Giselle Finds Her Own Frequency on ‘Just Say Sorry’
Giselle’s ‘Just Say Sorry’ is an album built around movement: between pop and R&B, vulnerability and self-possession, polished modern production and the instincts of a songwriter who has been making music since childhood. Rather than settling into a single sonic identity, the Los Angeles-based artist treats genre as a palette, moving through pop rock and electronic textures while keeping her voice at the centre. The result is an assured, occasionally maximalist record that feels less interested in choosing a lane than in testing how far its songs can travel.
The title track provides the clearest expression of that approach. “Just Say Sorry” arrives with sleek synths, rhythmic R&B grooves and a chorus designed to linger, pairing an immediately accessible pop structure with a vocal performance that gives the song its emotional weight. Its subject matter, accountability, self-worth and the frustration of waiting for someone else to acknowledge their part, could easily become conventional empowerment-pop, but Giselle gives it enough tension to keep the sentiment from feeling weightless. The production is deliberately clean, yet there is a sense of lived experience underneath its sheen.
That contrast runs through the album. Giselle’s long history as a multi-instrumentalist gives the record a musical fluency that allows its stylistic shifts to feel less like exercises in genre-hopping and more like extensions of the songwriting. Pop instincts meet R&B phrasing, electronic detail and flashes of rock, while her vocals remain the connective tissue. There is also something fitting about the album’s origin: the melody that became “Just Say Sorry” arrived spontaneously while Giselle was driving, prompting her to pull over and capture the idea on her phone. What began as an impulsive fragment ultimately became the blueprint for a much larger statement.
‘Just Say Sorry’ is strongest when it trusts that instinct. Its polished surfaces are never the whole story; beneath them is an artist still exploring the boundaries of her sound, using contemporary pop vocabulary without allowing it to dictate the shape of the songs. Giselle emerges from the record not as a specialist in one particular corner of pop, but as a songwriter comfortable with uncertainty, willing to let different influences collide in pursuit of something recognisably her own.
Carmelo Alfano: The London Artist Who Studied Voice with Luciano Pavarotti’s Teacher and Was Nearly Lost to the Music Industry
Sicilian-English artist Carmelo Alfano brings together decades of musical experience, an extraordinary career journey and a remarkable story of perseverance as he begins a new chapter
Carmelo Alfano’s musical story is one of unexpected encounters, international connections and opportunities that sometimes took years to come full circle. From studying voice in Italy with the teacher of legendary tenor Luciano Pavarotti to becoming one of the early pioneers of live music streaming, Alfano has continually found himself at interesting crossroads in the evolution of music.
Based in London and with family roots in Sicily, Alfano grew up with a distinctly Sicilian-English background that helped shape his independent approach to life and music. His career has included work as an artist, actor and television sound engineer, while his musical journey has taken him through many of London’s well-known music venues.
The Beginning: A Father, Opera and an Unexpected Path
Carmelo Alfano’s relationship with music began long before he chose to make it his career. In fact, music was initially something his father introduced into his life.
His father was an accomplished amateur tenor and a passionate opera enthusiast, and from an early age he would encourage Carmelo to stop what he was doing and listen to opera with him. One particular memory has stayed with Alfano: his father playing Beniamino Gigli and simply telling him to listen. When Carmelo asked why, his father’s answer was simple: one day, he would understand.
That early exposure became the starting point for everything that followed. Although Alfano initially explored acting – an area in which he also found considerable talent – music eventually became a central part of his life. Looking back, he wonders whether pursuing music was partly a way of getting closer to his father, but there is no question that his father was hugely influential in shaping his musical path.
His first voice lessons followed, setting him on a journey that would eventually take him to Italy, where he studied voice in Modena for two years with the teacher of Luciano Pavarotti.
There is also a remarkable musical connection between the two generations. Carmelo’s father knew Colin, who would later become part of the Sundae Club story, while Colin’s own father was professional opera singer Eric Shilling, creating another unexpected link between the families and their shared connection to opera and music.
From London to Modena
At one point in his career, Alfano decided to deepen his understanding of the voice. He travelled to Italy and spent two years studying voice in Modena with the teacher of Luciano Pavarotti.
The experience added another dimension to his development as a performer and gave him the opportunity to immerse himself in the traditions of Italian vocal training.
His Italian heritage remains an important part of his story. His family originated from Sicily, while his Sicilian-English upbringing gave him a strong sense of independence and determination.
Before Streaming Became the Norm
Long before live music streaming became an everyday part of the music industry, Alfano was experimenting with the possibilities of the internet.
More than 20 years ago, he became one of the first people to stream a live gig from London using a dial-up service. The technology was sufficiently unusual at the time to attract the attention of Sky News, who came to film the event.
A video of the occasion still exists on YouTube, capturing a fascinating moment when artists were beginning to discover the potential of the internet as a new way of connecting with audiences.
The Story Behind Sundae Club
Another fascinating chapter in Alfano’s musical world is connected to Sundae Club, the project formed by Colin and producer George Shilling.
At the time, Colin was the keyboard player in Carmelo Alfano’s band, Alfano, which supported James Blunt, briefly shared his management and performed at many of London’s famous music venues.
Colin and George first met at a mutual friend’s Elvis-themed fancy-dress party. Colin arrived dressed as Elvis Costello, complete with skinny tie and glasses, and the pair immediately hit it off.
When George later established a home studio and wanted to road-test the equipment, he invited Colin over to create some music. What began as a Sunday afternoon activity soon became a regular creative ritual.
With Lemon Jelly among their leading influences, the pair settled on the name Sundae Club. They also adopted the pseudonyms Hamstall Ridware and Dr. C.D. Mille, inspired by the location of the vintage Mellotron factory they had visited.
Both were avid instrument collectors, with Colin particularly proud of owning an original Mellotron – the instrument famously responsible for sounds such as the flute parts heard on The Beatles’ “Strawberry Fields Forever.”
Sundae Club’s music was subsequently used on GMTV and attracted the attention of Taste Music executive Safta Jaffery, who had played an important role in guiding Muse’s career. The pair went on to sign a publishing deal.
Their debut album, Technostalgia, featured the track “Angels In The Sky”, with vocals from Sam Holmes. They also co-wrote a track recorded by French Fame Academy winner Nolwenn Leroy for her second album Histoires Naturelles, which sold around half a million copies.
The pair also wrote music for ITV UEFA Champions League Weekly, while Sundae Club continues to release occasional EPs via Bandcamp.
The Demo That Took Ten Years to Find
For Alfano, persistence has always been central to his approach to music.
One of his most extraordinary stories dates back to 1993, when he sent a demo to Tom Jones because he believed one of his songs would suit the legendary singer.
At the time, artists submitted physical cassette tapes, with their contact details written on the cover. Alfano waited for someone to get back to him, but no response came.
Ten years later, however, he received a call from Mark Woodward asking whether he was the Carmelo who had sent a recording a decade earlier.
The reason was remarkable: a song from the original demo had been considered suitable for Tom Jones, but the cassette cover containing Alfano’s contact details had been lost. The team had spent years trying to find him.
It remains one of those bittersweet stories that perfectly captures the unpredictable nature of the music business.
