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Track by Track of Taylor Swift’s Life of a Showgirl


Lights, Camera, Action! Taylor Swift’s sassy and sparkly twelfth studio album The Life of a Showgirl has officially released this week, along with a matching visual theatrical release, and we’re here with a track by track analysis to dive into allllll the drama and show-stopping lyrics. Take your places; the show is about to begin!

Track 1: The Fate of Ophelia

Get ready to nod your head along from the very first track with a little dreamy ’70’s inspo sprinkled in. But first, let’s dive into the lyrics. Who is Ophelia and what happened to her? Ophelia’s fate in Shakespeare’s Hamlet is a tragic drowning, a consequence of her descent into madness after Hamlet kills her father and rejects her.

Lyrically, Taylor seems to be comparing herself to the dark tale of Ophelia, saying that if her lover hadn’t found her and saved her, she would’ve ended up with the same tragic fate. “And if you’d never come for me, I might’ve drowned in the melancholy, I swore my loyalty to me, myself and I, right before you lit my sky up….you saved my heart from the fate of Ophelia.”

The second verse starts, “Keep it one hundred, on the lands, the sea, the sky, pledge allegiance to your hands, your team, your vibes” in the most dreamy, synthy pop perfection (this one will get stuck in your head). In an Instagram post in July, her partner Travis captioned a carousel of snapshots with Swift, “Had some adventures this offseason, kept it 💯.” Plus, 13 (our queen’s lucky number) plus 87 (Travis’ Chiefs jersey number) equals 100, so there’s lots of tie-ins here. This is a lovely, catchy ode to her partner, and it seems like she finally got the love story she always dreamed about. With such deep lyrics, the contrast to the upbeat synths make this immediately immaculate.

Track 2: Elizabeth Taylor

This is not the first time Taylor has mentioned Elizabeth Taylor in a song. “He can be my jailor, Burton to this Taylor” was a lyric on Ready for It on the Reputation album, comparing her past relationship with Elizabeth Taylor and Richard Burton, who received excessive media scrutiny for their very public relationship. Elizabeth Taylor continues those lyrical themes, with lyrics “All the right guys, promised they’d stay, under bright lights, they withered away.” She seems to be rhetorically asking Elizabeth Taylor, someone who’s been in her position before, if this love is finally the true love.

Musically, this song reminds us of Rep a bit, with a brighter and richer production (thanks Max!). It’s the sonic embodiment of a a vintage perfume bottle with encrusted diamonds. Starting with a piano and string moment and leading into a catchy, bass-ey beat, it’s effortlessly full glamour.

There are so many good Hollywood one-liners in this one, from Taylor commenting, “You’re only as hot as you’re last hit, baby.” Swift laments on the downsides of stardom, saying, “Oh oftentimes it doesn’t feel glamorous to be me” and “What could you possibly get for the girl, who wants everything and nothing all at once? Babe, I would trade the Cartier for someone to trust… Just kidding.” Iconic.

Track 3: Opalite

Being a Libra girlie myself, I immediately clocked this being connected to Travis when the track list dropped. Taylor has a habit of connecting certain parters or relationships with vivid imagery and coloring; she often associated her previous partner Joe with the color blue. In Daylight from the Lover album, she says, “I once believed love would be black and white, but it’s golden, like daylight.”

Opalite is giving a little Disco easy listening vibe with a baseline and hint of guitar, and a chorus that yet again gets stuck in your head. This song seems to also be about how all the past relationships didn’t work, but how this love is finally real. “Oh my Lord, never made me one like you before, you had to make your own sunshine, but now the sky is opalite.”

The second verse is about Travis’ past relationship, “You couldn’t understand it, why you felt alone, you were in it for real, she was on her phone.” Then he finally ended it, and found Swift. “You finally left the table, and what a simple thought, you’re starving til you’re not.” Perhaps a small reference to her song Right Where You Left Me here (“Help, I’m still at the restaurant, still sitting in a corner I haunt.”)

There’s also a fun tie in to her friends and fellow musicians with the lyrics, “And all the perfect couples, said “when you know, you know” and “when you don’t, you don’t.” That’s a full lyric from Lana Del Rey and Jack Antonoff’s song Margaret which is a song Lana wrote about Jack and Margaret falling in love and knowing it was finally true love. 

And there’s a subtle nod to being head-over-heels in love from her 2008 single Fearless, with the line, “But my Mama told me, it’s alright, you were dancing through the lighting strikes” which reminds us of “And I don’t know why, but with you I’d dance in a storm in my best dress, fearless.” Something about Taylor being so self-referential in her makes it so fun for the fans, and we love it.

Track 4: Father Figure

With musical interpolation from George Michael’s hit song of the same name, Father Figure reallyyyy goes there, highlighting the darker side of the music industry and alluding to how the deals like the sale of her masters get done in terrible ways. The song sounds like it was inspired by what happened with Scott Borchetta, founder of Big Machine Records and the man who signed Taylor to her first record deal at fifteen, just to ultimately sell her masters to Scooter Braun, something that felt like a huge betrayal to Taylor.

With lyrics like “I’ll be your father figure, I drink that brown liquor, I can make deals with the devil, because my dick’s bigger, this love is pure profit, just step into my office,” you can tell that Taylor feels a lot of resentment and bitterness toward her experience in the music industry and how slimy it all was, but in writing this song, she has flipped the perspective, and now she’s the one in charge.

