by thoughtful production choices. Sidechain compression gives the synths a breathing, pulsing quality, while the unexpected inclusion of a banjitar introduces an unconventional texture that helps the song stand apart from traditional synth-pop fare.

Created and developed in Montreal’s DIY scene, Empty Melon (the solo project of Ada Lea bassist/producer Summer Kodama) follows up on her debut single, “Hoping to Find,” with “Don’t Look Away,” an atmospheric, dark, and emotionally charged song that transforms late-night spiralling into something strangely beautiful. Blending experimental electronics, art pop textures, and cinematic sound design, the track embraces discomfort rather than avoiding it, finding clarity through directness, vulnerability, and self-confrontation.

“Don’t Look Away” first emerged during a solitary drive in the early hours of the morning. “It started with spiralling while driving alone at 2am and improvising on the bass guitar,” Summer explains. What began as a fleeting emotional moment gradually evolved into a meditation on honesty, both with others and with oneself.

That commitment to honesty ultimately became the emotional core of the song. While the title may initially sound confrontational, for Summer it represents something much more personal.

“I think there’s a catharsis to expressing yourself and your needs with plain, direct language,” she says. “It allows you to facilitate an alignment with your most authentic self. Honesty is the most important component of self-expression.”

That sense of emotional directness is reflected throughout the production. Where “Hoping to Find” drifted through the hazy space between sleep and wakefulness, “Don’t Look Away” occupies a darker emotional landscape. Summer describes the two songs as “polar siblings,” with one basking in sunlight while the other emerges under the cover of night.

Written during the same month in May 2024, the tracks reveal two contrasting sides of the same creative period. If “Hoping to Find” explored rediscovery and openness, “Don’t Look Away” leans into uncertainty, introspection, and the courage required to face difficult truths head-on.

Toronto-based artist pssyclwz returns with “howl” (feat. Amelia Antoinette), an ethereal, haunting new single that explores the difficult choice of saving yourself when waiting for a hero no longer works. Blending indie pop and folk influences with organic instrumentation and a layered vocal arrangement reminiscent of Fleet Foxes, the track transforms unresolved fear and yearning into a powerful meditation on healing.

At its core, “howl” is about recognizing the situations we can become entangled in when we remain unhealed and choosing to pull ourselves out of them. What begins as a song inspired by a strange late night encounter gradually unfolds into something much more personal.

“I thought I saw the shadow of a coyote outside my door,” pssyclwz explains. “As the song evolved, the wolf came to represent the situations an unhealed person can attract, and ultimately became a song about choosing self-rescue despite the very human desire to be saved.”

That symbolism runs throughout the song. While the title may initially evoke something aggressive or threatening, pssyclwz views it differently. “A howl may sound aggressive,” she says, “but at its core it can also be a call for love.” That duality sits at the heart of the track, balancing fear and longing, vulnerability and resilience.

“howl” also marks an important creative turning point. After a string of hyperpop releases, pssyclwz deliberately leaned into organic instrumentation and acoustic textures. While electronic music remains part of her artistic foundation, the song reflects a growing desire to embrace something more immediate and human.

“I've always composed acoustically,” she explains. “With the rise of AI, there's a growing pull toward something more raw and human.”

A key part of bringing that vision to life was the collaborative team behind the track. Producer Gab Lavoie helped guide pssyclwz into new sonic territory beyond the synth-based material they had previously created together, while mixing engineer Simon Austin contributed additional guitar work that became integral to the song's final sound.

Québec-based singer-songwriter Sébastien De Francesco shares “Fleury Street,” a nostalgic and deeply moving folk-rock single that transforms a final goodbye into a celebration of friendship, gratitude, and the lasting impact we leave on one another. Rooted in a real afternoon spent with a close friend nearing the end of his life, the song embraces mortality not through sadness alone, but through warmth, humour, and the enduring power of human connection.

The song was inspired by one of the last afternoons Sébastien spent with a close friend who was dying of cancer. Unable to walk and navigating Montreal’s Fleury Street on a mobility scooter, his friend spent the day sharing stories, jokes, and hard-earned wisdom. The experience carried an even deeper significance for Sébastien, who had first admired him years earlier as one of his musical heroes.

“He was an incredible singer. I used to go see him perform with his band and looked up to him tremendously,” Sébastien explains. “He taught me life lessons that have stayed with me long after he was gone. This song became my way of preserving that moment.”

