Features, Interviews, MusicApril 12, 2023<April 30, 2023 Interview: After Years of Uplifting Others, Feel-Good Superstar Self Esteem Knows She’s Gonna Be Okay Herself by Sam Franzini
Features, Music, Reviews, RoundtableApril 11, 2023<June 29, 2024 Roundtable Discussion: A Review of Lana Del Rey’s ‘Did you know that there’s a tunnel under Ocean Blvd’ by Atwood Magazine Staff
Features, Interviews, MusicApril 4, 2023<April 30, 2023 Protecting Her Peace: Wallice on Coming of Age in the Music Industry and What Defines ‘Success’ by Sophie Severs
Debut, Features, Music, Reviews, RoundtableMarch 31, 2023<June 29, 2024 Roundtable Discussion: A Review of boygenius’ ‘the record’ by Atwood Magazine Staff
Columns, Editor's Picks, Features, MusicMarch 29, 2023<March 29, 2023 Editor’s Picks 94: Hana Eid, Raia Was, Kate Davis, Robyn Froese, Jealous of the Birds, & Why Bonnie! by Mitch Mosk
Features, Interviews, MusicMarch 29, 2023<March 2, 2025 Interview: Noah Kahan on Third LP ‘Stick Season’, Embracing His Roots, & Finding Happiness in Being Himself by Mitch Mosk
Debut, Features, Interviews, Music, Track-by-TrackMarch 24, 2023<April 30, 2023 “Harmonically Charged Tragicomedy”: Matt Pond Finds His Voice (Again) on The Natural Lines’ Soaring & Spirited Debut by Mitch Mosk
Columns, Editor's Picks, Features, MusicMarch 23, 2023<March 29, 2023 Editor’s Picks 93: Cafuné, Kay Young, Eliott, tinyumbrellas, Siena Streiber, & Aáyanna! by Mitch Mosk
Music, PremieresMarch 22, 2023<April 30, 2023 Premiere: Transviolet Bask in the Light of Life on Euphoric “How Lucky” Off Third LP, ‘BODY’ by Mitch Mosk
Music, ReviewsMarch 22, 2023<April 30, 2023 Surrender to the Music and the Call of U2 by Brianna Corrine
Features, Interviews, MusicMarch 21, 2023<April 30, 2023 Interview: Black Honey’s Izzy Bee Phillips Talks Mental Health, Vulnerability, & New Album ‘A Fistful of Peaches’ by Mitch Mosk
Debut, Features, Interviews, Music, Track-by-TrackMarch 20, 2023<April 30, 2023 “If you can take the fall, how high do you wanna be?”: Joesef’s Stunning, Soul-Soaked Debut Album ‘Permanent Damage’ by Mitch Mosk
Columns, Editor's Picks, Features, MusicMarch 17, 2023<March 17, 2023 Editor’s Picks 92: Gordi, Under the Rug, Tash Sultana, Karson., Stolen Jars, & girlhouse! by Mitch Mosk
Columns, Editor's Picks, Features, MusicMarch 8, 2023<March 10, 2023 Editor’s Picks 91: Marlene Oak, Aistè, Alaska Reid, Joy Oladokun, Bleach Lab, & BEL! by Mitch Mosk
Features, Music, Playlists, Women's History MonthMarch 8, 2023<March 8, 2023 Celebrating Women in Music for International Women’s Day 2023! by Atwood Magazine Staff
Debut, Features, Interviews, Music, Track-by-TrackMarch 3, 2023<April 30, 2023 Interview: Ruel Breaks the ‘4TH WALL’ with His Cinematic Debut Album by Mitch Mosk
Debut, Features, Interviews, MusicJanuary 26, 2023<January 26, 2023 Interview: Frank Iero & Tucker Rule Are “Reborn” in Emo Punk Group L.S. Dunes by Mitch Mosk
Features, Interviews, MusicNovember 1, 2022<February 22, 2023 American Bollywood: Young the Giant’s Epic & Intimate Fifth Album Unpacks Identity, Belonging, Home, & the Immigrant Story by Mitch Mosk