Even through the lyrics are a bit sinister, the song is rather upbeat and has a nostalgic quality to it. The whispered, “I protect the family,” gives us shivers, and the key change chorus at the end is fabulous. Another fun fact: George Michael’s album with the eponymous track went on to win Album of the Year at the 1989 Grammy’s – the year that Taylor was born.

Track 5: Eldest Daughter

At just over four minutes long, Eldest Daughter is the longest track on The Life of a Showgirl. It’s also a fan-recognized tradition that the Track 5’s on her records are typically the most vulnerable, emotional, and raw, such as All Too Well and Delicate on past albums. This song is no exception, with a full acoustic guitar and piano moment.

Taylor starts by talking about how cut throat the world is, and how she puts on a bravado to seem cool and relevant. The chorus builds, with the lyrics, “But I’m not a bad bitch, and this isn’t savage, but I’m never let you down, never gonna leave you out, so many traitors, smooth operators, but I’m never gonna break that vow, never gonna leave you now.” It’s a lovely love song, and a vulnerable moment for Swift, who loves to show swagger and confidence in her life and career, but who perhaps feels finally trustworthy of her new parter enough to open up in this way.

She compares herself to Travis through how they grew up: “Every eldest daughter, was the first lamb to the slaughter, so we all dressed up as wolves and we looked fire” and in contrast to him, “Every youngest child felt, they were raised up in the wild, but now you’re home.” I’m not crying, you’re crying.

Track 6: Ruin the Friendship

For a nice mid-tempo song sonically, we were really not expecting this track to take such a sad turn. It seems to be about her high school friend Jeff Lang who passed away in 2010 of an overdose (Forever Winter is also proabably about him). Lyrically, she starts the song narrating the story of a crush that she had back in high school that she didn’t want to make a move on, because it would ruin their friendship (and he had a girlfriend). “Don’t make it awkward in second period, might piss your ex off.”

The story continues, with, “When I left school I lost track of you, Abigail called me with the bad news, goodbye, and we’ll never know why.” She further clarifies, “But I whispered at the grave, “Should’ve kissed you anyway,” and at the end adds these heartbreaking words: “My advice is always ruin the friendship, better that than regret it… and my advice is always answer the question, rather that than to ask it, all your life.” There are some funky bass notes in the bridge, and some background chorus “ah, ah’s” that she sings as the song builds at the end, which is super satisfying. Another very easy listening song that anyone would enjoy, but lyrically quite devastating.

Track 7: Actually Romantic

Get ready for a This Is Why We Can’t Have Nice Things inspired diss track! This seems to be a rebuttal to Charli XCX’s Sympathy is a Knife song where Charli mentions some of her insecurities related to Taylor while she was dating Matty Healy, with lyrics like “Don’t wanna see her backstage at my boyfriend’s show, fingers crossed behind my back, I hope they break up quick.”

The first verse into the chorus has a nice electric guitar strum that give a early-2000’s vintage vibe. Another mid-tempo song but a bit faster than the previous track, Taylor pops back with so many insane lyrics that we don’t know where to start.

It starts off with probably some of her most crazy lyrics ever: “Heard you call me “Boring Barbie” when the coke’s got you brave, high-fived my ex and than you said you’re glad he ghosted me, wrote me a song saying it makes you sick to see my face, some people might be offended, but it’s actually sweet, all the time you’ve spent on me, it’s honestly wild, all the effort you’ve put in, it’s actually romantic.”

Her vocals are very ethereal on this track and scratches a very satisfying itch in your brain, and her fun little ad libs at the end are such a throwback, with the bridge getting even crazier lyrically. “You there, I’m ready babe, stop talking dirty to me, it sounded nasty but it feels like you’re flirting with me, I mind my business, God’s my witness that I don’t provoke it, it’s kind of making me wet.”

Everything is Romantic is track 7 on Charli’s album, and Actually Romantic is track 7 on this album. And apparently Charli also has a chihuahua, which is mentioned in the song. Yikes, the dramaaaa (we love it.)

Track 8: Wi$h Li$t

Glitch 2.0 is here and we can’t get enough! There’s something very enjoyable about the synth-ey moment in this song and her crooning vocal, “I just want you!” and vocal notes when she sings, “We tell the world to leave us the fuck alone and they do.”

This song seems to be comparing how so many others want money and fame and everything (“They want that yacht life, under chopper planes, they want those bright lights and Balanci shades, and a fat ass with a baby face,” and “They want a contract with Real Madrid, they want that spring break that was fucking lit, and then that video taken off the internet”) and how in contrast, her goals are flipped: she just wants to have a quiet life with Travis and have some kids.

The slower tempo of song totally works for the vibe and cohesion. The bridge pushes all the words together: “I made wishes on all the stars, please God bring me a best friend who I think is hot, I thought I had it right once, twice but I did not, you caught me off my guard, I hope I get what I want, ’cause I know what I want.” There’s another lovely buildup at the end of this song that really works. It’s romantic and melodic.

Track 9: Wood

Some of us were questioning what the heck Wood could be about (hey, get your head out of the gutter). This seems to be a lovely track about her relationship with Travis, with a couple cheeky lyrics thrown in. Upon listening to the first ten seconds, you might think you’ve accidentally stumbled upon I Want You Back by the Jackson 5, with the classic electric guitar strum, percussion, and groovy baseline. There’s even a fun sound effect of someone knocking on wood when she says the matching lyric leading into the chorus.

