Billy Ray Rock Rebuilds From the Roots on “This the Town I’m From” (Includes Exclusive Interview!)
For Billy Ray Rock, looking backward has become an unexpected way of figuring out how to move forward.
His latest single, “This the Town I’m From,” returns to the Fresno streets of his childhood, revisiting the people, experiences and seemingly insignificant moments that helped form his identity. But what might initially sound like a hometown tribute carries considerably more weight. Following the death of his wife, Rock now hears those memories differently. The song has become a bridge between who he was, what he has lost and the future he is still learning how to embrace.
“Having just lost my wife of a number of years, I felt like it was the time to kind of reflect,” Rock says. “If I am to try to move forward and try to find some form of happiness in my future, I guess it starts with rebooting my foundation in some strange way.”
That foundation is Fresno, a place Rock affectionately describes as the “biggest small town” he has encountered. Positioned between San Francisco and Los Angeles, Fresno exists outside the gravitational pull of either metropolis, developing what Rock sees as an insulated personality of its own.
“It’s a town where people are pretty cliquish,” he explains, “so it has a real, almost shell around it.”
Inside that shell are the memories that populate “This the Town I’m From.” Rock remembers walking barefoot to the store, playing games with neighborhood children and spending time with family. There is nothing spectacular about these recollections, and that is precisely what makes them valuable.
As children, ordinary experiences rarely announce themselves as future treasures. Only decades later do they become landmarks.
“I think they become powerful because they are simple things that you’re never likely to repeat as an adult,” Rock says.
Growing up poor also permanently altered his understanding of abundance. Things others might regard as routine can still feel luxurious to him. At the same time, the resourcefulness required during childhood helped shape both his character and his work ethic.
That ability to create something from whatever was available eventually extended to music.
Rock grew up absorbing artists who might now be separated into entirely different playlists: Hall & Oates, Elton John, the Ohio Players and Earth, Wind & Fire among them. Instead of teaching him to identify musical boundaries, that eclectic education taught him to ignore them.
“When you’re creating, nothing is off the table,” he says. “If it feels good, then let it happen. Don’t lose sleep worrying about genres; lose sleep worrying if it sounds good.”
It is an uncomplicated philosophy that explains Rock’s willingness to move among styles rather than allowing radio formats to dictate his identity. Fatherhood has pushed him even further away from chasing trends.
Becoming a parent, Rock says, made him more conscious of the subjects he explores and encouraged him to examine what was happening internally rather than focusing on whatever happened to be popular at radio.
That shift toward substance over recognition has accelerated with age and loss.
Rock admits there was once a certain satisfaction in the “shine” that accompanied creating a successful song. Today, applause is increasingly irrelevant compared with the possibility that his music might genuinely affect someone.
“The shine that you receive from a song creation is temporary,” he says. “The feeling that people feel from the music you make is more long lasting and contributes more to your legacy as an artist.”
Few songs demonstrate that evolution more clearly than “This the Town I’m From.”
Before his wife’s death, the song’s backward glance primarily reminded Rock of his parents and siblings he had lost. Now his wife occupies that emotional landscape as well. Because she had such a powerful connection to the song and its video, the recording has become what Rock describes as a kind of monument to yesterday.
It has also changed how he approaches today.
Raising their two children without her has made him increasingly conscious of the fragility of time. He tries to appreciate every interaction more deeply, even while acknowledging that grief has made him more anxious about his children’s emotional and physical well-being.
That tension gives the song an importance far beyond hometown pride. Fresno provides the geography, but loss supplies much of its contemporary meaning.
“This the Town I’m From” is ultimately concerned with the strange way the past continues accompanying us. Childhood poverty can become adult gratitude. Neighborhood games can become lessons in creativity. The music heard on the radio decades ago can become permission to ignore genre boundaries. A song written about parents and siblings can suddenly become inseparable from the memory of a spouse.
Rock understands now that legacy isn’t necessarily the attention an artist receives while making music. It is what remains inside someone else after the song ends.
That is also what he hopes Skope Magazine readers take from “This the Town I’m From.” He isn’t asking listeners to adopt his memories or see Fresno exactly as he sees it. Instead, he wants the song to prompt their own inventory.
“I hope that they think about where they come from,” Rock says, “and what it is they can take from that past to help them make a better future.”
For Billy Ray Rock, that process is already underway.
He is returning to Fresno, to childhood, to family and even to grief—not because he wants to live in yesterday, but because somewhere inside yesterday are the pieces he needs to build tomorrow.
Scott Argiro Finds Freedom, Humor and Authenticity in Glitterati (Contains Exclusive Interview!)
For Scott Argiro, creativity begins with something deeper than technique. Whether he is standing before a camera, singing into a microphone or building a song one instrument at a time, his goal remains the same: make it feel real.
Argiro has spent years moving between acting and music, two disciplines that have sharpened his instincts as a performer and storyteller. Both have also taught him that audiences possess an uncanny ability to recognize honesty.
“My work, whether acting or music, tends to explore themes of humanity and authenticity,” Argiro says. “The acting and music worlds have both taught me audiences pick up on what is real and what is inauthentic.”
That pursuit of truth runs throughout Glitterati, Argiro’s latest album under the name ARGYRO. The record explores celebrity, identity, desire and illusion, but it does so without becoming self-important. Its vivid settings and memorable characters reveal an artist who understands the absurdity of entertainment while remaining devoted to his craft.
Argiro is a remarkably self-contained musician, playing drums, bass, keyboards and guitar in addition to singing on his recordings. Despite that versatility, his songs generally begin with one of three instruments.
“Guitar, bass and piano are my key instruments of choice when sketching an idea,” he explains. “I’ll play chord progressions and work out melodies over them until I believe I’ve achieved something unique.”
The words often arrive later. Argiro keeps books filled with potential titles and lyrics, waiting for the right phrase to connect with a developing melody. Once the music has established its personality, a line can suddenly emerge from those pages and seem destined for the song.
“It’s a bit magical,” he says.
Many of those moments happen far away from the recording studio. Argiro lives in Colorado, where hiking provides both solitude and creative stimulation. Some of his strongest ideas have appeared while he was walking through the mountains or along a beach. In those quiet spaces, melodies seem to surface naturally.
https://www.youtube.com/watch?v=_fgtZ0esEQ8
“Those types of environments and activities seem to ignite the creative part of the brain,” he says, “but I’m still not sure how it all works.”
That connection between sound and scenery helps explain why geography plays such a prominent role in Argiro’s music. Songs including “She’s So LA,” “Cool Shades” and “House Upon the Mountainside” evoke specific environments, even when their emotional landscapes are more important than their literal locations.
Argiro describes himself as a visual learner, although his artistic gifts do not extend to painting or drawing—unless, he jokes, the audience happens to enjoy stick figures. Instead, he translates the images in his head into melodies, arrangements and performances.
“My artistic abilities are more in sound and expression, which is born from a visual perspective,” he says. “I can see the image in my head that I’m trying to write about.”
“Cool Shades” provides a perfect example. Its original melody and bass line came to Argiro during a hike, prompting him to capture the idea on his phone. The song’s relaxed, uncluttered atmosphere reflects one of the most important lessons he has learned during his career: complexity does not automatically create emotional power.
Earlier in his development, Argiro sometimes used songwriting as an opportunity to demonstrate his abilities as a bassist or drummer. Maturity taught him to value restraint. Today, he is more interested in what musicians leave out than in how many notes they can squeeze into an arrangement.
“I’m notorious for telling session guitar players to lay back, make space and let the band play,” he says. “I love creating space in music. The guitar players are often less than thrilled.”
