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
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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
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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.
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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.
Ferdinand Rennie Explores the Stories Behind Iconic Songs with Moving New Single ‘You Wrote Hallelujah’
Ferdinand Rennie Explores the Stories Behind Iconic Songs with Moving New Single ‘You Wrote Hallelujah’
You Wrote Allelujah Streaming Link
A song is rarely just a melody—it is often a reflection of the life, struggles and emotions of the person who wrote it. On his heartfelt new single, ‘You Wrote Hallelujah’, Austrian-born, Scotland-based singer Ferdinand Rennie shines a light on the deeply personal stories that inspire some of the world’s most enduring songs.
Written by Michael Andrew Storm and Meg McAndrew, and produced by Alan Vukelic alongside Ferdinand Rennie, You Wrote Hallelujah is a poignant pop ballad that celebrates the emotional honesty of songwriting while inviting listeners to consider the experiences hidden behind the music they cherish.
The song draws inspiration from two legendary songwriters whose work has transcended generations. Leonard Cohen’s Hallelujah reflected his complex relationship with faith, while John Newton’s Amazing Grace emerged from a life transformed by remorse and redemption. Blending these stories with a wider reflection on the creative process, You Wrote Hallelujah becomes a moving tribute to the way songwriters turn life’s greatest joys, heartbreaks and challenges into music that connects with audiences around the world.
For Ferdinand Rennie, the song’s message carries particular significance. Throughout a career spanning more than three decades, music has remained a constant source of expression and resilience. Born in Graz, Austria, he has enjoyed success across Europe, appearing on Austrian and German television, competing in Austria’s Eurovision Song Contest selection, and performing leading roles in acclaimed musical productions including Les Misérables, Jesus Christ Superstar, Beauty and the Beast and Little Shop of Horrors before eventually making Scotland his home.
His musical journey has also included performing before Prince Albert II and Princess Charlene of Monaco, touring with Eurovision winner Vicky Leandros, and releasing an extensive catalogue of original music and acclaimed interpretations of classic songs. In 2022, Ferdinand was invited to audition for ITV’s Britain’s Got Talent after producers discovered his online performance of Never Enough. Performing a specially requested uptempo arrangement under challenging live technical conditions, his audition divided the judging panel but earned an enthusiastic audience response and introduced his music to thousands of new listeners. Looking back, Ferdinand views the experience as a valuable turning point that strengthened both his determination and his growing international fanbase.
Now living on Scotland’s west coast, Ferdinand continues to record and release music through his independent label, Fabscots Music, combining decades of experience with an enduring passion for meaningful songwriting. While You Wrote Hallelujah honours the storytellers behind some of the world’s greatest songs, it also reflects Ferdinand’s own continuing journey as an artist—one that he hopes will one day lead him to perform on the Eurovision Song Contest stage.
Speaking about the release, Ferdinand says:
“Every great song begins with a story. Sometimes it’s about faith, sometimes love, loss or redemption. ‘You Wrote Hallelujah’ is a thank you to the songwriters who have given us music that continues to comfort, inspire and connect people around the world. If this song can inspire people in the same way those songs have inspired me, then I’ve achieved something truly special.”
Warm, reflective and emotionally rich, You Wrote Hallelujah reminds listeners that behind every unforgettable song is a human experience waiting to be heard.
‘You Wrote Hallelujah’ is available now on all major streaming platforms and is also available for download.
About Ferdinand Rennie
Ferdinand Rennie is an Austrian-born British singer, songwriter and performer based in Dunoon, Scotland. Over a career spanning more than 30 years, he has appeared on television across Europe, starred in major musical theatre productions, performed for royalty, toured alongside internationally renowned artists and built a loyal worldwide audience through his recordings. His catalogue blends original music with distinctive interpretations of timeless classics, earning international radio airplay while continuing to showcase his passion for storytelling through song.
