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
February 16, 2025<February 16, 2025 The Love You Make: Inside Paul McCartney’s Valentine’s Show at Bowery Ballroom by Aidan Moyer
February 13, 2025<February 13, 2025 Track-by-Track: Magic Bronson Offer a Motivating Antidote With ‘Good Dogs’ by Joe Beer
February 7, 2025<February 7, 2025 Rock Star Power and …Seinfeld?: A Candid Review of ‘Sharon Van Etten & The Attachment Theory’ by Josh Bloom
February 6, 2025<February 6, 2025 Live Review: Making a Hot Fuss in Las Vegas With The Killers by Emma Schoors
9.7 January 23, 2025<January 23, 2025 Our Take: Mia Day’s ‘Hellier, Forever’ Is a Timeless Ode to ‘90s Grunge and the Supernatural by Noa Jamir
January 21, 2025<January 21, 2025 This Just In: Samia Treads Harder Ground With Piercing New Song, “Bovine Excision” by Rachel Leong