As he revs up to release his new track “Passenger’s Side” this Friday, Ontario-based folk rock talent John Muirhead seems to be absolutely glowing with excitement. His music – which has an almost Broadway musical feel to it with the way he emphasizes every syllable and makes sure his audience is crystal clear on his meaning – is absolutely captivating, the new track setting the tone for what’s to come later this year. Check out our quick hit interview below, and be sure to peep the new song on Friday!
Your new single “Passenger’s Side” is amazing. How has your music evolved since releasing your first EP Yesterday’s Smile?
Thanks so much!
I’m still very proud of Yesterday’s Smile, but with it being my first EP, the whole record was a learning process. I learned a lot about how to be comfortable in the studio and how to create interesting arrangements that serve the song. The songs themselves were written between the ages of 16 and 19, so looking back as a more mature songwriter there are definitely some things that I would change if I were to do it all over again.
With “Passenger’s Side” and the rest of Foundational (The new EP, released in June 2018) I’ve taken the experience from Yesterday’s Smile and applied it. I feel that my voice has matured, my confidence has grown, and the songs are more representative of myself.
What message would you like your fans to get from “Passenger’s Side”? (Out April 6th)
The song is about defying the feeling that maybe our best days are behind us, and the appeal and romanticism of leaving it all behind. With this song I hope that listeners know that they’re not alone in that feeling.
I also hope the song can be the soundtrack to late night drives and lazy Sunday mornings.
How have you grown as an artist since you first began making music?
I think I’m just more sure of myself as a musician. I’ve sharpened up my guitar playing, singing, and performance through the constant repetition of touring and playing live, and my songwriting is getting closer and closer to the level I want it to be. My artistic vision is much clearer now, and I know what I want to accomplish in music.
What is your favorite thing about making music?
My favourite moment in the process of making music is seeing and hearing people sing along to songs that I wrote. I make music in hopes that my songs can effect others the way my favourite songs have effected me, and seeing people sing along is a reminder that maybe I’m on the right track.
In a much broader sense, my favourite thing about music is the fact that it’s a universal language. Regardless of language or culture we can all connect to music, and it plays such an integral role in all of our lives. I’ve made so many meaningful connections to people through music that I may not have had if I didn’t play, and I think that’s amazing.
What inspired you to begin making music?
Like a lot of musicians my age, Guitar Hero actually played a big role in inspiring me to pick up a real guitar. It introduced me to so much great music and it felt really cool to hold a guitar in my hands. When I picked up a real guitar it felt amazing to actually play the songs from the game and from there it didn’t take long to start writing.
What musicians would you say inspire you as an artist?
There are too many! I would have to say Frank Turner would be one of my biggest influences, he bridged the gap between my indie/punk rock upbringing and my current appreciation for folk music. Seeing the intensity of his work ethic and reading about his crazy tour stories really made me want to push myself to the limit as a musician. Recently I’ve been really inspired by Brian Fallon, Jason Isbell, Phoebe Bridgers, and a whole bunch more.
Following the release of your new EP this spring will there be a tour in the future?
Yes! I will be heading out to Eastern Canada in June, touring as part of VIA Rail’s Artist on Board program. I’ll be announcing all of the dates shortly, make sure to follow me on social media to stay up to date!
The leadup to alt-pop trio Valley’s new album Water The Flowers, Pray For a Garden has been thrilling, culminating in an international tour at the end of September that runs through mid-November. Their new track “Bass Player’s Brother” – to be included in the August 30th full-length release – is about a toxic relationship that can’t seem to find its end. The sound is everything you would hope for from a summer anthem, with words that cut a little deeper.
Valley approached the song in a vulnerable moment after being stranded in North Carolina. They built up the composition to sound as upbeat and fun as possible. This is reflected in the optimistic nature of the track, despite the song really being rooted in heartbreak. They returned to their roots and a carefree attitude in this song, which makes it come alive as a standalone from the upcoming album.
Explains the band:
‘Bass Player’s Brother’ is a song about cyclical love and obsession. In life we often find ourselves in realities that don’t suit our truth, yet we continue to drag ourselves back to the feeling of staying for love’s sake. It’s cyclical in nature yet rooted in heartache and hurt. It’s the back-and-forth outcome of these habits that cause us to stay when we know we should leave. This is the only song on the album where we didn’t reference real names. Sometimes we like to play characters in songs even though we’re always thinking about someone in our lives. We wanted to paint a picture of a classic Americana heartbreak love story.
Don’t forget to pre-save and pre-orderWater The Flowers, Pray For a Garden, out August 30th.
