After a five-year hiatus from new releases, Rainbow Kitten Surprise has officially returned with their latest single, “Dang”. A smooth, woozy track that just begs to be played with the windows down on a humid summer night.
The North Carolina-born band, originally formed in Boone in 2013, has always lived at the crossroads of contradiction. Their sound? A rich stew of indie rock, hip-hop, folk, and soul. Think Frank Ocean meets Modest Mouse by way of the Appalachian mountains. Core members Ela Melo (vocals), Bozzy Keller (guitar), Ethan Goodpaster (guitar), and Jess Haney (drums) bring something unexpected to the table every time. And with “Dang”, that streak continues.
“Dang” is the latest taste after they dropped another single earlier this year. The track hints at the raw honesty and genre-defying boldness. Maybe, we can expect a full project with this single from the website RKS released along with the song? This song has lyrics that feel both personal and performative, like a love letter written on the edge of a napkin in the back of a dive bar.
Sonically, the song skates somewhere between late-night confession and daydreamy dance floor anthem. Melo’s vocals float over a laid-back groove as she sings, “I’ve been working on a project / it’s called you / and I do or die / and I’m grieving love.” There’s a tenderness here, gritty yet graceful, that sets RKS apart in the alt-pop landscape. The chorus swells with the kind of melancholic joy that makes you nostalgic for something that hasn’t happened yet.
True to form, the band still plays with unexpected lyrical references: Mother Mary, barked warnings, and shoutouts to Cage the Elephant weave in and out of the track like coded messages. It’s clever without being inaccessible. Like an inside joke, you’re just beginning to understand.
With over 2 billion streams under their belt and a fanbase as devoted as it is diverse, Rainbow Kitten Surprise is a band that continues to defy convention. This is a group that has taken the messiness of mental health, identity, and love and turned it into something melodic, magnetic, and unforgettable.
It’s hard not to picture “Dang” playing in the background of an indie short film. One with a little too much filter, sure, but also with a lot of heart. “Dang” is available now on all streaming platforms. And if you get the chance to catch RKS live, don’t miss it. You might just find yourself howling along.
With an unmistakable ache in his voice and piano keys that sound like whispered memories, Anson Seabra returns with his second single of the year, “Haunt Me”. A raw, introspective track that perfectly captures the emotional aftermath of a relationship that once burned bright and now refuses to die quietly.
Anson Seabra, a Kansas City native, has carved out a unique space in the indie-pop and singer-songwriter landscape. Blending confessional lyrics with gentle piano melodies, his music has long served as a balm for listeners navigating heartbreak, mental health struggles, and growing pains. His breakout moment came with the viral success of “Welcome to Wonderland” in 2018. A whimsical yet melancholic exploration of escapism that quickly established Seabra as a go-to artist for emotionally resonant bedroom pop.
But his journey into music wasn’t straightforward. Seabra began playing piano at just six years old and spent his younger years juggling music and academics. After earning a computer science degree and working as a software engineer, he eventually decided to pursue music full-time. Since then, he’s become known for turning late-night feelings into beautifully produced songs that sound like they were written just for you. Especially if you’ve ever found yourself staring at the ceiling at 2 a.m. with earbuds in and the weight of the world on your chest.
“Haunt Me” fits perfectly into that lineage. The track tells the story of a love that’s ended, but not emotionally over. In the lyrics, Seabra returns again and again to the image of a ghost. A kind that stays behind after the final goodbye: “You haunt me every night / Haunt me every time / I think I am fine / Then you’re right there, it’s a nightmare.”
The production feels slightly more upbeat than some of his previous releases, but the content remains as heartbreaking as ever. There’s a subtle juxtaposition between the song’s pacing and its subject matter; a sonic push-and-pull that mirrors the emotional whiplash of trying to move on while still being emotionally tethered to someone.
What makes the song even more compelling is Seabra’s ability to take accountability within the narrative. In the pre-chorus, he sings: “’Cause I was a boy playing a grown-up / And you were a girl hopelessly in love / And I was afraid of letting you see me / So I ran away ’cause running is easy.” It’s a quiet, devastating confession that gives the song an added emotional depth. This isn’t just about loss; it’s about regret, self-awareness, and the weight of knowing you were the one who walked away.