Features, Interviews, MusicOctober 19, 2022<October 19, 2022 Interview: The Killers’ Ronnie Vannucci Jr. Talks Springsteen, Pressure Machine, Legacy, Tour, & More by Mitch Mosk
Features, Interviews, MusicSeptember 28, 2022<September 29, 2022 “Honoring the Past, But Not Bound By It”: An Interview with Death Cab for Cutie by Mitch Mosk
Features, Interviews, MusicJune 24, 2022<April 24, 2025 “All Killer, No Filler”: MUNA Discuss Joy & Desire on Their Self-Titled Third Album by Nasim Elyasi
Interviews, Music, PremieresMarch 31, 2026<March 31, 2026 Premiere: Oliver Pinder Shatters Halos in “Such an Angel,” a Catchy, All-Consuming Indie Rock Anthem of Broken Trust & Disillusionment by Mitch Mosk
Interviews, Music, Music Videos, PremieresMarch 31, 2026<March 31, 2026 “F**k That, Trust That”: Babes in Canyon Chase Freedom on “Echo,” an Intoxicating Indie Pop Mantra by Mitch Mosk
Interviews, Music, Today's SongMarch 31, 2026<March 31, 2026 “Don’t look down, baby, don’t let go”: Fantastic Cat Turn Stubborn Hope into a Roaring Folk Rock Rallying Cry by Mitch Mosk
Interviews, Music, PremieresMarch 30, 2026<March 31, 2026 “Don’t Wanna Be My Enemy”: Eliza Edens Finds Freedom in Life’s Darker Impulses on “Leash,” a Bold and Breezy Indie Rock Song by Mitch Mosk
Interviews, MusicMarch 30, 2026<March 30, 2026 Meet Smag På Dig Selv, a Danish Trio Modernizing Jazz to EDM Lovers’ Delight by Josh Weiner
Interviews, Music, Track-by-TrackMarch 30, 2026<March 30, 2026 “I Hope People Feel Something When They Listen to It”: Odhrán Murphy Shows a More Reflective and Dreamy Side on ‘Roots & Reverie’ by Aileen Goos
Columns, Music, Today's SongMarch 30, 2026<March 30, 2026 Today’s Song: The Liberating Torment of Annalisa’s “Canzone Estiva” by David Buyze
Columns, Music, Today's SongMarch 28, 2026<March 28, 2026 Today’s Song: Metalcore Band Holder Push Past the Pain on “Inconsolable” by Will Yarbrough
Columns, Features, Music, Weekly RoundupMarch 27, 2026<March 27, 2026 Atwood Magazine’s Weekly Roundup: March 27, 2026 by Atwood Magazine Staff
Features, Interviews, Music, Track-by-TrackMarch 27, 2026<March 27, 2026 “Homegrown American Adventure”: HAPPY LANDING Turn Toward the Light on ‘Big Sun,’ a Bold and Expansive Folk Rock Triumph by Mitch Mosk
Music, Reviews, RoundtableMarch 27, 2026<March 27, 2026 Roundtable Discussion: A Review of Mumford & Sons’ ‘Prizefighter’ by Atwood Magazine Staff
Columns, Music, Today's SongMarch 27, 2026<March 27, 2026 “She’s a Cold Hearted Killer”: A Look at “Gentleman,” Towa Bird’s Rock ‘n’ Roll Love Letter by Dusty Hayes
Music, PremieresMarch 26, 2026<March 26, 2026 “Consecutive Thuds from Executive Thugs”: Nashville’s Palm Ghosts Confront Capitalism’s Grip with Indie Rock Urgency on “Walk Into Your New Life” by Mitch Mosk
Essays, Music, Women's History MonthMarch 26, 2026<March 30, 2026 “Embracing Innovation, Bei Bei Style”: An Essay by Bei Bei for Women’s History Month by Guest Writer
For the Love of Music
For the Love of Music