“It’s you and me together dancing in the dark, all over me, it’s understood, I ain’t got to knock on wood.” Finally, after all this time, the relationship is real and lasting, and she doesn’t doubt that it’s the one. Moment of silence for the cheeky bridge and her partner’s podcast reference: “Forgive me, it sounds cocky, he Ah!-matized me, and opened my eyes, Redwood tree, it ain’t hard to see, his love was the key, that opened my thighs, girls, I don’t need to catch the bouquet, to know a hard rock is on the way, and baby, I’ll admit l’ve been a little superstitious, the curse on me was broken by your magic wand, seems to me that you and me make our own luck, New Heights of manhood, I ain’t got to knock on wood.”

The Redwood tree lyric could be a little joke referencing a viral tweet from a few years ago comparing the lyrical prowess of Taylor versus Ariana Grade, when a fan said, “Swifties when Ariana sings about sex and doesn’t write it like, “He stuck his long wood into my Redwood forest and let his sap ferment my roots.” Either way, this song sounds like is could have been made forty years ago or today; it’s an instant classic and is totally different production-wise to any song she’s ever made before.

Track 10: CANCELLED!

Get ready for Ready For It 2.0 meets the Pretty Little Liars theme song with Cancelled! Melodically a bit dark with yet another irresistible beat and lyrically tongue-in-cheek, this one is another immediate hit on the album. It seems like all celebs in the spotlight get cancelled these days for one thing or another. Taylor, who had her own experience getting “cancelled” in 2016 and leaving the spotlight for a period of time, seems to be fine with it, saying, “Good thing I like my friends cancelled, I like ’em cloaked in Gucci and in scandal.” and “Welcome to my underworld, where it gets quite dark.”

She goes on to name potential reasons that they got cancelled: “Did you make a joke only a man could? Were you far too smug for your own good? Or bring a tiny violin in a knife fight? Baby that all ends tonight.” Yet another guitar-heavy track, and it works, especially in the bridge where it gets delightfully gloomy and edgy melodically, while Taylor explains how her friends were there for her when she was being publicly shamed. “They stood by me before my exoneration, they believed I was innocent, so I’m not here for judgement, no, but if you can’t be good, then just be better at it, everyone’s got bodies in the attic.” Shivers down our spine!!

Track 11: Honey

With Call It What You Want meets Slut vibes, Honey is slower, almost R&B inspired song built on all the words that can be used as catcalls to pick up women, like “honey,” “baby,” and “sweetheart.” Crooning to us to a slow and seductive beat and guitar strum, Taylor tells the story of all the terrible guys she’s dated in the past, the names they called her, and how her new partner has totally changed her perspective on what those phrases mean: “But you touch my face, redefine all of those words, when you say “honey.”

Through the bridge she dives in more, saying, “When anyone called me, late night, he was screwing around with my mind, asking “What are you wearing?” Too high to remember in the morning, but you say it like you’re in awe of me, and you stay until the morning.” We’re sobbing to this jazzy little beat in the best way.

This definitely paints a picture of how different her love with Travis is and how she’s enjoying simple domestic moments at home with him, with lyrics like, “Honey I’m home, we could play house, you could bend down, pick me up, who’s the baddest in the land? what’s the plan? You could be my forever nightstand, honey.” This song is somewhat simple production-wise, but it just works.

Track 12: The Life of a Showgirl ft. Sabrina Carpenter

The last track on the album and the only feature, but a nice decision to bring in Sabrina, another iconic showgirl who’s stardom is also peaking at this moment in time. The song tells a warning tale of the dark sides of fame and show business to the melody similar to Cool by the Jonas Brothers, with an unexpected boom clap crowd beat starting off the song.

The lyrical style of the song is reminiscent of The Last Great American Dynasty, where Taylor tells a story of an iconic woman throughout the song, and incorporating herself into the song, too. In this, she’s waiting by the stage door to get an autograph from a famous showgirl, and the woman tells her that it’s not all she thinks, with lyrics like, “The more you play the more that you pay” and “You don’t know the life of a showgirl, babe.”

Then, she grows up and tries to become famous. “So she waited by the stage door, as the club promoter arrived, she said, “I’d sell my soul to have a taste of magnificent life, that’s all mine.” And in the end, it works, but at what cost? Sabrina sings the second verse, adding a little country twang at moments and harmonizes with Taylor. It speeds up in tempo at the bridge, almost giving a musical theater quality with the talk-singing to then slow way down for the last line. They culminate the song with, “And all the headshots on the walls of the dance hall are of the bitches, who wish I’d hurry up and die, but, I’m immortal now, baby dolls, I couldn’t if I tried.” It builds to a full ending, with Taylor’s voice in a microphone effect saying thank you in the way that she did every night at The Eras Tour. “Give it up for the band, the dancers, and of course Sabrina. That’s our show, we love you so much, goodnight.” It’s the obvious choice for the album ending.