Follow Ferdinand Rennie
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Oceans Of Oceans Delivers an Immersive Alternative Rock Journey in ‘We Can’t Come Back’
Oceans Of Oceans continues to occupy the fertile ground between indie rock, post-grunge and ambient electronica on ‘We Can’t Come Back’, a song that feels less concerned with conventional catharsis than with documenting the emotional residue left in its wake. Built on tension rather than release, the single unfolds with a quiet confidence, allowing atmosphere and texture to carry as much weight as melody.
A chiming guitar introduction gradually gives way to a restless arrangement that constantly shifts beneath itself. Moments of delicate restraint are interrupted by bursts of distortion and muscular percussion, creating a dynamic that mirrors the song’s emotional uncertainty. While echoes of Radiohead’s angular melancholy and the brooding grandeur of The National are easy reference points, Oceans Of Oceans avoids imitation by filtering those influences through shimmering electronic textures and an expansive, almost cinematic sense of space.
The production thrives on contrast. Originally conceived as a sparse piano composition, the track blossoms into something far more immersive, with live drums providing a physical momentum that elevates each crescendo without overwhelming the song’s introspective core. Every sonic decision feels deliberate, balancing intimacy with scale in a way that rewards repeated listens as subtle layers continue to reveal themselves.
What ultimately makes ‘We Can’t Come Back’ compelling is its refusal to flatten emotion into something easily digestible. It captures the feeling of standing between places, both geographically and emotionally, where nostalgia, regret and hope coexist without cancelling one another out. In an era where alternative rock often leans heavily on either revivalism or maximalist production, Oceans Of Oceans finds a more compelling path, crafting a song that is immersive, emotionally complex and quietly devastating in equal measure.
ALBUM REVIEW – COLLECTIVE SOUL, TOUCH AND GO
By R.M. Engelman
Collective Soul continues to be a main touring draw since the early 90’s especially since they’ve held together a consistent ensemble. The stable lineup consists of Ed Roland (lead vocals, guitar, keys), Dean Roland (rhythm guitar), Johnny Rabb (drums, vocals), Jesse Triplett (lead guitar, vocals), and Will Turpin (bass, vocals). The release of their 13th album started earlier this year as part of Record Store Day, and continues with the worldwide release on July 31st. Pre-orders in digital, CD, and vinyl are available on their website.
Every successful band that enjoys longevity, experiences the ability to take their music creatively down new avenues. This is especially true of returning to your musical roots the way you want to express it. The new release by CS offers Ed a chance to revisit the influential styles of the 80’s. The album’s title Touch and Go of course harkens back to the Cars influence on the musical taste of that time period. The British invasion bands of the 60’s typically started out as blues bands influenced by U.S. artists, and gradually interjected other influences. The best way to pay homage to these roots is either to cover a song, or write one in a similar style.
The first track Rainbow, uses a bit of new wave vibe but somehow conjures up images of Sgt. Pepper’s studio charm. Eye On You has that Car’s sound along with some Todd Rundgren (Todd incidentally fronted the New Cars incarnation) feeling in the mix. Uh Oh has the subtle keyboard/synth backdrop. All My Days on Thru has a nice guitar-drums lead in. Heavy Load somehow makes me envision The Tubes doing it. Fun has that Billy Idol/Steve Stevens edgy keyboard/guitar groove. Again, has nicely blended vocals with clever lead guitar work. Feel is a ballad tempo offering that has the vocals nicely blended through. Shooting For You is a nice mid-paced song with some bouncy effects, that would definitely fit well in a movie soundtrack. Love Your Way effectively combines various elements of that era.
The album blends and covers the New Wave era uniquely. The band was definitely feeling it. Ed’s vocals frequently echo that of Rick Ocasek. The backing vocal mix compliments the songs. The essential keyboard/synth action was nicely integrated. Guitarists Jesse and Dean easily picked up this format, which owes a lot to The Cult and of course the Car’s guitarist Elliot Easton. This genre is also definitely in the rhythm sections wheelhouse. Drummer Johnny and bassist Will are feeling the vibe. The structure and arrangements are extremely well done. The parts all tightly fit. Treat yourself to going back in time and escaping the mind-numbing effects of most of today’s current offerings. Time for the legion of fans to catch this, best of all in their favored format!