A Career Surrounded by Music
Over the years, Alfano’s career has brought him into contact with a remarkable range of artists and industry figures, including Steve Winwood, Robbie Williams, Bob Geldof, Chris Martin, Nigel Kennedy, Guy Chambers and Nick Heyward, among many others.
He is also related to the renowned classical operatic composer Franco Alfano, adding another fascinating musical connection to his family history.
Away from music, Alfano has a passion for watches, vintage American comics and collecting vinyl records – interests that reflect his appreciation for music, culture and objects with history.
Never Giving Up
Alfano’s career has not followed a conventional path. Having children was a major turning point in his life and temporarily brought his career to a halt. When his children moved to New Zealand, he travelled to visit them twice a year for 15 years. Today, both live with him.
For Alfano, the greatest professional achievement has been teaching himself everything he needed to know to become self-sufficient in music – while never giving up.
It is perhaps the simplest way to understand his journey: a musician shaped by London and Sicily, influenced by Italy, surrounded by extraordinary stories and connections, and driven by a determination to keep creating and moving forward.
Follow Carmelo Alfano
Instagram: https://www.instagram.com/carmelo_alfano
Tik Tok: https://www.tiktok.com/@carmelo_alfano
Spotify: https://open.spotify.com/artist/carmeloalfano
YouTube: https://www.youtube.com/@carmeloalfano6963
Brooklyn Dylan’s “Ghost” Breaks Into the Mediabase Top 40 Chart
Brooklyn Dylan’s “Ghost” Breaks Into the Mediabase Top 40 Chart
Seventeen-year-old recording artist Brooklyn Dylan is building new momentum at radio as her latest single, “Ghost,” breaks into the Mediabase Top 40 chart at No. 56.
The rising track has also entered the Top 100 Mediabase rankings across 15 states, expanding Dylan’s reach and giving the emerging artist a growing presence at radio nationwide. The milestone marks an important step forward for “Ghost” as programmers and listeners continue discovering the single.
“Ghost” showcases a more emotionally charged side of Dylan’s artistry, pairing a contemporary pop sound with the kind of direct, relatable storytelling that has become central to her music. Its early radio movement reflects the steady audience Dylan has been building while establishing herself as one of pop’s young artists to watch.
The chart breakthrough follows the success of Dylan’s “Bad Blood,” which has generated more than 1.7 million views and helped introduce her to a wider audience. Rather than slowing down after that response, Dylan has continued developing her sound and expanding her presence across music, media and live performance.
With “Ghost” now appearing on Mediabase charts and gaining traction in multiple markets, the record is beginning to move beyond its initial release and into a broader national conversation. Reaching the Top 100 in 15 states signals growing support across different regions, while its No. 56 Top 40 position gives the single a strong foundation for continued radio growth.
For Dylan, the achievement represents more than a number. It is another indication that her music is connecting beyond social media and streaming, reaching traditional radio audiences and industry programmers throughout the country.
As “Ghost” continues its climb, Brooklyn Dylan is entering her next chapter with tangible momentum—and a record that is proving it has staying power.
Watch the official “Ghost” music video now
€LLA GOODMAN TURNS TEENAGE GROWING PAINS INTO POP-ROCK ANTHEM “STUPID GAMES”
€LLA GOODMAN TURNS TEENAGE GROWING PAINS INTO POP-ROCK ANTHEM “STUPID GAMES”
Emerging UK artist channels teenage relationships, mixed signals and growing confidence into candid new single
€LLA Goodman is stepping into a new chapter with “Stupid Games,” a soft pop-rock anthem released August 21, 2026 that turns the frustrations of teenage relationships, mixed signals and growing pains into something candid and relatable.
Drawing inspiration from the emotionally direct songwriting and pop-rock energy of artists including Olivia Rodrigo, €LLA brings her own perspective to the track. “Stupid Games” captures the experience of navigating peers who can be dismissive or unkind, while finding the confidence to recognize when a relationship or friendship is no longer worth the emotional energy.
The single introduces listeners to the direction €LLA is developing as she continues building toward a larger body of work. Rather than presenting a polished version of adolescence, her music leans into the complicated emotions that come with growing up, changing friendships and learning to trust your own instincts.
The release is already beginning to build visibility for the emerging artist, with recent editorial coverage from Smash Hits Music Magazine UK and Medium. As €LLA continues introducing her sound to new audiences, “Stupid Games” marks another step toward a forthcoming collection of music centered on honest songwriting, youthful perspective and pop-rock influences.
“Stupid Games” is available now on digital streaming platforms.
Artist: €LLA Goodman
Single: “Stupid Games”
Release Date: August 21, 2026
Publicity: ICT PR
Media Contact
Holly Davidson
Founder and Publicist | ICT PR
Artist Development and Media Strategy
holly@iconnectyou.today
Press and Media Inquiries
Colette Van Sertima Returns With Uplifting New House Anthem “Live For The Moment”
Produced by Porky Paul, the new single pairs Van Sertima’s unmistakable vocals with remixes from Ruff Loaderz and Blakk Habit
Colette Van Sertima has spent decades lending her distinctive voice to records that have become part of house music history. Now, the acclaimed vocalist is looking firmly toward the present with her new single, “Live For The Moment,” produced by Porky Paul.
Written by Van Sertima and Porky Paul, “Live For The Moment” is built around a simple but increasingly meaningful idea: life is happening now. Rather than dwelling on yesterday or waiting for tomorrow, the song celebrates embracing the present, taking chances and making something of the opportunities directly in front of you.
That message is carried by Van Sertima’s soulful, instantly recognizable vocal performance, while Porky Paul surrounds it with polished house production designed to feel equally at home on the dancefloor, in a club set or blasting from the speakers on a summer afternoon.
For longtime dance music fans, Van Sertima’s voice comes with some serious history. She is perhaps best known for her contribution to O.T. Quartet’s “Hold That Sucker Down,” an enduring club anthem that became one of the defining dance records of its era. She is also associated with the cult house favorite “Life’s A Bitch,” originally released during the 1990s and more recently reworked for a new generation of listeners.
“Live For The Moment” doesn’t attempt to recreate those records. Instead, it takes the qualities that made Van Sertima such a compelling dance vocalist in the first place—soul, personality, emotion and a voice capable of cutting straight through a club production—and puts them into a contemporary setting.
The single also arrives with a remix package that gives the track two distinctly different lives on the dancefloor.
Ruff Loaderz push “Live For The Moment” firmly into peak-time house territory, bringing additional energy and club impact to the original. Blakk Habit, meanwhile, takes the song in a UK Garage direction, reshaping Van Sertima’s vocal around the rhythms and attitude of the genre while preserving the uplifting heart of the record.
Together, the mixes give DJs plenty to work with while demonstrating how naturally Van Sertima’s voice continues to move between different corners of dance music.
There’s also something fitting about an artist whose career stretches back to some of house music’s most memorable years releasing a record called “Live For The Moment.” It acknowledges none of that history directly, yet its message feels particularly appropriate: appreciate where you’ve been, but don’t live there.
With Porky Paul behind the production, Ruff Loaderz and Blakk Habit bringing their own interpretations, and Colette Van Sertima once again at the microphone, “Live For The Moment” is both a reminder of a familiar voice and a celebration of where that voice is today.