Fans of Lauv, Jeremy Zucker, and even early Ed Sheeran will likely find themselves drawn to this track. But “Haunt Me” is unmistakably Seabra: honest, aching, and melodic in a way that feels timeless. It’s not just a song you listen to once. It’s a song that finds a place in your memory, echoing back when you least expect it.
Personally, as someone who’s had Seabra’s music in my earbuds during some of my lowest points, this release feels like a gift. He has a way of making you feel seen in your sadness, like he’s writing directly to the quietest part of your heart. “Haunt Me” may describe a love that lingers painfully, but it also feels like a familiar companion. One that holds space for your grief without judgment.
Whether you’re discovering Anson Seabra for the first time or you’ve been following him since Songs I Wrote in My Bedroom, this new single reminds us exactly why his music resonates so deeply. “Haunt Me” isn’t just about being haunted by someone else… It’s about the ghosts we carry inside ourselves, the ones we try to outrun, and the ones that keep showing up when the world goes quiet.
If you’re not ready to move on, or even if you are, this song might follow you for a while. And honestly? That’s what makes it beautiful.
Beloved artist Rachael Sage is back with a brand-new single that’s here to add a spark of joy to your summer playlist. “Live It Up”, out Friday, July 25, is a spirited piano-pop track that embraces optimism in the face of uncertainty. It encourages listeners to let go, shake it off, and move forward with unapologetic flair.
Written as a response to the chaotic times we’re all living through, “Live It Up” channels a bright, almost theatrical energy that will feel familiar to fans of vibrant, narrative-driven pop. It’s the kind of track you can imagine scoring a spontaneous musical number. Full of pep, charm, and that distinct Rachael Sage warmth. Backed by her longtime band The Sequins, the song lifts with buoyant piano melodies and cheerful harmonies.
Sage calls for radical joy, self-acceptance, and living authentically. A thread that runs through her recent work, including the singles “Canopy” and “Just Enough”. The track is set to feature on her upcoming album Canopy, due October 2025, and a special performance video will accompany its release. If this latest single is any indication, Canopy promises to be a colorful collection of resilience anthems rooted in inclusion and inner strength.
Currently on her Joy = Resistance Tour, Sage is bringing her music and message to major cities across North America this summer.
Over the years, Sage has built a celebrated career not just as a prolific songwriter and multi-instrumentalist, but as a creative. A six-time Independent Music Award winner and founder of MPress Records, she has shared stages with artists like Ani DiFranco, Judy Collins, and Shawn Colvin. Her art spans multiple mediums, as well. From her visual artwork to her poetic music project, Poetica, and always leans into sincerity and storytelling.
With “Live It Up”, Rachael Sage once again offers listeners a dose of unfiltered positivity.
2025 TOUR DATES: August 6 – Ayurprana Listening Room – Asheville, NC++ August 7 – The 5 Spot – Nashville, TN++ August 8 – Redbud Venue – Chattanooga, TN August 10 – Smith’s Olde Bar – Atlanta, GA August 13 – Awendaw Green – Charleston, SC^ August 15 – The Sentient Bean – Savannah, GA+ August 16 – The Purple Onion – Saluda, NC September 26 – Rendezvous Jewel Box Theater – Seattle, WA September 27 – Al’s Den – Portland, OR October 5 – Hotel Café – Los Angeles, CA^^ October 8 – The Lost Church – San Francisco, CA^^ October 11 – Fanwood Performance Series – Fanwood, NJ* October 16 – 04 Center – Austin, RX** October 17 – Mucky Duck – Houston, TX**
with Sean Kelly ++ with Christie Lenée ^ with Danielle Howle ^^ with Tom Goss
After lending his pen to some of the biggest names in the industry, Grammy-winning artist Derrick Milano is stepping further into his own spotlight. His latest single, “Beauty Pageant”, produced by the legendary duo Cool & Dre, arrives with polish, poise, and purpose.
