New artist TAZ (Brandon Niederauer) just released his debut single “Say Something” on July 18th. TAZ is a New York native and a recent Yale graduate, gaining his nickname from his impressive guitar playing skills. He started playing the guitar at eight after watching the movie School of Rock, and four years later he starred in the Broadway production of School of Rock the Musical. TAZ has appeared in “Saturday Night,” Jesus Christ Superstar Live, and the Netflix series She’s Gotta Have It and has played festivals and venues such as Coachella, The Met Gala, and Madison Square Garden.
The single is primarily a mix of pop, R&B, and rock. There are moments of filtered vocals and electronic sounds that add a little complexity to the pop sound of the song. The influence of rock here is mainly present with the addition of drums. The drums are most prominent at the bridge, and both the guitar and drums build in intensity during this bridge. From this bridge, we go back into the chorus again and end with the lingering guitar sound as the song tapers off. It’s an upbeat, catchy song that can be listened to over and over again.
Despite this, the lyrics still express complex emotions and indicate that there’s something deeper. The song is about an argument that’s bothering the singer. It’s clearly a repeated experience as TAZ sings “I don’t know what you want this time.” The overall takeaway from the single is what the chorus repeats: “Something is better than nothing.”
For this being a debut single and TAZ only being 22 years old, “Say Something” is impressively polished and already stuck in my head. TAZ is certainly talented on his own as the singer/songwriter for the single, but the addition of Grammy-winning Theron “Neff-U” as producer adds a level of musical experience that’s clear when listening to the song. If you want to see more of TAZ, a celebration of “Say Something” will be held on August 14th at NYC’s Mercury Lounge and then he will be going on a U.S. tour with Jon Batiste.
Garbagebarbie’s new single “kiss” is a lighthearted bubblegum garage pop ear-worm that toys with the idea of catching feelings. Garbagebarbie is a staple band in the Los Angeles DIY scene, and routinely make an effort to host free shows for their fans, which they call “garbageparties”. Their sound can be described as an amalgamation of pop punk, indie, garage rock, and Britpop.
“kiss” starts off strong with distorted bass tones and whispery lead vocals that profess apathy towards going out. The track’s instrumental qualities blend excellently to create a shiny and textured song. The jangly electric guitars coupled with the absolutely infectious melody have certified “kiss” as the song of the summer.
Fletcher Milloy’s whispery vocals in the verses aid the song in building tension as he eventually leads into chant singing the melody, “I didn’t know you could kiss like this.” The melody discusses realizing feelings for someone that you initially thought would be a fling.
The song’s subject matter is extremely reminiscent of summer flings and romances as it discusses playing around with the idea of falling for someone and actually catching feelings in the process. When Milloy sings, “I didn’t know you could love me like this,” he captures the hidden ways that love and romance can seek up on you when you least expect it. It’s a light and playful track, but the message behind it is indicative of the current dating scene and many people’s eagerness as well as avoidance to develop feelings.
If you would like, plan, or already have fallen in love with someone this summer, Garbagebarbie’s “kiss,” is the perfect soundtrack to capture that journey. This track’s infectious melody, playfully vulnerable lyrics and excellent production, cement “kiss” as a summer classic. Check out the music video for “kiss” below.
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.
Houston-born R&B artist Bryant Barnes released his new single “Two Sides of Goodbye” on July 11th. Barnes, a singer, songwriter, and instrumentalist, has many popular hits including “Why Can’t You” “Is This Love To You” and “I’d Rather Pretend.” He originally went viral on tiktok for piano covers, but now has millions of streams on his EP Vanity. Barnes has been featured on Genius and at 19 years old, Vevo declared him as a DSCVR 2025 Artist to Watch.
“Two Sides of Goodbye” is a beautiful ballad. It’s a classic break-up song, but it’s anything but cliche or boring. If you’ve never heard Barnes’s vocals before, he has a very distinct tone that fits this type of slow, syrupy song. His harmonies in this song add another layer to the production that makes a more complex sound. The instruments are pretty basic here, but it adds to the song more than anything. The piano is soft but steady in the background, and the addition of strings right before the chorus is just a little touch to support Barnes’s vocals.
The single’s main story is about how the singer feels like he’s heartbroken by this break-up, while the other party has seemingly moved on. The chorus gives the listener this:
“I’m stuck in our memories You’re making new ones without me Smiling while I cry We’re on two sides of goodbye”
It’s the idea that one person is ready to move on and the other just isn’t yet, which I’m sure many listeners have related to at one point or another in their life. Something I love about “Two Sides of Goodbye” is that the song isn’t about placing blame on one party or another. Barnes in the second verse sings “I”m not being jealous, I just wanna know what it’s like” which explains the tones and emotions behind the song. It’s not bitter, which for me makes the song even more emotional.