While many songs about loss are written from the perspective of those left behind, “Fleury Street” takes a different approach. Written from the view of the person preparing to leave, the song focuses on what can still be given even when time is running short. Rather than dwelling on absence, it celebrates presence and the ability to leave one final spark behind for the people who matter most.

“‘Fleury Street’ is a reminder that life isn’t measured by how much time we have, but by what we choose to do with that time,” Sébastien says. “My friend taught me that even at the end of the road, there's still time to make people laugh, love, and feel seen.”

Working alongside producer and multi-instrumentalist Lauren Bélec, Sébastien sought to create a timeless sound that would allow the story to remain front and centre. Inspired by classic songwriting traditions and the emotional string arrangements found on The Beatles recordings such as “Eleanor Rigby,” the pair incorporated sweeping Abbey Road string samples, organic instrumentation, and cinematic textures throughout the arrangement.

Composer, jazz organist, and playwright Ken Lovern today premieres "Quindaro," the second single from his forthcoming theatrical production, Blind Boone the Musical. Available now on all major streaming platforms, the song continues the story of Missouri pianist and composer John William "Blind" Boone, one of America's most accomplished yet often overlooked musical pioneers.

Following the release of the first single, "Boone Plays It Back," which introduced Boone's extraordinary ability to hear a piece of music once and immediately perform it from memory, "Quindaro" turns to an earlier chapter in the story. The song follows Boone's mother, Rachel, as she seeks freedom during the Civil War, tracing the events that ultimately lead to Boone's birth.

Named after the historic free-state town of Quindaro, Kansas, the song draws inspiration from one of the most important communities connected to the Underground Railroad. Established in 1856 by members of the Wyandot Nation and free-state settlers, Quindaro became a refuge for people escaping slavery from neighboring Missouri and played a significant role in the fight for freedom.

In Blind Boone the Musical, Rachel joins a group of enslaved people attempting the dangerous journey to Quindaro. After suffering a severe ankle injury, she is unable to continue and remains in central Missouri, where she gives birth to John William "Blind" Boone. The song explores the sacrifices, setbacks, and unexpected turns that shaped both Boone's life and American history.

Musically, "Quindaro" continues the production's blend of jazz, gospel, hip hop, and theatrical storytelling. The recording features Kansas City rapper and trombonist Kadesh Flow alongside lead vocalist Madisen Ward and internationally acclaimed soprano Alyson Cambridge, creating a layered performance that reflects the emotional weight of the story.

Lovern has spent decades as a prominent figure in the Kansas City jazz community and is best known as the leader of Organ Jazz Trio (OJT), whose thirteen-year residency at the Green Lady Lounge established the group as a staple of the city's live music scene. As composer, lyricist, and book writer of Blind Boone the Musical, Lovern brings together history, original music, and theatrical performance to introduce Boone's legacy to contemporary audiences.

Blind Boone the Musical will be released in its entirety on September 2, 2026. The project will also be available on vinyl and CD and accompanied by a graphic novel that expands the story beyond the stage.

With the release of her debut single, "Again," Christian singer songwriter Grace Frances is introducing listeners to a deeply personal style of songwriting rooted in faith, honesty and hope.

With timeless melodies and transparent lyrics, Grace explores the everyday struggles of the Christian walk while pointing listeners towards God's grace and redemption.

Inspired by artists who value authenticity and enduring messages, she is committed to creating music that encourages, uplifts and reflects her biblical convictions. We caught up with Grace for an exclusive interview to talk about her debut release, the women who have inspired her journey and the vision behind the music.

What Have You Been Working To Promote Lately?

I am incredibly excited to be promoting my debut single, "Again." This song was born out of a deeply personal season of frustration, where I found myself caught in a constant cycle of old, bad habits. Despite trying so hard to grow, I kept ending up right back where I started. One day, completely fed up with my own stagnation, the melody and lyrics for the chorus just popped into my head: “I’m sick of my own ways. I’m here again, in the same place.” I immediately ran to the piano, and the song poured out of me in less than an hour.

Driven by a simple, elegant piano arrangement, "Again" captures that raw moment of self-reflection and surrender. For me as a Christian, it represents the exact moment we realize we cannot fix ourselves on our own strength. It is an honest invitation to anyone else who feels stuck in their journey.

Listen to "Again" here: 

Please tell us about your favorite song written, recorded or produced by another woman and why it’s meaningful to you.

One song that completely captivates me is "Come Jesus Come" recorded by CeCe Winans. To me, CeCe represents the absolute pinnacle of grace, poise, and devout artistry. What makes this song so deeply meaningful to me is that it isn’t just a beautiful piece of music - it is a raw, heartfelt prayer. It speaks directly to that universal ache we have for healing, restoration, and the return of Christ to right every wrong.