Built on velvety, nostalgic production with a sleek modern sheen, “Beauty Pageant” isn’t just sonically rich, it’s thematically focused. It’s a tight, self-assured record that doesn’t ask for space but claims it, making room for women to be seen without compromise. The title might evoke images of glitz and competition, but Milano flips that idea on its head. There’s no judgment here. No points to tally. Just women existing powerfully, unapologetically, and on their own terms.
Hailing from Philadelphia and currently based in Florida, Milano’s career has spanned high school rap battles, church choir roots, and songwriting credits for artists like Megan Thee Stallion, Beyoncé, and Cardi B. While he’s long been a powerhouse behind the scenes, “Beauty Pageant” is another confident reminder of what he brings to the mic as a solo artist.
Where his previous track “We Listen We Don’t Judge” offered emotional vulnerability, “Beauty Pageant” is pure elegance and energy. There’s a smooth self-assurance that radiates through the beat. Lush and retro, yet distinctly current. It’s the kind of production Cool & Dre are known for, and Milano glides across it with effortless control.
But what truly makes “Beauty Pageant” stand out is how it encapsulates Milano’s artistic vision. It’s a clean, focused track that speaks not only to self-worth, but to the kind of music he’s carving space for: smart, stylish, and grounded in intention. Empowering without preaching, fashionable without feeling empty, the track walks a tightrope with confidence and grace.
This is the kind of single that doesn’t shout for attention. It simply commands it. With “Beauty Pageant”, Derrick Milano reminds us that he’s more than a collaborator with range. He’s a storyteller, a visionary, and an artist claiming his space in full.
After eight years of silence, Paul McDonald has reemerged, not with polish, but with purpose.
The Alabama-born singer-songwriter who once charmed American Idol audiences with his gravel-coated vocals and signature Southern swagger makes a thunderous return with So Long to the Dark Side. A full-length testament to heartbreak, healing, and hard-won hope. This is not just another Americana record; it’s the kind of album you don’t write unless you’ve been through hell and made the long walk back.
“The last time I put out a full record was in 2018,” McDonald shares. “Since then, I wrote and recorded more music than I care to admit… whole albums, multiple times over, only to shelve them all.” After pouring his soul into chasing a sound that kept slipping through his fingers, McDonald found himself creatively exhausted and unsure if music was still his calling. So Long to the Dark Side is the sound of him finding his way back.
And it shows. There’s a rawness pulsing through every track that feels earned, not engineered. Opener “Dark Side” sets the tone with a gospel-tinged urgency, the kind of song that kicks up dust in your chest. You can almost hear the weight he’s carrying, and the light he’s chasing. That tension continues throughout the record, teetering between cosmic Americana and Southern soul.
“Rosemarie” shimmers with nostalgia, a smoky ballad about a love that lingers just a little too long. “Unwind” offers a gentler reprieve, like the first deep breath after a long stretch underwater. An ode to letting go of the hustle and leaning into grace. But it’s “What’s the Point?” that cuts deepest: a philosophical spiral into life’s meaning, anchored by the simplest and most profound answer: love.
Throughout the album, McDonald doesn’t shy away from the darkness, but he never lets it win. “Stardust” and “Star of the Morning” flirt with celestial themes, while “Forgiveness” dives into the messier parts of being human and trying to let go. On “Never Coming Down” and “Higher Power”, McDonald reaches for something bigger. Maybe faith, maybe clarity, maybe just solid ground. He closes things out with “Good Time,” a rollicking, full-circle celebration of the now. It’s not naive joy, it’s earned joy.
Though Paul McDonald once dabbled in shiny LA pop during a public-facing relationship with actress Nikki Reed, So Long to the Dark Side is a return to his roots. To the dive bars of the Southeast, to the soul-soaked storytelling of Petty and Parsons, to a sound that doesn’t chase trends, but reverberates with truth. With his band The Mourning Doves, McDonald has rebuilt his musical foundation in Nashville, not as a comeback, but as a continuation. His annual One Big Love festival has become a quiet fixture in the community, and his live shows are part revival, part rock séance. A full-body reminder that this man was never gone, just rebuilding.
