Music

Lauren Cassidy Turns Self-Trust Into Indie-Pop Confidence on ‘Two Things’

Lauren Cassidy Turns Self-Trust Into Indie-Pop Confidence on ‘Two Things’

Lauren Cassidy knows that two completely opposite feelings can exist at the same time. You can love somebody and know you need to leave them. You can miss what you had while understanding that going back isn’t right. And sometimes, moving forward doesn’t require pretending the past meant nothing. That complicated middle ground sits behind “Two Things,” but for Cassidy, the song also feels like part of a much bigger period of moving forward. The 27-year-old indie-pop artist grew up in New York before making Utah her home, bringing years of songwriting and performance experience into a project that has increasingly become about connection. Her background stretches back to musical theatre and writing songs as a teenager, eventually developing into the artist and online community she has built today. That community has become a significant part of Cassidy’s story. With an audience of more than 450,000 across social media and over 2,000 members within her Healing Garden community, her music exists alongside a space built around honesty, growth, and finding other people who understand what you’re going through. “Two Things” fits naturally into that world. The song was inspired by something Cassidy encountered through therapy: the idea that two things

Skreigh Is Building His Own Corner of the Underground With ‘WDGAF!’

Skreigh Is Building His Own Corner of the Underground With ‘WDGAF!’

For Skreigh, making music has never been about fitting comfortably into one genre. Punk, metal, hip-hop, and industrial sounds all collide within his world, and at 20 years old, the Milwaukee-area artist is already building an identity that feels bigger than any individual release. Since beginning the project in 2021, Skreigh has developed a sound sitting somewhere between trap metal, punk rap, dark trap, and alternative hip-hop. Distorted production, heavy drums, and everything from rapid-fire delivery to screamed, raspy, and melodic vocals give him plenty of room to move between aggression and vulnerability. His latest single “WDGAF!” feels right at home within that world. It’s an explosive track built to create a reaction. The hook is immediate and confrontational, giving listeners something to shout along to, while the verses reveal a more complex emotional picture beneath. Racing thoughts, isolation, and frustration sit behind all that confidence, allowing the track to be cathartic without pretending those feelings simply disappear. That combination has become an important part of Skreigh’s identity. Anger isn’t treated purely as something destructive. Instead, difficult emotions become fuel. Skreigh isn’t interested in simply releasing songs and hoping one sticks. His wider ambition is to create a community around

Harry Kappen Challenges the Performance of Virtue on “Good Samaritans”

Harry Kappen Challenges the Performance of Virtue on “Good Samaritans”

By: William Ellis Harry Kappen’s “Good Samaritans” begins with a sales pitch. “Buy this dream, and you’ll be whole,” he sings, distilling the promise that sustains both advertising and social media: the idea that identity is a product, happiness is a performance, and fulfillment remains one more purchase away. It is a familiar lie, but Kappen is less interested in exposing its falseness than in asking what it has done to our understanding of goodness. Taken from his album After the Crossing, “Good Samaritans” is an energetic rock song that contrasts public displays of perfection with private acts of compassion. Its villains are not corrupt politicians or faceless corporations, although both haunt the system Kappen describes. His immediate target is the culture of presentation, the “plastic smiles,” “golden sunsets,” “sculpted skies,” and carefully filtered emotions that transform daily life into a continuing advertisement for the self. The song is suspicious of spectacle, yet it uses the scale and momentum of rock to make its argument. That tension works in Kappen’s favor. Rock music has always depended on exaggerated personalities, heroic poses, and the fantasy that a performer might embody some freedom unavailable to the audience. Kappen opens with “superheroes,” only

Pam Ross Turns Up the Heat on “Lost in Heaven”

Pam Ross Turns Up the Heat on “Lost in Heaven”

By Wade Harrison Pam Ross does not waste time easing into “Lost in Heaven.” From the opening lines, the volume is already rising, the temperature is climbing, and somebody in faded jeans has started dancing. The September 11th release drops the listener into the middle of a charged encounter, bypassing introductions and heading straight toward the dangerous part of the evening. That immediacy is central to the song’s appeal. “Lost in Heaven” is not a ballad about yearning from across a crowded room. It is a full-bodied country-rock number about what happens after the glances have been exchanged and both people understand where the night is going. Ross sings with the confidence of someone who has stopped pretending not to notice the attraction. “You get me hotter than a day in late June,” she declares, using the kind of plainspoken comparison that has powered country songs since long before Nashville began concerning itself with market categories. It works because Ross does not decorate it. The line comes across as an involuntary confession, something said in the moment before good judgment has a chance to interfere. The setting is classic country music territory: a private place hidden by the pines, stars

Davis & The Love Set the Stage for ‘Songs We Wrote About You’

Davis & The Love Set the Stage for ‘Songs We Wrote About You’

For Davis & The Love, the next chapter is already starting to take shape. With years of performing, an established catalog, and new music arriving, the band is building towards Songs We Wrote About You, an upcoming album that puts relationships and connection at the heart of their feel-good sound. Blending pop, soul, and funk, Davis & The Love have developed a style that thrives on personality. Their music is polished enough to sit comfortably within modern pop, but underneath it is the energy of a band that has spent years learning how to play together and connect with a crowd. That experience has translated into a growing audience beyond the stage, too. “Stay the Night” has surpassed 85,000 Spotify streams, while tracks including “I Need You,” “Get Out My Life” and “Centerfold” have continued to build momentum across their catalog. Now, attention is turning towards what comes next. Recent single “Mine” offers one glimpse into Songs We Wrote About You. Built around the excitement of finding someone who suddenly feels worth fighting for, the track leans into the brighter side of relationships. Soulful vocals, an anthemic chorus, and upbeat production turn that feeling into something made to be sung

Under Auburn Skies Bring Years of Metalcore Experience to 'Diminisher of Hope'

Under Auburn Skies Bring Years of Metalcore Experience to ‘Diminisher of Hope’

Nearly ten years into their journey, Under Auburn Skies aren’t approaching Diminisher of Hope like a band still trying to figure out who they are. The Denver melodic metalcore outfit has spent years developing their sound through recording, writing, and, importantly, playing alongside some serious names within the heavier music scene. With influences that place them comfortably alongside bands like Polaris, Invent Animate, Make Them Suffer, ERRA, and Phinehas, Under Auburn Skies balance melody with the intensity expected of modern metalcore. That experience sits behind Diminisher of Hope, a six-track record that gives listeners a concentrated introduction to the band. Beginning with the short “First Blood,” the album quickly moves into “World-Eater” before making its way through “The Pale King,” “Gravemind,” and “Dathomir,” eventually closing with “Final Sin.” “The Pale King” and “Final Sin” arrived ahead of the release as the record’s two singles, but the full record shows the heavier world Under Auburn Skies have spent years building. Their history goes well beyond the studio. Over the last decade, the band has opened for All That Remains, Born of Osiris, Norma Jean, Darkest Hour, Like Moths to Flames, Entheos, VCTMS and Phinehas, giving them plenty of opportunities to sharpen

Drawing the Line: Novai Turns Pain Into Resolve on “I Won’t Let U Hurt Me”

Drawing the Line: Novai Turns Pain Into Resolve on “I Won’t Let U Hurt Me”

By Daniel Mercer The title of Novai’s “I Won’t Let U Hurt Me” contains its most important word before the song even begins: “let.” This isn’t simply a breakup song accusing someone of cruelty. Nor is it another streamlined empowerment anthem in which heartbreak conveniently disappears once the chorus arrives. Written by Michael Stover, “I Won’t Let U Hurt Me” is concerned with something more complicated: the moment when suffering becomes a choice the wounded person realizes she can refuse. Novai begins with the facts. “You made me cry / Every time I trusted you,” she sings, quickly establishing a cycle of faith, deception and disappointment. There’s little abstraction in Stover’s lyric. The language is conversational and deliberately plain, reflecting the clarity that can arrive when someone has spent too long rationalizing what should have been obvious. Then pain itself becomes instructive: it tells her “it’s time to go.” That reversal gives the song its underlying momentum. Hurt is no longer merely something inflicted upon the narrator; it has become information. The very emotion that kept her trapped has begun directing her toward freedom. The chorus makes the decision explicit. Novai promises herself that she won’t be hurt “anymore,” repeating

Eddy Mann’s “We Are” Finds an Unexpected Rhythm for an Ancient Message

Eddy Mann’s “We Are” Finds an Unexpected Rhythm for an Ancient Message

By Nathaniel Cross The Book of Revelation has probably inspired more fear than any other chapter of Scripture. It is the biblical book people turn to when the world feels as though it is spinning off its axis, and its visions have fueled centuries of end-times predictions, theological arguments, apocalyptic movies, and more than a few heavy-metal albums. Eddy Mann hears something different. On his single “We Are,” from the album The Unveiling, the veteran Christian singer-songwriter and minister approaches Revelation not as a warning siren but as an invitation to worship. Inspired by Revelation 4:8b and 4:11, the song finds its foundation in the heavenly scene where creation gathers around the throne and declares the holiness and worthiness of God. Mann takes that enormous vision and makes it intimate. “Holy, holy, holy,” he sings, invoking words that have echoed through Christian worship for generations. But the most revealing moment arrives with the song’s central declaration: “We are Your will / We are Your desire / We are Your pleasure.” Those lines are uncomplicated. Their implications aren’t. At the center of “We Are” is an idea about human identity: existence isn’t accidental. Humanity has purpose, and that purpose is collective.

From 1986 to 2026: How Michael Stosic Reimagined the Album That Changed His Life

From 1986 to 2026: How Michael Stosic Reimagined the Album That Changed His Life

When singer-songwriter Michael Stosic recorded his album “Brand New Love” in 1986, he tried something new. His self-titled first album, which he recorded four years earlier, was a collection of blue-eyed soul songs that explored the highs and lows of romantic love. While the album would come to be considered an AOR masterpiece decades later, it wasn’t widely acclaimed at the time of its release. With his second album, Stosic made a shift to contemporary Christian music. “Brand New Love” was focused on inspiring people to experience a deeper love through a life of faith. And it enjoyed immediate success, which changed Stosic’s life. “Things happened very quickly after ‘Brand New Love’ was released,” Stosic recalls. “Within six months, my life went from radio interviews to concerts to song competitions to the KCMS People’s Choice Awards. Ultimately, it led to an invitation to appear on live TV on the Trinity Broadcasting Network and the honor of being selected as one of the top new Christian artists by Praise Ministries in Los Angeles.” Stosic says he was blessed by the recognition given to “Brand New Love,” which made him feel like the effort he put into writing and recording was well-placed.

Ciara and Smashing Pumpkins Join 2026 iHeartRadio Festival

Ciara and Smashing Pumpkins Join 2026 iHeartRadio Festival

Ciara, The Smashing Pumpkins and Stella Lefty have been added to the 2026 iHeartRadio Music Festival lineup, expanding the two-night event at T-Mobile Arena in Las Vegas. The September festival now includes established and emerging performers across pop, rock, country, hip-hop, electronic and K-pop. Key Takeaways Ciara, The Smashing Pumpkins and Stella Lefty were added to the 2026 iHeartRadio Music Festival lineup. The festival is scheduled for September 18 and 19 at T-Mobile Arena in Las Vegas. Stella Lefty will appear in a special performance as part of the expanded lineup. The bill includes artists representing pop, rock, country, hip-hop, electronic and K-pop. Previously announced performers include BTS, Cardi B, Snoop Dogg, Muse and Weezer. Ciara and Smashing Pumpkins Join the Festival Lineup The additions bring Ciara and The Smashing Pumpkins into the 2026 iHeartRadio Music Festival alongside a previously announced group of performers. Stella Lefty has also been added for a special performance, giving the festival three additional acts for its September schedule. Ciara adds a pop and R&B presence to the lineup. The singer is known for music including “Goodies” and “1, 2 Step,” both associated with her emergence as a major recording artist in the mid-2000s. Her

Apple Music to Add Labels for AI-Made Songs

Apple Music to Add Labels for AI-Made Songs

Apple Music will add “Made With AI” labels to songs containing a material portion of AI-generated content later this year. Record labels and distributors will be responsible for identifying qualifying tracks, giving the service a defined system for disclosing AI involvement in recorded music. Key Takeaways Apple Music will introduce “Made With AI” labels later this year. The labels will apply to songs containing a material portion of AI-generated content. Record labels and distributors will be responsible for tagging qualifying tracks. Apple introduced its AI Transparency Tagging system in March. Apple has not announced an exact date for the visible labels. Apple Music Introduces “Made With AI” Labels Apple Music will begin adding “Made With AI” labels to qualifying songs later this year, according to a note the streaming service sent to industry partners. The labels will identify recordings in which a material portion of the content was created using AI. The service said record labels and distributors will be required to tag songs that meet that threshold. The companies delivering recordings to Apple Music will therefore have responsibility for identifying qualifying AI use. Apple Music has not announced the exact date when the visible labels will begin appearing. The

Mati Spano Says “Me Voy” and Steps Into a New Era as an Artist

Mati Spano Says “Me Voy” and Steps Into a New Era as an Artist

With a following in the tens of millions across digital platforms, the 22-year-old Argentine artist is turning a deeply personal transition into music, inviting millions of fans to come along for the journey. For most emerging artists, the challenge is getting people to pay attention. For Mati Spano, the challenge is different: millions of people are already watching. At just 22 years old, the Argentine singer and content creator has built a digital community in the tens of millions across his platforms, part of the wave of performers who came up through Latin America’s creator generation. Now, with the release of his new single “Me Voy”, Spano is asking that enormous audience to meet another side of him. Not a new character. Not another piece of content. An artist entering a new chapter. A Goodbye That Became a Beginning Despite its title, Me Voy isn’t simply a song about leaving. The track explores identity, growth, and the complicated process of letting go of versions of ourselves that once defined us but no longer represent who we’re becoming. For Spano, those themes carry particular weight. His career was built in front of an audience. Millions of people watched him create characters,

Michael St. Overturns Trauma Into a Hard-Rock Testament of Hope on “Ride Sweet Angel”

