Pam Ross: Outside The Box (MTS)
Call it a modest proposition executed with uncommon conviction. On Outside The Box, Pam Ross doesn’t pretend she’s reinventing country music—or even nudging it very far off its well-worn path. What she does instead is write a set of songs that understand exactly what they are: lived-in, middle-distance dispatches from a life where love, routine, and small revelations carry equal weight. The trick is she makes you believe they matter.
Ross’ voice won’t bowl you over on first listen. It’s not built for vocal Olympics, and that’s the point. There’s a conversational steadiness to her delivery that favors clarity over flash, meaning over melisma. She sings like someone who has already worked through the drama and is now telling you what it meant. That tone suits the material—songs that lean on observation and emotional follow-through rather than big twists.
The opener “Doublewide” plants a flag in unvarnished realism, flirting with cliché but sidestepping it through specificity and attitude. “Kansas” stretches things out geographically and emotionally, chasing the idea that distance can clarify what closeness obscures. “Tonight” and “Have a Good Time” supply the expected uptempo lift, though they’re less about abandon than about permission—go ahead, loosen up, you’ve earned it.
https://open.spotify.com/album/0dgBBuO81xDrR4zkoEk4Sb
Where Ross distinguishes herself is in the details. “Reading Your Text” is a quietly contemporary entry in the love-song canon, parsing modern communication with a mix of anticipation and anxiety that feels accurate without being overstated. It’s one of the album’s sharper moments, where concept and execution align cleanly.
Then there’s “Say It Two Times,” the record’s centerpiece and best argument. On paper, it’s a happy love song—dangerous territory in a genre that often equates seriousness with suffering. Ross leans in anyway. Domestic imagery—coffee, bacon, a child being rocked to sleep—anchors the lyric, and instead of drifting into sentimentality, it lands as intention. “Once is not enough for this heart of mine” could read as needy; Ross sells it as recognition. Love isn’t proven once—it’s maintained.
Production throughout is contemporary country with just enough restraint to keep the songs from dissolving into gloss. Nothing here will surprise you sonically, but it doesn’t need to. The arrangements support the writing, and the writing carries the record.
What Outside The Box ultimately offers is consistency of perspective. Ross isn’t chasing reinvention; she’s documenting stability, which is harder to dramatize and easier to fake. She avoids the latter. There’s an honesty to these songs that doesn’t announce itself—it accumulates.
No grand statements, no false moves, a couple of standouts, and a clear sense of purpose. That’s more than most records manage.
Grade: B+
–Bobby Chrisman
PRESCOTT NILES RETURNS TO CELEBRATE THE KNACK’S LEGENDARY HITS
All-Star Band to Make Live Debut at The Canyon Club in Agoura Hills on May 2, 2026
Founding member and bassist of The Knack, Prescott Niles will return to the stage this spring celebrating the music and legacy of the iconic power-pop group. Prescott Niles’ The Knack features Prescott Niles (The Knack, George Harrison) on bass, Gabe Niles (Missing Persons, Gateway Drugs) on drums, Rocky Kramer on lead guitar, and Matt Starr (Ace Frehley, Mr Big) on vocals.
The band will make its debut performance on May 2nd at the Canyon Club in Agoura Hills, CA.
Prescott explains, “People have encouraged me to put the band back together for years but it never felt right, until now. One of the last things Doug said to me before he passed was, ‘keep the music alive.’ I’m honoring what was truly his last wish.”
Prescott first met Matt Starr in 2010 while Starr’s band The Automatic Music Explosion was working with Knack producer Mike Chapman. Starr, primarily known as a drummer for his work with Ace Frehley and other artists, will be singing lead and playing rhythm guitar.
Matt says, “I’m honored to have this opportunity to celebrate The Knack’s amazing catalogue of songs that meant so much to me growing up. I first sang ‘Sharona’ with Prescott and Gabe about 15 years ago; we have a long history together and this feels like family, which makes it that much more special.”
Drummer Gabe Niles has long been part of the extended musical circle surrounding The Knack’s legacy. “This opportunity is tremendous, to be asked by my father and fans to secure his legacy and bring new life to the incredible music they made,” says Gabe, who goes on to state “most importantly the joy this brings my father is immeasurable.”
Guitar phenom Rocky Kramer, who’s single “Rock Star” hit #1 on the Global DRT Charts in 2019, brings his exceptional lead guitar talent to the ensemble. “It’s an honor to work with Prescott and be able to contribute my guitar work and back-up vocals to such a legendary and iconic band,” said Kramer.
The Knack first rose to prominence in 1979 with the release of their debut album Get the Knack, produced by Mike Chapman. The album became one of the fastest-selling debuts in rock history and featured the international No. 1 hit “My Sharona,” along with the Top 40 single “Good Girls Don’t.” The record went multi-platinum and helped define the power-pop sound of the late 1970s and early 80’s.
Following several successful albums and years of touring, the band reunited in the 1990s and continued performing and recording into the 2000s. The Knack’s final performances took place in 2009. Shortly thereafter, lead singer and songwriter Doug Fieger passed away after a courageous, quiet battle with cancer.
Prescott Niles has remained active in music, performing, recording, and working on various projects including Josie Cotton, George Harrison and Missing Persons.
The Canyon Club performance will feature music from The Knack’s vast catalog, focusing on the first three albums.
Tickets and additional show information are available through the Canyon Club:
Prescott Niles’ The Knack
Live at the Canyon Club
May 2, 2026
Agoura Hills, California
Prescott Niles’ The Knack will later appear at The STRAT Hotel, Casino & Tower in Las Vegas on June 6, 2026.
Allied Artists Music Group began life as the music soundtrack division of Allied Artists Pictures. Throughout the years, the Allied Artists’ name has not only been associated with legendary motion pictures, but truly memorable soundtracks, such as “Cabaret,” by Liza Minnelli and Joel Grey. Today, the company strives to produce, market and distribute quality music across all genres that is both timeless and cutting edge.
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For media inquiries or interviews, please contact:
Jerry Sifuentes, Office of Press Relations
Los Angeles: (626) 330-0600 x8150
New York: (646) 350-0009 x8150
Email: pressrelations@alliedartists.net.
Camille K Releases New Single “Do You Wanna Dump Me” on March 17, 2026
Rising pop artist Camille K returns with her fearless new single Do You Wanna Dump Me, available on all streaming platforms March 17, 2026. The edgy, high-energy track captures the emotional limbo of a relationship on the brink, where vulnerability, anxiety, and the fear of being “too much” collide with infectious hooks and undeniable attitude.
Preview Here!
Pre-Save Here!
Do You Wanna Dump Me grapples with the raw uncertainty that comes when love feels fragile and unbalanced. With sharp lyricism and an ear-wormy chorus, Camille K transforms self-doubt into empowerment, pairing emotional honesty with upbeat pop rock production that refuses to wallow. The result is a bold, relatable anthem for anyone who has ever questioned where they stand in love.
The single was written by Camille K and M11SON and has been produced by the production team, Sakred Wolves, consisting of Dirty Harry Zelnick, Lectriq, and M11SON contributing to the project. Together, the team crafted a polished yet punchy sound that balances vulnerability with confidence while staying true to Camille K’s emotionally charged pop rock style.