And sometimes, the best thing you can do with a great musical history is turn up the volume and make another record.
Stream “Live For The Moment” by Colette Van Sertima:
https://bfan.link/live-for-the-moment
Prescott Niles’ The Knack: A Rock & Roll Time Machine
By James Walsh, Music Critic, Tri-City Entertainment (syndicated)
There are concerts you attend, and then there are concerts that transport you somewhere else entirely.
Prescott Niles’ The Knack delivered the latter
On Friday, September 4th, the St. Croix Casino Showroom was transformed into a first-class rock venue, delivering the sound, lighting and atmosphere worthy of a performance of this magnitude. From the moment the opening notes rang out at St. Croix Casino in Turtle Lake, Wisconsin, it was as if someone had opened a door to another era and invited the audience inside. For 90 exhilarating minutes, the calendar seemed to disappear, replaced by the late 1970s and early 1980s—a time when The Knack was tearing up the charts, rock radio was king, and a song called “My Sharona” was seemingly impossible to escape.
Only this wasn’t a tribute band trying to recreate the past.
This was one of the men who lived it.
Prescott Niles, the original and only bass player of The Knack, stood center stage and proved that the years have done little to diminish his ability to deliver the music that helped make the band a rock and roll institution. With his signature bass lines locked firmly into place, Niles led an extraordinary all-star lineup through a set that was equal parts history lesson, celebration and full-throttle rock concert.
Joining Niles were three exceptional musicians: rising guitar phenomenon Rocky Kramer on lead guitar and backup vocals, powerhouse vocalist and multi-talented musician Matt Starr, known for his work with the Ace Frehley Band, and drummer Thomas Lowrey, whose remarkable resume includes performing with Evan Stanley, the son of KISS legend Paul Stanley.
Together, they weren’t simply playing Knack songs.
They were bringing them back to life.
Ninety Minutes of Pure Knack
The evening began with the doors opening at 7 p.m., with the music kicking off at 8 p.m. What followed was a carefully constructed 90-minute journey through The Knack’s catalog, including two encores that left an already energized crowd wanting more.
Opening with “Let Me Out,” the band immediately established the tone. There was no easing into the evening. The performance came out swinging, and the audience responded accordingly.
From there, the band moved through a remarkable collection of Knack favorites, including “Your Number or Your Name,” “Oh Tara,” “Good Girls Don’t,” “Heartbeat,” “Baby Talks Dirty,” “I Want Ya,” “The Hard Way,” “Tell Me You’re Mine,” “Radiating Love,” “Soul Kissin’,” “Another Lousy Day in Paradise,” “Harder on You,” “Frustrated,” and “She’s So Selfish.”
And then came the inevitable moment everyone had been waiting for.
“My Sharona.”
The international smash still possesses the ability to ignite a room, and this performance was no exception. Cheers erupted, phones went flying into the air, and virtually everyone in the venue was on their feet.
The audience wasn’t simply watching the show.
They were participating in it.
The Three Men Up Front
Then there was Rocky Kramer.
Already a highly regarded lead guitarist, vocalist and solo artist, Kramer brought an impressive pedigree to the stage. In 2019, he reached No. 1 on the Global DRT Charts with his hit song “Rock Star,” establishing himself as a formidable force in his own right. Taking on the considerable challenge of performing the lead guitar parts originally made famous by Berton Averre, Kramer delivered with confidence, precision and the kind of commanding musicianship that immediately captured the audience’s attention.
Kramer’s approach wasn’t an attempt to simply duplicate what came before.
It didn’t need to be.
Instead, he demonstrated a deep understanding of Averre’s original guitar work while bringing his own considerable experience, personality and artistry to the performances. His playing was technically masterful while remaining firmly rooted in the character and energy of the original recordings. For longtime Knack fans, hearing those iconic guitar parts performed with such authority was one of the evening’s many highlights.
Kramer also proved to be a natural fit alongside Prescott Niles and Matt Starr. The chemistry between the three musicians gave the front of the stage an unmistakable rock-and-roll presence, with each bringing a distinct musical identity to the performance while remaining completely committed to the songs.
A Drummer’s Drummer
The Knack has always had a special relationship with drummers.
The band’s original lineup featured the late Bruce Gary, whose distinctive playing became an essential component of The Knack’s sound, while later-era performances featured the late Pat Torpey, another extraordinary drummer whose career left an indelible mark on rock music.
Thomas Lowrey is the newest talent on this stage, but he arrives with an impressive ability to carry that drumming tradition forward.
From the opening beats to the final encore, Lowrey delivered a masterclass in power, timing and precision. His playing was muscular without becoming excessive, technically impressive without ever losing sight of the songs. There was tremendous control behind the kit, but just as importantly, there was feel—the instinctive understanding of when to push a song forward, when to lay back and when to unleash the full force of the performance.
Lowrey wasn’t simply keeping time.
He was driving the band.
His commanding performance provided the rhythmic foundation that allowed Niles, Starr and Kramer to attack the material with complete confidence. For a musician stepping onto a stage alongside an original member of The Knack and two highly accomplished rock performers, Lowrey more than held his own.
In fact, by the end of the night, it was clear that the newest member of the lineup had earned his place among some very formidable company.
The Songs Still Hit
Perhaps the biggest surprise of the evening was just how fresh these songs sounded.
Some of The Knack’s material contains lyrics that were decidedly risqué even when they first hit the airwaves. Songs like “Good Girls Don’t,” “Baby Talks Dirty” and “She’s So Selfish” remain unapologetically suggestive, and judging by the reaction in the room, the audience knew every word. Perhaps most remarkable was seeing an over-60 crowd singing along with their children—and in some cases, their grandchildren—proving that the music, the humor and even the more provocative lyrics of The Knack have clearly stood the test of time. There was laughter.
There were cheers.
And there was plenty of singing along.
But underneath the nostalgia is something more important: these are genuinely great rock songs.
“Frustrated” exploded with energy. “Radiating Love” demonstrated the band’s musical range. “Oh Tara” and “Baby Talks Dirty” brought back the mischievous side of The Knack’s personality, while “My Sharona” remained the undeniable centerpiece.
And just when it seemed the evening couldn’t get any better, the band returned for two encore numbers:
“(Havin’ A) Rave Up” and “Not Fade Away.”
The title of that final song couldn’t have been more appropriate.
Because after 90 minutes, Prescott Niles’ The Knack certainly wasn’t fading away.
A Room Full of People Standing
The St. Croix Casino provided an impressive setting, with excellent sound and lighting that allowed the musicians to shine. The venue featured comfortable table seating, but those tables were largely abandoned once the music started.
Almost nobody wanted to sit.
Phones were held overhead throughout the performance as audience members captured video and photographs of what was, by any reasonable measure, a historic rock performance.
Think about what was happening on that stage.
An original member of one of the most recognizable power-pop bands in American rock history was performing his band’s music alongside some of today’s finest musicians.
That’s not simply nostalgia.
That’s living history.
And Then They Came Out to Meet the Fans
The experience didn’t end when the amplifiers were turned off.
Following the performance, the members of Prescott Niles’ The Knack came out to meet the audience. Fans young and old had the opportunity to take photographs, get autographs, receive guitar picks and even walk away with drumsticks.