Yorkshire Songwriter Paul Stone Builds a Musical Legacy from Beneath His Family Home
Paul Stone & The Basement Collective prove that authentic music isn’t built overnight—it’s built over a lifetime.
In an industry often obsessed with overnight success, Paul Stone & The Basement Collective offer something refreshingly different: six exceptional musicians creating honest, emotionally driven music rooted in friendship, craftsmanship and real life.
Described by Music Week journalist Mark Sutherland as a “self-starter,” Paul Stone has spent years quietly building both his career and his music on his own terms. Rather than waiting to be discovered, the Yorkshire-born songwriter built a professional recording studio beneath his family home, assembled a collective of outstanding musicians and gradually earned support from respected industry figures through the strength of the music itself.
Today, while continuing to run successful property development businesses and a local butcher’s shop, Stone is finally sharing the songs that have been years in the making.
“I never wanted shortcuts,” says Stone. “I wanted to create music that would still mean something years from now. The goal has never been fame—it has always been to build something authentic.”
The project’s sound blends jazz influences with contemporary songwriting, creating music that feels timeless rather than trend-driven. Every recording is built around musicians performing together, capturing genuine chemistry and emotion instead of relying on heavily programmed production.
That commitment to authenticity extends beyond the studio.
A proud Yorkshireman with Irish roots, Stone studied at Leeds College of Music before life took him in another direction. For almost a decade, he stepped away from pursuing music full-time to focus on raising his family and building businesses. Those years, however, gave him something many artists spend a lifetime searching for—perspective.
Now a father of four, his songwriting reflects everyday experiences, resilience, relationships, hope and the importance of human connection.
His latest single, “Brother,” perfectly embodies that philosophy. Inspired by the Stage 4 melanoma diagnosis of one of his closest friends—who has since made a remarkable recovery—the song is a heartfelt reminder that nobody should face life’s toughest moments alone.
Rather than dwelling on tragedy, Brother celebrates friendship, compassion and optimism, carrying the simple but powerful message: “I can be there if you let me.”
The recording itself captures the warmth that defines The Basement Collective, even preserving an unexpected backing vocal from Stone’s young daughter during a microphone check—a spontaneous moment that perfectly reflects the project’s honesty and humanity.
Throughout his career, Stone has quietly built an impressive list of achievements, including support from BBC Radio 2, playlisting on Jazz FM, placement on NBC’s The Blacklist, writing the official Tour de Yorkshire theme, and meeting legendary songwriter Diane Warren in Los Angeles—a moment he credits with making him truly believe he belonged in music.
Yet despite those milestones, he remains grounded.
“I believe in treating people with respect, working hard and keeping your word,” Stone explains. “Someone once told me there are good people, bad people and proper people. I’ve always tried to surround myself with proper people.”
That philosophy sits at the heart of Paul Stone & The Basement Collective.
This isn’t simply another artist releasing singles. It’s a long-term musical project built patiently over many years by someone who understands both the realities of everyday life and the transformative power of music.
Recorded in the studio beneath his family home, surrounded by trusted collaborators and inspired by genuine lived experiences, every song aims to create connection rather than simply attract attention.
With new music already completed and further releases planned, Paul Stone & The Basement Collective are building a catalogue defined not by trends, but by timeless songwriting, exceptional musicianship and emotional honesty.
Sometimes the strongest foundations aren’t built in the spotlight—they’re built quietly, over time, by people who never stop believing in what they’re creating.
Follow Paul Stone
Instagram: https://www.instagram.com/the_basement_collectiveSpotify: https://open.spotify.com/artist/18HeKUtjmfHXYsERQWbo9v
Roger K Explores Regret and Reflection on New Single “Didn’t Know I Was Running Out Of Time”
Australian artist and producer Roger K returns with “Didn’t Know I Was Running Out Of Time,” a track that blends dark R&B with contemporary Afrobeats to tell a story of love, regret, and the moments we don’t realise we’re losing until they’re gone.