With its sharp edges, emotional core, and undeniable hooks, Do You Wanna Dump Me is poised to resonate with listeners who crave pop music that tells the truth, even when it stings.
A seasoned performer since the age of 11, Camille has shared the stage with legendary artists such as Gina Schock (The Go-Go’s), Jeff “Skunk” Baxter (Steely Dan/Doobie Brothers), and Barry Goudreau (Boston). She has also opened for major acts including Flo Rida, Ja Rule, C&C Music Factory, Lit, Chris Kirkpatrick of *NSYNC, O-Town, LFO, and Jon Anderson (Yes).
Camille gained national recognition as a featured contestant on NBC’s America’s Got Talent in 2022, where her original song “Still in Love” earned high praise from the judges that day. Simon Cowell described her performance as “beautiful,” Heidi Klum called her “absolutely amazing” and “the whole package,” and Sofia Vergara praised her “spectacular” voice.
Beyond the stage, Camille has also made a mark in the film industry, with her music featured in Finding Christmas and 7th Secret. Her previous maxi-single, “Daydreamer,” reached #2 on the iTunes Top Dance Albums chart, further cementing her status as a rising star. She is currently working with Grammy Award-winning production team Sakred Wolves, consisting of Dirty Harry Zelnick, Lectriq, and M11SON, to craft new music that continues to push creative boundaries.
As Camille continues to tour throughout Philadelphia and New Jersey, “Do You Wanna Dump Me” marks another milestone in her journey, showcasing her signature blend of raw emotion, powerful vocals, and polished pop production. Camille K is also an endorsed artist of Anatomy of Sound picks and Minarik Guitars.
For more on Camille K, follow her on social media:
FOLLOW CAMILLE K:
Website | Instagram | Facebook | Spotify
Lina Maxine Marries the South Shore Waves with London’s Rain in a Debut Folk Rock Ballad “Feels Like Forever.”
RIYL: Lord Huron, Hudson Freeman, Lizzy McAlpine, Charlotte Lawrence
Listen to “Feels Like Forever” + Pre-Save – Out March 27th
LONG ISLAND, NY – MARCH 2026 – Lina Maxine releases a folk rock single “Feels Like Forever” unveiling a more organic instrument-driven sound for the Long Island-based band. The single opens with the sound of rain over the South Shore waves, recorded during a storm on Indian Wells Beach. The sound perfectly captures the intentions behind the new production: to blend Americana sway with notes of British alt in a Fleetwood-inspired upbeat ballad, mastered by a Grammy-nominated engineer Ste Kerry (Sleep Token).
“Feels Like Forever” is about missing mum” says Dean Aladay, the single’s primary songwriter and producer, and band member on keys and electric guitar. Dean and Lina first met in London, jumping straight into making music, and ultimately forming a band with Long Island’s Nick Sferlazza on bass, Jake Schott on drums, and Parker Lyons of MonkMusic Studio on pedal steel.
Over the years of playing live, including at Stephen Talkhouse and City venues, the band has cultivated a sound that feels familiar in its melodic roots, yet earnest and bold at times, with Lina’s voice capable of soft storytelling and high-pitched belts from the heart. “Feels Like Forever” is the first single to feature both Dean and Lina’s vocals in harmony.
The new single is part of a 5-song EP, with the next song releasing in the spring, while the final record arrives in the summer. The band will be playing local shows and live streaming sessions from their recording studio, while seeking an opening slot on tour.
ABOUT LINA MAXINE:
Lina Maxine is a folk/rock duo featuring Santa Monica born Lina Maxine and Dean Aladay from London, UK. They perform with their band and record music on Long Island, NY.
In 2022, Lina and Dean toured the UK, supporting Tom Meighan on a nationwide tour to promote Lina Maxine’s debut EP, “Mind Games.” The single “Mango” garnered over 800k streams (watch Lina Maxine – “Mango” live at the Real World Studios, UK). They also made a tour film (watch Lina Maxine – Tour Film) with live excerpts from iconic O2 venues, including Shepherd’s Bush Empire, featured in Notion Magazine.
In 2023, Lina and Dean relocated to New York, releasing their second EP, “You’re My Only Friend,” and produced all related video content themselves (watch Let Me (Sweeter) Music Video & watch EADGBE (Crying Guitar) music video). The EP’s title track “Cherry” was featured in Wonderland Magazine and another track “EADGBE (Crying Guitar)” appeared in Earmilk Magazine.
With Dean on keys and electric guitar and Lina on acoustic guitar, they formed a live band on Long Island, including Parker Lyons on pedal steel, Nick Sferlazza on bass, and Jake Schott on drums. They played various NYC venues and Long Island spots, notably at Stephen Talkhouse, reviewed in Music Connection Magazine.
Inspired by the ocean and the vibrant music community, Lina and Dean are finishing up a new EP to release mid-2026. Lina Maxine’s upcoming single, “Feels Like Forever,” blends rock and folk instrumentals influenced by Fleetwood Mac, Lord Huron, and Kacey Musgraves (pre-save here). It arrives on March 27th, with an acoustic performance recorded for NPR’s Tiny Desk Contest ’26 available on YouTube. The next single, “Nightingale’s Melody,” releases in April.
CONNECT WITH LINA MAXINE:
IG | YouTube | TikTok | Spotify | Website
AEMIA’s “Zendebad”: A Song About the Courage to Be Heard
Some songs arrive like a quiet confession. Others feel like a letter sent across oceans. AEMIA’s new single “Zendebad” is both—a cinematic alt-rock anthem that carries the weight of exile, memory, and the stubborn belief that music can still be an act of freedom.
The Persian-Canadian band, led by vocalist Kimia “Mia” Ravangar and guitarist Kourosh Zarandooz, didn’t start their story in Vancouver studios or on festival stages. Their journey began in Tehran, where performing rock music—especially for a woman singing publicly—could bring police raids, confiscated instruments, and the end of a dream before it even began.
That history hangs quietly behind “Zendebad,” and it gives the song a rare kind of gravity.
The title translates to “Long Live,” and the track unfolds like a slow-burning declaration. It opens with wide, atmospheric guitars that feel almost cinematic, the kind of sound that seems built for late-night drives or the emotional climax of a coming-of-age film. Producer JT Daly leans into the band’s ability to create scale without overwhelming the emotional core.
https://www.youtube.com/watch?v=mwaBP5POsrk
Because at the center of the song is Mia’s voice.
She sings with a kind of fragile clarity that feels both intimate and fearless. There’s no theatrical overselling here. Instead, her vocal floats above the dense guitar textures like a beacon, carrying a story that feels deeply personal. You hear longing in her tone, but you also hear resolve—the sound of someone reclaiming a voice that was once denied.
In interviews, Mia has described the inspiration behind the song: girls in Iran singing quietly inside their heads, dancing alone in their rooms where no one can see them. It’s a striking image, and it makes “Zendebad” feel less like a protest song and more like a tribute—to the creativity that refuses to disappear even under pressure.
Musically, AEMIA continues to refine the sweeping alt-rock sound that first caught listeners’ attention with earlier singles like “Stars” and “Kleptomaniac.” The band blends shimmering guitar textures with a rhythmic pulse that steadily builds tension throughout the track. By the time the chorus opens up, the music feels expansive and emotional, like a moment of release.