Final Thoughts

All in all, Taylor made a very sassy, showgirl-ey glitter gel pen album with Max Martin and Shellbeck (with the most amount of “bitches” added to the lyrics of any Taylor album ever, lol). It’s the pop bangers of 1989. It’s the drama of Rep. It’s The shiny, sexy allure of Midnights. The long nights on the road and alone in a hotel room bathtub after the Eras Tour shows ended. It’s slightly less lyrically profound than The Tortured Poets Department or Folklore/Evermore, but that’s okay. Not every album needs to come with a dictionary. All of her past influences came together to make The Life of A Showgirl, a very approachable and thematically cohesive album that the masses will love.

It’s the glitter on the floor after the party, the mascara running down her face in the shower. It’s not all fun and games, but it’s her life, at the peak of stardom, with the love of her life, and this album encapsulates this moment perfectly. She really made a timeless pop album, bought back her masters and found the one to spend her life with. Swift is immortal now, baby dolls.

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music festival Music News

BonnaBlues: Bonnaroo Cancelled After 1 Day

Bonnaroo 2025 boasted an eclectic mix of artists on the lineup that was meant to run over four nights on the Farm in Manchester, Tennessee. It had a really great lineup that mostly never came to fruition. Fans could enter the grounds and begin camping starting on Tuesday, but the music didn’t start until Thursday. That evening, Marcus King’s soulful, raspy voice and guitar riffs filled the night air on the main stage during the first sunset of Bonnaroo 2025. 

Thursday also boasted a headline set by Luke Combs, Bonnaroo’s first ever country headliner on the main stage. He had an unforgettable set, including starting the performance by shotgunning a beer and sharing stories of how he wrote his songs. He brought out legendary country singer Miranda Lambert as a surprise guest and she sang “Kerosene” as well as Marcus King for his last song, “No Rain in Oklahoma.”

This year, Bonnaroo also debuted the Infinity Stage, an open-air dome designed stage with spacial sound and a 360 experience. Of The Trees B2B Tape B and Rebecca Black DJ’d there on the first night of the festival, with lasers and totems surrounding the entire area. There were mixed reviews for the stage – fans inside the audio experience said it was great, but fans outside couldn’t hear as much and it didn’t provide great visuals from farther away.

The Who stage, located at Outeroo’s Plaza 7, highlighted up-and-coming artists and rising stars. And of course, the iconic Other stage hosted Dom Dolla, who mixed songs together for a two-hour headlining set on Thursday as part of their new After Hours lineup with late night live performances lasting well into the early morning. 

Friday morning started strong with hundreds of people doing Yoga in Centeroo and enjoying their High Five Friday on the Farm. Things only got worse from there. Early in the afternoon, before the festival had even opened to music, rain storms with lightning and thunder passed over the festival, causing the campground to be completely flooded and many campsites to be destroyed. After an entire day of delays, Bonnaroo announced that they were forced to cancel the rest of the festival and that fans were encouraged to leave on Saturday. Fans will also receive a 75% refund on their tickets and camping passes since there were no sets from Friday to Sunday. 

Sets that never came to fruition included Friday’s John Summit headlining and Infinity stage takeover sets, Avril Lavigne and Olivia Rodrigo on Saturday night, Remi Wolf’s Superjam on Sunday, and Hozier closing out the weekend. This was a disappointing end for this year’s Bonnaroo. They were forced to cancel in 2020 due to Covid-19 and again in 2021 due to inclement weather, so to have to cancel again in 2025 is especially unfortunate. Next year, the festival organizers might have to reconsider when they host the festival, due to the large amounts of rainfall in Tennessee in the summer.

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Elton John and Brandi Carlile Soar on Who Believes In Angels?

When two musical worlds collide with this much heart, you don’t just listen—you feel it in your bones. Who Believes In Angels?, the unexpected but deeply resonant collaboration between Elton John and Brandi Carlile, is more than just an album; it’s a conversation between generations, genres, and spirits. With a title that sounds like a hymn and a dare, the project arrives steeped in the sacred and the searching, bridging John’s decades-long legacy of glam, grief, and grandiosity with Carlile’s raw, rootsy truth-telling. This isn’t just about two powerhouse voices—it’s about the emotional weight they carry, the stories they tell, and the healing they offer along the way. Whether you’re a lifelong fan or stepping into their orbits for the first time, this album asks a tender, timely question: What do we believe in now?

Right away, one of John and Carlile’s most intriguing choices with Who Believes In Angels? is splitting the album into two discs—a rare move in today’s streaming-heavy world, but one that signals intention. This isn’t just a playlist of songs tossed together; it’s a structured, almost cinematic experience. Each disc seems to tell its own story while remaining part of a greater, emotional arc. That decision sets the tone for an album meant to be absorbed, not just consumed.

Musically, it’s a well-paced journey—an ebb and flow between slow-burning ballads and upbeat, sometimes defiant anthems. The tracklist has an emotional rhythm that keeps the listener on their toes without ever feeling disjointed. It leans into both artists’ strengths: John’s piano-driven drama and Carlile’s folk-rock grit.

Two songs in particular made an immediate impression. The title track, “Who Believes In Angels?,” feels like the heart of the album—an aching, gospel-tinged meditation that sounds like it was pulled straight from a stained-glass memory. It’s reflective, searching, and delivered with a vulnerability that lingers long after the final note. In contrast, “Swing For The Fences” bursts with life. It’s bold, fiery, and charged with a hopeful urgency—a rallying cry for anyone who’s ever dared to dream big or love hard.