As a songwriter who values traditional, faith-centered messages, I am deeply inspired by how she lets her incredible vocal gift serve the message rather than the other way around.

The simplicity and reverence of the track remind me of why I started making music in the first place: to point people toward hope and a peace that this world simply cannot give. It's a beautiful reminder of the power a woman has when she carries a message of true spiritual depth and talent from God used for His Kingdom. 

What does it mean to you to be a woman making music/in the music business today and do you feel a responsibility to other women to create messages and themes in your music?

Being a woman in the music community today means having the unique privilege to offer a perspective of grace, warmth, and enduring truth. I believe God designed men and women with distinct, complementary strengths, and as a woman, I get to bring a nurturing spirit and a deep love for tradition into my art.

I do feel a profound sense of responsibility to other women and young girls. My desire is to be a godly role model, using my platform to lean into God's will and design for womanhood. I want to create music that women can truly resonate and relate with on a daily basis, but also music that they genuinely love to listen to and enjoy. In a culture that often pushes women toward a very loud, fast-paced independence, I want my music to offer a beautiful alternative—celebrating the peace, dignity, and joy that comes from walking faithfully in who we were created to be.

Who was the first female artist that made you want to create music / be in the business?

The first female artist who truly inspired me to step into music was Taylor Swift. As a young girl, I was completely captivated by her melodies and her deeply personal, yet somehow universally relatable lyricism. I loved how she connected with her fans, making you feel like a close personal friend even if you had never met her. Her music inspired me to begin songwriting and challenged me to be more open than comfortable with sharing my personal flaws and struggles.

However, I wanted to take that style of raw vulnerability and bring it through a Christian, godly lens. My goal is to share the real, unvarnished experiences that are a part of the daily walk with Christ—to talk about the things Christians don’t normally talk about in songs. I want Christian women and girls to listen to my music, relate to those hidden struggles, and understand that they are not alone and that there is nothing wrong with them. Taylor showed me how to connect through honesty, and I want to use that same honesty to point people toward the comfort and grace found in faith.

Who's Your Favorite Female Icon (dead or alive) and why?

My favorite female icon is Jacqueline Kennedy. I have always deeply admired her intellect, elegance, poise, and classic, timeless beauty and style. To me, she represents the gold standard of what it means to carry oneself with dignity, regardless of the platform or the pressure. Her distinct sense of style and refined aesthetic never felt temporary or trend-driven; it was classic and enduring.

As an artist who values tradition and femininity, I look to her as an inspiration for how to present myself and my art to the world with grace, composure, and a timeless sophistication that never goes out of style.

Do you consider yourself a feminist? If so, why or why not?

No, I do not consider myself a feminist. While I have deep respect and love for women, I don't feel that modern feminism aligns with biblical principles or biblical womanhood and design. My worldview is guided entirely by my Christian faith, and I believe God created men and women with beautiful, distinct, and complementary roles. Instead of looking at womanhood through a lens of social or political competition, I find true fulfillment, peace, and purpose in embracing the design laid out in Scripture. For me, that means valuing gentleness, a nurturing heart, and honoring the traditional structure of family and community. My music and my brand are a celebration of that biblical harmony.

If you could collaborate with any other female artists, who would you choose?

If I could collaborate with any female artist, I would choose Anne Wilson. I absolutely love country music and grew up listening to it, so her sound naturally speaks to my roots. She has beautifully carved out a space in the industry by blending a traditional, country-folk sound with a bold, unapologetic message of faith. Her music proves that you can stay true to acoustic storytelling and biblical values while still creating songs that resonate deeply with a modern audience.

Collaborating with her would be an incredible opportunity to combine our voices to create something timeless, encouraging, and deeply rooted in our shared love for country music and God.

Follow Grace Frances: 

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Website

All Night Boogie Band’s third full-length album, Shut Your Eyes and See, is out today, July 3, 2026. The release runs 36 minutes and 33 seconds and captures the Vermont and New York City-based group at their most fully realized—leaning into a raw blend of rock & roll, blues, soul, and roots rock.

Formed in 2021 in the Green Mountains of Vermont, All Night Boogie Band have built their reputation through relentless live performance, developing a sound shaped by hundreds of shows across the East Coast. Their music draws from classic influences including The Rolling Stones, Allman Brothers Band, Tedeschi Trucks Band, and Lake Street Dive, while staying grounded in their own evolving identity as a modern roots-rock outfit.