That dry humor is an essential ingredient in Glitterati. The album examines a culture in which seemingly everyone is chasing attention through podcasts, streaming platforms and short-form comedy. Argiro takes music seriously, but he also recognizes the inherent ridiculousness of the scramble for visibility.
Humor gives him a way to explore ego and celebrity without standing outside the spectacle and pretending to be immune to it. After all, he is an actor and musician participating in the same entertainment culture his songs examine.
Acting and songwriting expose different sides of Argiro. As an actor, he may be given the freedom to interpret a character, or he may be asked to execute a director’s established vision. Songwriting is more personal because the characters, emotions and worlds originate with him.
“I would be more exposed and vulnerable as a songwriter than an actor,” he says. Yet the governing principle remains unchanged: “When you deliver an authentic performance, the audience becomes pulled in regardless.”
With Glitterati, Argiro appears increasingly comfortable trusting that instinct. He is no longer interested in assembling albums that sound carefully packaged or stylistically uniform. The next phase of ARGYRO will be guided by enthusiasm rather than expectation—even when that means recording something that falls outside the boundaries of his previous work.
“I’ve reached a point where I’m only creating music I love and feel invigorated about,” he says. “I’m even willing to record songs now that are stylistically a bit out of the box.”
That willingness may be the clearest expression of authenticity in Argiro’s work. The freedom to surprise listeners begins with the freedom to surprise himself.
Andie Case Turns Self-Doubt Into Defiance on New Single “Loser” – Second Single From Debut EP Show Me Yours, I’ll Show You Mine
After more than a decade of captivating audiences with powerhouse vocals, raw vulnerability, and deeply personal storytelling, singer-songwriter Andie Case continues to introduce the world to a more intimate side of her artistry with her new single, “Loser.” The track is available now and serves as the second release from her forthcoming debut EP, “Show Me Yours, I’ll Show You Mine”, arriving this September.
“Loser” finds Case confronting the complicated relationship between failure, self-worth, and perseverance. Rather than hiding from moments of insecurity or disappointment, she leans directly into them, transforming the idea of being a “loser” into something far more human. The song captures what it feels like to keep moving forward when life has not unfolded the way you imagined, and to recognize that setbacks do not have to define where the story ends.
There is an uplifting spirit beneath the song’s vulnerability. “Loser” acknowledges the weight of difficult seasons while holding onto the belief that something better can still be waiting on the other side. It is that balance between honesty and hope that makes the track feel especially connected to Case’s own journey.
Long before the milestones, international tours, and millions of listeners, Case experienced firsthand what it meant to bet on herself without any guarantee of success. Raised in an unstable home, she found an escape and a sense of identity through music. At 18, she left home to pursue a career in Los Angeles, enduring periods of significant hardship, including living out of her car while trying to establish herself as an artist.
Those experiences give “Loser” an added layer of meaning. The song does not approach perseverance as an abstract idea. It comes from an artist who has experienced uncertainty, rejection, and struggle while continuing to pursue the life she envisioned for herself.
That persistence ultimately helped Case build an extraordinary independent career. She has amassed more than 1.4 million YouTube subscribers and 300 million video views, cultivating an international audience through her unmistakable voice and emotionally charged performances. Along the way, she won the $1 million grand prize in Usher’s Megastar competition, received MTV’s Cover of the Year award, reached the iTunes Top 100, and toured throughout Europe and Asia.
While many fans were first introduced to Case through the covers that showcased her remarkable vocal range, her forthcoming EP represents something different. “Show Me Yours, I’ll Show You Mine” places her own experiences, songwriting, and perspective firmly at the center.
Blending indie pop textures with singer-songwriter intimacy, the project explores heartbreak, healing, identity, resilience, and self-discovery. “Loser” follows the previously released “Better Days,” further revealing an EP built around embracing the imperfect and often uncomfortable experiences that shape who we become.
With “Loser,” Andie Case is not presenting a perfectly polished story of triumph. Instead, she celebrates the messy middle, the moments when success feels distant, confidence disappears, and moving forward becomes an achievement in itself. It is an honest reminder that sometimes losing is simply one chapter in the process of figuring out who you are.
“Loser” is available now on all streaming platforms as well as her first single, “Better Days”. The album Show Me Yours, I’ll Show You Mine will be released this September.
For press inquiries or interview requests please contact:
For more on Andie Case, follow her on social media:
FOLLOW ANDIE CASE:
Instagram | Spotify | TikTok
Reggie Benjamin Finds New Life in Pop’s Timeless Classics on ‘Harmony In Blue: The Duets’
Reggie Benjamin’s Harmony In Blue: The Duets is a polished celebration of pop’s enduring emotional language. Across eight tracks, the international singer and entertainer revisits a selection of beloved classics, bringing together an eclectic cast of collaborators from music, television and film while keeping the focus firmly on melody, romance and timeless songwriting.
The album’s centrepiece, ‘I Just Wanna Be Your Everything’, is an especially natural fit. Originally recorded by Andy Gibb and written by Barry Gibb, the song retains its swooning romanticism in Benjamin’s hands, receiving a warm, contemporary treatment that respects the original without attempting to disguise its vintage charm.
Elsewhere, Harmony In Blue thrives on the personality of its pairings. ‘The First Time Ever I Saw Your Face’ with Lisa Vanderpump is suitably intimate, while Joe Mantegna brings theatrical weight to ‘Send In The Clowns’. James Maslow injects fresh energy into ‘Love Yourself’, and the closing ‘We’ve Only Just Begun’ finds Benjamin alongside Iwona Benjamin for one of the record’s most personal moments.
There is something deliberately nostalgic about the project, but Benjamin avoids treating these songs as museum pieces. Instead, the album is built around the idea that great pop songwriting can transcend its original era, with familiar melodies taking on new meaning through different voices and generations.
That philosophy reflects Benjamin’s own career. A Billboard-charting Indian pop artist, television personality and live entertainer, he has spent years moving between music, broadcasting and performance, building an international profile that rarely fits neatly into a single category. Harmony In Blue: The Duets feels like a continuation of that boundary-crossing spirit.
Its charitable dimension also gives the project added weight, with 75% of proceeds supporting organisations including Vanderpump Dogs and a human trafficking charity. As a result, this is more than a collection of starry collaborations: it is an album rooted in connection, generosity and the belief that familiar songs can still create something meaningful in the present.
Ultimately, Harmony In Blue: The Duets is unapologetically sentimental, and that is precisely its appeal. Benjamin understands the power of a great melody and gives these classics room to breathe, resulting in a warm, accessible record that celebrates pop music not as a fleeting trend, but as a lasting form of connection.
Eddy Mann’s “We Are” Finds God in Five Beats Instead of Four
By Jack Brennan
There’s something almost beautifully perverse about Eddy Mann writing a worship song in 5/4.
Think about it. Contemporary worship music has spent decades perfecting the art of predictability. Four beats. Four chords. Build. Drop. Whisper. Explode. Repeat the chorus until somebody raises both hands. The machinery works, which is precisely why so much of it feels like machinery.
Then Mann wanders in with “We Are,” a strange little jazz-inflected prayer inspired by Revelation, and apparently nobody bothered to tell the song that worship music is supposed to behave itself.
The funniest part is that Mann claims he didn’t deliberately write it in 5/4. The song simply landed there.
Good.
Music ought to occasionally know something its creator doesn’t.
“We Are,” from Mann’s The Unveiling, grew out of Revelation 4, specifically that cosmic scene around the throne where creation itself seems overwhelmed by the sheer existence of God. Mann takes that gigantic image and does exactly the opposite of what you’d expect: he gets quiet.