Those first listens hint at the emotional range and intentional craftsmanship behind the album. It’s clear from the outset that this is not just a cross-generational collaboration; it’s a work of art.

Lyrically, Who Believes In Angels? is rich with emotional weight and thematic depth. It wrestles with big, timeless questions—about faith, legacy, resilience, and the fragility of hope—without ever tipping into melodrama. What’s most striking is how the album feels both deeply personal and universally resonant, like a letter to the past and a prayer for the future.

The title track sets the tone thematically: a gentle reckoning with belief in a world that often feels broken. Without demanding an answer, it asks whether holding on to something spiritual—or even just optimistic—is still possible. That same spiritual thread weaves through the entire project, not in overt religious language, but through subtle invocations of light, grace, and redemption. The lyrics don’t preach; they plead—gently, beautifully, and sometimes desperately.

One of the most powerful lyrical through-lines is the idea of survival, not just in the face of hardship, but despite it. On songs like “Swing For The Fences,” there’s a fiery insistence on pushing forward, even when the odds aren’t in your favor. The chorus, full of grit and swagger, becomes an anthem for anyone who’s ever felt underestimated. 

There are moments of tenderness too—songs where love is shown not as a grand gesture, but as quiet presence. The lyrics lean into vulnerability, nostalgia, and longing, often pulling from both artists’ life experiences without ever feeling self-indulgent. Whether they’re singing about queer identity, chosen family, or simply the ache of growing older, John and Carlile write like they’re sharing secrets with the listener.

Together, their pens carve out space for reflection, rebellion, and radical hope. It’s the kind of writing that doesn’t just speak—it listens.

Vocally, Who Believes In Angels? is nothing short of mesmerizing. John and Carlile don’t just trade verses—they intertwine, elevate, and challenge each other in ways that feel both organic and electric. It’s a duet in spirit, even when they’re not singing together, because their voices haunt each other’s melodies, like echoes from different lifetimes converging in the same space.

John, as ever, brings that unmistakable warmth and theatricality to the table—his voice a little more weathered, but still powerful, especially on the album’s more introspective moments. His delivery’s a lived-in beauty, especially when he leans into lower registers, where pain and wisdom seem to settle. Carlile, on the other hand, brings fire. Her vocals are raw, textured, and unrelentingly human. Whether she’s soaring through a chorus or cracking just slightly on a fragile note, there’s nothing polished about her performance—and that’s exactly what makes it gripping.

Together, they find a balance that feels sacred. On tracks like “Who Believes In Angels?,” their harmonies feel reverent, like a prayer whispered between two pews. But on more upbeat numbers like “Swing For The Fences,” they let loose, their voices colliding in a way that feels joyful and rebellious. It’s less about perfection and more about presence; both artists show up fully.

Instrumentally, the album is a tapestry of John’s signature piano work, Carlile’s acoustic sensibilities, and thoughtful production that never overshadows the storytelling. There are sweeping string arrangements, gritty guitar lines, and moments of quiet stillness where a single instrument is all that’s needed. The spacious, soulful, and often cinematic production lets every song breathe. No sound feels accidental, but nothing feels overproduced either.

This isn’t an album trying to impress with complexity. It’s confident in its simplicity, letting the strength of the performances and the weight of the lyrics carry the emotional load.

Who Believes In Angels? isn’t just a collaboration—it’s a cultural moment. It’s rare by accident that legends like John choose their creative partners late in their careers. In Carlile, he’s found more than a kindred spirit; he’s found a torchbearer who shares his commitment to storytelling, emotional honesty, and defying expectations. This album feels like a passing of the baton and a standing ovation.

For John, this record expands his legacy beyond pop stardom into something even more profound: mentorship, reflection, and reinvention. He’s no longer the rocket man charging ahead—he’s the lighthouse, guiding others home. And yet, he’s not retreating into nostalgia. His work here is vital, present, and deeply felt.

For Carlile, Who Believes In Angels? cements her role as a generational voice—one who can walk alongside giants without ever shrinking herself. She doesn’t fade into John’s shadow; she stands beside him, fully lit, bringing her own lived experience, grit, and grace to the table. Her continued advocacy for LGBTQ+ voices, women in music, and emotional vulnerability finds an even broader audience through this partnership.

Together, they bridge gaps between generations, genres, and identities. The album doesn’t just appeal to longtime John fans or Carlile’s Americana base; it reaches into multiple communities and invites them to connect through something universal: the search for meaning, for belief, for belonging. There’s also something quietly radical about two openly queer artists making an album steeped in spirituality, not as a performance but as a reclaiming of faith on their own terms. In a time when so much music feels fleeting, Who Believes In Angels? dares to be lasting. It doesn’t chase trends—it creates space. Space to reflect, to remember, and maybe even to heal.

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Modern Alibi Releases Debut Album

By Bethany Ivan

Photo courtesy of Modern Alibi and @drewfromcharlotte

Following many successes, such as releasing their 2023 debut single, Seventies, playing a variety of music festivals within Charlotte, North Carolina, and teasing new music, alt-rock band Modern Alibi is ecstatic to release their debut album, American Radio. The up-and-coming Charlotte band announced that the release of their new album will be on April 4th. The album speaks volumes of the band as they leap into a new era of music. 