The song grew from a simple but striking idea. A soft, melancholic kalimba melody sits over a driving Afrobeat rhythm, creating a contrast between warmth and unease that carries through the entire record. Rich percussion, atmospheric synths, and layered vocals build a sound that feels equally suited to a late night drive or a quiet moment alone.
Rather than focusing on heartbreak alone, the lyrics explore what happens after everything falls apart. There is frustration, reflection, and the realisation that some opportunities disappear before we recognise their value. The line “Begging to stay… this phone line’s closed, now go away” captures the emotional finality at the centre of the song, reminding listeners that not every ending leaves room for a second chance.
Behind the scenes, Roger approached every stage of the production with precision. The mix and master were carefully crafted to deliver a bold, modern sound while maintaining the clarity, dynamics, and emotional depth that drive the song forward.
After more than two decades performing across Australia’s east coast, Roger has spent recent years building a solo catalogue that comfortably moves between R&B, Hip Hop, Afrobeats, Latin, Drill, House, and Garage. Rather than being defined by genre, his music is united by expressive songwriting and polished production, with every release focused on creating an emotional connection.
While the track draws inspiration from the global rise of Afrobeats, its mood leans toward the introspective side of the genre. Fans of artists like Omah Lay and Fireboy DML will recognise the understated atmosphere and emotional honesty, while the infectious groove gives the record an energy that lingers long after the first listen.
“Didn’t Know I Was Running Out Of Time” is another confident step forward for Roger K, showcasing his growth as both a songwriter and producer while continuing to refine a sound that is unmistakably his own.
Instagram – https://www.instagram.com/kumarasingheroger/
Tik Tok – https://www.tiktok.com/@roger.kumarasinghe
Facebook – https://www.facebook.com/profile.php?id=61575001594043
Website – https://www.rogerkmusic.com
Siren Call Balance Melody And Melancholy On ‘Hello Stranger’
Siren Call continue their steady ascent with Hello Stranger, a brooding alternative rock single that leans into atmosphere without sacrificing immediacy. The Vienna-based trio draw confidently from the rich lineage of ’90s guitar music, but rather than settling for nostalgia, they shape those influences into something that feels emotionally current and refreshingly self-assured.
Built around haunting vocal melodies, weighty bass lines and expansive guitar textures, the track unfolds with quiet restraint before opening into powerful, emotionally charged crescendos. There’s an undeniable familiarity to its melodic instincts, recalling the timeless songwriting of Fleetwood Mac and The Pretenders, while its grunge-inflected edge lends the song a welcome sense of urgency. Every element feels carefully measured, allowing the arrangement to breathe while maintaining a compelling forward momentum.
At its core, Hello Stranger is a song about distance, both emotional and personal. Exploring the aftermath of a relationship that dissolves without warning, Siren Call resists easy sentimentality, instead capturing the strange limbo between memory and acceptance. Yvonne Lace’s expressive vocal performance anchors the track beautifully, conveying vulnerability without ever losing its quiet resilience.
Following a year of growing international recognition, Hello Stranger finds Siren Call sounding increasingly comfortable in their own skin. It’s an evocative and accomplished release that honours alternative rock’s enduring traditions while continuing to carve out a distinctive identity of its own.
Clarity Liao Captures the Growing Pains of Adulthood on ‘Pouring Rain’
Clarity Liao has built a reputation as an accomplished songwriter, but with Pouring Rain, she proves that her most compelling stories are the ones she tells about herself. The latest preview of her forthcoming debut solo EP Dear… trades romantic narratives for quiet self-examination, resulting in a bedroom pop ballad that feels intimate without ever becoming insular.