There are no theological fireworks here. No seven-headed beasts wandering through the second verse. No musical attempt to reproduce the apocalypse with synthesizers and a choir of 400.
Instead, Mann boils everything down to a handful of declarations.
“Holy.”
“Worthy.”
“We are Your will.”
That’s basically the whole spiritual universe of the song.
And somehow it’s enough.
The key is that crooked 5/4 pulse. It gives “We Are” a peculiar sensation of constantly moving without ever marching. You can’t quite settle into the usual worship-song autopilot because there’s always that extra beat nudging the music sideways. The rhythm breathes strangely. It leans forward, catches itself, then keeps going.
Which, come to think of it, isn’t a bad metaphor for faith.
Mann’s jazz influence matters here because jazz understands uncertainty. Jazz understands that resolution means more when you’ve spent some time wandering around outside it. Traditional contemporary worship often wants to tell you exactly where you’re going and precisely when you’re going to arrive. “We Are” seems more comfortable allowing the listener to inhabit the moment.
That’s where Mann has increasingly distinguished himself.
He isn’t trying to be the youngest guy in Christian music, the loudest guy in Christian music, or the coolest guy in Christian music. He’s writing from the perspective of somebody who has lived long enough to understand that faith isn’t necessarily demonstrated by shouting louder.
Sometimes it’s demonstrated by staying.
And The Unveiling is fundamentally an album about staying.
The record takes its inspiration from Revelation, possibly the most spectacularly abused book in the entire Bible. For generations, people have turned Revelation into everything from theological mathematics to political prophecy to material for terrifying church-basement movies. Mann looks at the same text and keeps finding hope.
That’s almost rebellious.
“We Are” goes even further by stripping away much of the fear surrounding Revelation and returning to something elemental: worship. Before arguments about beasts and seals and trumpets and timelines, there is awe.
Mann seems fascinated by that awe.
His repeated “We are Your will / We are Your desire / We are Your pleasure” becomes increasingly interesting the longer you sit with it. The words aren’t about asking God for anything. That’s unusual enough in a culture where prayer can sometimes resemble a celestial Amazon wish list.
There’s no new job here.
No miracle requested.
No enemy requiring immediate smiting.
No promise of earthly prosperity.
Mann simply considers existence itself an act of divine intention.
That’s heavy stuff disguised as a modest jazz-worship song.
And modesty may actually be Mann’s greatest weapon. He doesn’t sing like he’s auditioning for God. There’s no desperate vocal gymnastics designed to prove sincerity. His approach has the weathered character of someone who understands that conviction doesn’t require theatrical reinforcement.
The music follows him there.
Instead of exploding toward some enormous climax, “We Are” remains contemplative. Jazz harmony gives the spiritual language room to breathe, and that unusual meter prevents the whole thing from becoming comfortable background music.
You have to listen.
Maybe that’s the point.
Because beneath all the biblical inspiration, sophisticated rhythmic structure, and sacred-jazz vocabulary, “We Are” is really about one of humanity’s oldest questions:
Why are we here?
Mann’s answer is almost ridiculously simple.
Because we are wanted.
In another singer’s hands, that idea could become syrupy enough to pour over pancakes. Mann avoids that trap because The Unveiling has already established the landscape surrounding these songs: struggle, uncertainty, mortality, perseverance and the stubborn possibility of redemption.
Hope isn’t particularly interesting when nothing hurts.
Mann knows that.
So “We Are” doesn’t sound like somebody discovering faith for the first time. It sounds like somebody who has dragged faith through a few decades of living and discovered that it still has a pulse.
A weird pulse, admittedly.
Five beats at a time.
And maybe that’s exactly right. Because if you’re going to write a song about an eternal God, cosmic creation, human purpose and the mysterious machinery of existence, why the heck should everything resolve neatly on four?
–Leslie Banks
Enough Is Enough: Novai Turns “I Won’t Let U Hurt Me” Into a Beautiful Act of Defiance
There are breakup songs, and then there are songs that sound like somebody finally found the nerve to throw the damn suitcase into the trunk, slam the front door, and keep driving until the rearview mirror stops mattering. Novai’s “I Won’t Let U Hurt Me” belongs to the second category.
This isn’t heartbreak as decoration. It isn’t sadness polished up for Instagram or another syrupy anthem about how someday everything will be okay. This thing has teeth. It understands that sometimes healing doesn’t begin with forgiveness or closure or any of the other tidy little words people use when they want pain to behave itself.
Sometimes healing starts with “No.”
Written by Michael Stover, “I Won’t Let U Hurt Me” takes one of pop and R&B’s oldest subjects—the rotten relationship—and strips away most of the romantic mythology. The opening is brutally uncomplicated: “You made me cry / Every time I trusted you.” There’s nowhere to hide in that sentence. No poetic smoke bomb. Trust was given. Trust was betrayed. Damage followed.
And Novai sings it like she remembers.
That’s important because this song could easily become melodrama in the wrong hands. The lyric is direct, sometimes almost conversational, but Novai gives it dimension by resisting the temptation to turn every wound into a vocal Olympics event. She understands something singers occasionally forget: you don’t have to scream pain for people to believe it.
Then comes the line that changes everything: “The pain’s talking to me and it’s telling me it’s time to go.”
Now that’s a breakup lyric.
Pain isn’t the enemy anymore. Pain has become the messenger. The very thing that was supposed to destroy her becomes the thing finally pointing toward the exit.
And suddenly the chorus hits differently.
“I won’t let you hurt me anymore” sounds simple on paper, but simplicity is exactly the point. People trapped inside destructive relationships rarely need another complicated explanation of what went wrong. Eventually there comes a moment when analysis becomes irrelevant.
Enough.
That’s the whole philosophy of this record compressed into one word.
But Stover throws an interesting wrinkle into the second verse when Novai essentially thanks the person who hurt her for making her stronger. That’s dangerous territory because lesser songs turn suffering into some inspirational greeting-card lesson. “I Won’t Let U Hurt Me” doesn’t quite do that. The gratitude isn’t really gratitude at all. It’s reclamation. You tried to destroy me, the song says, and somehow I walked away carrying something useful.
There’s even fear left in the equation: “I’m scared, but I’m willing to try.”
That may be the most honest sentiment anywhere in the song.
Pop empowerment usually skips that part. Everybody walks away in slow motion wearing sunglasses while the building explodes behind them. Real life isn’t like that. Leaving can be terrifying. Freedom can feel lonely before it feels liberating. Courage isn’t the absence of fear; sometimes it’s simply deciding that whatever comes next can’t be worse than staying.
Musically, “I Won’t Let U Hurt Me” sits comfortably in Novai’s pop-R&B world, but there’s an adult-contemporary directness to it too. The arrangement gives the vocal enough room to tell the story while building toward the chorus without burying the emotional point beneath production tricks. The instrumental passage offers a necessary release before the final stretch comes barreling back.
And that ending matters.
By the last chorus, Novai isn’t asking whether the relationship can be repaired. She isn’t negotiating. She’s taking inventory. She remembers what she gave, what she endured, what it cost—and then effectively hands the whole mess back.
Go hurt somebody new.
Harsh?
Sure.
But heartbreak isn’t always eloquent.
Sometimes the most truthful thing a person can say after being repeatedly wounded isn’t “I wish you well.”
It’s “You’re not doing this to me again.”
That’s why “I Won’t Let U Hurt Me” fits so naturally within This Is Novai. The album repeatedly circles questions of identity, faith, worth, heartbreak, and renewal, but this track plants its flag firmly in the territory of boundaries. Before you can rebuild yourself, sometimes you’ve got to stop somebody else from tearing pieces off.
Novai doesn’t reinvent the breakup song here.
She does something better.