Detroit’s rock scene is getting set ablaze! We Are Scorpio, the fierce duo of Jessica Care moore and Steffanie Christi’an, have dropped their latest single “Scorpio” like a meteor crashing into the music world. This song is a battle cry for diversity in rock and a poetic punch to the gut of the status quo.
“We are the storm, the fury in your eyes,” howls the chorus, and believe us, this is no empty threat. We Are Scorpio comes armed with searing guitars, thunderous rhythms, and lyrics sharp enough to cut through the noise of a thousand pretenders. The track pulsates with the duality of its namesake sign – at once fierce and magnetic, confrontational and alluring.
Forget your typical rock fare. We Are Scorpio serves up a potent cocktail of spoken word and hard-hitting riffs that’ll leave you dizzy. “This is no place for ordinary,” they declare, daring listeners to step out of their comfort zones. From family dinner rebellions to cosmic contemplations, “Scorpio” weaves the personal and universal into a tapestry of empowerment.
Make no mistake – this is more than music. It’s a revolution. Jessica Care moore, Steffanie Christi’an, and featured artist Militia Vox are here to remind us that Black women aren’t just part of rock’s history – they are its future. Their collaboration isn’t just fresh; it’s necessary, proving that rock thrives when it embraces diverse voices and experiences.
Mark your calendars, rock fans. Their self-titled album, co-produced by none other than Talib Kweli, crashes onto the scene on August 16 via Javotti Media. Want a taste of the venom live? Catch We Are Scorpio at the Black Bottom Live Music Series (August 7) and the 20 Years of Black Women Rock! celebration at The Fillmore (August 31).
Don’t just stand there – dive into the storm! Stream “Scorpio” now on all major platforms and pre-order the album that’s set to redefine rock. We Are Scorpio isn’t just making music; they’re crafting an experience. Miss this, and you’re missing history in the making. Are you ready to embrace the sting?
In a stirring testament to the power of ancestry and self-discovery, New York indie-folk luminaries Bandits on the Run unveil their most emotionally charged single to date, “You Are Not A Ghost.” This haunting anthem explores generational trauma, mental health struggles, and the quest for self-acceptance, marking a profound departure from their typically whimsical style.
At the heart of this profoundly moving piece is Regina Strayhorn’s raw dialogue with her past. The song serves as a spiritual bridge to her great-grandfather, Isaac Strayhorn, whose voice was violently silenced in 1940s North Carolina. “He was known as the town poet,” Regina reveals, her words tinged with both sorrow and pride. “I like to think that Isaac occasionally whispers lines he didn’t get to write in his own time into my ear.”
His gentle whisper crescendos into a powerful roar in “You Are Not A Ghost,” a song that doesn’t shy away from the darkness of depression and self-doubt but ultimately emerges as a beacon of hope and self-affirmation. Strayhorn lays bare her inner struggles, describing the song as “a wrestling match between feelings of deep sadness, tendencies toward self-abandonment, limiting patterns, deep self-love, and the awareness that to live freely in the here and now is my birthright and gift to enjoy.”
The raw emotion pulsates through every note, every lyric. When Strayhorn sings, “You are not a ghost / You’re blood and poetry,” it’s more than just a line – it’s a mantra, a lifeline thrown to anyone who has ever felt invisible or voiceless. Bandmates Sydney Torin Shepherd and Adrian Blake Enscoe add their own emotional layers, making the song both intimately personal and universally relatable.
In a particularly poignant verse, Strayhorn channels her great-grandfather’s voice:
“Isaac in the forties Was thrown into a pond Cement tied to his feet I feel him in my hands He asks me to be free To stop the spinning wheel Be big enough to feel Be big enough to feel”
These lines don’t just tell a story; they resurrect a silenced voice and paint a haunting picture of past injustices, their impact echoing through generations.
As the song builds to its cathartic conclusion, listeners are left with a profound sense of connection – to their own histories, to their present selves, and to the unlimited potential of their futures. “You Are Not A Ghost” is a spiritual experience, a reminder that we are all, in Strayhorn’s words, “blood and poetry,” alive with the power to rewrite our stories.
The tears in Regina’s eyes as she performs in their NPR Tiny Desk Contest entry serve as a poignant reminder of the real, lived experiences behind the lyrics. They bridge the gap between performer and audience, inviting listeners to share in the cathartic release of long-held emotions. This honest display of vulnerability not only highlights the band’s authentic approach to their craft, but also emphasizes the healing power of music, both for the artists and for their audiences.
In creating this deeply personal yet universally resonant piece, Bandits on the Run have not only pushed their artistic boundaries but have also offered listeners a musical lifeline – a reminder that even in our darkest moments, we are vibrant, we are alive, and we are decidedly not ghosts yet.
