April 19, 2023<April 30, 2023 Bad Bunny Returns to His Gulf Gas Station Roots at Coachella ’23 by Julia Dzurillay
April 14, 2023<April 30, 2023 ‘High & Low’ and Everything In-Between: Caitlyn Smith Journeys Through Darkness & Light on Self-Produced Third Album by Emily Frances Algar
April 11, 2023<June 29, 2024 Roundtable Discussion: A Review of Lana Del Rey’s ‘Did you know that there’s a tunnel under Ocean Blvd’ by Atwood Magazine Staff
April 10, 2023<April 30, 2023 Album Review: Shimmering Epiphanies in Depeche Mode’s ‘Memento Mori’ by David Buyze
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
March 31, 2023<June 29, 2024 Roundtable Discussion: A Review of boygenius’ ‘the record’ by Atwood Magazine Staff
March 29, 2023<April 30, 2023 Lightning in a Bottle: Gracie Abrams, Live from Austin by Kelly McCafferty Dorogy
March 21, 2023<April 30, 2023 Live Review: LØREN Makes a Mark with First Stateside Performances at SXSW 2023! by Freya Rinaldi
8.6 March 17, 2023<April 30, 2023 Our Take: On ‘Cracker Island,’ Gorillaz’ Chest-Thumping Causes Major Waves by Josh Weiner
March 16, 2023<April 30, 2023 “Feeling good doesn’t feel bad anymore”: JOSEPH Shine Like “The Sun” in Radiant & Empowering New Single by Mitch Mosk
March 9, 2023<April 30, 2023 Review: Annie DiRusso’s Debut EP ‘God, I Hate This Place’ Is an Angst-Fueled Exploration of Identity by Claire Meyer
March 2, 2023<June 29, 2024 Roundtable Discussion: A Review of Paramore’s ‘This Is Why’ by Atwood Magazine Staff
February 24, 2023<February 24, 2023 Rolling Up the Welcome Mat: Kelsea Ballerini Navigates Marriage & Divorce on Her New EP by Emily Frances Algar
February 23, 2023<February 23, 2023 Premiere: Capo Corleone & Kuba Więcek Drop Gratitude EP ‘Thank Myself’ by Joe Beer
For the Love of Music
For the Love of Music
