July 17, 2026<July 17, 2026 “Only Real Human Connection Will Save Us”: Valley Are Still Choosing Each Other as “Vending Machine” Kicks Open a Loud, Unapologetic, & Playful New Era by Mitch Mosk
July 17, 2026<July 17, 2026 “Inspiration and Curiosity”: Dirtwire Turn Global Sound into a Universal Language by Ashley Littlefield
July 16, 2026<July 16, 2026 “Too Cool to Smile”: Otlo Dreams Bigger on His Heartfelt Album ‘A Boy Can Dream’ by Aileen Goos
July 16, 2026<July 16, 2026 “Falling in Love With the Chaos”: GIMMY’s Gemma Owens on Refusing to Be Molded by the Music Industry and Their Latest ‘Labour of Love’ by Damien Joyce
July 16, 2026<July 16, 2026 “I Am the Best Artist I’ve Ever Been”: 44phantom Breaks Through on ‘IN RETROSPECT,’ a Raw, Bruising Reckoning With Himself by Mitch Mosk
July 15, 2026<July 15, 2026 “Yearning Season’s Here”: GRESLEY Lays His Heart Bare on ‘Songs I Wrote Since She Left,’ an Achingly Intimate Portrait of Love Under Strain by Mitch Mosk
July 15, 2026<July 15, 2026 “Blood Ties” and Hard Truths: Rowena Wise Is Making Peace With the Mess of Being Human Through Smoldering, Unflinching Indie Folk Songs by Mitch Mosk
July 14, 2026<July 14, 2026 “Where the Water Meets the Sky”: Anne-Claire Makes a Spellbinding Return on “River,” a Lush, Sweeping Portrait of Love and Longing by Mitch Mosk
July 14, 2026<July 14, 2026 “You Can Do Whatever You Want”: Ryann Ross on Her Debut EP ‘On the Marsh’ and the Songs You Can’t Recreate by Kelly McCafferty Dorogy
July 13, 2026<July 14, 2026 “There Will Always Be Ghosts Following You”: Lee Emi Confronts the Myth of a “Clean Slate” in a Raw Reckoning With the Inescapable Past by Mitch Mosk
July 13, 2026<July 14, 2026 “The Cover Story Stands”: Notes From Under Ground Skewers Music-Industry Nepotism on “Names In Blue,” a Sun-Kissed and Scathing Satire by Mitch Mosk
July 10, 2026<July 10, 2026 “Sometimes, Strength Looks Like Softness”: Nora Kelly Band Are Rewriting Alt-Country’s Tough-Guy Mythos With Wit, Twang, and Heart by Mitch Mosk
July 10, 2026<July 16, 2026 “Knowing What We’re Supposed to Be”: Sleeping With Sirens’ Nick Martin on the Cycle of Death and Renewal on ‘An Ending In Itself’ by Isabella Le
July 9, 2026<July 9, 2026 “The Whole Title Is Just Me Trying To Show Up For My Feelings”: The Haunted Youth Confronts Masculinity With Vulnerability on ‘Boys Cry Too’ by Isabella Appell
For the Love of Music
For the Love of Music
