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Rachael Lawson © 2024

Columns, Music, Today's SongJuly 25, 2024<July 25, 2024

You’re “Pure Honey,” Baby: The Universal Sweetness of Rachael Lawson

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“Life Is Still the Sweetest Thing”: Lila Forde Rekindles Love’s First Spark on “Do It All Over,” a Radiantly Soulful Slice of Summer Bliss August 26, 2026
“Psych-Pop Soap Opera”: Radar Gold Reimagine the Psychedelic Scene on Their Sophomore LP ‘Fortune Teller’ August 26, 2026
“Every Person You Love Is Their Own Universe”: BAILEN Surrender to Love & Wonder on “Kansas Tornado,” a Spellbinding, Windswept Folk Triumph August 25, 2026
A Decade of Outside Lands: Growing Up With San Francisco’s Favorite Festival August 25, 2026
“Too Young to Feel This Tired”: Glasgow’s Ferguson Hi-Fi Break Free on Feverish Debut Single “Get Over It” August 25, 2026
“Everything Changes, and the Pain Comes From Believing That It Won’t”: Josaleigh Pollett Makes Room for Every Version of Us on “The Witness” and ‘If I Let It Quiet’ August 25, 2026
Turning the Page: Billie Marten on New Sounds, New Places, and Keeping Things Unfamiliar August 25, 2026
“Push the Envelope While Retaining the Roots”: Mayday Parade’s Brooks Betts Explores Musical Philosophies and Intentions Behind ‘Sugar’ August 25, 2026
“I Wanted to Paint a Picture of 2026 America”: Tristan Tritt Reckons With a Fractured American Dream on “Living The Dream” August 24, 2026
“Pain Can Change Its Shape But It Never Disappears”: Chicago’s Edens Reckon With Memory & Time on “Empty Details,” a Propulsive Portrait of Lives in Motion August 24, 2026

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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