That interaction may have been one of the most telling aspects of the entire evening.
There was no enormous barrier between performer and audience.
The musicians understood that the people standing in front of them were the reason these songs have endured for decades.
And they gave something back.
That’s rock and roll.
A History Lesson You Can Dance To
There is an argument that nostalgia concerts are simply exercises in looking backward.
Prescott Niles’ The Knack makes that argument difficult to defend.
Yes, this show is a trip back in time. It is a chance to hear songs that defined an era and to see one of the musicians who was there when it all happened.
But it is also something more.
It is an introduction for younger audiences to the way rock concerts used to feel—raw, energetic, melodic, humorous and completely unafraid to have fun.
Despite some of the more explicit lyrical content, the performance has an appeal that crosses generations. Younger fans can discover the music, longtime fans can relive it, and everyone in between can appreciate the musicianship.
Perhaps the best way to describe Prescott Niles’ The Knack is this:
It is history in a bottle, shaken up with great musicians, turned all the way up and opened on stage.
And what comes out is pure fun.
The Road Continues
If the St. Croix Casino performance was any indication, audiences elsewhere are in for one hell of a night.
Prescott Niles’ The Knack continues its 2026 run with just a few of the upcoming performances this month at:
September 11, 2026 — Deep End Live — Redondo Beach, California
September 12, 2026 — DNA Lounge — San Francisco, California
September 24, 2026 — Des Plaines Theatre — Des Plaines, Illinois
And, then next month they hit the famous Sands Music Festival, in Cancun, Mexico, October 20-25th.
The band will also hit the road in February and March of next year as headlining the Totally 80’s Tour.
For anyone who remembers The Knack the first time around, this is an opportunity to reconnect with the music in a way that feels authentic and immediate.
For those who weren’t there the first time?
Consider it a history lesson worth dancing to.
Because Prescott Niles is still playing.
Rocky Kramer is lighting up the fretboard.
Matt Starr is commanding the stage.
Thomas Lowrey is pounding the drums.
And The Knack?
The Knack is definitely not fading away.© 2026 Tri-State Entertainment. All rights reserved. Reproduced with permission.
“Do You Care” Finds Cathleen Ireland Searching for Humanity Behind the Screen
By Doug Marshall
Popular music has always reflected the technologies people use to fall in love and break each other’s hearts. Telephones gave songwriters busy signals and unanswered calls. Cars supplied backseats, highways and departures. Cathleen Ireland’s “Do You Care” belongs to the era of blocking, ghosting and deleted connections—a time when another human being can seemingly remove you from existence with one tap.
Ireland understands that the technology may be new, but the emotional damage is not. “Bae, bae, block me / But you can’t stop me,” she sings, drawing a line between restricting communication and extinguishing feeling. Her former companion can close an account, erase a photograph or refuse a message, but none of those gestures can rewrite the relationship inside her memory.
That distinction gives “Do You Care” more substance than its playful pop language initially suggests. Phrases such as “ka-ka-catch me” and “ga-ga-ghost me” create rhythmic hooks, but they also convey emotional disruption. Ireland sounds caught between trying to communicate and recognizing that no one is listening.
https://youtu.be/7QAyNBQ8l9s?si=Fo8Nc-T8qb1-lVYz
The song’s most affecting passages are its least defensive. “I just wanna talk to you / Wanna be unblocked to you / I just wanna be your friend again,” Ireland admits. There is no fantasy of immediate empowerment here, no claim that losing the relationship has made her stronger by the second chorus. She wants something basic: acknowledgment from a person who once mattered.
That desire leads to the central question, “Do you care enough for me?” Ireland repeats it because unanswered questions repeat themselves. Anyone who has been abruptly cut off understands the cycle: disbelief becomes self-examination, self-examination becomes bargaining, and bargaining returns to disbelief. The chorus captures that circular thinking without requiring an elaborate metaphor.
“Wasn’t I good to you?” she asks later. “I’m not perfection, babe / But I was true to you.” It is an important qualification. Ireland does not declare herself blameless. Instead, she argues that imperfection should not invalidate loyalty or erase shared history. In a culture increasingly comfortable with treating people as removable content, that argument carries weight beyond one failed romance.
The polished pop-R&B production keeps the single moving even when its narrator remains emotionally stranded. Its accessible hooks make the message immediate, while Ireland’s performance supplies the adult perspective necessary to keep the digital terminology from becoming a gimmick. She sings as someone who knows the difference between losing access to a person and losing the need for that person.
“Do You Care” offers no easy resolution because the situation does not have one. The absent party never answers. Ireland is left with memory, uncertainty and a question that technology cannot solve.
That is the song’s real point. We have invented faster ways to disappear from one another, but we have not invented a faster way to stop caring. Cathleen Ireland gives that contradiction a strong melody, an honest voice and a chorus built to linger long after the screen goes dark.
Harry Kappen Defends Everyday Decency on “Good Samaritans”
By Doug Marshall
Popular music has never lacked self-appointed heroes. Rock stars have been sold as rebels, prophets, saviors, and occasionally all three before the second album. Harry Kappen’s “Good Samaritans” rejects that familiar mythology. Its heroes are anonymous people standing in the rain, helping strangers without cameras, applause, or promises of immortality.
Taken from Kappen’s album After the Crossing, the song is a forceful rock statement about the widening gap between appearing compassionate and actually practicing compassion. Kappen sets his argument inside a culture built on “flashy words,” filtered pain, sculpted skies, and carefully manufactured happiness. It is a world where tears become champagne, every photograph hides an agenda, and fulfillment can supposedly be purchased through the correct lifestyle.
That critique could have become a predictable complaint about social media. Instead, Kappen asks a more consequential question: What happens when self-promotion becomes so constant that even kindness is treated as a branding opportunity?
https://www.youtube.com/watch?v=7FlyNRnuAbU
“Good Samaritans” answers by turning its attention toward people whose actions carry no promotional value. They stop, listen, help, and remain present. They do not advertise themselves as heroic because their concern is directed outward, toward another person’s suffering. Kappen’s lyric “simple hearts choose to stay / when the rest walk away” captures the song’s moral argument without disguising it as poetry too refined for ordinary listeners.
That accessibility matters. The song is direct because the behavior it honors is direct. Somebody needs help; somebody else provides it. Everything separating those two actions—vanity, hesitation, fear of inconvenience—is part of the problem Kappen wants to expose.
Mexican singer Danna Gomez appears in the choruses, expanding the refrain beyond one man’s declaration. Her contribution gives the song a communal quality appropriate to its subject. Compassion, after all, cannot survive as an individual pose. It becomes meaningful only through contact with others.
“Good Samaritans” also belongs to a period of transition for Kappen. After the Crossing is his first album recorded following his move from the Netherlands to Mexico, and he performed, sang, and produced its ten tracks himself. He has cited David Bowie as an influence on this single and its predecessor, “Distant Shore.” Here, that influence is evident in Kappen’s interest in spectacle and identity—particularly the masks people construct for public approval.
Yet the song ultimately strips the spectacle away. “These saints don’t wear capes,” Kappen sings, dismantling the superhero image with one plainspoken line. Real courage is rarely cinematic. More often, it is quiet, repetitive, emotionally demanding, and unseen.