What’s most striking about “Zendebad” is its balance. It’s both polished and deeply human. The production is modern and widescreen, yet the heart of the song feels almost diary-like.
And maybe that’s why it lingers.
Because underneath the guitars and atmosphere, “Zendebad” is really about the courage to keep singing—even when the world tells you not to.
In the end, AEMIA isn’t just making alt-rock. They’re telling a story about identity, resilience, and the quiet power of a voice finally set free.
And sometimes, that’s exactly what rock and roll is supposed to do.
AEMIA ONLINE:
MIA ONLINE:
KOUROSH ONLINE:
–Cam Mockingbird
Eyelid Surgery Recovery Time: What to Expect After Surgery
Most patients begin to feel better within the first week after surgery, though full healing takes longer. The typical eyelid surgery recovery time ranges from about 10 days for basic daily activities to several weeks for swelling and bruising to fade.
During this period, patients may notice tightness, mild discomfort, or sensitivity around the eyes as tissues heal.
Careful aftercare, rest, and following a surgeon’s instructions help support a smooth recovery. The sections below explain the healing timeline, common symptoms, and practical steps that help patients recover safely.
Key Takeaways
- Most patients see noticeable improvement within one to two weeks, but full eyelid surgery recovery time can take several weeks as swelling and bruising gradually fade.
- The recovery timeline usually includes early swelling during the first few days, stitch removal around the first week, and steady improvement over the following weeks.
- Following aftercare instructions, including using cold compresses, applying prescribed eye drops, and avoiding heavy lifting, helps reduce swelling and support the healing process.
- Individual factors such as age, skin quality, surgical technique, and overall health can influence recovery from eyelid surgery and how quickly final results appear.
Eyelid Surgery Recovery Time – Healing Timeline Explained
Most people see clear improvement within the first two weeks, but eyelid surgery recovery time can vary from person to person. Many patients return to normal daily tasks within 7 – 10 days, while swelling and bruising continue to improve over the next few weeks.
Good aftercare helps reduce swelling and supports safe healing. Knowing what to expect during recovery from eyelid surgery helps patients plan work, rest, and follow-up visits.
Understanding Eyelid Surgery and Why Recovery Matters
Blepharoplasty is surgery that removes extra skin or fat from the eyelids. Over time, aging can cause loose eyelid skin that droops over the eyes. This often affects the upper lids, which can make eyes look tired or even block vision.
Many people choose upper eyelid surgery to restore a more open eye shape.
A skilled plastic surgeon reviews the patient’s eye structure and health before surgery. Choosing a board certified surgeon helps ensure safe care and realistic expectations.
The surgery itself is only one part of the process. The healing process that follows is just as important. Proper care during recovery helps protect the results of upper blepharoplasty and reduces complications.
Typical Recovery Timeline After Eyelid Surgery
The recovery timeline after eyelid surgery follows a few common stages. Each stage brings steady progress as the eyelids heal.
Day after surgery
The day after surgery, mild swelling and bruising usually appear around the eyes. Doctors often recommend cold compresses to help reduce swelling. Vision may feel slightly blurry because of ointment or prescribed eye drops.
Many patients also notice their eyelids feel tightness when blinking. This feeling is normal and fades as healing continues.
Week after surgery
About a week after surgery, stitches are often removed. Bruising usually begins to fade during this time. Patients often feel comfortable doing light activities again.
This stage marks an important point in the recovery from blepharoplasty. Swelling continues to decrease, and the eyelids begin to look more natural.
Weeks two to four
During the next few weeks, swelling improves more each day. Most people return to work and social events. Makeup may be used to hide minor discoloration.
This stage answers a common question – how long does it take to recover from eyelid surgery. Many patients feel mostly recovered within a few weeks, though healing continues quietly beneath the skin.
Common Symptoms During Upper Eyelid Surgery Recovery
During upper eye surgery recovery, several mild symptoms are normal. These reactions show that the body is healing.
Patients often notice:
- Mild bruising around the eyes
- Light sensitivity
- Dry or watery eyes
- Slight blurred vision from ointment
Doctors may recommend eye drops to keep the eyes moist and comfortable. Swelling usually peaks within the first few days, then slowly improves as swelling resolves.
Some patients also feel numbness or tightness near the incision lines. This improves gradually as nerves heal and the skin settles.
Post-Surgery Care That Supports Healing
Good aftercare plays a big role in safe recovery from eyelid surgery. Simple habits can protect the eyelids while they heal.
Doctors commonly advise patients to:
- Use cold compresses during the first two days
- Sleep with the head raised to limit swelling
- Use prescribed ointments and eye drops
Patients must also avoid certain activities that may stress the healing eyelids.
Important restrictions include:
- Avoid heavy lifting
- Do not rub the eyes
- Rest the body during early recovery
Following these instructions supports the natural healing process and reduces swelling.
When Patients Can Resume Normal Activities
Most people return to normal routines within about a week. Some patients take more time depending on how their body heals.
Doctors usually recommend that patients avoid strenuous activities during early healing. Exercise or intense movement can increase swelling or bleeding around the eyes.
Another important step involves vision care. Patients should wait before wearing contact lenses, since the eyelids remain sensitive during recovery.
Many people who want cosmetic improvement explore options such as blepharoplasty in Boca Raton, where experienced surgeons guide patients through surgery and recovery.
Professional guidance helps patients feel more comfortable during the healing period.
Factors That Influence Eyelid Surgery Recovery Time
Several factors affect total eyelid surgery recovery time. Every patient heals at a slightly different pace.
Important factors include:
- Whether surgery involved only upper eyelid surgery
- A person’s age and general health
- Skin thickness and healing ability
- Surgical method used
People with thicker eyelid skin may notice swelling that lasts slightly longer. Lifestyle habits such as smoking or poor sleep may also slow recovery.
Patients who follow medical advice carefully usually heal more smoothly and see better results.
When Final Results Become Visible
Early improvement often appears within two weeks. Small amounts of swelling may remain for several months as the skin settles.
Most patients see their final results within three to six months. Incision lines soften and blend into the natural eyelid crease.
Patience is important because the recovery time for eye lift procedures happens in stages. With proper care, patients can enjoy clearer vision and a refreshed eye appearance that lasts for years.
Former Candlebox Guitarist Brian Quinn Unveils New Solo Single “Until Fall,” Introducing a Gritty “Dark Country” Sound
New Track Marks the Beginning of a Deeply Personal Musical Chapter Blending Hard Rock, Blues, and Country-Rock
Philadelphia, PA (March 13, 2026) – After spending a decade as lead guitarist for the multi-platinum rock band Candlebox—recording five albums and touring internationally alongside artists including Bush, Three Doors Down, and Jerry Cantrell—Brian Quinn is returning to his creative roots with the March 13 release of his new solo single, “Until Fall.”
The track marks the beginning of a deeply personal musical chapter for Quinn, who describes the project’s sound as “dark country,” a heavier, more introspective blend of hard rock, blues, and country-rock.
“With this project, my goal is to forge a new sound built from all of my musical influences,” Quinn explains. “It’s heavier than the current polished version of country music, and the lyrical content leans darker. It’s about the journey — the setbacks, the distance traveled, and ultimately finding your way back home.”