Lead singer and guitarist of Modern Alibi, Holden Scott met with Crowdsurfer Magazine, where he spoke passionately about the band, and expressed his excitement on the release of the band’s debut album and what’s to come later in the year. During our conversation, he expressed his unique take on the album, and the plans he and the band have for their upcoming album release concert at Amos Southend in Charlotte. 

Crowdsurfer Magazine: I wanted to congratulate you on the release of your debut album, American Radio! First off, how excited are you and the boys? 

Holden Scott: We’re beyond excited! We’re focused so much on this album release show because it’s the first time that people are going to hear these songs live. We’ve been teasing some of them at our live shows, but this is the first time that all the music’s going to be out.

CM: Can you tell me a little bit about American Radio? What was the inspiration behind the album? Was there something specific that you and the band wanted to express or pinpoint when writing the album?

HS: So, American Radio has a lot of songs that have been in existence for a very long time. I want to put my best foot forward, and what I feel represents the band the best. There’s a song called Boy You Better,  which represented a time where I didn’t know what I was doing with songwriting, and I felt a little insecure about what a song is supposed to sound like. I never imagined when I wrote that song that we’d have this many people listening to it. 

[The record] is full of old and brand new songs where I see it like a time capsule of this era of Modern Alibi of the past few years. I remember exactly where I was when I wrote the song, and playing them live in front of people for the first time. It represents us at this period of time. I’m sure in a few years I’ll look back at it and think about all the things I could have done differently, but I think that I’m going to feel very proud of where this is at, and I’m very proud of it. 

CM: Kind of circling back or elaborating on what you said about American Radio being a time capsule of Modern Alibi, what would you say is the most unique thing about the debut record? 

HS: The record is unique compared to what else we’ve released because of how old some of the songs are. If you would’ve told me three years ago that [Boy You Better] is going to be on a debut record, I would probably be like, ‘No bad idea. Don’t put it on there!’ Now, it’s something I’m proud of. 

It’s unique in comparison to everything else that we’ve done. I touch on some different emotions and feelings that I haven’t before. We have a few songs on there that kind of branch out of that happy, style song with some more emotional tracks. I’ve been through a lot actually, but there’s probably like nine or ten tracks that I’m like, ‘okay, I really want to slip into this new feeling or mindset that’s isn’t the happiest, but yet still has a lot of emotion and passion.’ There’s a couple tracks on there that really play that role well that I’m finally happy with. It took a year, but especially with the ending track of American Radio, which is also the title track of the song, really plays that role. 

CM: Before the release of your album, you have released two singles, Is Everybody In? and Scarlet, which for me, is my favorite song. I started listening to it at work and  I thought to myself, ‘This is new!” I was just very surprised. Can you tell me a little bit about both of the songs?

HS: Definitely! So Is Everybody In?, and Scarlett have always been sibling songs, and were written around the same time. Is Everybody In? is more playful and not to be taken too seriously. It’s a fun song with a little fun storyline that you can interpret however you want. Scarlett is more of the opposite. It’s about jealousy, loss, and feelings of betrayal. It’s deeper. I love both songs. I’m so glad that you like Scarlett! 

CM: And you said these songs will be on the album?

HS: Yes! They’re both gonna be on the album.

CM: You also mentioned that there will be an album release concert at Amos Southend. How excited is everyone?

HS: We are very excited! We’re practicing at the moment and we’re making sure we’re prepared, comfortable and confident. We’ve been playing these songs for a while, but this is the first time that some people are gonna know them, or some people are gonna know all of these songs. It’s a little bit of pressure because we wanna make sure we do the songs justice. However, it’s also taking off pressure because the crowd knows what to expect. For a show like this, where our hometown crowd is, and people who’ve been listening to our music, know who we are, who have come however long they have traveled to come see the show, they’re there for us. It feels like they’ve got our backs no matter what. We want to make sure that we do the songs justice, and give people a good memorable, fun experience. 

CM: For the release concert, would you say that there could be any surprises in store for fans? Any tricks up the band’s sleeve? Maybe a few covers?

HS: Yeah! We have a couple covers in the works. We have our stage antics that we always love to do. I love being in the crowd, and I love jumping off things. We want to have an arc. We want it to be a whole experience, rather than here’s this song now now this song.

CM: For the album overall, what do you want people to take away from the lyrics and the overall vibe? 

HS: I definitely want it to be something for everybody. There’s elements of punk rock, a little bit more killer style, emotional rock. There’s also some funk, elements of hip hop, experimental tracks, and even indie pop songs. I want somebody to find something that they resonate with the most. Lyrically, I want people to be able to take the lyrics of a specific song and figure out how to make that connection with themselves. And, maybe that helps them. 

CM: You and the band have accomplished so much in the past few years, such as releasing your first single Seventies in 2023, releasing your first EP in 2024, and playing the Lovin Life Festival and the Charlotte Pride Festival. While we are still in the earlier months of 2025, there’s definitely so much to look forward to within the year. So personally and musically, what are you looking forward to throughout the year? 

HS:  I’m looking forward to seeing what happens with this record., I’m also excited to play these songs live and in as many cities as possible. If that means a tour, it’s a tour! If there were enough hours in the day and enough days in the year, we would literally make it to every city in the U.S. 

CM: My last question is, is there anything that you would like to add overall?