Written during an afternoon spent watching the rain from her bedroom window, Pouring Rain captures the peculiar limbo of early adulthood, the feeling of watching everyone else surge ahead while you’re left questioning your own direction. Rather than leaning into melodrama, Liao embraces restraint, allowing soft acoustic textures and understated production to mirror the song’s reflective mood. It’s this subtlety that gives the track its emotional weight, drawing listeners into its world with an honesty that feels both immediate and universal.
Having already earned recognition as the principal songwriter behind Navillera, with accolades including the 2024 Yamaha National Best Popular Music Award and the 2025 YMS National Composers competition, Liao enters her solo era with an evident confidence. Yet despite those achievements, Pouring Rain doesn’t feel like the work of an artist trying to prove herself. Instead, it feels like someone willing to sit comfortably with uncertainty, trusting that vulnerability can be just as captivating as confidence.
As another chapter in Dear…, the single signals an intriguing shift in perspective. While previous releases explored the complexities of relationships through imagined letters, Pouring Rain redirects that same narrative device inward, becoming a letter addressed to herself. That conceptual pivot gives the project greater emotional depth, hinting at an EP that is less interested in neat conclusions than in documenting the messy, often contradictory process of personal growth.
With Pouring Rain, Clarity Liao demonstrates that songwriting doesn’t need grand gestures to leave a lasting impression. Instead, she finds beauty in stillness, uncertainty and emotional honesty, crafting a song that lingers long after its final note. If this latest release is any indication, Dear… is shaping up to introduce an artist whose greatest gift isn’t simply writing memorable melodies, but giving voice to the quiet thoughts many listeners struggle to articulate themselves.
Michael St. Over Turns Pain into Purpose on “Ride Sweet Angel”
Some songs arrive with a hook. Others arrive with a heartbeat. “Ride Sweet Angel” arrives with a scar.
Michael St. Over—the hard rock alter ego of songwriter, producer, and MTS Records founder Michael Stover—doesn’t waste time chasing trends or trying to out-heavy the latest crop of metalcore bands. Instead, he reaches back to a time when hard rock was fearless enough to tell stories that mattered. Think Alice Cooper when he became a storyteller. Think W.A.S.P. when Blackie Lawless traded shock for substance. Think the emotional gravity of Queensrÿche’s Operation: Mindcrime, where the riffs were only half the journey.
The opening moments feel almost cinematic. You can practically hear the lonely whistle of a train cutting through the darkness before the guitars even settle into their stride. Then comes April, the song’s central character—a young woman whose life has been shaped by childhood abuse, addiction, and the crushing weight of circumstances beyond her control.
This isn’t exploitation.
It’s empathy.
Stover writes with remarkable restraint. Lesser songwriters would have piled on graphic imagery or melodrama. Instead, every lyric serves the narrative, allowing listeners to fill in the emotional blanks themselves. The line between storytelling and sermon is razor thin here, but “Ride Sweet Angel” never loses its footing because it remembers that the listener is smart enough to connect the dots.
Musically, the song strikes an impressive balance between muscle and melody. Thick guitar tones drive the verses like steel wheels grinding against railroad tracks, while the chorus opens into something unexpectedly anthemic. There’s enough grit to satisfy hard rock purists, but enough melodic instinct to make the song linger long after it ends.
And then there’s Stover’s vocal.
It’s weathered.
Earned.
Believable.
You don’t hear someone pretending to be broken—you hear someone who’s spent enough time observing life’s fractures to understand them. His delivery carries the gravel and conviction of classic rock frontmen who knew that technical perfection was never the point. The emotion is.
What elevates “Ride Sweet Angel” beyond another socially conscious rock song is its refusal to surrender to despair. The repeated image of the train evolves throughout the song. At first it’s an endless ride toward destruction. By the final chorus, it becomes something entirely different: a vehicle for redemption.
That transformation is the song’s emotional payoff.
In a musical landscape where cynicism often masquerades as sophistication, “Ride Sweet Angel” dares to believe that people can heal. That’s not sentimentality—it’s courage.