Although “Until Fall” is being released now, the song’s origins trace back more than a decade. Quinn originally wrote the track in 2012 but felt it didn’t fit the musical direction of his bands at the time, including Octane and Fosterchild. On a whim, he posted an early acoustic version on YouTube, where a few unexpected listeners left thoughtful comments that stayed with him.
“There were only a handful of views, but those comments stuck with me,” Quinn says. “I always felt there was something different about the song — something familiar but unexplored.”
Now fully realized, “Until Fall” captures the emotional core of Quinn’s new musical direction. The song explores themes of isolation, perseverance, grief, and self-reflection while telling an underdog story about resilience and the relentless pursuit of purpose.
“It’s about taking a real look at yourself,” Quinn says. “Sometimes the mirror can be the loneliest place of all. But the point is to keep pushing forward. We’re all here for a reason.”
Rounding out Quinn’s vocals and guitar work is a seasoned lineup of musicians, including Drummer Ron DiSilvestro, Bassist Mike Vlaanderen, and Keyboardist Dustin Napoli. Drums, bass, and keys were recorded at the legendary Studio 4 in Conshohocken, PA, which is credited with artists such as Billy Joel, Anthrax, Bob Dylan, Lauren Hill, Dishwalla, The Police, and many more. Quinn recorded guitars and vocals at his home studio, “Headquarters,” and the track was co-produced by Quinn and award-winning producer DiSilvestro (The Dead Milkmen, The Smithereens), who also engineered the recording. It was mastered by Paul Edwin Hammond.
“Until Fall” is available on all major streaming platforms. To accompany the launch, a lyric video produced by Brian Bortnick, vocalist of Octane, premiered simultaneously on YouTube at https://youtu.be/vbkCzWq2xHA.
A feature-length music video co-produced and directed by James Callahan of Camp Rattler Video will follow shortly after.
The single also serves as the gateway to a larger collection of songs Quinn is currently writing and developing. The forthcoming project will chronicle his journey through life and music, blending personal reflection with the experiences that shaped his career.
“This isn’t just a new batch of songs,” Quinn says. “It’s a full-circle return to the music I’ve always been destined to make.”
With “Until Fall,” Quinn hopes listeners walk away with a renewed sense of perseverance—and a reminder that authentic, emotionally driven music continues to evolve.
“This kind of music isn’t dead,” he says. “It’s evolving. It’s a changing of the guard.”
For more information, visit www.brianquinnguitar.com.
Follow Brian Quinn @Brianquinnguitar (FB, IG, You Tube) @BrianguinnGtr (X)
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About Brian Quinn
Brian Quinn is a versatile guitarist whose career spans rock, metal, blues, and country, performing in nationally recognized bands and touring extensively across the U.S. and internationally. A guitar prodigy who began playing at age five, Quinn was performing sold-out shows by 15 with his hardcore band Burial Ground before moving to Philadelphia, where he co-founded the acclaimed rock band Octane. The group became one of the city’s most successful independent acts, selling more than 20,000 copies of their debut album and earning significant radio airplay on 94.1 WYSP.
He later founded the blues-based hard rock band Fosterchild, which earned national attention and a record deal with SMG/ILG/Warner while touring extensively across the country. Quinn is also known for his work as lead guitarist for the multi-platinum rock band Candlebox, performing on five albums including Disappearing in Airports, Disappearing Live, Wolves, The Long Goodbye, and The Longer Goodbye. In addition to performing, Quinn serves as a contributing editor for Guitar Thrills Magazine and has shared the stage with artists including Metallica, Judas Priest, Jerry Cantrell, Bush, Disturbed, Shinedown, and Jeffrey “Skunk” Baxter.
Robert Ross Finds the Sweet Spot Between Tradition and Heartache on “For You Girl”
Country music has always had a way of capturing the emotional math of devotion — the idea that love can feel like both a victory and a losing battle at the same time. On his new single “For You Girl,” Robert Ross leans directly into that tension, crafting a song that celebrates the dizzying pull of romance while acknowledging the vulnerability that comes with it.
At its core, “For You Girl” is a classic country love chase. Ross opens with the cinematic image of seeing someone across the room — “My whole life got turned around / When I saw you painting up the town.” It’s a familiar setup, but Ross treats it with sincerity rather than novelty. The moment isn’t played for drama; instead, it feels like a quiet turning point, the kind people recognize instantly when it happens.
Ross builds the narrative around devotion that borders on reckless commitment. In the chorus, he sings, “I’m running a race that I can’t win / To the ends of the earth and back again.” It’s a line that captures the emotional paradox country music often thrives on — knowing love might leave you breathless or bruised, but choosing the pursuit anyway.
https://www.youtube.com/watch?v=UB2RnBeFdOE
Musically, the song sits comfortably in contemporary country territory while drawing on the genre’s traditional textures. Producer and co-writer Gil Grand gives the track a polished, radio-ready arrangement without sacrificing warmth. The band assembled for the recording adds layers of understated elegance.
Dan Dugmore’s pedal steel brings a gentle ache to the edges of the melody, while Troy Lancaster’s lead guitar adds brightness and lift. Mike Rojas’ piano helps ground the track, offering a soft rhythmic pulse beneath Ross’s vocal. The result is a sound that feels both classic and accessible — a balance that many modern country recordings attempt but don’t always achieve.
Ross’s vocal performance carries the song’s emotional weight. He doesn’t overreach melodically or theatrically; instead, he lets the lyrics speak plainly. That approach gives lines like “I’d crawl a million miles down on my knees just to see your smile” a sense of earnestness that feels grounded rather than exaggerated.
One of the song’s most memorable images — comparing love’s spinning intensity to a “tilt-a-world” carnival ride — perfectly captures the emotional energy Ross is trying to convey. Love, in this case, isn’t calm or measured. It’s dizzying, bright, and a little unpredictable.
“For You Girl” doesn’t try to reinvent country music’s romantic vocabulary. Instead, it relies on the genre’s enduring strengths: storytelling, melody, and emotional clarity. Ross delivers all three with quiet confidence.
In the end, the song stands as a reminder that country music’s most powerful stories often come from simple truths — the moment someone walks into a room and, suddenly, everything feels different.
–Jason Lowe
DPB’s Undefeated Delivers Faith, Positivity and Chart-Proven Momentum
With Undefeated, Christian hip-hop veteran DPB delivers a 15-track project that blends gospel conviction, nostalgic storytelling and uplifting hip-hop energy. The album stands as both a personal testimony and a celebration of resilience, reflecting a career that has spanned more than three decades across Christian music, rap and inspirational pop.
The album opens with the vibrant “I Feel So Good Today (Happy Mix),” a track built around optimism and gratitude. Driven by an energetic groove and positive messaging, the song sets the tone for the project’s overall theme: joy through faith. DPB’s declaration that he’s “up when I’m down” serves as a mission statement for the record, framing faith not just as belief but as a daily mindset.
At the heart of the album is the title track, “Undefeated 3.0 (Radio Edit),” which captures the project’s central message of perseverance. Over a confident beat, DPB reflects on betrayal, hardship and endurance, ultimately crediting God for carrying him through every challenge. The song has already proven its reach, topping the National Radio Hits AC40 chart and the Independent Music Network chart, highlighting DPB’s continued impact across Christian and inspirational radio formats.