HS: I’m just excited for everybody to hear the record. It’s interesting to me because as a songwriter, I know how the songs make me feel, but I don’t know how it’s gonna make other people feel. For the show, I want this to be a sold out show. It’s looking like it’s gonna be a fun packed full show. I’m very excited about that!

Be sure to stream American Radio on Spotify and other streaming services. To attend their upcoming release album concert at Amos Southend in Charlotte, click here. For more updates on Modern Alibi, follow them on Instagram, TikTok, and subscribe to their YouTube Channel!

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Music News Reviews

David Archuleta finds his “Freedom”

David Archuleta has long been known for his smooth vocals and heartfelt performances, ever since winning over audiences on American Idol. With his cover of George Michael’s iconic hit
“Freedom,” Archuleta takes on a musically dynamic and deeply symbolic song. Initially released in 1990 as an anthem of self-expression and liberation, “Freedom” remains one of Michael’s
most celebrated tracks. Archuleta’s interpretation of the song presents an intriguing blend of nostalgia and fresh artistry, raising the question—does he do justice to the original while making it his own?

Archuleta’s vocal prowess, a defining feature of his artistry, is on full display in his rendition of “Freedom.” His signature clarity and emotional depth bring a new dimension to the song. From the first notes, Archuleta delivers the song with a smooth yet powerful delivery that aligns well with its anthemic nature. His ability to seamlessly transition between soft, controlled verses and soaring, passionate choruses adds a new layer of intensity to the track, leaving the audience in awe of his vocal control and emotional depth.

One of the most notable aspects of Archuleta’s performance is his attention to phrasing and nuance. While Michael’s original featured a mix of grit and effortless cool, Archuleta leans into a more polished and emotive approach. His vocal runs are clean and precise, and he adds subtle embellishments that personalize the song without straying too far from the original melody.

In the high-energy sections, particularly in the chorus, Archuleta delivers with a sense of conviction that makes the message of “Freedom” feel just as urgent and relevant as it did in the ’90s. While his tone is naturally softer than Michael’s, he compensates with expressive vocal dynamics, building tension and release in all the right places. His controlled yet impassioned delivery ensures that the song remains a vocal showcase and a heartfelt tribute to the late music legend.

David Archuleta’s cover of “Freedom” is a minute shorter than George Michael’s original, offering a more streamlined version of the song that still packs an emotional punch. While Archuleta trims some of the song’s length, he retains the powerful gospel elements that made the original so stirring. The background choir and soaring backing vocals remain key to the arrangement, providing a sense of uplift and reverence.

What’s striking is how Archuleta delivers the song with his soulful flair. His version feels intimate yet powerful, leaning into the song’s celebratory spirit with subtle yet impactful vocal runs. The
production stays true to the spirit of Michael’s version but with a slightly more stripped-back, organic feel that highlights Archuleta’s vocal strength. Rather than overpowering the song with excessive layers, the production lets his voice shine, offering a modern yet respectful tribute to Michael’s legacy.

As the first cover I’ve heard from Archuleta, his take on “Freedom” left a strong impression. Archuleta has always carried an air of sincerity and vulnerability in his music, and “Freedom” perfectly matches his personal identity. With its message of liberation and self-expression, the song pairs effortlessly with Archuleta’s journey, especially in recent years, as he’s embraced his freedom and authenticity in his music and public life. His heartfelt delivery feels genuine as if he’s not just covering a classic but embodying the spirit of the song.

The cover has deeply resonated with Archuleta’s fans, who are drawn to his openness and courage. For newer listeners, it introduces them to the powerful message of “Freedom” while showcasing Archuleta’s ability to reinterpret well-known songs. This cover fits naturally within his evolving artistic direction, demonstrating a willingness to take on a bold, empowering anthem. Archuleta’s version doesn’t just revitalize the classic; it enhances it, offering a fresh perspective that feels deeply personal and authentic. The shared appreciation for this cover creates a sense of community among his fans and listeners.

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Uncategorized

Noah Kahan Perfectly Blends Midwest Nostalgia at ‘Live From Fenway Park’

Noah Kahan has swiftly transitioned from a humble Vermont native with a knack for heartfelt storytelling to a folk-pop sensation captivating audiences worldwide. Known for his introspective lyrics and raw, passionate vocals, Kahan’s music resonates deeply with fans who cherish his ability to turn personal experiences into universal anthems. His breakout moment came with Stick Season, an album that celebrated the beauty and bittersweetness of New England life, firmly establishing him as a voice for both his generation and his home region.

With its historic and iconic appeal, Kahan recently performed live at Fenway Park in Boston, where fans experienced Stick Season. This album serves as a landmark moment in the singer’s career. Although I didn’t experience the album live, I gathered one of the best renditions of the Spotify experience. 

The crowd’s energy appeared incredible and extremely vocal as fans didn’t skip a beat regarding Kahan’s lyrics. The acoustics sounded crisp and clear, which is as close to the real deal as possible! The singer thanked the fans for listening to his “depressing music,” which included depictions of growing up in the Midwest. He also repeatedly admitted his love for Fenway Park. 

As the band opened up with an intro to “Dial Drunk,” there was a clear sense of vulnerability and a moving prelude to what the night held for fans. The song had an anthem-like energy and was a definite crowd-pleaser. Kahan commonly left little to the imagination, leaving small performance gaps for fans to fill with the lyrics. Additional tracks included “Northern Attitude” and “Homesick” to name a few. 