She makes the decision to leave feel consequential again.
There’s hurt in her performance, but there’s also that strange electricity that arrives when somebody realizes the door was never actually locked. She can walk through it. She can keep going.
And by the time “I Won’t Let U Hurt Me” reaches its final moments, you don’t hear somebody begging to be loved correctly.
You hear somebody who finally understands that being alone beats being destroyed.
Turn it up.
Then shut the door behind you.
–Leslie Banks
PRIVET EARTH
After a 5 year hiatus, Privet Earth is back with a smash summer single ‘Messi Goal’ – just in time for FIFA 2026! The song has already gained significant traction across the Social Media and Music Streaming platforms, and keeps winning new fans every single minute. “Messi Goal” captures the euphoric energy and global celebration triggered by soccer legend Lionel Messi. The track utilizes fast beats and uplifting anthemic hooks to mimic the collective roar of fans when the ball hits the back of the net.
Let’s take a closer look at the man behind Privet Earth and their latest hit!
Born and raised in Russia, Ivan Smirnov was heavily influenced by the American/British pop/rock scene as well as Classical and Electronic music, and started writing his own musical material in English at the age of 8. Ivan lost his mother to cancer, when he was 12… He tried to express his feelings in his own unique genre of music, which he later called ‘Blitz-Rock’.
https://open.spotify.com/track/6xtkMm9UBWIkOYwK0gwZCN
A few years later, after traveling thousands of miles and facing many obstacles, Ivan made it to Los Angeles. “The struggle was unbelievable!” He remembers, “I used to live on $5 a week at times. One day I even found myself homeless with the only thing I owned – my guitar” But Ivan didn’t give up. His explosive performances and unique vocal style quickly gained him respect among everyone who heard his music. Privet Earth was born.
Grammy ballot for “Best Rock Song” and “Best Rock Performance”, collaborations with major artists such as Scott Page (Pink Floyd), appearance on Vh1’s Top 20 Countdown, top positions in European video charts (Italy’s Radiostar TV), international shows for stadium size crowds – that was just the first chapter for Ivan and his music project. Privet Earth has released 3 full studio albums and 2 EP’s. His
records have gathered 10/10 star reviews from leading indie music publications all over the world, including the legendary Music Connection magazine placing him in the “Top 25 New Music Critiques” list.
Currently, Privet Earth is gearing up to release two summer singles: ‘Multiply’ and ‘Just Dive’ before announcing the release of their 4th full studio album later this year.
‘I’m beyond excited!’ , says Ivan, ‘I feel like a soccer player who’s returning to the pitch to play the second half of the game. And as you know, the second half is the one to decide it all!’
Press quotes:
“Energy that is enjoyable to hear!”
Music Connection (USA / Canada)
“The Next Big Thing in Music”
Jim Shearer, VH1
“You won’t hear an album like this all year. Maybe longer.”
VENTS Magazine (USA) 10/10 stars
“Now, all the rest of the world has to do is catch up, if they haven’t already.”
All Whats Rock (UK) 10/10 stars
Top Accolades:
– “Top 25 Best new music critiques” list, according to “Music Connection”. http://www.musicconnection.com/top-25-new-music-critiques-2015/
– VH1 appearance on “Video Top 20 Count Down” as a Grand Winner of FIAT Band Prix, beating 6000 indie artists! https://www.youtube.com/watch?v=jZj9ekjPgZA – PRIVET EARTH joins the likes of Pharrel Williams, Shaggy and Sofia Reyes as one of FIAT’s favorite music acts on Facebook ! https://www.facebook.com/fiatusa/?fref=ts – 2011 Grammy ballot for Best Rock Song and Best Rock performance. – Performed for 2015 Special Olympics World Games in Los Angeles.
Youtube: https://youtube.com/@privetearthvideos
Instagram: https://www.instagram.com/privetearth
TikTok: https://www.tiktok.com/@privet_earth1
Spotify: https://open.spotify.com/artist/6EHWKcSfpe1zpYv3zmjqkm?si=dH5TttKCQiKg2K5Y-UKZgg
Facebook: https://www.facebook.com/privetearth
Reverbnation: https://www.reverbnation.com/privetearth
Twitter/ X : https://x.com/privetearth
Camille K Embraces the Excitement of New Love with Heartfelt New Single “Something to Say” – Out August 11th
Emerging pop artist Camille K captures the exhilarating moment when friendship blossoms into something more on her uplifting new single, “Something to Say.” Blending heartfelt songwriting with warm acoustic guitar, shimmering pop production, and Camille’s bright, captivating vocals, the track is a feel-good anthem for anyone who has ever wondered what might happen if they finally found the courage to speak from the heart.
At its core, “Something to Say” tells the story of hopeful yearning and the vulnerability that comes with revealing your feelings for someone you care about. Rather than dwelling in uncertainty, the song celebrates the joy of discovering that those feelings are returned, transforming a close friendship into the beginning of a new romance. It is an optimistic reminder that sometimes the biggest risks can lead to life’s happiest moments.
Produced by Sakred Wolves, “Something to Say” balances organic acoustic textures with polished pop production, creating a sound that feels both fresh and timeless. Camille K’s expressive vocal performance brings sincerity to every lyric, making the emotions behind the song feel genuine, relatable, and effortlessly uplifting.
While many love songs focus on heartbreak or longing, “Something to Say” shines a light on the excitement, hope, and butterflies that come before a relationship begins. Its infectious melody and warm summer energy make it an ideal soundtrack for long drives, beach days, first dates, and the unforgettable feeling of falling for someone who just might feel the same way.
With its irresistible blend of indie-pop charm, acoustic warmth, and radio-ready production, “Something to Say” is poised to resonate with listeners across pop, indie, chill, and romantic playlists alike. The single showcases Camille K’s ability to tell authentic stories through memorable melodies, further establishing her as an artist with a gift for turning everyday emotions into songs that connect.
As Camille K continues to build momentum, “Something to Say” stands as a joyful celebration of vulnerability, courage, and the magic that can happen when you finally find the words you’ve been holding onto all along.
For fans of heartfelt pop, acoustic-driven songwriting, and uplifting summer anthems, “Something to Say” is a reminder that sometimes all it takes is having something to say.
A seasoned performer since the age of 11, Camille has shared the stage with legendary artists such as Gina Schock (The Go-Go’s), Jeff “Skunk” Baxter (Steely Dan/Doobie Brothers), and Barry Goudreau (Boston). She has also opened for major acts including Flo Rida, Ja Rule, C&C Music Factory, Lit, Chris Kirkpatrick of *NSYNC, O-Town, LFO, and Jon Anderson (Yes).
Camille gained national recognition as a featured contestant on NBC’s America’s Got Talent in 2022, where her original song “Still in Love” earned high praise from the judges that day. Simon Cowell described her performance as “beautiful,” Heidi Klum called her “absolutely amazing” and “the whole package,” and Sofia Vergara praised her “spectacular” voice.
Beyond the stage, Camille has also made a mark in the film industry, with her music featured in Finding Christmas and 7th Secret. Her previous maxi-single, “Daydreamer,” reached #2 on the iTunes Top Dance Albums chart, further cementing her status as a rising star. She is currently working with Grammy Award-winning production team Sakred Wolves, consisting of Dirty Harry Zelnick, Lectriq, and M11SON, to craft new music that continues to push creative boundaries.
As Camille continues to tour throughout Philadelphia and New Jersey, “Something to Say” marks another milestone in her journey, showcasing her signature blend of raw emotion, powerful vocals, and polished pop production. Camille K is also an endorsed artist of Cleartone Strings, Anatomy of Sound picks and Minarik Guitars.