Throughout Undefeated, DPB balances celebration with spiritual depth. “God Mode” leans into revival-style energy, emphasizing faith in miracles, healing and divine intervention. Similarly, “Power in the Name Of (Jesus Anthem)” functions almost like a congregational chant, repeating declarations of healing and freedom while encouraging listeners to call on the name of Jesus.
One of the album’s most engaging tracks is “Back in the Day,” a nostalgic reflection on family, church upbringing and neighborhood community. DPB paints a vivid picture of childhood in Nyack, New York, recalling praying mothers, church rehearsals and block parties where music and faith intertwined. The song’s warm storytelling provides a personal anchor within the album’s broader message of spiritual endurance.
Elsewhere, the project explores emotional and spiritual healing. “Let It Go” addresses bitterness, addiction and pain with a message of release and forgiveness, while “Consume Me” offers a more intimate worship moment centered on surrender to God. These slower, reflective tracks provide balance to the album’s high-energy anthems.
DPB’s career achievements also echo throughout the project. Previous singles connected to this era of his music, including “Brighter Day,” have made notable appearances on Billboard Christian Rock National Airplay charts, further reinforcing his credibility as a charting Christian hip-hop voice. Meanwhile, other releases such as “God Mode” and “Let It Go” have also found success on Christian urban influencer charts, demonstrating the artist’s ability to connect across multiple audiences.
The album closes with renewed hope through songs like “Brighter Day” and the reprise of “Consume Me,” reinforcing the project’s message that faith ultimately leads to renewal. Rather than chasing contemporary trends, Undefeated focuses on authenticity—drawing from gospel roots, hip-hop rhythms and a lifetime of ministry experience.
Ultimately, Undefeated functions as both a musical statement and a spiritual declaration. With chart successes backing its message and a sound rooted in encouragement, DPB’s latest release reminds listeners that resilience, faith and joy remain powerful forces in today’s music landscape.
–Bill Broderick
Multi-Award-Winning Rock Artist Jay Luke to Premiere “Malice in Wonderland” Video
The World Songwriting Awards Winner Delivers a Visually Powerful Story of Chaos, Reflection, and Redemption
[Scranton, PA] — [March 13, 2026] — Jay Luke, a three-time award-winning songwriter and rock artist, has unveiled details for the release of the official music video for his latest single “Malice in Wonderland.” Premiering Friday, March 13 at “Malice in Wonderland” Official Video the cinematic debut carries symbolic weight, turning a project nearly halted by real-life tragedy into a poignant story of perseverance and personal growth.
Luke, whose work recently earned “Best Rock Song of 2025″ at the World Songwriting Awards, collaborated with creative team Camp Rattler to bring the emotionally charged track visually to life. The video pairs the band’s raw performance with symbolic imagery that mirrors the song’s central theme: confronting the person you once were and choosing whether to remain there or grow beyond it.
“‘Malice in Wonderland’ is about facing yourself honestly,” says Luke. “It’s that moment when you look back and realize you could have done things differently — and you have to decide whether you’re going to stay stuck in that place or move forward.”
The production journey behind the video proved almost as dramatic as the story it tells.
On the day filming was originally scheduled to begin, Luke’s father suffered a life-threatening fall, forcing the shoot to stop immediately. Around the same time, members of the production team were navigating serious family challenges of their own. Shortly afterward, Camp Rattler’s headquarters burned to the ground, leaving the team scrambling to recover footage that had nearly been lost in the fire.
“At several points it felt like the project was surrounded by bad luck,” Luke says. “But everyone involved believed in it and kept pushing forward.”
Despite the setbacks, the team regrouped and completed filming across several locations, including Chestnut Street Tavern in Dumore,PA, where Luke frequently performs. The video captures both the energy of Luke’s live performances and the emotional depth behind the song.
Adding a profoundly personal element, Luke’s niece Dahlia appears in both the video and the song itself, performing a spoken-word segment that heightens the track’s dramatic tension.
The finished video reflects the same resilience that fueled its creation — making its Friday the 13th release date feel particularly fitting.
“After everything that nearly stopped this project from happening, releasing it on a day known for bad luck feels like the perfect way to flip that energy into something powerful,” Luke says.
Ultimately, Luke hopes the video leaves viewers with a sense of hope.
“Even when life feels chaotic or broken, there’s still a path forward,” he says. “Sometimes hope feels invisible when you’re in the middle of everything, but it’s still there.”
After more than two decades as a musician, Luke says the drive to create remains unchanged.
“I’ve been doing this since 2003,” he says. “At this point music isn’t just what I do — it’s who I am.”
“Malice in Wonderland” is currently available on all DSPs.
Follow Luke on social at:
https://www.facebook.com/jaylukemusic/
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https://www.instagram.com/messmusic
You Tube
https://www.youtube.com/channel/UC7Tn6LxUh1GBa0mM0vx5CyA
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About Jay Luke
Jay Luke is a rock artist and three-time award-winning songwriter (International Singer Songwriters Association Awards) whose sound blends elements of metal, punk, hard rock, glam, psychedelia, and progressive music into a style that is both raw and deeply personal. Throughout this career, he has performed alongside Metal Church, Duff McKagan of Guns N’ Roses, W.A.S.P., Joey Belladonna, and more. In 2025, Luke received the “Best Rock Song of the Year” honor at the World Songwriting Awards, further cementing his reputation as a powerful voice in modern independent rock.
Martone Channels Afrohouse Power and Emotional Depth on “We Loved Each Other Through It”
House music has always been about connection — bodies moving together, voices rising above a shared beat, and stories carried through rhythm. On his latest single “We Loved Each Other Through It,” Martone taps directly into that tradition, delivering an Afrohouse track that balances dancefloor momentum with a message of resilience and unity.
Released worldwide on March 13, 2026, the single had already begun building international buzz after arriving two weeks early on Apple Music and iTunes, where it quickly climbed to No. 2 on the UK iTunes Africa Songs chart. That early traction signals both Martone’s global reach and the growing appetite for Afrohouse’s percussive, emotionally driven sound.
From its opening moments, “We Loved Each Other Through It” locks listeners into a hypnotic groove. The track is built around layered percussion, warm synth textures, and a steady four-on-the-floor beat that gives the song its unmistakable dancefloor pull. Afrohouse rhythms drive the production, creating a fluid, organic energy that feels equally suited for late-night club sets and festival stages.
But beyond the beat, the song’s lyrical theme offers something more reflective.
https://open.spotify.com/track/3DFVHQZknZKpPSYZYXuUIt?si=934dbdba72cd4c3e
Written by Martone and Michael Williams II, the track explores endurance, love, and connection across generations. The chorus anchors the song’s message with a simple but powerful refrain: “Through chains, through tears, through worlds apart / We loved each other through it.” It’s a line that hints at deeper historical and cultural narratives while remaining universal enough to resonate with listeners anywhere.
Martone’s vocal delivery strikes a balance between smooth and declarative. His voice glides through the rhythm with confidence, emphasizing the song’s message without overpowering the production. Meanwhile, the repeated pre-chorus chant — “I love, I love, I love you” — builds into a hypnotic hook that feels both intimate and communal, the kind of moment that can turn a crowded dancefloor into a collective singalong.