So Long to the Dark Side is imperfect in the best way: raw, human, and gloriously alive. And just like the publication you’re reading this on, it knows that imperfection is the most honest form of art.
From the heart of Nashville, Grammy-nominated bluegrass band Sister Sadie returns with their fourth studio album, All Will Be Well. A sweeping, genre-blurring body of work that reaffirms their place not only as instrumental powerhouses but as storytellers rooted deeply in resilience, community, and emotional truth.
Out now via Mountain Home Music Company, All Will Be Well arrives on the heels of a triumphant award season for the group. With co-founder Deanie Richardson earning Fiddle Player of the Year and guitarist Jaelee Roberts taking home Female Vocalist of the Year at the 2024 International Bluegrass Music Association awards. The band itself, which formed in 2012 after a one-off performance at Nashville’s Station Inn, has long defied the limits of genre and gender in bluegrass, having been crowned IBMA’s Entertainer of the Year in 2020 and Vocal Group of the Year for three consecutive years prior.
What makes All Will Be Well especially poignant is its emotional and stylistic breadth. From the first notes of “Winnebago” to the soulful closer “Can’t Let Go of Your Love”, Sister Sadie pulls from a palette that fuses 90s country nostalgia with classic bluegrass instrumentation. Guitarist and vocalist Dani Flowers, who co-wrote over half the album, describes it best: “From the studio to the stage, the songs from this record have brought us back to life and connected us to each other in brand new ways.”
One of the most arresting tracks, “Let the Circle Be Broken”, tackles generational trauma and domestic abuse with raw honesty. It’s an exorcism wrapped in harmony, somber and unrelenting, yet ultimately redemptive. This willingness to marry vulnerability with musical precision is Sister Sadie’s signature, and it’s on full display throughout the album.
The band also invited a stellar lineup of collaborators to join the journey. Steve Earle lends harmony on “I Wish It Would Rain”, while legends like Russ Pahl (pedal steel), Catherine Marx (keys), and Dave Racine (drums) elevate the record’s sonic landscape. With these contributions and performances from musicians like Seth Taylor and Mary Meyer, each track is layered with texture, intention, and deep musical kinship.
Standouts like “Make Me Stay or Make Me Go” and “The Devil Don’t Care” offer blistering instrumentation and bold vocal performances. “Orphan Train” and “Prodigal Daughter” lean into narrative balladry, while “This Is Me (You’re Not Talking To)” feels like a line in the sand. Through it all, the band’s vocal chemistry remains unshakable, each harmony feeling earned and essential.
It is a damn good record. But more than that, it’s a generous one. The kind that opens its arms to long-time fans and newcomers alike. Whether you come for the bluegrass chops, the country soul, or the stories that settle in your bones, All Will Be Well is a celebration of Sister Sadie’s evolution. Because in their world, harmony isn’t just a sound. It’s a promise.
On Independence Day 2025, Kesha detonated a firework of her own: . (PERIOD), her long-anticipated sixth studio album and the first released under her own label, Kesha Records. It’s more than an album. It’s a neon-lit middle finger to expectations and a joyride into the unruly, emotionally raw depths of her artistry.
With . (PERIOD), Kesha returns not just unfiltered, but unshackled. This 11-track collection explodes with irreverence, vulnerability, and a high-octane celebration of freedom. Featuring hit singles like “JOYRIDE.”, “YIPPEE-KI-YAY.” (featuring T-Pain), and “BOY CRAZY.” The album is stacked with unapologetically bold anthems that demand to be blasted at full volume, with glitter smeared across your cheeks and a scream in your throat.
Born in Los Angeles but spiritually stationed somewhere between a dancefloor and the desert, Kesha has long transcended pop stardom. She’s a cultural icon, a survivor, and a provocateur and with . (PERIOD), she’s steering the whole damn ship. Co-produced and co-written by Kesha herself, the album pulls from electro-pop, country, house, and punk, yet feels cohesive in its chaos. It’s as if each song is a new face of the same disco ball, fractured but blazing with light.
