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.
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
Foggieraw’s new single “Nefertiti” uses memory-inducing lyrics over a gentle jazz piano to depict 90’s nostalgia and childish love.
The jazzy piano melodies trigger both nostalgia and a sense of timelessness, as Foggieraw begins the song speaking to his “Nefertiti” directly. The premise of the song is a plea to remember the “good ol’ days” and the moments that they shared together, while also acknowledging their faults and insecurities as a couple.
“Nefertiti” is pumped full of references to everything from Betty Boop to Freaky Friday and Spykids. The nostalgia that Foggieraw employs on this track also plays into the immaturity of his love, as he begins to reveal the cracks and instability in his relationship.
He writes about fighting with her cousins, them fighting with each other, and with her friends. It paints a complicated picture of their attachment as even though they have deep love and a prolonged connection, their extended time in each other’s lives has created a muddy and messy situation. Foggieraw ends the song by restating that he does not like her friends, “I don’t like none of your friends, I don’t like Kiana, I don’t like Kiesha and I definitely don’t like Kiki,” which only emphasizes the complex relationship presented in the track.
Foggieraw’s style in “Nefertiti” leans towards conversational, as he uses the softness of the hypnotic backing piano to languidly rap his lyrics to his lover. His lyrics are what really shine as he is able to be honest, nostalgic, and exude confidence all in less than two and a half minutes. Foggieraw encapsulates his struggle in his relationship by saying, “I like you for who you is, you like me for the n**** I could be one day.”
Foggieraw has managed to create a love song that is both romantic and argumentative, which creates a listening experience that is raw, real and nostalgic. “Nefertiti” shows us that relationships are complicated experiences, but that love and romance often keeps us coming back for more.
Conan Gray has always made heartbreak sound cinematic, but in the music video for “This Song,” he leans fully into visual poetry, backdropped by small-town Texas skies, the nostalgia of youth, and the ache of something left unsaid. Shot on film and directed by Moon Shynin, the video stars Gray and actor Corey Fogelmanis, both playing lovers locked in a quiet, unresolved orbit. From stolen glances across dimly lit diners to an emotionally loaded first on-screen kiss, it’s a haunting introduction to Wishbone, Gray’s upcoming album, due out August 15.
The music video doesn’t tell a story in linear terms. It floats. Much like the song itself, the visual narrative exists in memory and metaphor more than clear chronology. It’s nostalgic without being kitschy, romantic without requiring words. The intimacy between the two characters feels lived-in… gentle, familiar, and quietly devastating in its mundanity. These aren’t grand cinematic lovers; they’re real people in the in-between, suspended in the echo of something that might have already ended.
Then, the kiss. A moment fans have buzzed about as Gray’s first on-screen kiss, it lands with more sadness than celebration. It’s not a moment of passion, but one of acceptance. A soft surrender to everything left unsaid. That’s the power of “This Song.” Nothing explodes. Nothing resolves. It just lingers.
Produced by Ethan Gruska, “This Song” doesn’t rely on sonic spectacle to hit hard. It simmers in longing, filled with slow, pulsing instrumentation and restrained vocals that unravel like a late-night journal entry. The lyrics linger in that liminal space when memories start looping louder than reality. Fans are already calling it Gray’s first true love song, and in many ways, it is. It’s vulnerable without being self-pitying, romantic without being grandiose, and devastatingly honest in how it captures the feeling of being left behind.
Gray’s reflections on the track (shared via Instagram) make the video all the more poignant. He compares relationships to a wishbone ritual: two people making a wish, pulling until something breaks, and only one person walking away with the long end. That metaphor shapes the emotional palette of “This Song.” There’s no revenge arc here, no triumphant solo glow-up. Just the ache of an ending you didn’t see coming until it shattered in your hands.
What makes this video stand out in Gray’s visual catalog is how understated it is. There’s no high-concept drama, no surreal worldbuilding like in some of his previous videos. Instead, it’s the color of Corey’s sweatshirt, the distant look in Gray’s eyes, the awkward space between their hands in the car. Director Moon Shynin lets us sit in the discomfort of things unsaid. Combined with the grain of the film and the dusky, warm palette, the video feels like something found in a box years later, watched with a lump in the throat.
“This Song” marks the beginning of Gray’s Wishbone era! An album born from 300 unreleased tracks, written in basements and between tour stops, in hotel sheets and long cab rides. And if this single is any indication, Wishbone might be his most personal work yet: disillusioned, self-aware, and softly soul-searching. A story of choosing people who are already halfway out the door and finally asking why.
Watch the video and prepare yourself for the August heartbreak. This is Conan Gray not as the heartbroken teen pop star, but as a young adult sifting through what it means to trust, to lose, and to love anyway.
Lyn Lapid, Filipino American singer & songwriter, released a cover of Pixies “Where is my mind” on Friday. You may have heard her hits such as “Producer man” and “In my mind”, as well as her 2023 EP to love in the 21st century. She recently released her debut album Buzzkill. Lapid performs a variety of genres, including pop and R&B, and is known both for her original songs and her viral covers on Tiktok.
The Pixies’ original version of the song was released in 1998, alternative rock with bass and guitar. Lyn Lapid provides a distinctly different version. Her version has a more dreamy production, with echoed vocals and strings. Lapid’s version definitely updates the song in a way that fits with the indie pop style of many artists now.
I think this production style still fits the original song, and seems to touch on a fun, dreamy element that’s present in the Pixies version. While the original song is produced in an alt-rock style, “Where is my mind” is about Black Francis’s trip to the Caribbean and his experience with the small fish he saw while snorkeling. Lapid’s production fits this “story” of the song well in my opinion–the slower, more echoey sound is fitting for swimming underwater.
The release of this cover comes while Lyn Lapid is on the North American leg of her Buzzkill tour. She still has shows in various North American cities until June 28th.
UPCOMING BUZZKILL WORLD TOUR DATES: June 13 // Charlotte, NC // Amos’ Southend June 14 // Atlanta, GA // Center Stage – The Loft June 16 // Orlando, FL // The Social June 19 // Houston, TX // Warehouse Live – The Ballroom June 21 // Austin, TX // Antone’s Nightclub June 22 // Dallas, TX // Trees June 25 // Phoenix, AZ // Crescent Ballroom June 26 // San Diego, CA // The Observatory – North Park June 28 // Los Angeles, CA // El Rey Theatre