Production from longtime collaborator Michael E. Williams II keeps the arrangement focused and immersive. Rather than overloading the track with electronic effects, the producers allow percussion and groove to carry the emotional weight. The result is sleek but soulful, highlighting Afrohouse’s ability to blend rhythm-driven energy with deeper storytelling.
Martone has long been known for embracing bold self-expression and high-energy house music. Branded by fans as the “Emperor of House Music,” he continues to expand his sonic identity by incorporating global influences and culturally rooted rhythms into his work.
“We Loved Each Other Through It” reflects that evolution.
The single delivers exactly what house music does best: movement with meaning. It’s a track designed for dancing, but one that also acknowledges history, resilience, and connection — themes that have always lived quietly within the genre’s pulse.
In a crowded dance music landscape, Martone’s latest release stands out not just for its groove, but for the story beating beneath it.
–Kat Balin
AI Artist Spotlight: Hugh Shepard
In the evolving landscape of digital music creation, AI-driven artists are becoming an increasingly fascinating part of the industry. One such emerging name is Hugh Shepard—an AI-powered music project that demonstrates how artificial intelligence can generate songs, albums, and entire musical identities in the streaming era.
Hugh Shepard – https://music.amazon.com/artists/B0FR45L4QV/hugh-shepard
The Rise of an AI Music Artist
Hugh Shepard represents a new type of musician: one that exists primarily through algorithmic composition and digital production. Instead of a traditional singer-songwriter writing lyrics with a guitar in hand, the creative process behind this project likely involves AI systems generating melodies, arrangements, and sometimes vocals through machine-learning models trained on large datasets of music.
AI-generated music has been expanding rapidly in recent years, with algorithms capable of producing full tracks—from chord progressions to vocal delivery—in seconds. This shift is creating entirely new categories of artists that blur the line between human creativity and machine-generated sound.
Music Releases and Style
The catalog associated with Hugh Shepard has grown quickly, including singles and albums released throughout 2025 and 2026. Among the most notable releases:
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“Southern Rooted” – a 2025 album featuring tracks like “I’ll Raise Ya,” “Flower Girl,” and “Leave the Bottle.”
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“Songs In Blue” – a 2026 album containing 15 tracks including “Home,” “Night Drives,” and “Forever And On.”
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Stand-alone singles such as “Melody,” “Starship,” “My Religion,” and “You and I.”
Across these releases, the project blends elements of country-influenced storytelling, mellow pop structures, and reflective songwriting themes. Track titles such as “Family Tree,” “Broken Roads,” and “A Little Faith” suggest a focus on introspective narratives and Americana-style moods.
AI and the Future of Music
Projects like Hugh Shepard highlight the broader shift occurring in music production. AI tools are now capable of generating instrumental arrangements, synthesizing vocals, and even shaping full albums without traditional studio workflows. As a result, the role of the “artist” can become more about curation—selecting, refining, and publishing the best outputs generated by AI systems.
While the technology is exciting, it also raises important questions about authorship, copyright, and artistic authenticity. Many countries still debate how AI-generated music should be credited and whether fully AI-created works qualify for copyright protection.
A Glimpse Into the Digital Artist Era
Whether viewed as a novelty, a technological experiment, or the beginning of a major shift in the music industry, Hugh Shepard illustrates how artificial intelligence is redefining the concept of a musician. As streaming platforms continue to welcome algorithmically created music, AI artists may become as common as bedroom producers and independent bands.
In a world where software can compose, arrange, and distribute songs instantly, projects like this offer a glimpse into the next frontier of music—where creativity is increasingly shared between human imagination and machine intelligence.
Vince Guaraldi’s Peanuts Soundtracks Swing Back for Record Store Day with “Baseball & Glove” Edition
The timeless music of Vince Guaraldi is stepping up to the plate once again with a special collectible release celebrating the beloved Peanuts television specials It’s Arbor Day, Charlie Brown and Charlie Brown’s All Stars!.
Arriving April 18 exclusively for Record Store Day, this limited-edition release pays tribute to the playful spirit of Charlie Brown and the musical legacy that helped define the Peanuts universe.
At the center of the release is a uniquely designed baseball glove–shaped vinyl record, a creative nod to the baseball themes woven throughout the Peanuts specials. The collectible package pairs Guaraldi’s unmistakable jazz style with the nostalgic world created by Charles M. Schulz, blending animation history with audiophile craftsmanship.
Guaraldi’s music has long been inseparable from the emotional tone of Peanuts storytelling. His warm piano melodies and swinging jazz rhythms gave the animated specials a sound unlike anything else on television. Tracks from It’s Arbor Day, Charlie Brown and Charlie Brown’s All Stars! capture that same spirit—lighthearted yet sophisticated, playful yet deeply musical.
This “Baseball & Glove” edition continues a recent resurgence of interest in Guaraldi’s Peanuts recordings, with vinyl collectors and jazz fans alike rediscovering the composer’s catalog. Record Store Day has become a key platform for celebrating these historic recordings, often presenting them in imaginative formats that mirror the charm of the original cartoons.
For longtime Peanuts fans, the release is both nostalgic and collectible. For vinyl enthusiasts, it’s a standout piece—equal parts music history and pop-culture memorabilia.
When the needle drops on April 18, listeners will once again hear the sound that has accompanied generations of Charlie Brown adventures—Vince Guaraldi’s unmistakable piano, swinging gently like a bat connecting with a perfect pitch.
And just like Charlie Brown on the mound, the message is clear: don’t strike out—grab it at your local record store while you can.
Gordy Murphy Harnesses Memory and Indie Rock Atmosphere on ‘Wash’
Boston-based multi-instrumentalist and one-man-band Gordy Murphy returns with ‘Wash’, a contemplative yet uplifting indie-rock single that navigates memory, identity, and the quiet rebellion against life’s monotony. Known for crafting songs that feel cinematic in scope, Murphy continues to blur the line between introspective storytelling and expansive sonic textures.
Drawing from the raw energy of Jimi Hendrix and the emotive vulnerability of Jeff Buckley, Murphy layers jangling guitars, driving rhythms, and psychedelic flourishes into a soundscape that balances quiet reflection with dynamic release. ‘Wash’ exemplifies this duality: a track that’s both nostalgic and forward-looking, intimate and widescreen, grounding its listener in personal memory while opening up to universal themes.
Written in the confines of his Boston apartment, the song was inspired by a simple childhood memory: spotting an old baseball in the grass outside his window. That fleeting image grew into a meditation on preserving what makes us unique and resisting the dullness of routine. “‘Wash’ is a plea to people who want to rediscover what makes them happy and unique,” Murphy says.
True to his one-man-band ethos, Murphy plays every instrument himself, demonstrating a deft command of arrangement and atmosphere. The song’s layered textures and shifting moods mirror the act of reflection itself, looking back, reassessing, and choosing to move forward with intention.
With ‘Wash’, Gordy Murphy stakes out a distinct lane in contemporary indie rock: one where memory, emotion, and color collide with intricate instrumentation. It’s a quietly powerful reminder that even the smallest moments from our past can reignite the brightest parts of who we are.