The opening track, “FREEDOM.” sets the tone with a thunderous, rallying cry for autonomy. From there, “JOYRIDE.” (released exactly a year prior) feels like a literal ignition. Its video, where Kesha races through the desert dodging helicopters and hitmen, has nearly 2 million views and encapsulates the album’s energy: rebellious, cinematic, and on the run.
Then there’s “BOY CRAZY.”, an infectious dance track paired with a chaotic, sex-positive video that sees Kesha surrounded by scantily clad men. It’s ridiculous. It’s hilarious. It’s art. Co-directed by Kesha herself alongside Brett Loudermilk and Zain Curtis, it’s clear she’s taken the wheel creatively as well as musically.
“YIPPEE-KI-YAY.” is perhaps the wildest track of the bunch. A yeehaw-worthy country-pop fusion featuring T-Pain and remixed by A.G. Cook. It’s absurd in all the right ways. Kesha even brought it to Coachella and Stagecoach in two wildly different live renditions that perfectly capture her range and reinvention.
And if there’s one ballad on this record that cuts deepest, it’s “CATHEDRAL.” A lush, gospel-tinged closer that aches with hope and grief. Kesha’s vocals, often buried under glitter and grit, shine in their full, earnest power here.
But beyond the music, . (PERIOD) is a reclamation. After years of public legal battles and creative restrictions, Kesha’s independence is no longer symbolic; it’s literal. Released through her own imprint, on her own terms, this album reaffirms her role not just as a pop star but as an artist. It’s messy, it’s loud, it’s half-joke, half-confession, and it’s the most Kesha she’s ever been.
Currently on her largest headline run to date, The Tits Out Tour. Kesha is lighting up arenas across the U.S., with sold-out shows at iconic venues like the Kia Forum in LA and Madison Square Garden. Proving once again that Kesha has always had her glittered finger on the pulse of pop culture.
. (PERIOD) is the sound of an artist who’s lived through hell and come out ready to dance on its ashes.
There’s a certain kind of quiet bravery in getting back up when the world is watching. After two years of silence, Lewis Capaldi does just that, standing not in defiance of his struggle, but beside it. His new single, “Survive”, is out now via Capitol Records.
Capaldi, the Scottish singer-songwriter best known for his vocal gut-punches and brutally honest ballads, first captured the world with “Someone You Loved”, a track that’s now certified Diamond in the U.S. and the most-streamed song of all time in the UK. But Survive isn’t about charts. It’s about persistence.
“Most nights I fear that I’m not enough,” Capaldi admits at the start of the track, and that vulnerability doesn’t let up. The song aches. It’s raw. But it’s also hopeful. Lifting itself from the wreckage of self-doubt with a chorus that feels like a breathless, desperate promise: “I swear to God I’ll survive, if it kills me to.”
Co-written with longtime collaborator RØMANS (yes, the same duo behind “Someone You Loved”), “Survive” pairs Capaldi’s scorched cannon of a voice with the kind of swelling, cinematic instrumentation that practically begs for a stadium singalong or a solo cry-drive through your hometown.
It’s no accident this release comes after his powerful but emotionally difficult set at Glastonbury 2023. “Survive” marks a turning point. Not a comeback. A continuation. A choice.
And if the track itself weren’t enough, the accompanying music video, directed by Hector Dockrill, elevates the experience even further. It’s not just a song. It’s a testimony.
Capaldi’s journey has been real. Jagged, aching, and ironically deeply inspired. With over 30 billion global streams, 8 UK Top 10 singles, and a Netflix documentary (How I’m Feeling Now) that laid bare the emotional cost of fame, Capaldi has always sung like survival was the only option. Now, he’s finally saying it out loud.
“Survive” is streaming now on all major platforms. Listen to it with your whole chest.
Alecander Seiler (he/they) is a Creative Writing major with a double minor in Theatre & Studio Arts at the University of Redlands. Passionate about pushing boundaries and amplifying marginalized voices, Alec seeks to create stories that resonate, challenge, and inspire.
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.
