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Yashavi Upasani

Yashavi Upasani

Yashavi Upasani is a writer and filmmaker based in Boston, but started her music journalism career as a teenager growing up in D.C. She’s the designated aux-player for long car rides, house parties, and will always make time to attend a show. When she’s not writing about music, Yashavi is reporting on Boston news, working on a controversial op-ed, or at the movie theater.

Railbird Festival 2026 © Andrea Escobar Garcia
Festival, Music, ReviewsJune 22, 2026<June 22, 2026

Railbird 2026 Was Derby Roads, Country Music, and a Community Coming Together

Emma Louise "Sunshine for Happiness" © Sam Kristofski
Music, ReviewsMay 27, 2026<May 27, 2026

“I Want All Beautiful Things”: Emma Louise Finds Inner Strength on ‘Sunshine for Happiness’

Kacey Musgraves 'Middle of Nowhere' © Kelly Christine Sutton
Music, ReviewsMay 15, 2026<May 15, 2026

Kacey Musgraves Chases Away the Past & Lassos the Future on ‘Middle of Nowhere’

Annabelle Dinda © Yashavi Upasani
Concerts, Music, ReviewsMay 6, 2026<May 6, 2026

Annabelle Dinda Dazzles Boston’s Brighton Music Hall with a Triumphant Kickoff to Her Sold-Out Headline Tour

Friko 'Something Worth Waiting For' album art
Music, ReviewsMay 4, 2026<May 4, 2026

Friko Clean Up by Getting Messy in ‘Something Worth Waiting For’

Andrea Bejar "Delicately" © Summer Schantz
Columns, Music, Today's SongApril 10, 2026<April 10, 2026

“You Can Take Me As I Come”: Andrea Bejar Confesses Her Truth on “Delicately”

Recent Posts

  • “I Wanna Love My Death Drive”: Eliza Edens Flirts with the Limit on “Death Drive,” a Charged Indie Rock Reckoning with Chaos & Self-Acceptance September 3, 2026
  • “I Want to Maintain That Softness”: Cautious Clay on ‘High Noon’ and the Value of Staying Open September 3, 2026
  • Roundtable Discussion: A Review of Olivia Rodrigo’s ‘you seem pretty sad for a girl so in love’ September 3, 2026
  • “Tolerance Is Different From Love”: The Army, The Navy Let the “Walls” Cave In on a Shiver-Inducing Indie Folk Reckoning With Self-Worth September 2, 2026
  • “I’m Building a Kingdom in My Soul”: Alabama Shakes Set the Air on Fire Again on ‘I Must Be Dreaming,’ a Soul-Shaking, Triumphant Return September 2, 2026
  • “Let’s Trust Our Guts”: Brennan Wedl Exits the Supervoid on Her Grungy, Twangy Self-Titled LP September 2, 2026
  • “You Can Delete the Photos and Still Keep Making Space for Them”: Gabriel Dinero Confronts the Ghosts of Lost Love on “Apariciones” September 2, 2026
  • “Take the Roof Off and Sing Along”: Borderline Channel Collapse into Catharsis on “Watching It Burn,” an Arena-Sized Anthem of Ruin & Release September 1, 2026
  • Chasing Presence: Winyah Discuss What It Means to Be ‘Right Here, Right Now’ September 1, 2026
  • “The Horrors of My Twenties”: Ally Evenson on the ‘Speed Kills’ Film, Panic, and Empowerment September 1, 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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  • New Music Releases
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  • Reviews
    • Our Take
    • Debuts
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    • Live
  • Columns
    • Premieres
    • Today’s Song
    • Weekly Roundup
    • Music You Should Know
    • Nostalgia Tracks
  • Home
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  • New Music Calendar
  • 2025 Artists to Watch
  • Get Involved
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