Trey Hensley Is Back With “Can’t Outrun the Blues” (LP)
In a moment when bluegrass finds itself both expanding and redefining its borders, Can’t Outrun The Blues positions Trey Hensley not merely as a virtuoso guitarist, but as a thoughtful architect of modern acoustic music. The album arrives at a time when artists such as Billy Strings and Molly Tuttle are broadening the genre’s audience, while younger acts like Sierra Hull and The Po’ Ramblin’ Boys reaffirm its technical rigor. Hensley’s latest effort stands comfortably within this evolving landscape—deeply traditional in vocabulary, yet distinctly contemporary in execution.
URL: https://www.treyhensley.com/
Produced by seven-time Grammy winner Brent Maher, whose résumé stretches from The Judds to Merle Haggard, the album is marked by sonic clarity and structural patience. Maher resists the temptation to over-embellish. Instead, he cultivates space—allowing the acoustic guitar to ring with woody resonance, the fiddle to arc gracefully across the stereo field, and the rhythm section to maintain propulsion without crowding the vocal narrative.
The title track, which earned Hensley his first solo No. 1 on Bluegrass radio, serves as both thesis and declaration. “Can’t Outrun The Blues” is propelled by fleet, articulate flatpicking, yet its technical brilliance never overshadows its melodic accessibility. Hensley’s voice—robust, centered, and emotionally direct—anchors the performance with conviction. There is a sense of lived experience in his phrasing, suggesting an artist who understands not only the mechanics of the genre but its emotional grammar.
Elsewhere, the album demonstrates admirable breadth. “Tucson,” written solely by Hensley, unfolds like a tightly scripted Western vignette. Its driving pulse and vivid storytelling recall the stark narrative tradition of Johnny Cash, yet the instrumental interplay feels decidedly current. It is easy to imagine the track resonating equally on a bluegrass festival stage or in the headphones of a listener discovering acoustic music through today’s genre-fluid playlists.
The collaborative selections further illuminate Hensley’s curatorial instincts. “Going And Gone,” featuring Tuttle, crackles with instrumental dialogue—two guitarists in mutual admiration, trading precision and flair with effortless chemistry. “Unknown Legend,” a reimagining of a composition by Neil Young, is rendered with reverence and restraint, enhanced by harmony vocals from Vince Gill. Rather than attempt reinvention, Hensley reframes the song through bluegrass tonality, preserving its introspective core.
“One White Line At A Time,” featuring Steve Wariner, leans into Americana’s expansive sensibility, while “Silverthorn Mountain” channels classic country grit through an Appalachian filter. The sequencing is deliberate: energetic passages yield to contemplative interludes, culminating in the understated grace of “Off To Sea,” a closing meditation that underscores Hensley’s compositional maturity.
https://open.spotify.com/track/0BFoYaJxS5L1DN8eN0clsa?autoplay=true
Importantly, Can’t Outrun The Blues does not seek to “modernize” bluegrass through stylistic fusion or conspicuous experimentation. Instead, it exemplifies a subtler evolution—one in which technical mastery, songwriting craft, and production elegance coexist without tension. In doing so, Hensley joins the ranks of contemporary artists who are redefining the genre not by abandoning its foundations, but by reaffirming them with renewed clarity.
For listeners attuned to the current renaissance in acoustic music, this album stands as a persuasive statement of intent. Can’t Outrun The Blues is both reverent and forward-looking—an assured, finely wrought contribution to bluegrass’s ongoing conversation with the present.
Gwen Waggoner
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Goodnight Moonshine turn life’s upheaval into warmth on ‘Business Unusual’
In the years since the live music world abruptly ground to a halt in 2020, countless artists have been forced to reassess the rhythms of both their work and their lives. For Goodnight Moonshine, the duo of guitarist Eben Pariser and vocalist Molly Venter, that recalibration arrives in the form of Business Unusual, a record shaped as much by domestic upheaval as creative instinct.
Rather than leaning into drama, ‘Business Unusual’ unfolds with a quiet emotional clarity. The songs trace the subtle tensions between devotion and depletion, ambition and responsibility, reflecting the strange paradox of building the life you once dreamed of while feeling overwhelmed by its weight. Musically, the record occupies a warm space between folk intimacy and jazz-inflected looseness. Pariser’s guitar work favours space and feel over flourish, while Venter’s smoky, lived-in vocal performance grounds the album with a sense of hard-earned perspective. Tracks such as “Kitchen Table” translate everyday domestic scenes into something gently profound, pairing acoustic warmth with understated pop melody.
That sense of immediacy extends to the recording process itself. Much of the album was captured through largely unedited live takes, preserving a raw, organic quality that mirrors the emotional honesty of the songs. With Adam Chilenski on bass and Ryan Sands on drums providing a subtle rhythmic backbone, the performances feel unforced and instinctive, later balanced in the mix by Grammy-winning engineer David Seitz.
Written while raising three young children, including newborn twins, the album finds the pair navigating the blurred boundaries between artistry, parenthood, and survival, capturing a moment where the personal and the musical became impossible to separate.
DPB Revisits Faith, Family and Community on Uplifting Single “Back in the Day”
Veteran Christian artist DPB continues his message-driven musical journey with “Back in the Day,” a reflective and uplifting single from his latest album Undefeated. Blending old-school hip-hop influences with faith-centered storytelling, the track offers a heartfelt look at the formative experiences that shaped the artist’s life and ministry.
Built around a warm, nostalgic groove, “Back in the Day” draws listeners into DPB’s memories of childhood, family, and church life. The song opens with vivid reflections on the spiritual foundation laid by his mother and grandmother, whose prayers and devotion helped guide his path. Lines recalling late-night prayers and a household rooted in faith establish the emotional core of the track, reinforcing a theme that runs throughout DPB’s music: faith passed down through generations.
Musically, the single leans into classic hip-hop energy while maintaining a contemporary Christian message. The production is upbeat and rhythmic, driven by a steady groove that mirrors the communal spirit described in the lyrics. The chorus—“I want to go back like we used to do back in the day”—serves as the track’s anchor, delivering a memorable hook that balances nostalgia with spiritual reflection.
In the second verse, DPB broadens the lens, painting a lively picture of his upbringing in Nyack, New York. Images of neighborhood block parties, jump rope games, cookouts, and DJ-driven street celebrations give the song a vivid sense of place. Cultural references to artists like Michael Jackson and Lauryn Hill further ground the track in the musical influences that helped shape DPB’s sound and identity.
https://open.spotify.com/track/5wAeaaMQkbD79Mf3rlFibg?si=289617b6e7cd43f7
What makes “Back in the Day” particularly effective is its balance between personal storytelling and universal themes. While the lyrics are rooted in DPB’s own experiences, the song speaks to a broader longing for connection, faith, and community. In an era often marked by division and digital distance, the track recalls a time when neighborhoods gathered together, music filled the streets, and faith was woven naturally into daily life.
DPB’s delivery is relaxed and conversational, allowing the narrative to unfold naturally rather than feeling overly polished or performative. That authenticity helps reinforce the message behind the song: that the lessons learned in youth—especially those rooted in faith—can continue to guide a person throughout life.
“Back in the Day” ultimately functions as both a celebration and a reminder. It celebrates the power of family, community, and music to shape identity, while reminding listeners of the spiritual foundation that often begins at home. As part of the Undefeated album, the single stands as a testament to DPB’s decades-long career and his ongoing mission to share messages of faith, perseverance, and hope through music.
With its blend of nostalgic storytelling and uplifting energy, “Back in the Day” highlights why DPB remains a respected voice in the Christian music space.
