April 4, 2025<April 4, 2025 Review: Florist Ruminate on Bigger Questions and Explore Their Duality on ‘Jellywish’ by Kevin Krein
April 2, 2025<April 2, 2025 Roundtable Discussion: A Review of Sam Fender’s ‘People Watching’ by Atwood Magazine Staff
March 31, 2025<March 31, 2025 One to One: Yoko Ono Shines in New Doc on Ono-Lennons in NYC by Aidan Moyer
March 31, 2025<March 31, 2025 Review: Ariana Grande Journeys Through Heartbreak and Healing in ‘Eternal Sunshine (Deluxe)’ & Short Film by Danielle Holian
March 28, 2025<March 28, 2025 Review: Lucy Dacus Is Learning ‘Forever Is a Feeling’ and Writing a Beautiful Tale As She Goes by Brianna Corrine
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
For the Love of Music
For the Love of Music
