March 14, 2022<March 14, 2022 Today’s Song: Ex-Poets Go Deep with New Single “Bay of Pigs” by Beau Hayhoe
March 11, 2022<March 11, 2022 Atwood Magazine’s Weekly Roundup: March 11, 2022 by Atwood Magazine Staff
March 11, 2022<March 11, 2022 Interview: Digging Deep with Avi Kaplan & Joy Williams on “All Is Well” by Emily Frances Algar
March 10, 2022<September 29, 2022 Editor’s Picks 57: Ego Ella May, Memorial, Stars, Bear’s Den, Linqua Franqa, & John Mark Nelson by Mitch Mosk
March 10, 2022<March 10, 2022 Women to the Front: The Elephant Trees’ Martha Phillips on Inclusivity & Creating Spaces in the Music Industry by Guest Writer
March 10, 2022<March 10, 2022 Griff Clawson’s Dynamic “Haircut” Is a Song of Heartache & Emotional Split Ends by Mitch Mosk
March 9, 2022<March 9, 2022 Today’s Song: Jacob Aedam & Yung Shōgun Break Out in Psychedelic Spaghetti Western “South Boulevard” by Mitch Mosk
March 8, 2022<March 8, 2022 Today’s Song: ANIQO’s Visceral “Vivre Libre” Basks in a Hard-Won Sense of Freedom & Redemption by Mitch Mosk
March 8, 2022<March 8, 2022 Essay: Country Singer/Songwriter Casi Joy on Women’s History Month by Guest Writer
March 7, 2022<March 7, 2022 Today’s Song: Clea Anaïs Explores Grief & Love in Beautifully Bittersweet “Stars Still Dying” by Mitch Mosk
March 4, 2022<March 4, 2022 Today’s Song: Noah Reid’s Dreamy “Everyday” Dwells in Raw Moments of Instability & Imbalance by Mitch Mosk
March 3, 2022<March 3, 2022 Today’s Song: Thehiz Debuts with Epic Underdog Anthem “SUBMARINE” by Mitch Mosk
March 3, 2022<September 29, 2022 Editor’s Picks 56: Primer, Monica Martin, Dehd, Riley Pearce, Blossoms, & GOON by Mitch Mosk
March 2, 2022<March 31, 2023 Today’s Song: W&W Get Their ’80s Groove on with Futuristic Remix of “Moonlight Shadow” by Josh Weiner
For the Love of Music
For the Love of Music