–Billy Broderick
@skopemag Q&A Featuring Great Adamz
Fresh off his first UK No. 1 with “Funke,” Northampton-based Afrobeats artist Great Adamz is having a landmark year. From viral dance trends and festival stages to award wins and major collaborations, he’s quickly become one of the UK’s most exciting new voices in Afrobeats. We caught up with him to talk about the success of “Funke,” his journey so far, performing with his band The 99 at Latitude Festival, and what’s next, including his new single “Body and Soul” with Maddox Jones.
Hi, Great! How are you?
Hey this is actually nice most people never ask how are you nowadays but am glad to let you know am Doing Great
First of all, congratulations on your first UK No. 1 with “Funke!” How would you describe the feeling of achieving such a milestone?
Thank you so much — it still feels surreal!
Hearing that “Funke” hit No. 1 in the UK was one of those moments where everything just stops for a second. You think about the journey — the late nights in the studio, the self-doubt, the grind without guarantees — and then suddenly, the world is dancing to your song. It’s overwhelming in the best way.
“Funke” has already been a hit online, recently re-released as a single. It has sparked viral dance trends and accumulated over a million streams. Did you anticipate the song receiving such a huge response?
When we first created it, the energy in the studio was electric. We knew it had that bounce, that infectious rhythm, and a hook that could stick. But seeing it spark viral dance trends, rack up over a million streams, and cross into international charts — that’s the kind of response you hope for, but never take for granted.
But to say I knew it would make this type of impact honestly no I didn’t know. True story I remember calling Jurgen who’s head of Radikal records while he was in London Euston train station just after I made the song in the studio and I told him “ we have a banger” he loved it straight away.
I had a good feeling about it for sure !
If you could share this success with your younger self, what would he be most proud and excited about?
Wow — that’s a powerful question.
If I could sit down with my younger self — the version of me grinding in silence, writing lyrics late at night, maybe doubting if this dream would ever take shape — I think he’d be shocked first, then overwhelmed with pride.
Not giving up, even when the path wasn’t clear.
Staying true to the sound — blending Afrobeats with soul, rhythm, and purpose, even when it didn’t fit a mold.
The fact that “Funke” didn’t just chart — it connected. It made people dance, celebrate, and feel joy around the world.
This year, you’ve collaborated with a vibrant collection of musicians, including Orode, Article Wan, and Kweku Flick. What have you learned from working alongside these artists, and do you have any fond memories to share?
This year’s collaborations have been some of the most enriching and inspiring moments of my career so far. Working with artists like Orode, Article Wan, and Kweku Flick wasn’t just about blending sounds — it was about sharing stories, cultures, and creative energy in a way that elevated all of us. Article wan is a pretty bold guy and I learnt a lot from him especially how he carries himself.
You performed with your band, “The 99,” at the iconic Latitude Festival. What instruments are featured in your band, and how does this bring a fresh energy to your songs? Would you say it’s a different experience compared to your recordings?
Performing with The 99 at Latitude Festival was an incredible experience — there’s something magical about bringing your music to life with a full band in front of a live audience. We were told that we had the biggest crowd of the night. I also did my first crowd jump and it was amazing jumping in the crowd and dancing singing so cool!
Instruments featured in The 99:
Drums and percussion — laying down those infectious Afrobeat rhythms with live energy.
Bass guitar — providing that deep groove and movement that drives the songs.
Keyboards and synths — adding texture, melody, and atmosphere.
Electric guitar — bringing both rhythm and those subtle riffs that add flavor.
Saxophone or brass section (depending on the lineup) — injecting that soulful, jazzy punch that really lifts the tracks Played
How would you describe your sound in just three words?
Well 3 words would be
Melodic
Epic
Special
“Funke” is sure to get anyone on the dance floor. What’s your go-to song that gets you moving?
Well I love Funke but one song that I also really like is
Kuron Be it’s one track that everyone really loves
What’s next for you? Is there more new music in the works?
Well I have a few collabs on the way have just released body and soul with Maddox jones
Later on this year we would see some collabs with some other Afrobeat artist like Rebecca winter and in the new year we would get new singles and lots of great music on the way
NickGCherrydot Releases 14th Album in Six Years – Green Light Signals a Bold New Era of “Positive Rock”
NickGCherrydot returns with Green Light, his fourteenth album in just six years — a powerful, hard-edged collection that reinforces his reputation as one of the UK’s most prolific and authentic independent rock artists.
Following last year’s acclaimed release Every Time, Green Light showcases a rockier, more expansive sound across 11 original tracks and 51 minutes of self-written, self-played, and self-produced material. As a true one-man rock band, Nick continues to push his creative boundaries, delivering what he defines as “Positive Rock” — guitar-driven, harmony-rich music infused with honesty, resilience, and lived experience.
The album opens with the harmony-laden Special Gift, echoing a 60s-inspired call-and-response spirit, before moving through the psychedelic textures of Number 1 and the hard-driving intensity of Explain It Away. The title track and lead single Green Light delivers an infectious hook and swagger reminiscent of classic Stones-era grit, while Between You and Me (Behind Bars) leans into blues-rock shuffle territory. Meanwhile, I Believe In You stands as a deeply personal highlight — a mantra-like affirmation reflecting the journey behind the music.
At 56, born in Swansea and now based in Chepstow, Nick’s creative surge comes after a decade of profound life changes. Following a marriage breakdown, relocation, job loss, and a bipolar diagnosis in 2020, music became both anchor and outlet. What began as catharsis evolved into an extraordinary period of productivity — including six albums written, produced, and released in 2020 alone.
Rather than defining him, those challenges sharpened his focus. Green Light represents clarity — the internal “go” signal born from self-knowledge and independence. “I’m not waiting for permission anymore,” Nick explains. “The green light is belief in myself. The decisions are mine to take.”
Musically, comparisons range from Britpop and classic rock heavyweights such as Oasis, Supergrass and Suede to the timeless influence of The Beatles, Led Zeppelin, The Black Crowes and The Allman Brothers. Yet Nick’s sound remains distinctly his own: expansive guitar tones, extended song structures, spacey psychedelia, blues-infused grooves, and uplifting melodic hooks.
A key element of that sound is his beloved Gibson ES-335 Cherrydot, alongside a recently acquired Fuschia Les Paul Standard, whose power drives tracks like Resilience and Explain It Away. Fully immersed in the recording process, Nick builds each track instinctively — melody first, lyrics last — often shaping multiple songs simultaneously in an organic creative flow.
With over 240 songs now available on streaming platforms and consistent traction from previous standout track The Perfect Storm, NickGCherrydot is not slowing down. If anything, Green Light proves his evolution continues — more confident, more direct, and more purposeful than ever.
In a landscape often dominated by manufactured trends, Green Light is a reminder that raw talent, authenticity, and determination still cut through.
“You don’t get to 14 albums in 6 years by standing still.”
For NickGCherrydot, the signal is clear — the light is green.
Follow NickGCherryDot
Instagram: https://www.instagram.com/nickgcherrydot/#
Spotify: https://open.spotify.com/artist/NickGcherrydot
Facebook: https://www.facebook.com/nick.griffiths.50951
Soundcloud: https://soundcloud.com/user/NickGcherrydot
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