For press inquiries or interview requests please contact:
For more on Camille K, follow her on social media:
FOLLOW CAMILLE K:
Website | Instagram | Facebook | Spotify
Ponder the Albatross Announces New Album Over Hill & Hollow and Shares the Story Behind Defining Track “1879”
As Ponder the Albatross prepares to release Over Hill & Hollow, the band shares the remarkable true story behind “1879,” one of the album’s most personal and defining songs.
Folk-Americana band Ponder the Albatross is preparing to release its highly anticipated new album, Over Hill & Hollow, arriving Friday, October 2, 2026. Among the album’s most personal songs is “1879,” a track frontman and songwriter Josh Bower describes as the moment everything changed- both as a songwriter and as an artist.
The origins of “1879” date back to a quiet evening on the front porch of a home in Carbondale, Colorado, where Bower spent countless nights playing an old nylon-string guitar beneath the stars. One evening, a friend introduced him to the sound of a mandolin, an instrument that immediately captivated him and would soon alter the course of his musical journey.
Months later, after relocating to Austin, Texas to pursue music, Bower purchased his first mandolin and began teaching himself to play. Despite the instrument’s steep learning curve, a melody quickly emerged.
“It sounded ancient,” recalls Bower. “Like it had existed long before I found it.”
That feeling inspired two simple words—“In 1879.”
Those words became the foundation of what would evolve into one of the most meaningful songs of Bower’s career.
Choosing to follow inspiration rather than the distractions of everyday life, Bower completed the song in a single writing session. The result was a timeless composition built on heartfelt storytelling, vivid imagery, and a sound rooted in Americana tradition. More importantly, it became the first song that consistently resonated with audiences whenever he performed it live.
The discovery of the mandolin transformed Bower’s songwriting and ultimately led to the formation of Ponder the Albatross, setting the band on a creative path that continues with the release of Over Hill & Hollow.
“For this song to finally be released into the world feels like everything has come full circle,” says Josh Bower. “It’s a reminder of every step along the way, every person who believed in me, and every moment that made this record possible.”
Bower also expressed gratitude to those who supported him throughout the journey, including Jordan Lauer, whom he calls his “lighthouse” for years of unwavering encouragement, and River Bower, whose love and support helped bring the story full circle.
With Over Hill & Hollow arriving on October 2, “1879” stands as one of the album’s emotional centerpieces, reflecting the experiences, inspiration, and artistic growth that helped shape the entire record.
Ponder the Albatross Announces Over Hill & Hollow Tour
In support of the album, Ponder the Albatross will embark on a multi-state tour, bringing songs from Over Hill & Hollow to audiences throughout the country.
Upcoming Tour Dates
- August 27, 2026 – The Trinidad Lounge – Trinidad, CO
- August 28, 2026 – Motel SOCO – Pagosa Springs, CO
- August 29, 2026 – Gore Fest – Kremmling, CO
- September 1, 2026 – The Bear’s Den – Conway, AR
- September 2, 2026 – Ned’s – Tahlequah, OK
- September 3, 2026 – The Barefoot Ball at Ozark Folk Festival – Eureka Springs, AR
- September 4, 2026 – Downtown Tavern – Jackson, TN
- September 5, 2026 – Dee’s Country Cocktail Lounge – Madison, TN
Fans can experience “1879” and the rest of Over Hill & Hollow live as the band continues the journey that began years ago on a front porch in the Colorado mountains.
About Ponder the Albatross
Ponder the Albatross is an Americana and folk-inspired band blending rich storytelling with heartfelt songwriting and acoustic-driven arrangements. Led by songwriter Josh Bower, the band’s music reflects themes of perseverance, human connection, and life’s winding journey. Their forthcoming album, Over Hill & Hollow, arrives October 2, 2026, showcasing a collection of songs rooted in authenticity, timeless melodies, and lived experience.
For tour dates, new music, and the latest updates, visit www.ponderthealbatross.com and follow Ponder the Albatross on Instagram, Facebook, YouTube, and Spotify.
Linasik’s new song “One look at me” sets a darker tone for his upcoming era, showcasing the two sides of growing up.
Linasik’s new song “One look at me” sets a darker tone for his upcoming era, showcasing the two sides of growing up.
Cork-based independent artist Linasik is back, and this time he’s brought something different. Just weeks after releasing the quietly hopeful “On my way,” the 17-year-old singer, songwriter, producer, and pianist returns with “One look at me” — a darkly confident electropop track that proves this artist contains multitudes.
Where “On my way” was soft and searching, “One look at me” is electric and assured. The song captures the invincible side of growing up — the young love that feels like magic, the unshakeable belief that the world is yours. It is the confident answer to the vulnerability of his lead single, and together the two paint a portrait of what it actually feels like to be 17.
“One look at me” is the second single from Linasik’s upcoming third album, Greatest Goodbye, due this November — the closing chapter of a trilogy he began writing at the age of 14, and the final album he will release before turning 18.
The music video, shot entirely on the Irish coastline, is a statement of intent. Filming took place at 11pm on a beach in Cork, with Linasik jumping into the freezing cold sea at 1am for the closing scene. For an artist who writes, produces, and releases everything independently from his bedroom, it is a moment that speaks louder than any press release could — this is someone who is deadly serious about his music.
Linasik is evolving with every release, and Greatest Goodbye is shaping up to be the most complete, diverse, and ambitious statement of his career so far.
Listen to the song here: https://song.link/onelookatme
Rebekah Snyder Explores Love, Survival, and Justice on Powerful New Single “Someday Lullaby,” – Out Friday, August 7
NASHVILLE, TN – Fresh off the success of “Small Town,” which was featured on Spotify’s All New Country editorial playlist and climbed to No. 72 on the MusicRow CountryBreakout Chart last week, Rebekah Snyder returns with “Someday Lullaby,” an emotionally gripping contemporary country ballad arriving Friday, August 7th. Rich with heartfelt songwriting and understated musical performances, the single showcases Snyder’s ability to tell deeply personal stories that resonate long after the music ends.
Preview Here
Built around acoustic Travis-style fingerpicking, atmospheric electric guitar, soulful pedal steel, and an intimate, vulnerable vocal performance, “Someday Lullaby” draws inspiration from the timeless comfort of traditional lullabies. Beneath its gentle melodies, however, lies a far more complex and emotionally charged story.
Written from a deeply personal perspective, the song is addressed to Snyder’s children through the lens of a future conversation she hopes to have with them one day, when they are old enough to understand. Because of both their young age and the legal realities surrounding domestic violence, the story is one that cannot yet be shared openly. Instead, the song becomes a promise that someday the truth will be told.
Using the familiar structure of a lullaby, the song pairs tenderness with emotional honesty as it explores the devastating realities of surviving domestic violence while confronting the painful moral conflict of there not being justice through the legal system. Rather than relying on shock value, Snyder allows the weight of the story to unfold with remarkable restraint, inviting listeners into an intensely personal journey of resilience, heartbreak, and unwavering love.
The contrast between the song’s soothing musical landscape and its darker lyrical narrative creates a powerful emotional tension that lingers long after the final note. It is a testament to Snyder’s songwriting that “Someday Lullaby” never loses sight of its central message of resilience, hope, and the enduring instinct to protect those we love most.
While the song explores difficult subject matter, it ultimately stands as an anthem of survival and strength. Its emotional honesty and fearless storytelling place it alongside modern country songs that tackle complex emotions with authenticity and conviction. Fans of HARDY and Lainey Wilson’s “Wait in the Truck,” The Chicks’ “Goodbye Earl,” and Miranda Lambert’s “Gunpowder & Lead” will find familiar themes of courage, justice, and perseverance, while “Someday Lullaby” offers a deeply personal perspective that is uniquely Snyder’s own.
