Wednesday’s single “Wound Up Here (By Holdin On)” signals the beginning of a new era for the band, and gives audiences the first taste of their new unreleased album, Bleed. “Wound Up Here (By Holdin On)” is the follow up single to “Elderberry Wine”, which embraced a more light romantic tone compared to their newest single, which is darker and heavier.
Karly Hartzman does what she did best on the band’s last album, Rat Saw God, which is to write heartbreakingly real and specific lyrics that somehow have a universal quality to them. “Wound Up Here (By Holdin On)” embraces Hartzman’s literary passion for a narrative, and portrays the darkness and irony of the human experience with lines like, “Mounted antlers in the kitchen on a crooked nail.”
The absurdities present in Hartzman’s narrative are juxtaposed with haunting statements like, “Your faceless fear gathers like a mob.” The lyrics are not the only contrasts within the track, as Hartzman’s vocals drastically shift from the beginning to the end of the song. She starts off soft and melodic, and by the track’s conclusion, goes into a full scream. It represents the turmoil that the song offers, and contributes to its chaos.
The instrumentals are divinely executed, as Hartzman’s vocal desperation becomes increased, so does the band. The guitars are heavy and distorted and the drums have an uplifting steadiness to them. From beginning to end, the guitars follow the vocals lead, and serve to emphasize the turbulent narrative within the song.
The instrumentals truly shine during the two instrumental breaks which hike up the action and discordance to create a symphony of angst and turmoil. The track closes with loud heavy drums, screeching guitars, and screaming.
“Wound Up Here (By Holdin On)” is representative of what Wednesday excels in, which is creating music with intense emotion and real life narratives packaged in beautiful lyrics and sounds.
Watch the music video for “Wound Up Here (By Holdin On)” here!
While many summertime tracks are leaning into vulnerability and tend to be offering a softer sound, genre-bending artist Kee Nola may have just released the “amp up” anthem of the summer. In fact, the high-energy track “Can’t Get Enough” helps to solidify his rising star in the alt-rap/rock scene. With eye-popping style – both musically and clothing-wise – it is clear that this talented artist is out to make an impact.
The song itself is an edgy, no-holds-barred call to ignore the haters in your life, something most artists have to work with throughout their careers. To see that he has such a solid disposition so early in his career is incredibly affirming, and drives the song even further into your psyche. Utilizing a few quick quips and references, Kee Nola has no problem defending his music, his art, or his personality to the people who may be throwing shade at him.
While a personal favorite reference can be found in the line “Run, run, Forrest but you cannot hide,” there is so much confidence to be gained from playing this track. Throw it on in the car on your way to an event, add it to your pre-game hype up playlist, or simply let it drive your energy in the morning. Either way, you can’t go wrong with this song.
Keep up with Kee Nola’s budding star on tour here.
Yoke Lore – the alternative/indie project from musician Adrian Galvin – tore up from the floor up opening for Jack’s Mannequin at The Truman in Kansas City, Missouri on June 17th. What would have otherwise been a quiet Tuesday night was lit up with the energy of this incredible musician as he and his band – expertly comprised of Rafe Bouchard and Michael Vokes – dazzled the audience with dance-worthy titles like “Hallucinate” and “Chin Up.” They slowed down a couple of times, namely for crowd favorite “Beige.”
What really got me was Adrian’s stage presence. The last time I had the opportunity to catch these guys, they played a much smaller venue down the street. The Truman had more space to move around on stage (and off), so we got to enjoy some dance moves and a bevy of lighting changes that we couldn’t before.
There’s something uniquely intimate about a show at Café Colonial in Sacramento. Tucked into a small venue space that practically glows with DIY charm, the latest leg of the Friendship Bracelet Tour features: Everybody’s Worried About Owen, The Last Arizona, June Henry, and openers Brianna Carmel and The Reverent Marigold. It was a night of catharsis, comfort, and queer magic.
The crowd, a cozy mix of alt and queer folks, created a safe and welcoming energy that made even first-timers feel like they belonged. The show kicked off with Sacramento’s own Brianna Carmel, whose punk-emo-inspired set featured a mix of originals and covers, grounding the night in raw vulnerability and hometown pride.
The Reverent Marigold, a trans-nonbinary folk artist from the Southwest, followed with a stunning and surreal set. Their originals like “JUDAS” and “Ahab, or the Whale” mixed folk-punk storytelling with poetic grit, but it was their unreleased track (complete with an audience-led chant of “F-U-C-K I-C-E”) that electrified the space. Rev. Mari’s voice and presence brought a grounded power that stuck with you long after the song ended.
Then came Everybody’s Worried About Owen, a standout moment of the night. With a rotating mix of fan favorites and unreleased tracks, Owen’s set felt both intimate and electric. Hearing “Mawce” live…a song that sparked a wave of resonance and visibility among trans listeners online was surreal and affirming. Other tracks like “Hydroplaning” and “Introducing Jonah to the Whale” showcased Owen’s emo-folk style and lyrical intensity, while news of an upcoming album and a move to Oregon left the crowd buzzing. West Coast fans, take note: Owen’s not going anywhere.