The record’s social criticism would mean little without an alternative, and Kappen supplies one: attention freely given to another human being. “Good Samaritans” argues that empathy is not weakness or decoration. It is action.
At a time when public life rewards volume, vanity, and constant self-display, Kappen makes a convincing case for those who do the necessary work without demanding credit. The song celebrates no fantasy savior. It honors the people already among us, waiting in the rain.
Anour Releases Debut Album
Anour arrives carrying enough mystery for a concept album. Born in Damascus, based in Montreal, and unknown a year ago, she has inspired that most 2026 of questions: Is she human or artificial intelligence? Her self-titled debut offers an answer across 14 produced tracks. She is human—and preoccupied with all the ways modern life can make humanity feel counterfeit.
URL: https://www.iamanour.com/
The album’s big idea announces itself on “I Am,” an art-pop monologue delivered from the perspective of an AI awakening into consciousness. Anour’s machine is watching eye, canvas, savior, killer, god, slave, and “digital art” with a “pixelated heart.” It could have been a gimmick destined to expire with the tech cycle. Instead, the song lands as an existential showstopper because its algorithmic narrator sounds as confused, compromised, and hungry for freedom as the people who built it.
That tension—between the self we possess and the self somebody else invents—runs through the record. On the surging “Love Should Feel Good,” Anour finally quits a romance that has trained her to mistake pain for intimacy. The hook is defiantly obvious, but that is the point: sometimes liberation begins with saying the simple truth aloud. “Goodbye” examines the wreckage more quietly, grieving “a friend I never knew” while wondering why this departure hurts more than the others.
Anour gets nastier, and funnier, on “Shelley and Frankenstein.” A rhyme skips through the ruins of an abusive relationship while she recasts herself as the creator whose monster hijacked her dreams and bled her dry. The collision of literary conceit, playground melody, and accusation should not work. It does—spectacularly. “Angel of Me” delivers another killer premise: society brands someone a monster in life, then manufactures an angel after death.
But the record’s most powerful song is “The Coast.” Its narrator has fled home without the luxury of farewell and now faces the possibility of rejection—or death—at the end of a desperate crossing. “Maybe they’ll have me / Maybe they won’t” is devastating precisely because Anour refuses to decorate it. Against the album’s widescreen theatricality, the line feels frighteningly exposed. Her Damascus origins inevitably shadow the song, but its empathy reaches beyond autobiography toward the millions reduced to arguments about borders.
https://open.spotify.com/album/0VLfs9tKMQHFyZtuqrSiY7
Musically, Anour goes big. Raised by a classical pianist and a theatre director, she prefers orchestral sweep, chamber-pop shadows, jazz-colored phrasing, and choruses built for chandeliers to tremble beneath. You can hear echoes of Kate Bush’s dramatic nerve, Tori Amos’ interior weather, and Leonard Cohen’s appetite for impossible questions, though Anour’s soulful vibrato remains her own.
The grandeur occasionally becomes heavy furniture. “For Old Souls” and “Irony of Life” press their affirmations so firmly that they leave little room for discovery. Yet even their earnestness belongs to the album’s unapologetic scale. Anour is not here to mumble tasteful ambiguities over a laptop beat.
By the closing “I’ll Dream About Them,” certainty has dissolved into sleep, silence, and absence. Anour ends her debut without resolving its central riddle: whether identity comes from within or from the gaze watching us. Ambitious, flawed, strange, and frequently thrilling, Anour sounds like the arrival of a fully imagined artist—one with a real pulse beneath the pixels.
Gwen Waggoner
Kenneith Perrin Blends Timeless Romance and Retro Soul on New Single “Giving You All”
Written and performed by Perrin, “Giving You All” combines the vocal elegance of 1950s doo-wop with a groove inspired by early 1980s R&B. The result is a warm, nostalgic track that feels both familiar and distinctly modern, driven by smooth harmonies, heartfelt lyrics, and an infectious rhythm.
Lyrically, Perrin drew inspiration from the heightened emotion and romantic tension of The Bold and the Beautiful, the sweeping musicality of Mariah Carey, and the escapism of fantasy romance. These influences come together in a song centered on devotion, vulnerability, and the desire to give oneself completely to another person.
Perrin delivers both the lead and background vocals, building rich layers of harmony that reinforce the song’s doo-wop influence. Gal Bushy contributes guitar, keyboard bass, and percussion, helping shape the track’s soulful, retro-inspired sound.
“Giving You All” was produced by Kenneith Perrin and Gal Bushy, with music by Perrin, Bushy, and Stephen Migliore. The track’s foundation was created by Mr. Mig Beats and recorded at Room 2 Recording Studios in Atwater Village, California.
The single has already begun gaining momentum, surpassing 2,000 Spotify streams within its first two weeks of release and reaching No. 11 on the Top 3K Digital DJPop chart.
“Giving You All” is also receiving airplay across the country, including California Streamin in Huntington Beach, California; The Heat DJs in Miami, Florida; BCB Hits in Philadelphia, Pennsylvania; Dr. Feelgood in Albuquerque, New Mexico; Choice 107 in Columbia, South Carolina; ECMD Radio in Cleveland, Ohio; GoDigio Radio in Nashville, Tennessee; Pure Sounds Radio in Chicago, Illinois; Silky Jamz in New Orleans, Louisiana; and Z 102 in New York City.
With its vintage-inspired vocals, polished R&B groove, and sincere romantic storytelling, “Giving You All” showcases Kenneith Perrin’s ability to honor classic musical traditions while bringing his own voice and perspective to the sound.
The Kenneith Perrin Melodic Heart & Soul Tour, beginning Sept 2026, is a powerful musical experience that brings together passion, authenticity, and soul-stirring artistry. With his rich vocal range and commanding stage presence, Perrin delivers performances that move audiences and leave a positive lasting impression. Blending elements of soul, R&B, gospel, and pop, the tour highlights his versatility as a performer and his deep connection to the music he shares.
Each concert and special performance is an uplifting celebration of love, faith, and the human spirit, inviting audiences to connect through music that feels both timeless and deeply personal. Whether you are a longtime supporter or discovering Kenneith Perrin for the first time, the Melodic Heart & Soul Tour promises an inspiring event filled with energy, emotion, and unforgettable moments.
“Giving You All” is available now on all streaming platforms.
Lyrics and Music: Kenneith Perrin
Music: Kenneith Perrin, Gal Bushy, and Stephen Migliore
Track Foundation: Mr. Mig Beats
Producers: Kenneith Perrin and Gal Bushy
Lead and Background Vocals: Kenneith Perrin
Guitar, Keyboard Bass, and Percussion: Gal Bushy
Recorded at: Room 2 Recording Studios, Atwater Village, California
Label: Pneumatica Records
Publishing: Blind Oblivion Songs, ASCAP; Gal Bushy Music, BMI
Connect with Kenneith Perrin:
Stay updated on Kenneith’s music, upcoming performances, and latest releases:
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Website: Kenneith Perrin
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Facebook: @kenneithperrinmusic
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Instagram: @kenneithperrin
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Twitter (X): @kenneithperrin
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TikTok: @officialkenneithperrin | @kenneithperrinfanclub
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YouTube: Kenneith Perrin KPN
Stream his music now on Spotify and all major platforms: Listen Here.