The band’s new album reflects that trajectory. Shut Your Eyes and See was recorded at VT Music Lab in Essex, Vermont, co-produced by Ezra Oklan (Norah Jones, Nicole Atkins, Wu-Tang Clan) and mastered by Lane Gibson (Grace Potter, Trey Anastasio, Twiddle). The result is a tight, emotionally charged collection that emphasizes performance, feel, and live energy translated into studio form.

The tracklist includes “Keep on Rolling,” “Always on My Mind,” “I Think They Called It Peace,” “If You’re Blue and Lonesome,” “Stuck In the City (You’re Not Alone),” and “Spirits High (feat. Ali McGuirk),” along with a live recording of “Shake Your Hips,” captured at Nectar’s in Burlington on May 22, 2025.

Across the album, the band continues to expand a catalog rooted in blues tradition and modern American rock storytelling. Known for their dynamic live shows and steady touring schedule, All Night Boogie Band have shared stages with artists including Gary Clark Jr., Grace Potter, Eddie 9V, Jackie Venson, Dwight + Nicole, and Blues Hall of Famer Lurrie Bell.

Their rising profile has also been recognized regionally, earning a 2025 New England Music Award nomination for Best Blues Act, winning the 2025 Seven Daysies for Best Blues Group, reaching the Semi-Finals of the International Blues Challenge in 2023, and being named a Rising Star at the 2023 New England Music Awards.

With Shut Your Eyes and See, All Night Boogie Band continue to sharpen a sound built on live energy, musical chemistry, and a deep respect for the roots of American music—delivered with urgency and conviction.

Following a breakout year that saw her earn Spotify Editorial support and recognition as a rising voice in indie pop, Montreal singer-songwriter Libby Ember returns with “Gravity,” an energetic yet emotionally reflective single that transforms heartbreak into quiet acceptance. Blending melancholic lyricism with upbeat indie pop production, the track explores the strange realization that sadness itself can feel deeply natural; something inevitable, human, and survivable.

Written during a breakup while travelling through Norway, “Gravity” emerged from a moment where emotional and physical exhaustion began to blur together. Hiking mountains day after day while processing the end of a relationship, Libby reflected on the heaviness she was carrying and how impossible it felt to escape.

That experience ultimately inspired the song’s defining lyric: “Going down is just gravity.” What began as a passing thought quickly became the emotional centre of the track. “When you feel down, it’s only natural, the same way that the Earth’s gravitational pull is,” Libby explains. “It’s something that we can live with as long as we accept it and keep moving on.”

Rather than leaning fully into softness or restraint, “Gravity” takes a more immediate and energetic sonic direction than some of Libby’s earlier work. Built around more active drums, brighter instrumentation, and a stronger rhythmic pulse, the production reflects the song’s emotional duality: sadness that still pushes forward.

“For this song, we took a more pop-like direction,” Libby says. “The song felt like it needed a stronger beat to it more than any of my other songs so far.”

Calgary, AB art duo HAIR CONTROL (Ryan Bourne & Rebecca Reid) share “TV in the Afterlife,” an anthemic synth-pop workout jam that transcends both the celebratory and the existential. Ebullient art pop with dream-drenched ‘80s-inspired textures, the track transforms apocalypse anxiety and digital-era disconnection into a strangely uplifting, physically charged release.

Originally written by Ryan as a three-chord guitar sketch with a post-punk edge, the song first appeared in earlier form on his Plant City record. Revisited through HAIR CONTROL’s lens, it evolved into an ‘80s-leaning synth pop piece with Rebecca stepping in on lead vocals, reshaping it into what the duo affectionately dubs their “existential workout jams.”

Lyrically, “TV in the Afterlife” muses on waning attention spans, engineered isolation, apocalypse anxiety, the threat of technofascism, and the consolation, as well as the existential horror, of “never being alone”. Rather than settling into dystopia, the track pushes through it, arriving at a defiant celebration of human connection - a kind of sexy, spiritual illumination realizing itself in spite of the trouble we’re in.

Production leans fully into HAIR CONTROL’s signature aesthetic: immersive, psychedelic, and dance-forward, where lo-fi instincts meet expansive electronic design. The result is both playful and profound, balancing satire with sincerity in equal measure.

Award-winning singer-songwriter, guitarist, and producer Kate Schutt shares “Sippin’ On Sunshine,” a warm and radiant new single that transforms emotional connection into pure sensory bliss. Blending adult contemporary songwriting with breezy pop melodies and subtle vocal jazz textures, the track captures the feeling of being so fully lit up by another person that language itself struggles to keep pace.

Written while immersed in the creation of an entirely different project centered on the Arctic, “Sippin’ On Sunshine” arrived unexpectedly. “This was one of those gifts from the muse that we songwriters sometimes get,” Kate explains. At the time, she was deep into research and songwriting inspired by her trips to the Arctic and the history of Polar exploration, surrounded creatively by “ice and snow and flinty skies.” In contrast, one phrase suddenly surfaced: “Sippin’ On Sunshine.”

“I suppose I was craving some warmth,” Kate says. “The whole song revolves around this one simile. The experience of being so madly, joyfully in love that language is left reaching for comparisons, ‘Your kiss… it’s like Sippin’ On Sunshine.’”

The result is a track that feels buoyant and deeply sincere, balancing lightness with emotional intimacy. Built around glowing melodies and Kate’s unmistakably clear vocal delivery, “Sippin’ On Sunshine” leans into warmth without losing its sophistication. There’s an effortless quality to the songwriting, but beneath it sits a careful attention to detail and craft.

That sense of intention extends to the production. Rather than waiting to record the track later, for a different project, Kate chose to capture it during sessions for her forthcoming Arctic-inspired album, taking advantage of a room filled with world-class musicians. “I had some of the greatest musicians on the planet in the room,” she explains. “There was no way I was going to miss the opportunity to have my heroes play on this song.”

One of the song’s defining moments came later during mixing, when producer Jay Newland suggested they call guitarist Sherrod Barnes, whose credits include Whitney Houston, Roberta Flack, and Beyoncé. “We kept feeling like there was one more thing the track needed,” Kate recalls. “It wanted that bubbling R&B guitar sound.” Barnes delivered exactly that. “He came in and, in one take, added just the thing.” 

In an era where pop music often leans on bigger drops, louder production and instant gratification, Zoey Madison takes the opposite approach. Her latest single, "love like you", proves that sometimes the most captivating moments come from a voice that knows exactly when to whisper and when to soar.

Opening with nothing more than a solitary piano, the song immediately places Madison's vocals center stage. There's nowhere to hide behind production tricks, and she doesn't need them.

Produced and mixed by Matt Chiaravalle, who also co-wrote the track alongside Madison and Aimee Proal, "love like you" has remarkable precision.

Charlie Paxson's understated drumming provides a subtle pulse while acclaimed string players Dave Eggar and Ada Pasternak bring real warmth and elegance, transforming what begins as a confession into a wider screen emotional experience.

What separates Madison from many emerging pop artists is her knack for storytelling. Rather than chasing vocal theatrics simply because she possesses the range to do so, she chooses emotional nuance. Each harmony, every breath and every dynamic shift Zoey makes serves the song. It's a refreshing reminder that her technical brilliance is most effective when it is in service of the narrative.

Those familiar with Madison's background won't be surprised. Having studied at Berklee and trained with respected vocal coaches, she has developed an impressive four octave range.

But "love like you" succeeds because it recalls some of the great pop ballads, balancing contemporary production with a timeless melodic sensibility.

The production itself deserves equal praise. Recorded between Flux Studios and Mercy Sound in New York City's East Village and mastered by Joe Lambert, the song has an organic richness that avoids the sterile perfection often associated with modern pop. The strings swell naturally, the layered vocals remain transparent and the piano anchors the entire performance from beginning to end.

Madison cites influences ranging from Mariah Carey and Whitney Houston to Barbra Streisand and Judy Garland. She is an artist who has absorbed those influences and distilled them down into her own distinct sound. There are echoes here of classic vocal pop, touches of contemporary R&B and an appreciate for songwriting that gives it a unique stamp of identity.

At a time when many artists are trying to make the loudest statement possible, Zoey Madison has chosen to make one of the most sincere. "love like you" is a beautifully crafted reminder that vulnerability, when paired with exceptional songwriting and true artistry from a talented young singer, can still stop listeners in their tracks.

Keep up with everything Zoey Madison on her Website

Emerging Christian recording artist Grace Frances makes a striking first impression with the release of her debut single, “Again,” available today across all major streaming platforms.

Honest and deeply rooted in faith, the song offers the first glimpse of her forthcoming debut album, Clothed With Dignity, due for release in Fall 2026.

While much of today’s Christian music emphasizes triumph, “Again” begins in the middle of the struggle. Written during one of the most difficult seasons of Frances’s life, the song captures the exhaustion of repeating destructive cycles and the longing for lasting change.

“I wrote that song during a period where I felt trapped in destructive patterns,” Frances recalls. “I remember crying in my kitchen, exhausted from ending up in the same place over and over again.”

That moment gave birth to the song’s defining lyric: “I’m sick of my own ways, I’m here again in the same place.” Rather than offering easy answers, “Again” invites listeners into an unfiltered portrait of faith where surrender begins with honesty.

A Miami-based Christian recording artist and songwriter, Grace Frances approaches contemporary Christian music from a refreshingly countercultural perspective. Inspired by the biblical example of the Virtuous Woman in Proverbs 31, she writes songs that explore faith, love, struggle, healing, perseverance, and the everyday realities of walking with God.

Clothed With Dignity documents two transformations unfolding in parallel: Frances stepping fully into her Christian faith while simultaneously embracing her calling as a recording artist. Both journeys emerged naturally after years of spiritual searching and creative exploration.

Every song on Clothed With Dignity was written solely by Grace Frances before she collaborated with two-time Latin Grammy-nominated and Billboard-charting producer Eddy Beethoven. Recorded during an intense five-week creative sprint, the project blends piano-driven ballads, cinematic textures, subtle orchestral arrangements, and moody ambient layers, allowing her expressive vocals to remain at the center.

Raised in a nominally Catholic household, Frances spent years searching for spiritual fulfillment before embracing Christianity following a season of prayer and profound personal transformation.

“The true reality of walking with God is that sometimes life is beautiful and everything makes sense,” she says. “But sometimes you feel like you’re just trying to keep your head above water. I write honest and genuine songs. I don’t want to force things to be positive or glamorize them. Each song I write is about something I’ve gone through or endured.”

With “Again,” Grace Frances introduces herself as an artist unafraid to reveal life’s broken places while pointing listeners toward hope, healing, and redemption.

“Before I found my faith, I was driving with no destination,” she says. “Everything I’ve built came after I gave my life to God.”

“Again” is now available on all major streaming platforms. Listen on Spotify.

Few songs wear their intentions as boldly as Saint Tone's latest single, "I Make Sh*t Happen".

From its unapologetic title to its empowering message, the veteran singer-songwriter has crafted an anthem that speaks directly to dreamers, entrepreneurs, creators and anyone determined to carve out their own path forward.

With a tremendous burst of energy, this is a blend of rock, pop and country influences that immediately grabs the attention with its driving rhythm and confident attitude.

Saint Tone has never been shy about infusing his music with positivity and encouragement, but here he takes that philosophy and turns it into a full throttle declaration of self-belief. Rather than offering passive inspiration, "I Make Sh*t Happen" challenges listeners to take ownership of their goals and embrace the power of action.

The song is straightforward and effective. Its message is universal: success rarely comes to those who wait. The song's central theme resonates strongly in today's world, where resilience and adaptability have become essential qualities for anyone striving to achieve their ambitions.

Listen in here:

What makes the track particularly engaging is that Saint Tone sings from a place of experience rather than theory. With a career spanning more than four decades, thousands of live performances, as well as an extensive catalog of original music, he embodies the work ethic and persistence the song champions. It is this credibility that transforms the lyrics from motivational slogans in to lived truths.

The production is polished and radio friendly, while retaining just enough grit and personality to keep the song grounded. Catchy hooks, driving instrumentation and an infectious chorus combine to create a track that feels equally suited to a workout playlist, a road trip soundtrack or a pre-game motivational boost. It is easy to imagine audiences singing along after one one listen.

And Saint Tone's vocals are another highlight. He is confident, passionate and infused with conviction. Each line reinforces the core message of taking charge and refusing to be defined by limitations. The enthusiasm is contagious, helping the listener to connect emotionally with the track's uplifting spirit.

This is certainly a song designed to energize rather than simply entertain. More importantly, it reflects the positive and motivational outlook that has become a hallmark of Saint Tone's career both on and off the stage.

For listeners looking for a musical shot of motivation, Saint Tone delivers exactly that.

About Saint Tone

Based in Sarasota, Florida, Saint Tone (Tony Saint Tone) is a singer-songwriter whose music centers around positivity, purpose and personal evolution.

With over 7,000 performances under his belt, he brings an uplifting mix of pop, rock, country and spiritual soul to stages across the country.

Whether through the high energy anthems or tender acoustic reflections like “Explode,” Saint Tone’s mission is to move people — body, mind and spirit.

You can find out all about Saint Tone on his Website