The Last Arizona followed with a warm, emotionally grounding set of original songs that brought a quieter intimacy to the room. While their performance leaned more subdued than some of the other acts, it was no less impactful. Their lyrics unfolded like quiet confessions, offering a soft landing near the close of the evening. There’s a patience and sincerity in The Last Arizona’s delivery that invites you to lean in, to listen harder.
Finally, June Henry closed out the night in a way only she could. Enchanting and deeply personal. Known for her minute-long viral track “void-adjacent,” June brought a blend of freak folk, lo-fi storytelling, and unflinching emotional honesty to the stage. Her unreleased songs felt like entries from a haunted diary, delicate but fearless. There’s something magnetic about the way June navigates her limerence, longing, and circus lore.
By the end of the night, it was clear this wasn’t just a concert, it was a communion of trans and queer artists and fans alike. Every set bled with care, creativity, and the kind of truth that rarely gets stage time. The Friendship Bracelet Tour lives up to its name: it’s stitched together with love, handmade vulnerability, and the promise that none of us are alone.
On its surface, KRAMON’s latest single “Morning Vapors” is a trance-like ode to early, easy smokes. It opens with an invitation to take a ride, offered via a sweet serenade from Meredith Adelaide over a gentle yet addicting guitar riff. From there, it takes the listener’s on a journey through an atmospheric headspace. The tune feels like a long, slow drive on Highway 70, with very few bumps in the road.
The second single of Josh Kramon’s newest project, simply titled KRAMON, follows in the footsteps of its predecessor “Crush.” It’s a dreamy, joyful rock tune, reminiscent of the psychedelic hippie hymns of the ‘70s.
Like “Crush”, “Morning Vapors” is spurred forward by Meredith Adelaide’s laid-back vocals. The multi-medium artist sounds like an old friend on the track. She overextends herself, rather choosing to float over the crisp instrumental.
It’s the instrumental that holds this piece together. It holds hands with both the lyrics and the vocals, guiding them along the journey the song promises.
The song gains its weight in its final minute and half. A slower, heavier harmonized bridge cues the audience to this shift in musical character. The ending chorus, a steady repetition of the song’s title, fulfills the promise of a new mood with the introduction of a tambourine and an increase in tempo. These last few minutes take the track where it’s been longing to go.
The direction of “Morning Vapors” paints a promising picture for Kramon’s newest project. And that direction is one full of potential for the composer, singer-songwriter, and multi-instrumentalist.
In what might be his better known work, Kramon has composed for various Television series, such as Veronica Mars. However, in his personal work, Kramon has explored his struggles with addiction and his complex relationship with his Jewish heritage.
Kramon is holding onto his vow to make music that speaks to him, rather than “chasing the latest musical trend.” So far, this latest project seems to break away from the themes of his previous work. Instead, “Morning Vapors” promises a future with less tears and more relaxation. Kramon is taking a ride, away from the heaviness of the past, in a vehicle that feels most authentic to himself – and he wants us to come along for the journey.
Yelawolf has been around in the music industry for a powerful fifteen years: founding record label and brand Slumerican, working with artists ranging from Eminem to Ed Sheeran, and now rapping his way through “Searching for Heaven”, a sneak peek from the album Whiskey and Roses, which will be released on July 11. The album is a collaboration with upcoming artist J. Michael Phillips, who combines raspy country vocals with trap beats, telling stories of his rough past which he has fought tooth and nail to push through.
“Searching for Heaven” aims to highlight the moment where life’s momentum breaks through distracting temptation. Phillips’ vocals traverse pop, rock, and country, piercing with genuine exasperation, as the path to salvation is broken. However Yelawolf plays a mere part in the song, leaving the impression that he is a featured artist rather than a partner. His verse picks apart the song’s rhythm, which is seemingly discombobulated either way.
There’s still a lot of promise with eight unreleased tracks from the Whiskey and Roses which you can pre-save now. The new duo has fresh music and messages for you to listen to and you won’t want to miss them.
Yelawolf & J. Michael Phillips – Summer 2025 Tour June 13 – Colorado Springs, CO at Ford Amphitheater June 14 – Denver, CO at Mission Ballroom July 3 – Charleston, SC at Refinery July 11 – Cleveland, OH at House Of Blues July 12 – Harrisburg, PA at XL Live July 13 – New Haven, CT at Toads July 15 – Albany, NY at Empire Live July 16 – McKees Rocks, PA at Roxian Theatre July 18 – Cadott, WI at Rock Fest July 19 – Grand Rapids, MI at Upheaval Fest July 20 – Cincinnati, OH at Bogarts July 22 – Louisville, KY at Old Forester’s Paristown Hall July 24 – Fayetteville, AR at JJ’s Live July 25 – Jefferson City, MO at Capital Region MJ Healthcare Amphitheater July 26 – Wichita, KS at Cotillion Ballroom July 27 – Oklahoma City, OK at The Criterion July 30 – Salt Lake City, UT at The Complex August 1 – Sacramento, CA at Channel 24 August 2 – Rancho Mirage, CA at The Show at Agua Caliente August 3 – Santa Cruz, CA at The Catalyst August 5 – San Luis Obispo, CA at Fremont Theater August 7 – Santa Fe, NM at The Bridge at Santa Fe Brewing August 9 – Sturgis, SD at Iron Horse Saloon August 10 – Sioux Falls, SD at The District