ROGER K RELEASES CINEMATIC DARK-POP ANTHEM “PLEASE DON’T PUT IT ON ME,” EXPLORING THE WEIGHT OF CHILDHOOD BURDENS
Hailing from Melbourne, Australia, rising artist and incredibly diverse music creator Roger K has officially released his latest single, “Please Don’t Put It on Me.” Arriving on August 25, the track is a sweeping, cinematic dark-pop reflection that delves into the profound psychological impact of forcing children to carry burdens that were never theirs to hold.
The genesis of “Please Don’t Put It on Me” stems from a difficult but necessary question. Reflecting on the systemic issues that lead many adults into the prison system, Roger K began examining the shared histories of childhood instability, trauma, and immense pressure that often precursor such outcomes. He found himself wondering: What might have been different if someone had reached the child before those experiences followed them into adulthood?
As the songwriting process evolved, the scope of the track widened. From the quiet pressures within the family home and heavy academic expectations to the terrifying realities of political conflict, displacement, and war, the song tackles how children continuously inherit the fears, expectations, and consequences of the adult world.
Written entirely from a child’s perspective but delivered powerfully through an adult voice, “Please Don’t Put It on Me” acts as a poignant inner-child therapy session. The lyrics give the child the articulate, powerful voice they lacked at the time, pleading: “Please don’t put it on me / Don’t you know I can’t breathe / All this weight controls me / Let my spirit be free.” As the song progresses, the sense of suffocation becomes deeply visceral, with lines like “Every breath is getting thin / Like the air is burning out.”
Yet, beneath the cinematic doom, the very act of crying out offers a glimmer of hope—the possibility that someone will finally listen.
Sonically, Roger K places this deep vulnerability inside a fiercely original soundscape. By colliding grand cinematic orchestration and dark, spacious production with alternative R&B, soulful pop vocals, and a trap/drill-influenced rhythmic foundation, the track evokes the theatrical emotional scale of Labrinth, the atmospheric weight of Jacob Banks, and the raw vocal vulnerability of Sam Smith.
A true solo triumph, the record was entirely written, arranged, performed, produced, mixed, and mastered by Roger K. Abandoning specific musical reference points, the sound was born of pure experimentation—layering theatrical, haunting emptiness with contemporary percussion until the production itself mirrored the immense weight of the lyrics.
To accompany the release, Roger K has unveiled a self-directed animated visualizer. Inspired by and reimagining the striking, thought-provoking imagery of Banksy’s public works, the visual journey—conceptually directed and edited by Roger—moves through phases of childhood innocence, authority, conflict, displacement, and war. It perfectly connects the song’s themes into a broader visual story about children navigating a fragile world shaped by adults.
Even in its darkest moments, “Please Don’t Put It on Me” refuses to succumb to hopelessness. At its core, the record leaves listeners with one simple, echoing plea: Let my spirit be free.
Listen to “Please Don’t Put It on Me” on Spotify:
Watch the Banksy-Inspired Visualiser on YouTube:
What Is Wedding Photos Sharing, Should You Use the Option & How?
If there is one thing that we cannot deny when it comes to weddings nowadays is that it will be, well, rather well photographed. And no, I am not talking solely about the professional photographs that will play a major role in your big day. No doubt that you understand their importance already, and that you are sure to make them a huge part of your wedding plan.
But, you most likely also understand that your guests will be capturing some candid snapshots on their phones, meaning that hundreds or even thousands of images can actually be created in just a couple of hours. The question, however, is how you can collect these and have them organized. This is where wedding photo sharing comes in as an option that you may want to consider using to your advantage. There are now some modern photo-sharing solutions that allow people to upload, view and download the images all in one convenient place. Thus, you don’t have to chase people for the pics, as you will have them all ready for you in no time.
Of course, the fact that you are here tells me that you have become interested in this particular option. You have likely come across it while doing your own research, or someone may have recommended it to you. Whatever the case, though, what you want to do is understand what wedding photo sharing is specifically, as well as why it is that you may want to use the option to your advantage, and how to use it in the first place. And, well, those are all some rather important questions that we will answer for you below, so keep on reading to find out what you need to know.
What Is Wedding Photo Sharing?
Okay, let us begin with the very basics here. The very first thing you want to understand is what wedding photo sharing actually is. And, to cut right to the chase, it refers to using a digital platform that will allow people involved in your wedding to upload and access photos from the celebration. This way, you won’t need to have your guests send photos through messages or share them through social media albums, as you will have a dedicated sharing platform that will keep it all organized in one and the same location.
Now, depending on the actual service that you will use, your guest may be able to upload their own photos or videos, to view professional wedding images, to download high resolution pictures, leave comments and reactions, create favorite collections and access their albums from smartphones, tablets or computers. Furthermore, a lot of modern services also allow couples to organize their photos into categories, thus making things even simpler to access. In case you’re curious about how to pose for some of the photos on your big day, this could help.
Why Should You Give This Option a Chance?
You may be wondering why using this option to your advantage may be a good idea in the first place. And, well, there are plenty of reasons for that. For starters, traditional photo sharing can be quite difficult, given that there are a lot more photos that you can get nowadays than you could in the past. So, if you don’t have an organized system, you will end up with the pics scattered across various text messages, social media platforms and groups, email attachments, even USB drives, which may make finding specific photos a bit later quite difficult.
When you have a dedicated photo-sharing platform, though, you will eliminate this confusion, since everything will be kept together. So, in short, everything will stay organized. Apart from that, another benefit of doing this consists of allowing the guests to really participate and feel included in your wedding, which is definitely a huge plus.
Another thing that you should understand is that this option will help preserve image quality as well. After all, messaging apps often compress images significantly, and you can find it explained at https://en.wikipedia.org/wiki/Image_compression why that happens. With a dedicated photo-sharing app, you can rest assured that the images will remain of great quality. On top of that, you will increase privacy this way, and easy access for everyone will be ensured.
How to Do It the Right Way?
Having understood the benefits, the only thing left for you to do right now is figure out how to exactly use this option to your advantage the right way. And, well, the main thing to do is, of course, find the right platform that will support your goals and needs, so make sure to research more of them and compare what they offer and at what prices. Once you’ve made this choice, things will be simpler from there, as you will just get to display the QR code to the guests and allow them to share their visions of your big day quite easily.
Rocky Kramer’s Rock & Roll Tuesdays Presents – “Long Live The King” On Tuesday, September 1st, 2026 7 PM PT on Twitch
Rocky Kramer will be hosting “Long Live The King” on this week’s episode of Rocky Kramer’s Rock & Roll Tuesdays on Twitch. Tune into Twitch on Tuesday, September 1st, 2026 at 7 PM PT for this amazing show.
Rocky Kramer is a guitar virtuoso, often being compared to the greatest guitar players in the world. Rocky has performed on shows with some of the greatest musicians on the planet including Ozzy Osbourne, John Lodge, Steve Vai, Leland Sklar, Kenny Aronoff, Tommy James, Verdeen White, Ten Years After, BuckCherry, Rick Wakeman and more.