Knowing that Michael Stover is donating 100 percent of his proceeds from the song to benefit vulnerable children through charitable work adds another dimension altogether. Suddenly the message extends beyond the speakers. The song becomes action.
That’s something Lonn Friend always appreciated about great rock artists. The best of them didn’t just perform conviction—they lived it.
“Ride Sweet Angel” is more than Michael St. Over’s debut single. It’s a statement of intent from an artist unafraid to combine heavy guitars with heavier truths. It proves that hard rock can still confront difficult subjects without sacrificing melody, power, or hope.
Some records make noise.
Others make a difference.
“Ride Sweet Angel” manages to do both.
–Lonnie Nabors
@skopemag Q&A Featuring Owen Rivera
Curb Records artist Owen Rivera is having a summer to remember. Between mastering his breezy new single “LaiLuv,” fielding voiceover audition requests, and catching every World Cup match he can, the nineteen-year-old singer-songwriter, drummer, and actor is proving there’s no slowing him down. A performer since age four, Owen has shared stages and studios with the likes of Mavis Staples, Jason Mraz, and Graham Nash, picking up hard-won lessons along the way that still shape his artistry today. Now, with “LaiLuv” out and bilingual Latin music in the works, he sat down with us to talk about the moment he first felt like a real musician, the feeling behind his new single, and what’s coming next.
- Hey Owen, thanks so much for speaking to us! How’s your week been?
No problem, and thanks for the opportunity! It’s been a great week…New song just mastered, some exciting new VoiceOver Audition requests, and thrilling World Cup games…good stuff.
- You’ve been performing since you were four years old. What’s your earliest memory of actually feeling like a musician, rather than just a kid who played music?
It was when I started actually recording music in the studio at 8 years old. I have always loved performing on the stage and entertaining, but that feeling when you’re recording your ideas that you came up with to be a single or a record, that’s when I started feeling like a musician. Being able to write and create what was on my mind and then bring it to life in the studio that was the moment.
- Did your family play a big role in nurturing that early on, or did it come more from you seeking it out yourself?
Both. It started by me seeking it out, and when I made it obvious when I was young that I was a musician at heart and wanted to build my life around music, my parents thankfully caught on early and started nurturing that curiosity.
- “Lailuv” has such a breezy, summer-ready feel. Walk us through how the song came together. What was that writing/recording process like for you?
Compared to other songs I’ve done, Lailuv wasn’t that crazy. Although it’s gone through a couple of changes (adding a verse, taking out a chorus, adding a bridge, etc.), once we had the instrumentals and backgrounds figured out, it has stayed rock solid ever since. The writing and recording were all about trying to capture that summer magic, putting myself in that summer mindset, and then delivering a vocal that takes the listener there with me.
- Was there a specific moment, place, or memory that shaped the vibe of the song for you personally?
Not a specific moment, place, or memory, but rather a feeling, is what shaped the vibe of the song for me. Lailuv is a feeling… the way I feel love oughta be, and though I haven’t found her yet…when I do… Lailuv expresses how I know I will feel about her.
- You’re a drummer, vocalist, multi-instrumentalist, and actor. Do these different creative outlets feed into each other, or do you find yourself switching mindsets completely between them?
I’m going to be completely honest. I have no idea, haha! I would compare it, I guess, to an athlete being in “the zone”. When I’m acting, performing, and singing, playing guitar, playing drums, and keys, it all just kind of happens. My body just kinda takes over, and the art just kinda comes out.
- You’ve shared stages with artists like Mavis Staples, Jason Mraz, and Graham Nash, is there a moment from any of those experiences that’s stuck with you as a turning point? Oh man… Can I say all of them, haha! Two moments do stick out, though. Watching Graham Nash up close hold a full house completely silent and still with just his voice and a guitar. It didn’t feel like a concert; it felt like sitting in a room with a friend as they were storytelling and taking you on a journey. The other moment was when I was invited to Mavis Staples’ studio to watch her record one of her albums. It was incredible sitting there watching her bring such passion and love to the mic with her voice.