Michael St. Overturns Trauma Into a Hard-Rock Testament of Hope on “Ride Sweet Angel”

By: Rachel Monroe There are rock songs designed to fill arenas, rock songs designed to dominate playlists, and rock songs that exist because their creators have something they simply need to say. Michael St. Over’s “Ride Sweet Angel” belongs firmly in the latter category. The debut single from the songwriter, producer, and MTS Records founder tackles child abuse, addiction, and redemption with the muscularity of classic hard rock and the conviction of an artist determined to make his first step into the spotlight mean something. Released July 31 through MTS Records, “Ride Sweet Angel” introduces St. Over as more than the industry figure many independent artists have come to know. Michael Stover wrote and produced the track and steps behind the microphone as lead vocalist, giving the recording an intensely personal quality. Rather than construct a comfortable introduction to his solo work, he chooses one of the most uncomfortable subjects imaginable. The song follows April, a 17-year-old whose childhood trauma has pushed her toward drug addiction. When listeners first encounter her, she’s already aboard a metaphorical train to nowhere, staring through the window as her reflection cries back at her. It’s an immediately cinematic image, and St. Over returns to

Inside the Making of "Goldieloxxx": How Michael Snyder Built Freetoe Feet's Debut at Bang Recording

Inside the Making of “Goldieloxxx”: How Michael Snyder Built Freetoe Feet’s Debut at Bang Recording

Most comeback stories stop at the announcement. The more interesting question with “Goldieloxxx,” the debut single from Michael Snyder’s Freetoe Feet, is how the track was actually built, and who was in the room. Recording as Freetoe Feet, Snyder released “Goldieloxxx” in June, and it’s now out on Apple Music, Spotify, and Amazon Music through his HearNow page. Behind the finished track sits a fuller production credit list than the marquee names suggest, and it is the part of the story the launch coverage skipped. Built at Bang Recording By the release credits, “Goldieloxxx” was written by Snyder with Michael Taylor and produced by Snyder and John Hehman. Hehman also handled guitar and bass, then mixed and mastered the track at Bang Recording, which makes him the technical spine of the record as much as a player on it. That division of labor matters for a debut. It is the difference between a track assembled in pieces and one shaped start to finish by two people who tracked and finished it in the same place. The writing credit is worth its own line. Pairing Snyder with Taylor puts a co-writer on the song rather than a lone artist backed by

Dan Rico’s ‘Masterpiece’ Finds Freedom Outside the Weekly Routine

Dan Rico’s ‘Masterpiece’ Finds Freedom Outside the Weekly Routine

There is a point in every repetitive week when Friday starts to feel like freedom. Dan Rico taps into that familiar feeling on his latest release, “Masterpiece,” turning the cycle of work, weekends, and watching time pass into something energetic and hopeful. The New York-based artist has spent years moving between rock, punk, glam-pop, and electronic music. After growing up in Chicago, Rico built his experience playing in numerous bands, touring across the US and Europe, and performing at SXSW multiple times. His solo music has given him room to bring those different influences together, especially as vintage drum machines and loops have become more central to his sound. That continues with “Masterpiece,” taken from his upcoming album Bull Moon. The track looks at how easy it is to get caught in the same routine. Work, sleep, repeat. Suddenly, another week has disappeared. Instead of staying stuck there, “Masterpiece” turns its attention towards the moments that break the cycle. Weekends become a chance to actually be present, whether that means going to a party, spending time with friends or simply enjoying where you are without thinking about Monday. There is still a reflective side to the song. Time keeps moving

Ashes Awaken Praise the Lord and Pass the Distortion on “Hallelujah”

Ashes Awaken Praise the Lord and Pass the Distortion on “Hallelujah”

There are worse ideas than turning a praise song into a metal song. There are certainly more boring ones. Ashes Awaken’s “Hallelujah” begins with a proposition so uncomplicated that sophisticated listeners may instinctively distrust it: sing, praise, repeat. No crisis of identity required. No graduate seminar on the meaning of the chorus. No coy ambiguity concerning whom Michael Stover is addressing. He means God. He says so. Frequently. And somehow that’s part of the fun. “Hallelujah” originally surfaced in another guise through Dust and Grace, whose recording became a Top 5 CDX Positive Country chart hit. Ashes Awaken take Stover’s composition and put considerably more electricity through it. The theology remains intact; the guitars don’t. The basic lyric could fit on the back of a church bulletin: “I wanna sing something to ya I wanna sing hallelujah.” That’s either admirably direct or dangerously simple, depending on your tolerance for praise music. But simplicity has never disqualified a song from rocking. Chuck Berry wasn’t writing The Waste Land. Neither were the Ramones. Sometimes the trick isn’t finding more words. It’s finding the right few and making people want to shout them back. Ashes Awaken understand this. “Hallelujah” works because the band