Following the momentum of “Small Town,” Rebekah Snyder continues to establish herself as one of country music’s most compelling storytellers, unafraid to write about life’s hardest realities with grace, compassion, and remarkable emotional depth.
“Someday Lullaby” will be available on all major streaming platforms on Friday, August 7th.
REBEKAH SNYDER ONLINE:
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AMBER Begins Her Story With Just a Daydream
Every artist has a first chapter, and for AMBER that chapter arrives in the shape of Just a Daydream, a five-track EP built around imagination, relationships and personal growth.
Based in London, the singer-songwriter drew on real experiences while allowing her imagination to shape where each song eventually landed. That approach gives the project a cinematic quality, with moments that feel intimate without becoming overly literal. Rather than presenting diary entries, AMBER turns emotions into stories that invite listeners to interpret them in their own way.
The EP came together in collaboration with producer Kipper Eldridge, including sessions in Bali that became part of the creative journey. Together they built a sound that moves comfortably between soul, jazz, funk, vintage pop and orchestral textures, giving each song its own character while maintaining a consistent mood.
The tracklist reflects different stages of love and self-discovery. “St Tropez” opens with optimism, “Say What” brings wit and rhythmic energy, while “Aromatherapy” closes on a more reflective note. Each song contributes another piece to the wider picture rather than competing for attention on its own.
For a debut, Just a Daydream offers more than an introduction. It presents the foundations of an artist who values storytelling, collaboration and emotional honesty, providing an encouraging glimpse of where AMBER’s journey could lead next.
Why “Chant Down Babylon” Is More Than Just Another Reggae Release
Every so often, a song comes along that reminds listeners why music has always been about more than entertainment. Admiral Jerry’s “Chant Down Babylon” is one of those releases, combining classic reggae influences with a message that reaches well beyond the boundaries of the genre.
At its heart, the track is about perseverance. While it draws on Black British history and the legacy of the Windrush Generation, its wider themes of hope, determination and standing up against injustice speak to anyone who has faced obstacles and refused to be defined by them. That universal quality gives the song an appeal that extends beyond reggae audiences.
Admiral Jerry delivers the lyrics with confidence and conviction, bringing decades of experience to every verse. His performance never loses sight of the human side of the story, balancing moments of reflection with a clear sense of optimism. Rather than dwelling on hardship alone, the song looks towards progress and encourages listeners to keep moving forward.
The accompanying video strengthens that message by placing the music in recognisable locations across the UK. Community, culture and heritage are woven naturally into the visuals, creating a connection between the places on screen and the ideas expressed in the lyrics.
In a fast-moving music industry where many releases disappear almost as quickly as they arrive, “Chant Down Babylon” stands out because it offers something worth returning to. The combination of compelling storytelling, memorable delivery and genuine purpose gives the track lasting value.
For longtime reggae fans, the single is a welcome reminder of Admiral Jerry’s enduring voice. For those discovering his music for the first time, it provides an accessible introduction to an artist whose work continues to reflect both personal experience and wider social themes.
“Chant Down Babylon” succeeds because it invites listeners to do more than simply hear the music. It encourages them to think about the stories behind it, the people who inspired it and the conversations it continues to spark. That is part of what has kept reggae relevant across generations, and Admiral Jerry’s latest release is a timely example of that tradition continuing today.
Sullyman The Third Releases Condo Florida, a New Concept Album Inspired by Eagles’ Hotel California
South Tenth Records release blends classic rock themes with present-day concerns and generational perspective
NEW YORK, NY — Sullyman The Third (ST3), the New York-based rock band led by singer/songwriter/pianist John Sullivan, has released Condo Florida, a new concept album on South Tenth Records that revisits themes from the Eagles’ 1976 landmark album Hotel California for a contemporary baby boomer audience.
Watch the video for the Condo Florida single on YouTube: https://www.youtube.com/watch?v=fUCJkBItlqw
Sullivan began writing original rock songs in 1993, shortly after becoming a father, as an escape from the pressures of Wall Street. More than three decades later, that creative thread has culminated in a 10-song album that blends classic rock influences with present-day subject matter, generational reflection, and Sullivan’s piano-driven songwriting.
The idea for Condo Florida took shape in 2024 as demos for the album came together. After seeing a clip of the Eagles performing at Sphere in Las Vegas and revisiting Hotel California on vinyl, Sullivan drew parallels between the anxieties surrounding America’s 1976 Bicentennial and those surrounding its 2026 Semiquincentennial, including post-Watergate distrust, environmental concerns, and lingering questions about the American Dream.
“In 2026, many of the same concerns that framed America in 1976 are still with us, but now a lot of retiring boomers are heading to Florida,” Sullivan said. “That’s how the Condo Florida concept came together.”
Rather than imitate the Eagles, ST3 uses that historical framework as a launching point for its own perspective. The album explores relationship strain, environmental concerns, online dating, and life transitions through songs including “Should You Love Again Without Me,” “Less Ain’t Ever More,” “I Ain’t Virtual To Thee,” and the Elton John/Billy Joel-influenced title track, “Condo Florida.”
Sullivan launched Sullyman The Third as a solo project in 2018 after fronting three rock bands and two duo acts over 25 years. He began by recording a four-song EP featuring former Billy Joel saxophonist Richie Cannata and current Yardbirds guitarist Godfrey Townsend. After the isolation of the COVID era, he expanded the project into a full band in 2021, reuniting with drummer Steve Glover and bassist Gregg Steele from earlier projects and adding guitarist George Kurth, a college friend.
As the band developed, Sullivan sought advice from Pete Townshend of the Who on how to build visibility in a changing visual media landscape. That guidance pushed ST3 toward short-form visual storytelling. From 2022 through 2024, the band released three short music comedies that won a dozen film festival awards and helped establish a creative partnership with editor Matt Murphy, who later co-produced Condo Florida.
Much of the album’s tracking and mixing was completed in New York at the Mix Palace by Murphy. Sullivan also traveled to London last August with his wife, Mary Pat, to record much of the lead vocal and acoustic guitar at Grand Cru, Pete Townshend’s recording studio inside a converted barge docked near Tower Bridge, where he worked with engineer Michael Nyandoro while the Who rehearsed for their 2025 farewell tour.
“Walking into this floating studio felt like a Willy Wonka fantasy experience,” Sullivan said. “My teenage rock idol was letting me record my songs using his gear, and the results were beyond anything I could have imagined.”
Two videos shot at Next Phase Sound Studios are also slated for release on YouTube, extending the project’s visual component. With Condo Florida, Sullyman The Third aims to connect with listeners who grew up on classic rock and still want new music that reflects their stage of life.
“We made something more for us and the ‘over 55’ crowd at just the right time,” Sullivan said.
Condo Florida is available now on all major digital platforms. For more information, visit www.sullymanthethird.com
Connect with Sullyman The Third
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About
Sullyman The Third (ST3) is an independent rock band from Garden City, New York, founded in 2018 by singer/songwriter/pianist John Sullivan as a solo act and expanded into a quartet in 2021. The lineup includes Sullivan, drummer Steve Glover, bassist Gregg Steele, and guitarist George Kurth. After releasing 12 singles in 2021, ST3 followed with The Reset of Our Earth, Vol. 1 in 2022 and Vol. 2 in 2023, completed the soundtrack for Chat ST3 Ring Circus in 2024, and released Condo Florida in 2026. The band has also released three award-winning short music comedies, with Sullivan directing and ST3 serving as the main cast: Bad Steps to Rock Stardom (2022), A Note About Greed (2023), and Chat ST3 Ring Circus (2024), all available on YouTube.