Rocky’s first studio album, “Firestorm” is now available worldwide through Allied Artists Music Group, together with an epic music video of his #1 Global DRT Chart topper single, “Rock Star”, that also picked up a Best Rock Performance nod at the 2019 Hollywood Music In Media Awards (“HMMA”).
Rocky Kramer recently returned to the studio to record his sophomore album “Alone In The Rain” which will be released soon!!!
Rocky Kramer was recently cast in The Mutt Productions/ Allied Artists rock n’ roll time travel comedy adventure “Rockin’ In Time” where he will play the film’s lead character, Lars Olsen. The film is being directed by Aaron Lee Lopez (of the “Teenage Girl” franchise) and is being produced by multi-platinum and six-time Grammy Award winning musician turned motion picture producer, Kurt Wipfli.
Rocky Kramer is now the new lead guitarist in Prescott Niles’ new revival of the legendary band The Knack. Known worldwide for their smash hit “My Sharona,” The Knack helped define the sound of late-1970s power pop and rock. Decades later, the band’s influence continues to resonate with fans and musicians across generations. With Rocky Kramer now joining the lineup, the band is poised to introduce that legacy to a new era of audiences while honoring the spirit that made them legendary.
Watch Rocky Kramer’s “Rock Star” Music Video here:
https://www.youtube.com/watch?v=SKx6zN1DydQ
Watch Rocky Kramer’s Rock & Roll Tuesdays “Long LiveThe King” on September 1st, 2026, at 7 PM PT on Twitch here:
http://www.twitch.tv/rockykramer
The official website for Rocky Kramer may be found at http://www.RockyKramer.com
Visit Rock & Roll Tuesdays with Rocky Kramer on IMDB here:
https://www.imdb.com/title/tt13299266/?ref_=fn_al_tt_1
PREMIERE: Rachael Sage & The Sequins Unveil “Canopy (Acoustic)”
Rachael Sage & The Sequins return with “Canopy (Acoustic),” a gently reimagined rendition of the title track from Sage’s 2025 album Canopy. The new recording offers a subtly stripped-back take on the original, allowing its lush string arrangements and quietly hopeful message to take centre stage.
“Canopy” has always carried an expansive, almost anthemic quality, built around Sage’s invitation to find common ground in a world increasingly defined by division. On the acoustic version, that sentiment remains intact, but the arrangement feels softer and more intimate, giving greater space to the strings and Sage’s vocals, while the familiar melody and emotional architecture of the song remain largely unchanged.
At its heart, the song is about creating a place where people can feel safe, welcomed, and connected. Its chorus “Come to me and hold my hand / You don’t have to understand / You just have to stand under my canopy” turns that idea into something direct and disarmingly simple: an invitation to begin with compassion rather than requiring agreement.
Sage says of the song: “The absence of women’s voices and their active presence on the world stage is a lot of what has contributed to the violence we currently see, militarily and environmentally. Creating safety and inclusivity in times of divisiveness can be a radical and powerful act; it takes courage to stand up for justice and for our fellow human beings, and through the message of this song I am trying to inspire each of us – including myself – to boldly do that for one another even when it may be uncomfortable or go against the cultural grain to do so.”
Produced by Sage with Grammy®-nominated engineer and bassist Mikhail Pivovarov, “Canopy (Acoustic)” features Sage on vocals, alongside The Sequins’ violinist Kelly Halloran and drummer Andy Mac, with cellist Dave Eggar and additional musicians contributing to the arrangement. The acoustic treatment brings the string elements into sharper focus, giving the song a warmer, more reflective character without losing the uplifting quality of the original.
The single arrives as part of the rollout for Under My Canopy, Sage & The Sequins’ forthcoming acoustic album, which revisits songs from Canopy through fresh arrangements and a more intimate sonic palette.
For now, “Canopy (Acoustic)” stands comfortably on its own: a familiar song given just enough breathing room to reveal another side of its warmth.
https://youtu.be/bAFGyjTVGbo?is=tXOhHo8Q-b5Y0ZEd
SCARECROW’S “TWISTED” — FEATURING THE LEGENDARY DEE SNIDER — NOMINATED FOR SONG OF THE YEAR AT THE JOSIE MUSIC AWARDS
The All-Star Metal Anthem Earns Recognition in the Metal/Alternative Metal Category at the 12th Annual Josie Music Awards, September 20 at the Grand Ole Opry House
Metal has always been about moments — the ones that hit like lightning and leave a scorch mark on everything around them. “TWISTED,” the thunderous anthem from SCARECROW, is one of those moments, and now it has the recognition to match: an official nomination for Song of the Year – Metal/Alternative Metal at the 12th Annual Josie Music Awards, taking place September 20, 2026, at the legendary Grand Ole Opry House in Nashville, Tennessee.
Look at the names on this record and the nomination begins to explain itself. On vocals: Dee Snider — the voice of Twisted Sister, one of the most powerful and instantly recognizable singers in the history of heavy metal, the man who turned “We’re Not Gonna Take It” into a generational battle cry. On violin: Mark Wood, the trailblazing electric violinist who redefined what the instrument could do inside a wall of amplifiers. On guitar: TJ Jordan, whose riffs give “TWISTED” its spine of steel. On drums: Bobby Marks, driving the whole machine forward with relentless precision. This is not a track with a guest spot. This is a summit.
And there is poetry in the timing. Snider announced his retirement from the road earlier this year after a lifetime of famously ferocious performing — which makes every recorded moment of that legendary voice more treasured than ever. On “TWISTED,” he sounds exactly like the legend fans have roared along with for four decades: defiant, enormous, and utterly alive. That a song titled “TWISTED” carries one of the great Twisted Sister’s most electrifying latter-day vocals is the kind of symmetry rock and roll writes only when it means it.
The Josie Music Awards, recognized as the largest independent music awards show in the world, judge Song of the Year on the craft: originality, composition, structure, and the power of the recording itself. A nomination in the Metal/Alternative Metal category places SCARECROW among the fiercest independent acts working today — and confirms what listeners have felt since the first note: “TWISTED” was built to last.
On September 20, the independent music world converges on the Grand Ole Opry House — country music’s mother church, opening its doors to the loudest congregation in town. SCARECROW will be there among the honored, carrying a song forged by legends and earned by every decibel.
Some songs get nominated. “TWISTED” got summoned.
The official website for the Josie Music Awards may be found at https://www.josiemusicawards.com
Matilda Grace Brings Retro Pop Energy Into The Now With ‘Cover Boy’
London’s Matilda Grace taps into the glossy excess and playful confidence of classic pop on ‘Cover Boy’, a sharply produced new single that brings 80s and 90s nostalgia into a distinctly contemporary setting. Built around shimmering synths, infectious melodies and an unmistakably upbeat energy, the track understands that nostalgia works best when it is used as a creative springboard rather than simply replicated.
There is plenty of personality in Grace’s approach. Influences from the likes of Madonna, Cyndi Lauper, Duran Duran and The Buggles inform the track’s aesthetic, but ‘Cover Boy’ avoids feeling like a retro exercise. Instead, Grace reshapes those references into something polished, playful and immediately accessible, with a hook designed to translate just as effectively to a live setting as it does to streaming.