If you want to see more of Bryant Barnes, he’s currently on the Withered Tour with artist D4vd. “Two Sides of Goodbye” sets the tone for a debut full-length album to come out later in 2025.
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.
Nashville-based artist Sam Varga released his new single “Minute Man” on July 4th. Varga is an rock/alt-country artist and has one full-length album he released in 2024 titled Shadow Work. His music is a unique combination of the distinct sound of country with some clear alternative and emo influences. Some of his songs lean more acoustic and it’s just his voice and the guitar, and others have that more alt-pop sound.
“Minute Man” has a modern country sound, and is a relatively simple production. There are a few minutes where it’s just the guitar playing, which switches up the main beat of the song. But Varga’s style makes this song different from any other country song, as the alternative elements are just as present here. Sam Varga’s vocals feel much more in line with an alternative style than the traditional country singer. The vocals don’t have the high pitch that is often present in emo music, but the tone is much brighter than country usually is. The drums are also more reminiscent of the alternative genre, which manages to give this song a complex sound with the simple production.
The single is also political in a way that’s fitting for our current world, a distinction from Varga’s other work. Different cultural references are sprinkled throughout the song, which catches the listener’s attention. It’s less of a specific political message than it is an observation of just how broken our world and society is right now. The song also mostly references different ways that the world is ending or “broken,” like the threat of nuclear war and the polar ice caps melting.
But the main “story” of the song is about falling in love with this apocalyptic background. It’s an interesting contrast between this love and the very current threat of the world ending. The lyrics “two kids kissing under bleachers in the fallout” are immediately followed by “heard you say we’re gonna die young anyway.” It’s dark, but the takeaway isn’t totally depressing. The title comes into play here, as the lyrics “I just need a minute, man” end off the chorus. “Minute Man” is interested in how screwed up our current political world is, but it isn’t a totally nihilistic song.
Amy Jay‘s latest single, “Can’t Go Back” is a indie pop track that delves into displacement, detachment and loneliness in a place that you think of as your home. Amy Jay is a self described “alt folk indie singer songwriter” who is currently based in New York City. “Can’t Go Back” is the first single off of Jay’s upcoming album, Mnemonics, out November 7th.
“Can’t Go Back” is the perfect song for soul searchers, introspectives, and who has ever felt out of place or invisible. Amy Jay’s inspiration—feeling lost in New York City—is a universal concept even if you don’t have millions of people on your doorstep. Community is a hard thing to find, and Jay delves into that struggle deeply on “Can’t Go Back.”
The track begins with immersive bass beats with deeply personal direct lyrics targeted to a former friend/lover. She reminsces on what once was, and their final dinner, mentioning the isolation that followed. Her soft vocals are intimate and reflective of the songs sensitive nature.
The tracks shining star is it’s lyrics. When Amy Jay writes, “I can’t tell if it’s New York, or if I’ve grown up, or if I’ve grown up in New York”, she speaks to the dismantling of identity and placement, and the way we become misaligned with our home and self.
As she writes that the city is “shaping her”, she is discussing all the change you go through during youth and how malleable your identity becomes. It’s so easy to lose yourself in new environments and experiences, and forget where you even began, which is exactly what Jay seeks to discover. Describes Jay of the inspiration here, “Remember that change is inevitable and sometimes permanent.” She goes on to explain:
Although I wrote this song before COVID, it’s eerily pertinent to how the pandemic drastically impacted our lives. Despite living in the same city long enough to call it home, I question if my sense of displacement comes from New York’s inherent transience or the broader challenges of adulthood. Even before COVID but especially since, many loved ones moved away and my community is constantly shifting, so it often feels impossible to establish lasting roots in such an ever-changing environment. Like experiencing a death, the only way to move forward is to grieve the change and accept the new reality.
The lyrics are enrobed in Jay’s echoey vocals, and the nostalgic reverb that makes the song feel simultaneously distant and extremely close to home, which is exactly the contrast that exists within the narrative of displacement and discovery.
The steady and relatively chill beat and instrumentals are at odds with the anxiety and mourning of loss time and identity within the song, and the tension works amazingly. Jay is up to quietly mourn who we once were alongside her, as the song allows the listener to reflect on their own irreversible moments and lost memories/experiences.
The repetition of the lyrics “We can’t go back” is both disarming and comforting, as it reflects both the uneasiness towards the passage of time, as well as the acceptance of it. “Can’t Go Back” is the soundtrack for travelers, hermits, college students, and pretty much anyone that has felt instability or loss of identity, and Amy Jay packages it skillfully and wonderfully through her velvety vocals and confessional lyrics. If you don’t already relate, unfortunately, someday you will!
Follow Amy Jay on tour here. Pre-save the single here.