- Did any of them give you advice that you still carry with you today?
One that comes to mind is Graham Nash telling a young and impressionable me to switch my main instrument from drums to guitar, and to thank him later, haha. He also taught me how important storytelling is not just in my songwriting but also in my performances. Also, Mavis brought me aside in her studio after she finished recording and told me to always sing and perform with passion and love.
- You’re proud of your Puerto Rican roots and are currently working on bilingual music. What does that side of your artistry mean to you, and what can fans expect from that material?
Yes, I am a proud Puerto Rican! Wepa! It’s everything to me. I grew up listening to stories from mi familia about the town of Jayuya, where my mother’s family is from. I love visiting Puerto Rico and would love to make it my home someday. The music, rhythm, colors, dancing, food, and even the coquis (Google it) inspire me and my Latin music. I do not want to give too much away, but what I will say is I’ve currently got my Latin music in the workshop right now… y tiene mucho sazon!
- What’s next for you, more from this summer era of music, the bilingual project, or something else entirely?
All the above! I am always creating; my mind never rests. My Latin Music is on its way, as well as some new record releases. I also have some collab projects in the works with multiple Grammy Award Winners. Wherever music takes me, I’ll follow, and I can’t wait to see where my music journey goes next.
https://open.spotify.com/artist/6qFlfBmbhe4KEaLeugsCze?si=w3Gy3XXmT82hOBl6CxnE8w
DPB’s “God Mode”: When the Holy Ghost Kicks Down the Door Wearing Timberlands
There’s a dirty little secret nobody wants to admit anymore: most “inspirational” music is terrified of being excessive.
Everybody’s trying to be tasteful. Measured. Respectable. They whisper hope when they should be screaming it through a blown-out Marshall stack.
Then along comes DPB with “God Mode,” and suddenly restraint gets thrown out the sanctuary window.
Good.
Because this song doesn’t walk into the room—it cannonballs through the ceiling.
Built around the audacious hook, “I’m in God Mode… Jesus Christ is the God Code,” DPB commits the greatest artistic crime imaginable in the age of irony: he completely believes every single word he’s saying. There’s no wink. No sarcastic quotation marks. No attempt to soften the edges for skeptical listeners.
https://open.spotify.com/track/5zI6iUFWQ55TkY9gY6BVSO
He means it.
And belief—real belief—is one of the most dangerous fuels rock, rap, or gospel has ever known.
The song reportedly came from a dream where God challenged DPB to stop praying for future victories and start living in the authority believers already possess. You can hear that revelation coursing through every measure. “God Mode” isn’t interested in asking permission. It’s issuing marching orders.
Most contemporary hip-hop flexes revolve around money, status, cars, watches, or who’s got the biggest streaming numbers. DPB flips the entire formula upside down. His flex isn’t about himself.
It’s about Jesus.
That sounds almost laughably simple until you realize how few artists have the nerve to build an entire anthem around absolute spiritual confidence without diluting the message.
Musically, “God Mode” operates like controlled chaos. The beat pounds forward with relentless momentum while the chorus repeats until it feels less like a hook and more like collective hypnosis. The repetition works because revival has always understood something pop music occasionally forgets: people don’t remember complicated ideas.
They remember declarations.
“I’m in God Mode.”
“Deliverance is here.”
“Freedom is here.”
“Healing is here.”
Those aren’t verses. They’re battle cries.
DPB has never been interested in dazzling listeners with labyrinthine rhyme schemes or technical gymnastics. His strength has always been conviction. Every line lands with the force of somebody who’s lived enough life to stop worrying about impressing critics and start speaking directly to people who need hope.
The second verse borders on ecstatic. Revival breaks loose in the lyrics as healing, miracles, and transformation collide with imagery that feels halfway between Pentecostal worship and old-school street cyphers. It shouldn’t work.
Somehow, it absolutely does.
What makes “God Mode” compelling isn’t subtle craftsmanship—it’s unapologetic commitment. The record doesn’t compromise its theology for accessibility, nor does it sacrifice musical energy to become preachy. Instead, it barrels ahead with the confidence of someone convinced that faith should sound victorious rather than defensive.
That confidence feels increasingly rare.
Following the chart-topping success of “Back in the Day,” DPB could have easily delivered another nostalgic crowd-pleaser. Instead, he chose confrontation—not with culture, but with complacency. “God Mode” challenges listeners to stop seeing Christianity as passive endurance and start viewing it as active authority.
That’s a much riskier record.
And a much more interesting one.
In a musical landscape overflowing with artists obsessed with looking invincible, DPB reminds us there’s a profound difference between pretending you’re untouchable and believing you’ve already been given strength beyond yourself.
“God Mode” isn’t fashionable.
It isn’t subtle.
It isn’t interested in either.
It’s loud.
It’s fearless.
And sometimes that’s exactly what the spirit of music is supposed to sound like.
–Leslie Banks
When the Noise Finally Stops: Ananda Xenia Shakti’s Devotion Finds Transcendence Beyond the Static
We’re living in an age where everybody wants enlightenment with next-day shipping. Download an app, light a scented candle, post a filtered sunset, and suddenly you’re a mystic. That’s why Devotion, the new single from Ananda Xenia Shakti and Love Power the Band, feels almost subversive. It isn’t selling spirituality. It sounds like someone accidentally stumbled into it and had the nerve to hit “record.”
The story behind the song almost reads like a cosmic practical joke. Silent meditation retreat in the mountains of Andhra Pradesh. Stomach rebellion in the middle of the night. No grand revelation on a mountaintop, no booming celestial voice. Just physical misery giving way to spontaneous chanting, and somewhere between discomfort and surrender, a melody emerges that refuses to let go.
Now that’s rock ‘n’ roll.
Not because there’s a Marshall stack or a guitar solo trying to peel paint off the walls, but because the greatest music has always come from collision—between certainty and chaos, flesh and spirit, ego and whatever comes after ego finally gets tired of talking.
The irony is delicious. Here’s a woman who once inhabited the fearless punk energy of The B-Girls, sharing stages with some of the loudest cultural revolutionaries of the late seventies, and decades later she’s making music that’s almost whisper-quiet. Yet the rebellious streak remains. Back then the rebellion was against conformity. Today it’s against distraction.
Musically, Devotion drifts somewhere between devotional chant, ambient meditation, world music, and dream-pop without becoming trapped by any of those labels. It refuses to perform for your attention. Instead, it patiently waits for you to stop fidgeting long enough to notice what’s already there.
That may be the bravest artistic decision anyone can make in 2026.
Ananda’s vocal doesn’t posture. It doesn’t oversell emotion or chase vocal acrobatics designed for social media clips. She sings like someone who’s forgotten an audience even exists, and paradoxically, that’s exactly what draws you closer. Every phrase feels less rehearsed than remembered, as though she’s rediscovering the melody while singing it.
Love Power the Band understands restraint better than many arena acts understand excess. The instrumentation never barges into the room demanding applause. It creates space—actual breathing room—for silence to become part of the arrangement. That’s increasingly rare. Modern production often fears empty space the way politicians fear honest questions.
What’s fascinating is how Devotion avoids becoming “new age wallpaper.” Plenty of spiritual music dissolves into harmless background ambience. This doesn’t. It has weight. Not because it’s loud, but because it’s earned. Every note carries the fingerprints of lived experience rather than manufactured serenity.
Maybe that’s what makes the song linger long after it’s over. It doesn’t insist that you’ll become enlightened. It simply suggests that somewhere beneath the endless notifications, opinions, headlines, and self-improvement slogans, there’s still a pulse worth listening to.
And perhaps the most punk thing Ananda Xenia Shakti has ever done wasn’t stepping onto a stage with The B-Girls decades ago.
Perhaps it was learning how to become completely still.
–Leslie Banks