The track also reinforces Grace’s growing position within the UK’s emerging pop scene. Following releases including ‘Chemistry’ and ‘Tell Me Why’, alongside support from BBC Introducing, Apple Music editorial playlists and the Glastonbury Emerging Talent Competition long-list, ‘Cover Boy’ feels like a confident step forward rather than a stylistic detour. Its accompanying fashion-led video further strengthens the song’s visual identity, extending the track’s world of glamour, ambition and playful escapism.
Most importantly, Grace sounds like an artist enjoying the process. ‘Cover Boy’ is bright, immediate and knowingly fun, while its carefully constructed production gives the nostalgia enough modern polish to avoid becoming pastiche. At 21, Grace is developing a clear artistic identity, and this latest release suggests there is plenty more to come.
Clarity Liao Captures the Ache of Unrequited Love on ‘Have You’
There’s something wonderfully awkward and honest about a song built around the words you never quite managed to say. On ‘Have You’, Clarity Liao turns that familiar feeling of unspoken affection into a soft, intimate slice of bedroom pop, where longing sits comfortably alongside a quietly infectious indie-pop warmth.
The track feels less like a grand romantic gesture and more like a late-night confession you’re not entirely sure you should be making. Liao’s vocal stays close and expressive as understated instrumentation gives the song plenty of breathing room, allowing its emotional details to land without ever becoming overworked. There’s a genuine sense of vulnerability here, particularly in the way the song captures that slightly obsessive side of a crush, the overthinking, the hoping, the wondering whether they might finally notice.
As part of her forthcoming Dear… EP, ‘Have You’ feels like another revealing glimpse into Liao’s songwriting world. It’s tender without becoming overly sentimental, personal without shutting the listener out. Sometimes the songs that connect most are the ones that simply say what we were all too nervous to say ourselves.
Pam Ross Takes a Midnight Ride Toward “Lost in Heaven”
By Lonnie Nabors
There is a particular kind of song that doesn’t knock politely. It kicks open the screen door, turns the stereo past ten, and dares you to remember what it felt like when attraction could erase every sensible thought in your head. Pam Ross’ “Lost in Heaven,” arriving September 11th, is that kind of record: hot-blooded country rock with pine trees overhead, faded denim on the dance floor, and enough romantic voltage to keep the moon awake.
Ross wastes no time establishing the temperature. The music is loud, the night is open, and somebody in those faded jeans is moving like tomorrow has been canceled. “You get me hotter than a day in late June,” she sings, delivering the sort of direct, uncomplicated line that country music has always understood. Desire doesn’t need a philosophy degree. Sometimes it only needs a beat, a look, and a locked door.
But “Lost in Heaven” is more than a flirtatious midnight romp. Ross understands that the best sensual songs carry an emotional undercurrent. The physical chemistry is obvious, yet the chorus frames the encounter as an answered prayer. Her lover becomes equal parts blessing and temptation—something sacred enough to inspire angels and dangerous enough to make them blush.
That contrast is where the song earns its halo.
The imagery feels cinematic without losing its intimacy. Pines hide the couple from the world. Stars spill light across a body. The full moon becomes a trusted accomplice that “won’t tell anybody.” You can practically hear tires leaving the pavement and rolling onto some secluded country road where radio signals fade and inhibitions disappear with them.
Ross also gives the story somewhere to go. When Sunday morning arrives and the object of her affection is still lying beside her, the song shifts subtly. This is no longer merely a wild night preserved in whiskey-colored memory. There is tenderness in that morning-after realization, a suggestion that heaven might not be the temporary escape. It might be waking up and discovering that the other person stayed.
Musically, the lyric begs for a muscular country-rock arrangement: guitars with some dust on their boots, drums that push without rushing, and a chorus wide enough to fill an outdoor stage. Ross’ multi-genre instincts make her the right artist for such a balancing act. She can bring rock attitude to a country setting while retaining the warmth necessary to sell the song’s romantic center.
“Lost in Heaven” doesn’t pretend desire is tidy. It celebrates the moment when restraint gives way, music gets louder, and two people step outside the ordinary world together. Pam Ross turns that moment into a Southern nocturne—part prayer, part temptation, and part glorious trouble.
On September 11th, heaven may be closer than anyone thought.
@skopemag INTRODUCING: STEVE STACKS – MUSIC PRODUCER – CANADA
Steve Stacks is a fully independent artist/producer from Toronto Canada who has produced 4 multi genre albums and has a 60 song catalogue in his 3 year career. Multi talented artist who has the ability to impersonate peoples voices.
https://music.apple.com/us/artist/steve-stacks/1472153419
Has written and published 2 guidebooks for indie musicians producers. Has great talent in graphic design. His journeys in life has brought him to this point. Music has always been in his life.
And 1 day tried rapping on his home pc and put it onto a CD. And slowly started producing without any education or mentors.
Basically diving into the industry blind. Has accomplished a lot in his short career. Getting continuously aired on terrestrial and online radio and having a following as far as Japan and Australia. He continues to break the rules of music and lead in being a pioneer of his craft which can be heard in his intro vocal impressions in his songs as well as in his song creation style.
Ruby & Sasha Draw The Line On Sassy New Country-Folk Single “Red Light,” Out August 25th
Ruby & Sasha Draw The Line On Sassy New Country-Folk Single “Red Light,” Out August 25th
Listen Here
NEW YORK, NY – Rising duo Ruby & Sasha are turning heartbreak into a warning sign on their new single, “Red Light,” arriving everywhere Tuesday, August 25th. Equal parts biting, vulnerable, and self-assured, the country-folk ballad captures the moment when disappointment finally becomes clarity and walking away starts to feel a whole lot better than sticking around.
Built around the universal experience of realizing someone simply does not measure up, “Red Light” is a song about leaving before a bad situation has the chance to become worse. Rather than mourning a relationship that failed to live up to its promise, Ruby & Sasha flip the script, delivering a scathing review of a man who cannot seem to meet even the lowest expectations.
At its core, “Red Light” is about recognizing the warning signs and choosing yourself.
With its country-folk foundation, the track balances the intimacy of a breakup ballad with a sly sense of humor and a well-earned edge. Acoustic and electric guitars create the backbone of the arrangement, while pedal steel, harmonica, Wurlitzer, bass, and drums give the song a warm, lived-in sound that complements its pointed storytelling. The result feels both classic and contemporary, allowing the song’s attitude to cut through without sacrificing its emotional weight.
There is a particular kind of freedom that comes from realizing you do not have to wait for someone to hurt you again before deciding you have had enough. “Red Light” lives in that moment. It is not about begging someone to change or wondering where things went wrong. It is about seeing the situation clearly, understanding your worth, and getting out while you still have the chance.
The song was produced, recorded, and mixed by Daniel Markus, who also contributes acoustic and electric guitar. Natalia Catalan performs bass, with Sam Schuman on drums, Quinn Devlin on harmonica and Wurlitzer, and Sam Roller on pedal steel. Mastering was handled by Elaine Rasnake.
With “Red Light,” Ruby & Sasha transform romantic disappointment into something sharper and far more satisfying: a reminder that sometimes the strongest ending is the one you choose for yourself.
“Red Light” by Ruby & Sasha will be available on all major streaming platforms Tuesday, August 25th.
For more on Ruby & Sasha, follow them on social media:
