Artist Weekly
Artist Weekly
Artist Weekly

Music

Nirvana Named 2026 MTV Video Vanguard Award Recipient

Nirvana Named 2026 MTV Video Vanguard Award Recipient

September 12, 2026

Nirvana will receive MTV’s Michael Jackson Video Vanguard Award at the 2026 MTV Video Music Awards on Sept. 27. The honor recognizes the band’s contribution to music-video culture, including influential videos for songs such as “Smells Like Teen Spirit,” “Come as You Are,” “In Bloom” and “Heart-Shaped Box.” Key Takeaways Nirvana will receive MTV’s Michael Jackson Video Vanguard Award at the 2026 MTV Video Music Awards. The ceremony is scheduled to air live on CBS on Sept. 27, with a simulcast on MTV and streaming on Paramount+. MTV announced the honor on Sept. 9, the anniversary of Nirvana’s 1992 VMAs performance. Nirvana released music videos for songs including “Smells Like Teen Spirit,” “Come as You Are,” “In Bloom” and “Heart-Shaped Box.” The Video Vanguard Award recognizes artists for contributions to music-video innovation and visual music culture. Nirvana Receives MTV’s 2026 Video Vanguard Honor The Nirvana Video Vanguard Award will be presented at this year’s MTV Video Music Awards, giving the band recognition for its work in music videos and its contribution to visual music culture. MTV announced the honor on Sept. 9 ahead of the ceremony scheduled for Sept. 27. The award is formally known as the Michael Jackson Video

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

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

September 5, 2026

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’

September 5, 2026

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”

September 5, 2026

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

September 4, 2026

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

August 29, 2026

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

August 27, 2026

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

August 22, 2026

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

August 20, 2026

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”

August 20, 2026

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

August 18, 2026

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

August 17, 2026

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”

August 15, 2026

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

DPB’s “God Mode”: The Gospel According to the Cheat Code

DPB’s “God Mode”: The Gospel According to the Cheat Code

August 15, 2026

By: Marcus J. Reed Here’s the problem with Christian hip-hop: when you know the answer before you ask the question, where’s the tension? Here’s DPB’s solution: forget the question. Turn the answer into a hook, crank the beat, and repeat it until conviction becomes rhythm. “God Mode,” from DPB’s Undefeated, has one big idea and absolutely no intention of hiding it. In gaming, God Mode makes you invincible. In DPB’s theology, believers already possess something better, not immunity from trouble, but divine authority within it. Thus the hook: “I’m in God Mode,” followed by the even more audacious “Jesus Christ is the God Code.” Subtle? No. Memorable? Try getting it out of your head. That matters because DPB has never been an abstraction guy. He doesn’t construct theological labyrinths and invite you to admire the architecture. He puts EXIT signs everywhere. Jesus saves. Faith works. Healing happens. Get moving. The song reportedly emerged from a dream in which DPB received the message that Christians spend too much time praying about tomorrow instead of using the spiritual authority they’ve already been given today. It’s exactly the sort of origin story that could sink a lesser record beneath its own self-importance. DPB

Troye Sivan Releases ‘She’s the Best’ With Nicole Kidman

Troye Sivan Releases ‘She’s the Best’ With Nicole Kidman

August 15, 2026

Troye Sivan has released “She’s the Best,” the title track from his upcoming fourth studio album, alongside a music video starring Nicole Kidman. Directed by Gordon Von Steiner, the video features Sivan performing in a club with drag performers, introducing the visual direction of his next album cycle. Key Takeaways Troye Sivan released “She’s the Best” on Aug. 14, 2026. Nicole Kidman co-stars in the accompanying music video. Gordon Von Steiner directed the video. The song gives its name to Sivan’s fourth studio album. The album is scheduled for release on Oct. 9, 2026. The song serves as the title track for Sivan’s next full-length album, which is scheduled for release on Oct. 9, 2026. The single therefore introduces both a new standalone release and the project that will carry the same title. The accompanying video places the song within a club setting. Sivan performs alongside drag performers, creating a performance-focused visual setting for the new track. The release date gives the song a clear position in the album rollout. Sivan has introduced the title track ahead of the full album, allowing the single and its video to establish the project’s initial visual presentation. The combination of a new song,

Gary Pratt’s “4th of July” Proves the Best Fireworks Don’t Need a Sky

Gary Pratt’s “4th of July” Proves the Best Fireworks Don’t Need a Sky

August 12, 2026

By Jack Mercer Here’s the first thing you need to know about Gary Pratt’s “4th of July”: it’s not really about the Fourth of July. Thank God. Because the world already has enough songs about flags and beer coolers and pickup trucks parked beside lakes while somebody lights a Roman candle and everybody pretends mosquitoes aren’t eating them alive. Pratt could have made that record. The title practically begs for it. Instead, he takes the whole gigantic American spectacle, the rockets, explosions, heat, noise, anticipation, and drags it into the living room. This is a love song. Actually, scratch that. This is a lust song that remembered to bring its heart along. “4th of July,” featuring Kate Szallar, starts on an ordinary February night, which is exactly the joke. Nothing is happening outside. It’s cold. Nobody’s waiting for fireworks. But inside? That’s another story entirely. Pratt takes the Fourth of July and turns it into a metaphor for the moment when two people have enough chemistry that geography, weather, and common sense temporarily stop mattering. And isn’t that basically what every great love song has been trying to say since somebody first figured out you could put three chords underneath

View More
Artist Weekly
  • Get published in Artist Weekly

Artists, creators, and cultural leaders ready to build credibility through publication.

Get Published

Follow Us On:

Facebook Instagram Linkedin
Artist Weekly

Legal & Support

  • Get published in Artist Weekly

Artists, creators, and cultural leaders ready to build credibility through publication.

Get Published

Follow Us On:

Facebook Instagram Linkedin

Trademark & Copyright Notice: ™ and Copyright ©2026 Matrix Global, LLC. All Rights Reserved. Use of this Website (including any and all parts and components) constitutes your acceptance of these Terms of Use and Privacy Policy.

Artist Weekly is not responsible for the content of external websites.