ALAN MAIR ANNOUNCES NEW ALBUM FIELD OF ONE WITH POWERFUL LEAD SINGLE “HOW COULD I LET THIS HAPPEN”
The Only Ones musician returns with a deeply personal alternative rock album release arriving 3rd August 2026.
https://open.spotify.com/album/5TpAXZoqjgFD1o3nAgx7Sr
Legendary musician Alan Mair, best known as a founding member of the iconic rock band The Only Ones, returns with an exciting new chapter in his solo career. On 3rd August 2026, Mair will release his brand-new album, “FIELD OF ONE”, alongside its powerful lead single, “HOW COULD I LET THIS HAPPEN.”
The album, “FIELD OF ONE”, continues Mair’s fearless approach to songwriting, blending emotional storytelling with richly textured instrumentation and his unmistakable alternative rock sound. All twelve songs are written by Mair that cover all the trials and tribulations of life itself, and he plays all the instrumentation with the exception of lead guitar by the amazing Zal Cleminson and keyboards on highlighted tracks played by Paul Rabigar.
Written, sung and produced entirely by Alan Mair, the single is an intensely personal piece of alternative rock that combines hypnotic rhythms with a cinematic atmosphere reminiscent of a David Lynch soundtrack. Demonstrating his remarkable musicianship, Mair performs every instrument on the recording, with the exception of the expressive lead guitar played by the acclaimed Zal Cleminson.
At its heart, How Could I Let This Happen explores one of life’s most universal questions. Every person carries a defining moment they wish they could rewrite—a lost love, a life-changing decision, a missed opportunity, or a single event that altered everything forever. The song invites listeners to reflect on that one irreversible moment and ask themselves the same haunting question: “How Could I Let This Happen?”
Alan Mair’s influence on modern rock spans decades. As a member of The Only Ones, he helped shape a generation of musicians, with the band’s work inspiring artists including The Replacements, Nirvana, The Libertines, and Blur. Having performed thousands of concerts and major festivals, including Glastonbury and Wireless Festival, Mair continues to prove himself as both a compelling songwriter and an accomplished multi-instrumentalist.
With “FIELD OF ONE”, Alan Mair demonstrates that his creativity has no expiration date. Honest, atmospheric and emotionally resonant, the album stands as a powerful reminder of why his music continues to connect with audiences across generations.
Follow Alan Mair
Instagram: https://www.instagram.com/alanmair0/
Facebook: https://www.facebook.com/people/ALAN-MAIR/
Spotify: https://open.spotify.com/intl-es/artist/alanmair
Youtube: https://www.youtube.com/@alanmair1
Billy Bowness: Award-Winning Actor, TV Personality and LGBTQ+ Advocate Continues an Inspiring Rise Across Stage and Screen
From overcoming unimaginable personal adversity to becoming an award-winning actor, television personality and passionate charity campaigner, Billy Bowness proves resilience can be the foundation of remarkable success.
Already recognised by audiences through appearances on ITV’s Nobody’s Fool and Comedy Central’s Out of Order, alongside performances with household names including Rosie Jones, Katherine Ryan and Judi Love, Billy Bowness has established himself as one of Britain’s most versatile entertainers. His career continues to gather momentum following the success of the sold-out theatre production Embrace, which received widespread critical acclaim for his emotionally compelling performance. Most recently, he delighted audiences at the Great Yorkshire Show in Harrogate, appearing live on the Main Cookery Theatre stage where he combined comedy with live cooking demonstrations, further showcasing the charisma and versatility that have become hallmarks of his career.
Billy’s journey to success is unlike most. Raised through an extremely difficult childhood before becoming a teenage parent and later finding the confidence to come out as gay, he has continually transformed life’s toughest moments into motivation. The devastating loss of his son Alex in 2008 strengthened his determination to encourage others to embrace life fully, while also campaigning passionately for water safety awareness.
His openness surrounding mental health has become another defining part of his public life. Having experienced severe depression himself, Billy now proudly supports charities including MIND, Out Together, and Dementia Forward, using his platform to promote conversations around wellbeing, LGBTQ+ inclusion and dementia awareness.
Before stepping fully into entertainment, Billy enjoyed careers as both a lawyer and biochemist, earning degrees in Psychology and Theatre & Acting before following his passion for performance full time. His talent has since been recognised with a Broadway World Off West End Best Actor Award and Best Performance in a Short Film for Fervent, further cementing his reputation as an actor capable of balancing humour with emotional depth.
Critics have praised his work with glowing reviews, describing him as the actor who “holds the emotional weight of the play with remarkable subtlety” while celebrating his “comedic flair” and “remarkable depth.”
Away from the stage, Billy continues building a loyal audience through television, presenting and social media, sharing both humour and honesty with fans. Whether discussing life’s challenges, celebrating Pride, championing charitable causes or making audiences laugh, authenticity remains at the centre of everything he does.
With appearances scheduled at the National Reality TV Awards and forthcoming media interviews, Billy Bowness is entering an exciting new chapter—one defined not only by professional success, but by using his story to inspire resilience, compassion and hope.
Follow Billy Bowness
Instagram: https://www.instagram.com/billy_bowness/
Facebook: https://www.facebook.com/billyPprbowness
Spotlight: https://www.spotlight.com/8172-1271-8637
Youtube: https://www.youtube.com/@billy_bowness
Tia-Brittany Unveils DTF – A Bold New Album Led by the Powerful Single ‘Don’t Talk Feelings’
Don’t Talk Feelings Streaming Link
Australian singer-songwriter Tia-Brittany introduces her new album, DTF, an emotionally honest collection of songs led by the compelling focus single, Don’t Talk Feelings. Blending contemporary pop with cinematic storytelling, the Sydney-based artist continues to establish herself as one of Australia’s most exciting emerging talents.
Born into a family with English, Irish and Barbadian roots, Tia-Brittany has built a creative career that extends well beyond music. Alongside recording and performing, she studies psychology, trained at the Australian Institute of Music, has studied acting, and is currently co-writing a television series. She also trains in classical opera under acclaimed vocal coach Maria Timofeeva, with occasional guidance from her husband, Andrew Goodwin, one of Australia’s leading tenors. This diverse artistic background gives her songwriting a unique narrative depth and emotional authenticity.
At the heart of the album is Don’t Talk Feelings, a track that captures the emotional vulnerability and fearless songwriting that define DTF. The album was created with acclaimed collaborators John Ho and Daniela Rivera, whose confidence in the project led her to encourage Tia-Brittany to pursue Grammy consideration—an endorsement that reinforced the artist’s belief in the album’s international potential.
The visual identity of DTF is equally ambitious. Tia-Brittany teamed up with internationally recognised filmmaker Pauline Chan to create the music video, while the pair continue their creative partnership through an upcoming television series alongside Geoff Newton. The collaboration reflects Tia-Brittany’s passion for storytelling across multiple artistic disciplines.
Her growing profile has already earned recognition from Australian media, including coverage in The Daily Telegraph in Sydney. As her audience continues to expand, Tia-Brittany is establishing herself as an artist who effortlessly combines music, film and authentic storytelling into a distinctive creative vision.
Much of Tia-Brittany’s artistry is shaped by real-life experiences. Caring for her mother throughout breast cancer treatment became one of the defining moments of her life, strengthening her resilience and deepening the emotional honesty that runs throughout her songwriting. Combined with her lifelong love of cinema, these experiences have helped shape an artist committed to creating meaningful work that resonates with audiences.
With DTF and its standout single Don’t Talk Feelings, Tia-Brittany delivers a confident statement of intent. Combining heartfelt songwriting, cinematic ambition and an unmistakable creative voice, the album marks an important milestone in the career of an artist ready to reach audiences around the world.
