March 18, 2025<March 18, 2025 Roundtable Discussion: A Review of Lady Gaga’s ‘MAYHEM’ by Atwood Magazine Staff
March 13, 2025<March 13, 2025 Review: Horsegirl Sing for You on “Phonetics On and On” by Juls Patterson
March 12, 2025<March 12, 2025 “I’ve been waiting for this day for a long time”: Masayoshi Takanaka Plays First U.S. Show in 40 Years by Max Kalnitz
March 7, 2025<March 9, 2025 Review: Nicotine Dolls Offer an Unabashed Attempt at Being Romantic on Their Debut LP by Aileen Goos
March 5, 2025<March 5, 2025 Roundtable Discussion: A Review of Tate McRae’s ‘So Close to What’ by Atwood Magazine Staff
March 5, 2025<March 5, 2025 “I’m Not Preaching, I’m Just Talking”: Sam Fender’s ‘People Watching’ Is a Masterpiece of Reflection, Resilience, & Raw Humanity by Brianna Corrine
March 4, 2025<March 4, 2025 Review: The Weeknd’s ‘Hurry Up Tomorrow’ Is a Gorgeously Painful Masterpiece on Forgiveness, Healing, & the Tribulations of Fame by Lauren Turner
March 3, 2025<March 3, 2025 Live Review: Sub-Radio Brighten Chicago Winter on the Sunrise City Tour by Annaliese Baker
8.3 February 26, 2025<February 26, 2025 Our Take: Tate McRae’s ‘So Close to What’ Is a Defining Moment in Pop Music by Danielle Holian
9 February 21, 2025<February 21, 2025 Our Take: Sabrina Carpenter Transcends Genre & Performance on ‘Short n’ Sweet (Deluxe)’ by Annaliese Baker
February 21, 2025<February 21, 2025 Our Take: Youth Lagoon Embraces Childlike Wonder in ‘Rarely Do I Dream’ by Noa Jamir
February 20, 2025<February 20, 2025 Roundtable Discussion: A Review of The Weeknd’s ‘Hurry Up Tomorrow’ by Atwood Magazine Staff
February 20, 2025<February 20, 2025 This Just In: On “High Fashion,” Addison Rae Chooses Hermes Over Hedonism by Brian Denney
February 18, 2025<February 18, 2025 Live Review: James Bay Electrifies a Sold Out Crowd at London’s OVO Arena Wembley by Rachel Leong
For the Love of Music
For the Love of Music