“Is it just me or is it everybody sitting outside with their house on fire?” The Greeting Committee asks in their latest single “Cyclical,” released just days before their new album “Everyone’s Gone and I Know I’m The Cause”. The song doesn’t just dip its toes into difficult waters – it dives in headfirst, delivering a poignant and introspective look at the complexities of family dynamics and personal healing.
Frontwoman Addie Sartino’s ethereal vocals float over a deceptively gentle musical landscape, creating stark contrast with the song’s weighty themes and mirroring the often quiet, internal struggle of dealing with family issues, often kept hidden, simmering beneath a calm surface.
The lyrics paint a vivid picture of helplessness in the face of familial destruction, capturing the universal feeling of watching a loved one spiral while feeling powerless to help. Sartino herself describes the song as being about “being stuck in a horrible cycle.” She adds: “It’s me seeing a pattern and doing the brave and hard thing by cutting certain habits or people out of my life. It might suck, but that’s what growing up and healing is.” This candid explanation offers a glimpse into the personal nature of “Cyclical,” but also highlights its universality. Who hasn’t faced the gut-wrenching decision to step back from a loved one for their own well-being?
“Cyclical” showcases The Greeting Committee’s evolution as artists. They continue to move beyond the realms of typical indie rock fare to tackle complex, emotional territories with grace and unflinching honesty.
For listeners who have walked similar paths, “Cyclical” may serve as a cathartic experience – a validation of difficult decisions and complex emotions. For others, it offers a window into the often-overlooked perspective of those who must prioritize their own healing, even at the cost of watching others struggle.
In the end, “Cyclical” is a testimony to the strength it takes to break harmful patterns and the bravery required to choose oneself first. The Greeting Committee has created not just a piece of music, but a companion for those on the difficult journey of healing from family trauma.
Tour Dates: July 9 Atlanta, GA @ The Masquerade Hall July 10 Carrboro, NC @ Cat’s Cradle July 12 Washington, DC @ 9:30 Club July 13 New York, NY @ Bowery Ballroom July 16 Philadelphia, PA @ World Café Live July 17 Boston, MA @ Sinclair July 19 Toronto, ON @ Velvet Underground July 20 Lakewood, OH @ Mahall’s July 21 Columbus, OH @ A&R Music Bar July 23 Minneapolis, MN @ Fine Line July 24 Chicago, IL @ Bottom Lounge July 26 OKC, OK @ Resonant Head July 27 Fort Worth, TX @ Tulips FTW July 28 Austin, TX @ The Mohawk July 30 Phoenix, AZ @ Crescent July 31 San Diego, CA @ Voodoo Room House of Blues Aug 2 Santa Ana, CA @ Constellation Room Aug 3 Los Angeles, CA @ Teragram Ballroom Aug 4 San Francisco, CA @ The Independent Aug 6 Portland, OR @ Aladdin Theater Aug 7 Vancouver, BC @ Biltmore Aug 8 Seattle, WA @ Neumos Aug 10 Salt Lake City, UT @ Soundwell Aug 11 Denver, CO @ Bluebird
With their latest single, “Heaven,” Austin-based trio Culture Wars plunges listeners into the dizzying rapture of all-consuming love. Blending raw energy with heartfelt intimacy, the track’s smooth guitars, propulsive basslines, and pulsing rhythms mirror love’s intoxicating rush.
“All I have is your love,” frontman Alex Dugan chants over a hypnotic bassline, his voice—reminiscent of Julian Casablancas and Matt Berninger—carrying both desperation and reverence. This refrain becomes the song’s heartbeat, a mantra born from Dugan’s real-life period of isolation while living abroad, where these words took on literal significance.
Lyrically, “Heaven” reads like fevered journal entries, snapshots of a heart so full it might burst. “Fill my head up / Cold and broken down (I need it now) / Heat my heart and / Heat my heartache out,” Dugan pleads, framing love not just as desire, but as a salve for deep wounds. It’s a sentiment that hits even harder when contrasted with the band’s earlier, more detached writing. Here, vulnerability isn’t just on display—it’s a force of nature.
The beauty of “Heaven” lies in its ability to immerse you in the feeling of being utterly consumed by love. The outside world fades away, replaced by a swirling vortex of you and your person. Verses simmer with restrained longing before exploding into choruses that swell with tidal waves of affection. Dynamic shifts aren’t just heard; they’re felt, carrying the listener through love’s peaks and valleys. A bridge near the song’s end strips things back to little more than voice and heartbeat-like percussion—a musical inhale before the final, cathartic release.
While “Heaven” explores well-worn thematic territory, Culture Wars avoids cliché by grounding universal feelings in vivid specificity. The result is at once highly personal and widely resonant. It’s a track that feels vitally current in an era of digital disconnection as the band reminds us how earth-shattering human connection can be.
Don’t just listen to “Heaven.” Let it envelop you. Let Alex Dugan’s lovesick pleas unlock your own memories of consuming passion. Let the pulsing instrumentals sweep you off your feet until you, too, are standing in that transcendent place where love is all that exists. Then, once you’ve caught your breath, join the growing chorus of voices eager to see where Culture Wars heads next. Because if “Heaven” is any indication, this ascent is just beginning!
Today, Boston-bred singer/songwriter Arto Vaun releases the third single from his upcoming July debut release Stuck Inside a Map. If the singles so far are any indication, Vaun’s solo project is bound to take flight, on the wings of self-awareness and a proclivity for word magic.
“Build My Own Fever” is a mid-tempo track, incorporating Vaun’s dreamy vocals over shimmery guitar. Explains Vaun, “I wrote ‘Build My Own Fever’ partly as a response to feeling overwhelmed by all the uncertainty in the world lately, and the sensory overload we’re all dealing with. It’s about trying to stay grounded even when things feel untethered and chaotic, and finding perspective to see the universality and connectedness between and around us all”.
If you can relate, you’ll want to get a listen to this relatable – and, honestly, beautiful – track below.
Xadi‘s “Black Rock” EP is a captivating musical journey that delves into dark ambiance, effortlessly blending catchy and chill elements. With its personal anecdotes and explorations of drug usage, Xadi weaves a tapestry of experiences that transcends racial boundaries, touching the hearts of listeners from all walks of life.
The EP’s main track, aptly titled “Black Rock,” stands out as a powerful statement that challenges preconceived notions about the relationship between music and race. The quote, “I didn’t know that music had a [sic] colour,” encapsulates the essence of this song and its overarching message. Xadi’s ability to create a sonic landscape that resonates with anyone and everyone, irrespective of their racial background, is truly remarkable.
The EP opens with a dark and haunting aura that immediately sets the tone for the introspective journey ahead. The production values are top-notch, showcasing Xadi’s skill in creating atmospheric soundscapes that immerse the listener. The combination of electronic elements, ethereal vocals, and carefully crafted beats creates a hypnotic experience that draws you in from the very first note.
One of the EP’s greatest strengths lies in its catchiness. Despite exploring deep and personal themes, Xadi manages to infuse the tracks with memorable hooks and melodies that stick with you long after the music ends. This balance between introspection and accessibility is a testament to Xadi’s artistry and ability to create music that can be enjoyed by a wide range of listeners.
“Black Rock” is also an EP filled with personal anecdotes and adventures. Xadi’s storytelling ability shines through as he shares his experiences with drug addiction, painting vivid pictures of struggle, redemption, and personal growth. The lyrics are thought-provoking and introspective, inviting listeners to reflect on their own lives and experiences.
As a black British music artist, Xadi brings a unique perspective to his music. While the EP addresses themes that are deeply rooted in his personal journey, the emotions and messages conveyed have a universal appeal. Xadi’s artistry transcends racial boundaries, touching upon shared human experiences that resonate with anyone willing to listen and empathize.
The arrival of summer comes with the need for captivating folk-pop, and Jonah Kagen is here to deliver. In two short years, singer-songwriter Jonah Kagen has skyrocketed from TikTok fame to wider acclaim, lending his characteristic jazz-inspired guitar playing and personal storytelling to his music. His new single, “The Roads”, premieres today, and is a worthy addition to any summer road trip playlist.
A hallmark of Kagen’s music is his personal hue of melancholy and nostalgia, which “The Roads” wholly leans into. The universally-relatable lyrics detail the pain of an ended relationship, accompanied by the push and pull of dynamic musical contrast. Solo acoustic guitar verses are juxtaposed by the sweeping chorus, expanded with strummed guitar, cello, and violin. Kagan declares that “These roads are changin’ me, but they all lead back to you”, in a memorable and timeless melody.
The expansive rural landscape in the accompanying music video perfectly matches the song’s folk aspects. With truly stunning cinematography, we have a bird’s-eye view of the landscape as well as close-ups with Jonah Kagen on guitar. The sky is cloudy and gray, while the lush greens of the forest burst into view. The contrasts, both visually and musically, emphasize the undercurrent of doubt and regret on the speaker’s part, mourning the loss of love.
Represented by Arista Records, Jonah Kagen has amassed nearly 2 million Spotify listeners and more than 140 million global streams since the release of his debut EP, ‘georgia got colder’. “The Roads” builds upon this journey, as he crafts music full of heart and earnest. Stream the song today on all platforms, and check out the music video on Youtube.