Follow Tia-Brittany
Instagram: https://www.instagram.com/tiabrittanyofficial
Website: https://www.tiabrittany.com
Spotify: https://open.spotify.com/artist/5XVJGT249T2XFzEDLoFB5s
Youtube: https://youtube.com/@tiabrittanyofficial
Mark Newman Reflects on the Lasting Presence of the Past with New Single “Ghosts,” Out Now
Mark Newman Reflects on the Lasting Presence of the Past with New Single “Ghosts,” Out Now
New York, NY – Veteran singer-songwriter and guitarist Mark Newman returns with his poignant new single, “Ghosts.” Blending heartfelt songwriting with rich, guitar-driven rock, the track explores the lingering impact of the people, places, and experiences that continue to shape us long after they have faded from our everyday lives.
Rather than telling a traditional ghost story, Ghosts uses the idea of ghosts as a metaphor for memories that never truly disappear. Some represent moments of joy and connection, while others carry the weight of heartbreak, regret, or lessons learned. Together, they form the invisible companions we carry through life, reminding us that our past is never as far away as it seems.
“‘Ghosts’ is about the people and experiences that stay with you,” says Newman. “Some memories bring comfort, others bring pain, but they all become part of who you are. In that way, we’re all surrounded by ghosts.”
Musically, the song pairs introspective lyrics with an organic rock foundation, allowing Newman’s expressive guitar work and seasoned vocals to guide listeners through an emotional landscape that feels both deeply personal and universally relatable. The result is a song that invites reflection while celebrating the resilience that comes from embracing every chapter of life’s journey.
A respected guitarist, songwriter, and performer, Mark Newman has built a career on authentic storytelling and musicianship. Throughout the years, he has earned recognition for crafting songs that balance thoughtful lyricism with timeless rock influences, creating music that resonates across generations. Ghosts continues that tradition, offering a mature perspective on memory, growth, and the lasting echoes of the past.
“Ghosts” – Out Now!
Written by Mark Newman and Michael Mills.
Published by Dogzilla Music (BMI) for Mark Newman. Michael Mills’ royalties are administered through CD Baby Pro and BMI.
Mark Newman performs guitars and vocals. Naomi Margolin performs guitar and vocals. John Cardone performs bass and vocals. Shawn Murray performs drums and percussion.
The single was produced by Mark Newman and Fred Guarino. It was engineered by Fred Guarino and Jacob Koch at Tiki Recording in Glen Cove, New York. Mixing and mastering were completed by Fred Guarino at Tiki Recording.
Ghosts will be available on all major streaming platforms beginning Friday, July 31st.
For More on Mark Newman,
For More on Mark Newman, VISIT: www.MarkNewman.us
Facebook.com/MarkNewmanMusic | Twitter.com/MarkNewmanMusic Instagram.com/MarkNewmanMusic | YouTube.com/MNewmanvideos
Ashley Paul Embraces a New Sound with “I Just Had to Fall”
Billboard recording artist Ashley Paul is stepping into a new era with the release of her new single, “I Just Had to Fall,” now available via Dauman/Universal. The original song introduces a more intimate and sophisticated side of Paul’s artistry, expanding her catalog into jazz and adult contemporary music while highlighting the vocal presence and emotional storytelling at the center of her evolving sound.
“I Just Had to Fall” serves as the first introduction to a broader musical direction for Paul as she develops new recordings and live performances designed to showcase her versatility beyond the dance/pop EDM music that first brought her international attention. The song will also be played on Smooth Jazz radio, with a different mix of the single being released in August.
As part of this next chapter, Paul is working with producers Bizkit and Butta, a four-time Grammy-nominated, Soul Train Award-winning duo from Philadelphia, who produced the Billboard No. 1 hit “Tonight” for John Legend, on new music that will further explore her growing jazz and adult contemporary catalog.
The expansion also includes the launch of the Ashley Paul Trio, a new live and recording project that will bring together timeless standards and original music. Upcoming recordings from the trio will include interpretations of classics such as “Fever” and “Dream a Little Dream of Me,” alongside original songs from Paul’s catalog. The recordings are expected to become available across major streaming platforms, introducing listeners to a new dimension of Paul as a vocalist and live entertainer.
Paul will bring this new musical direction to the stage on December 29 at 54 Below in New York City with “Hearts Up After Dark,” an intimate live show blending timeless classics with the original music that has defined her recording career.
The evening will feature selections including “Bingo Baby,” “Hearts Up,” “Fever,” “Dream a Little Dream of Me,” and additional songs from Paul’s growing catalog.
“Hearts Up After Dark” is designed as an immersive evening of music and storytelling, presenting Paul in a sophisticated live setting where contemporary pop, jazz influences, classic standards, and original music come together.
The new single follows continued momentum for Paul as a recording artist. Her recent releases have earned international radio play, chart recognition, and growing streaming audiences. Songs including “Bingo Baby,” “Hearts Up,” “When Boys Cry,” “Body Language,” “Finding Rhythm,” and “Ribbons” have continued to expand her presence across dance, pop, and Top 40/Sirius radio markets.
With “I Just Had to Fall,” the Ashley Paul Trio, and “Hearts Up After Dark,” Paul is building a broader body of work that connects her established success in contemporary music with the timeless songs, live musicianship, and vocal storytelling that are shaping the next chapter of her career.
“I Just Had to Fall” is now available on all major streaming platforms.
ABOUT ASHLEY PAUL
Ashley Paul is a Billboard recording artist and international singer-songwriter whose music has earned chart recognition, radio airplay, and more than one million streams. Known for releases including “Bingo Baby,” “Hearts Up” (hitting 2 million listeners), “When Boys Cry,” “Body Language,” “Finding Rhythm,” and “Ribbons,” Paul continues to expand her career across dance, pop, adult contemporary, and jazz-influenced music.
Brooklyn Dylan Unveils Powerful New Visual for “Ghost”
Rising pop-rock artist Brooklyn Dylan is continuing her breakout year with the highly anticipated release of the official music video for her latest single, “Ghost,” premiering this Friday.
Following the success of the single, which resonated with listeners through its honest lyrics and emotional vulnerability, the new visual brings Brooklyn’s message to life in a cinematic way. The video explores the emotions that linger after heartbreak while ultimately telling a story of healing, resilience, and moving forward.
“I think everyone has a ghost,” Brooklyn says. “Whether it’s a person, a memory, or a version of yourself you’ve had to leave behind, this song is about finding the courage to let go.”
Influenced by artists such as Olivia Rodrigo, Gracie Abrams, and Avery Anna, Brooklyn has developed a signature sound that blends heartfelt storytelling with modern pop-rock production. Her authentic approach has helped her connect with a rapidly growing audience.
The release follows an impressive run of momentum for the young artist. Brooklyn’s breakout single, “Bad Blood,” generated more than 1.7 million views, while earning over 104,000 Spotify streams, more than 10,000 Shazams, and placements across thousands of fan playlists. She has also continued expanding her reach through national media features, radio airplay, and live performances.
The “Ghost” music video represents another milestone in Brooklyn’s artistic journey, showcasing not only her growth as a vocalist and songwriter but also her ability to tell compelling stories through visual art. Rather than simply illustrating the lyrics, the video invites viewers into an emotional experience that reflects the universal process of letting go and embracing a new chapter.
With each release, Brooklyn Dylan continues to establish herself as one of pop-rock’s emerging young voices—an artist committed to creating music that is both relatable and deeply personal.
The official music video for “Ghost” premieres this Friday on Brooklyn Dylan’s official YouTube channel and social media platforms.
