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Bean Tupou © Celia Sagastume
Asian American and Pacific Islander Heritage Month, Columns, Essays, MusicMay 22, 2023<May 22, 2023

Essay: Try the Pie’s Bean Tupou on What AAPI Heritage Month Means to Them

by Guest Writer
Miles Campbell
Columns, Meet Our WritersMay 20, 2023<May 20, 2023

Meet Our Writers: Washington, DC’s Miles Campbell!

by Miles Campbell
Atwood Magazine's Editor's Picks 100, featuring Noah Kahan, Joy Oladokun, OTNES, BAILEN, Alexz Johnson, Young the Giant, Brian Dunne, Charli Adams, and Overcoats!
Columns, Editor's Picks, Features, MusicMay 19, 2023<May 19, 2023

Editor’s Picks 100: Noah Kahan, Joy Oladokun, OTNES, BAILEN, Alexz Johnson, Young the Giant, Brian Dunne, Charli Adams, & Overcoats!

by Mitch Mosk
Jarrod Dickenson © Patrick Glennon
Features, Interviews, MusicMay 19, 2023<May 19, 2023

Interview: Genuine & Composed, Jarrod Dickenson Takes a Stand in Third Album, ‘BIG TALK’

by Lauren Hicks
Atwood Magazine's Weekly Roundup | May 19, 2023
Columns, Features, Music, Weekly RoundupMay 19, 2023<May 19, 2023

Atwood Magazine’s Weekly Roundup: May 19, 2023

by Atwood Magazine Staff
Folamour © Koria
Columns, Music, Today's SongMay 19, 2023<May 19, 2023

Today’s Song: On “Friends,” Folamour & Tim Ayre Capture the Importance of Human Connection

by Mitch Mosk
The 1975 © Samuel Bradley
Essays, Music, ReviewsMay 19, 2023<May 19, 2023

“She’s American” (And Other Metaphors By The 1975)

by Julia Dzurillay
Abby Holliday © Luke Holliday 2023
Features, Interviews, MusicMay 18, 2023<May 19, 2023

Interview: On ‘I’M OK NO I’M NOT,’ Abby Holliday Soundtracks Her Quarter-Life Crisis with Tasteful Turbulence & Bold Tenacity

by Mitch Mosk
The Backseat Lovers © Travis Bailey
Concerts, Music, ReviewsMay 18, 2023<May 18, 2023

Concert Review: The Backseat Lovers are Growing – and Fast!

by Miles Campbell
Lauds © Mary Hannah Riley
Debut, Features, Interviews, Music, PremieresMay 18, 2023<May 18, 2023

Feature: Wilmington’s Lauds Debut with ‘Imitation Life,’ a Reflective, Shadowy, & Uplifting Dream Pop Reckoning

by Mitch Mosk
XIE © Brandon Densley
Asian American and Pacific Islander Heritage Month, Columns, Essays, MusicMay 18, 2023<May 18, 2023

“A New Breed, a New Generation”: An Essay by XIE for AAPI Heritage Month

by Guest Writer
Dizzy © Boy Wonder
Features, Interviews, MusicMay 18, 2023<May 18, 2023

Putting Their Foot Down: Dizzy’s Katie Munshaw Talks Dogs, Adulthood, Maturity, & the Band’s Bold Third Album

by Claire Meyer
Albert Hammond Jr. © Scottie Cameron
Columns, Music, Today's SongMay 18, 2023<May 18, 2023

Today’s Song: Albert Hammond Jr. Weaves Through the Past on Energetic Single “Old Man”

by Beau Hayhoe
OK Cool © Kennedy Cottrell
Features, Interviews, Music, Track-by-TrackMay 17, 2023<May 17, 2023

“A Rabbit Hole of Digital Grief”: OK Cool’s Visceral, Vulnerable, & Raw ‘fawn’ EP

by Mitch Mosk
KESMAR © Jenaya Okpalanze
Columns, Music, Today's SongMay 17, 2023<May 17, 2023

That ’70s Song: The Golden, Glistening Glow of KESMAR’s “Is It You I Miss”

by Mitch Mosk
Posts pagination
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Brand New

  • “I think it’s time just to make awesome rock music”: Jonny Tex Returns to SXSW with a New Sound, New Band, & New Sense of Purpose
  • “I’m listening to me this time”: Brit Taylor Trusts the Signs on ‘Land of the Forgotten’
  • “It’s all waiting there for you”: Harry Styles Captures the Beauty of Music Discovery & Offers an Outlook on Life Itself on “Carla’s Song”
  • “You Can Reject the Script That’s Handed to You”: The Undercover Dream Lovers’ Matt Koenig Is Living Life on His Own Terms (And You Can, Too)
  • Roundtable Discussion: A Review of Harry Styles’ ‘Kiss All The Time. Disco, Occasionally.’
  • Joshua Quimby Is Redefining What It Means to Be Country
  • Melanie Martinez’s ‘HADES’: A Descent into Pop’s Most Unsettling Underworld

:: discover something new ::

Recent Posts

  • “I think it’s time just to make awesome rock music”: Jonny Tex Returns to SXSW with a New Sound, New Band, & New Sense of Purpose April 7, 2026
  • “I’m listening to me this time”: Brit Taylor Trusts the Signs on ‘Land of the Forgotten’ April 7, 2026
  • “It’s all waiting there for you”: Harry Styles Captures the Beauty of Music Discovery & Offers an Outlook on Life Itself on “Carla’s Song” April 7, 2026
  • “You Can Reject the Script That’s Handed to You”: The Undercover Dream Lovers’ Matt Koenig Is Living Life on His Own Terms (And You Can, Too) April 6, 2026
  • Roundtable Discussion: A Review of Harry Styles’ ‘Kiss All The Time. Disco, Occasionally.’ April 6, 2026
  • Joshua Quimby Is Redefining What It Means to Be Country April 6, 2026
  • Melanie Martinez’s ‘HADES’: A Descent into Pop’s Most Unsettling Underworld April 6, 2026
  • The Magical Renaissance of U2: A Reflection on ‘Days of Ash’ and ‘Easter Lily’ April 6, 2026
  • “Not what you said, but how you said it”: Charlie Lim Lays Himself Bare on “Nobody’s Home,” a Gut-Wrenching Portrait of Grief and Emotional Reckoning April 3, 2026
  • “SWEET LOVE”: Stephen Sanchez Falls Head Over Heels into a Feel-Good, Heart-on-Sleeve Retro-Pop Anthem April 3, 2026
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Disclaimer: Atwood Magazine is a publication dedicated to celebrating fresh voices in music, culture, and the arts. The views and opinions expressed in our articles, reviews, and interviews are those of the individual writers and do not necessarily reflect the opinions of Atwood Magazine as a whole.

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