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.
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.
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.
