April 6, 2023<April 30, 2023 Today’s Song: Allison Ponthier’s Main Character Anthem, “Character Development” by Kelly McCafferty Dorogy
April 5, 2023<April 30, 2023 Are We Good? Canadian Folk Icon Hayden Desser Asks a Difficult Question on His First LP in 8 Years by Kevin Krein
April 5, 2023<April 30, 2023 Today’s Song: phem Sheds Her Old Masks with Explosive New Single “slippery slope” by Rachel Leong
April 4, 2023<December 19, 2023 All Hail the ‘Sofa Kings’: Royel Otis’ Euphoric Third EP Is Soaked in Freedom & Trust by Mitch Mosk
April 4, 2023<April 30, 2023 Protecting Her Peace: Wallice on Coming of Age in the Music Industry and What Defines ‘Success’ by Sophie Severs
April 4, 2023<April 30, 2023 Podcast: Tunes & Tumblers Features Beach Weather and a Pineapple Sunrise by Atwood Magazine Staff
April 4, 2023<April 30, 2023 Today’s Song: Abi Ocia’s Soul-Stirring “30 Underwater” Is an Achingly Raw Reckoning with Time by Mitch Mosk
April 3, 2023<April 30, 2023 Big in the USA: Winnipeg’s Kris Ulrich Dives into His Charismatic & Charming Sophomore LP by Mitch Mosk
April 3, 2023<April 30, 2023 Adulting Made Easy(ish): Erez Zobary’s “Stuck!” Is a Soul-Pop Soundtrack to Our Quarter-Life Crisis by Mitch Mosk
March 31, 2023<April 30, 2023 Feature: Singer/Songwriter Roo Panes’ ‘The Summer Isles’ Is a Celebration of Connection, Stillness, & Life Itself by Mitch Mosk
March 31, 2023<April 30, 2023 Racquel Jones’ Triumphant “Elated” Is a Joyful Song of Healing & Celebration by Mitch Mosk
March 31, 2023<May 15, 2023 Atwood Magazine’s Weekly Roundup: March 31, 2023 by Atwood Magazine Staff
March 31, 2023<June 29, 2024 Roundtable Discussion: A Review of boygenius’ ‘the record’ by Atwood Magazine Staff
March 31, 2023<April 30, 2023 “Lost and Found: A Los Angeles Story”: An Essay by Irene Diaz for Women’s History Month by Guest Writer
For the Love of Music
For the Love of Music
