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Emily Weatherhead

Emily Weatherhead

Emily is a writer and elementary school teacher based just outside of Toronto, Canada. She is a classically trained pianist, a (very) amateur guitarist, and a songwriting enthusiast. In 2021, she founded Musicians Found, a program that helps connect communities in need with musical instruments. She has a master’s degree in Community Psychology from Wilfrid Laurier University, where she facilitated music programs in a long-term care home as part of her studies. She’s seen the transformative power of music firsthand, and loves any opportunity to connect with musicians and music lovers from across the globe!

Gracie Abrams ‘Daughter from Hell’ © Julie Greve 9
Music, Our Take, ReviewsJuly 22, 2026<July 22, 2026

Our Take: Gracie Abrams Alchemizes Her Pain into a Cathartic Symphony on ‘Daughter from Hell’

Suki Waterhouse ‘Loveland’ © Miles Aldridge 7.9
Music, Our Take, ReviewsJuly 15, 2026<July 15, 2026

Our Take: Suki Waterhouse Boldly Explores the Facets of Romance on ‘Loveland’

Yan Qing © 2026
Music, PremieresJune 22, 2026<June 22, 2026

“I Know I’ve Arrived”: Yan Qing Explores the Weight of Indecision and the Solace of Love on “The Arrival,” an Achingly Honest Acoustic Ballad

Olivia Rodrigo ‘you seem pretty sad for a girl so in love’ album art 9.4
Music, Our Take, ReviewsJune 16, 2026<June 16, 2026

Our Take: Olivia Rodrigo Delivers Heartbreak, Hope, and Healing on ‘you seem pretty sad for a girl so in love’

Olivia Rodrigo "the cure" © cloudyy
Columns, Music, Today's SongJune 12, 2026<June 12, 2026

“I thought I found the antidote this time”: Olivia Rodrigo Unravels Heartbreak from a New Perspective on “the cure”

Anyhow © Gabe Drechsler
Debut, Features, Interviews, MusicMay 6, 2026<May 6, 2026

“It’s the Magic of the Seventh-Grade Hangout”: How Anyhow’s Nick Cianci and Dan Harris Transformed Their Harmonious Passion for Music into a Dynamic Signature Sound

Recent Posts

  • Editor’s Picks 168: Formal Sppeedwear, Black Bananas, Brother Wallace, Palace, Dummy, & Brickhouse! October 9, 2026
  • “Underneath All of That Is Connection”: Laz Lo Channels Departure into Devotion on ‘Homestretch,’ an Intimate Alt-R&B Portrait of the Love We Carry with Us October 9, 2026
  • “Art Is Purposeless If It Is Not Genuine”: Moon Walker Wants You to Feel the Dread of ‘WASTELAND COUNTRY’ October 9, 2026
  • “This Is a Rock Band”: The Bends Let Loose on ‘If You Insist,’ a Spirited Debut Fueled by Friendship, Freedom, and Rock ‘n’ Roll October 8, 2026
  • “Ugly and Weird: The Making of The Male Pattern’s ‘I Was Shot in the Heart!’”: An Essay by Will Schwartz October 8, 2026
  • Festival Review: At Portola, the Music Leaves Little Room for Silence October 8, 2026
  • “I Don’t Wanna Leave You Behind”: Emma Ogier & Eden Joel Give Their Post-Breakup Friendship a Smoldering Anthem with “Rocksteady/HeavyMetal” October 8, 2026
  • Roundtable Discussion: A Review of Bleachers’ ‘everyone for ten minutes’ October 8, 2026
  • “Pointless Intense Crushes”: So Faint Build an Entire Imaginary Romance on “Fully Slow,” Their Intoxicating Debut Single October 7, 2026
  • “This Record Personally Feels Like a Reset Button”: Adam Rubenstein Reaches for What Still Connects Us on the Restless, Radiant ‘Firebreak’ and “Don’t Mean Much” ft. Vernon Reid October 7, 2026
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Disclaimer: Atwood Magazine is a publication dedicated to celebrating fresh voices in music, culture, and the arts. The views and opinions expressed in our articles, reviews, and interviews are those of the individual writers and do not necessarily reflect the opinions of Atwood Magazine as a whole.

© Atwood Magazine 2024 For the Love of Music
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