March 16, 2022<September 29, 2022 Editor’s Picks 58: Rachel Chinouriri, Shannen James, merci, mercy, riela, mxmtoon, & Jenny Berkel by Mitch Mosk
March 16, 2022<March 16, 2022 “They Sold You Away, and They Sold Me Away”: Singer/Songwriter Amber Lewis’ Hauntingly Beautiful Love Letter, “Clotel” by Mitch Mosk
March 16, 2022<March 16, 2022 Essay: Singer/Songwriter Liddy Clark on Women’s History Month by Guest Writer
March 15, 2022<March 15, 2022 Today’s Song: Giift’s Tenderly Acoustic Debut Single “Fed Up” Reckons with Vulnerability & Intimacy by Mitch Mosk
March 14, 2022<March 14, 2022 “You Can Keep Your Seat at The Table”: Lou Ridley’s Love Letter to the Real Power by Guest Writer
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
For the Love of Music
For the Love of Music