Kahan’s Live From Fenway Park is a testament to his evolution from a promising singer-songwriter to a seasoned live performer capable of captivating a massive audience. Unlike his earlier, smaller-scale performances, this album showcases his ability to connect with fans on an intimate level, even in a venue as grand as Fenway Park.

Vocally, Kahan shines throughout the recording, demonstrating a maturity and control that elevate his live renditions beyond their studio counterparts. His raw, emotive delivery on tracks like “Growing Sideways” and “The View Between Villages” captures the essence of his storytelling, amplifying the vulnerability and authenticity that define his music. He balances tender, heart-wrenching moments with spirited anthems like “Northern Attitude,” proving his versatility as an artist.

Kahan’s stage presence is another standout aspect of the performance. His witty, self-deprecating humor and heartfelt anecdotes create a warm, inviting atmosphere, making every listener feel as though they’re part of a much smaller, more intimate show. His interactions with the crowd—cheering on Boston’s sports culture or reflecting on his Vermont roots—further highlight his ability to bring his personality to the stage in a way that resonates deeply with his audience.

This performance also demonstrates Kahan’s growth as a bandleader. The chemistry between him and his supporting musicians brings a rich, layered sound to the live album, elevating songs like “She Calls Me Back” and “Homesick” with dynamic arrangements and energy that fill the stadium. His ability to lead such a cohesive performance on such a massive stage marks a new level of confidence and skill in his career.

In many ways, Live From Fenway Park feels like the culmination of years of hard work, growth, and a deep connection to his roots. It’s not just a live album—it’s a celebration of how far Kahan has come and a glimpse into the bright future ahead.

Photo: Gaby Deimeke

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Concert Photography

The Beaches + Charlie Houston at the Fillmore

By Bethany Ivan

Going out on a Monday, knowing that you have work the next day is one thing, but that excitement of clocking out from a 9am-5pm job, and driving to the Fillmore in Charlotte to see The Beaches perform is definitely next level, especially when you know that the band has a few fun and exciting songs to perform. 

The Beaches took a stop in the city on Sept. 30 on their ‘Blame My Ex’ Tour, with supporting acts by Charlie Houston. Houston, who opened for the band, started us off with some mellow tunes, which is something I needed after a long day of work. The audience was also in for a treat as Houston played a cover of “Year 3000” by the Jonas Brothers. 

As The Beaches began to perform, three words came to mind: energetic, powerful, and fierce. The band not only served looks but with their talent, their performance was completely unforgettable. Leandra Earl and Kylie Miller amazing guitar playing, the fun and mesmerizing voice of Jordan Miller, and Eliza Enman-McDaniel’s wicked talent on drums made it all worthwhile.  Songs  such as “Blame Brett,” “Jocelyn,” and “Shower Beer,” filled the venue of excited fans. Throughout their whole performance, it felt like one extended weekend, which was very well needed. 

I have never really liked Mondays, but after seeing The Beaches and Charlie Houston live in concert, it’s safe to say that I appreciate the day a bit more as I either put my headphones on at work or turn up the radio in my car, with the band and Houston playing through the speakers on full blast. I may or may not say this a lot, but these two artists are definitely going on my playlists on Spotify, where I will listen to their songs on a constant repeat. 

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Cascade Equinox Festival 2024

The Cascade Equinox Festival, held from September 20-22, 2024, in Redmond, Oregon, was a vibrant celebration of community, music, and art. For the second year of the festival, held at the Deschutes Fairgrounds, we spent the weekend nestled in the beautiful high desert
overlooking the stunning views of the mountains.

The festival brought together an eclectic mix of artists, musicians, and attendees seeking to mark the transition of summer into fall with dance, creativity, and connection.


This year’s event featured an impressive lineup that brought festivalgoers from all over the country. From CLOZEE throwing it down on the mainstage Friday night, to STS9 and Liquid
Stranger headlining Saturday and no better way to end the weekend on Sunday night with the performance of a lifetime by JUNGLE that got the crowed moving and grooving. We also really enjoyed Marc Rebillets set, which was very interactive with the crowd, totems, and the environment.

Something we saw a huge difference in this year compared to last year was the implementation of more areas around the festival to explore with friends. From a pop up DJ cart in front of Cosmic Drip at midnight, to a roller rink inside one of the barns, to swings at the Grove – we were pleasantly surprised with how many additions there were to the festival grounds.

Cascade also brought many Immersive art installations throughout the grounds, engaging attendees with interactive and sensory experiences that merged enlightenment and creativity. Workshops and wellness sessions offered a space for personal growth and reflection, from yoga
and meditation to talks on sustainability. Families were welcomed with kid-friendly zones, while food vendors provided a variety of delicious foods. We personally loved Dump City and went every day of the festival – no better way to warm up those 40 degree nights than with dumplings!


As the sun set on this year’s festival, attendees left not only with memories of a weekend full of music and art but also a renewed sense of community and connection within themselves. With how much we saw added to this year, we can only see potential for growth for this special festival in Central Oregon and can’t wait for the future.

Photos by Megan Dirksen, Article by Aly Martin

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Concert Photography Interviews

Meet The Band – Hardcastle

Band portrait of Hardcastle taken with flash against a light brick wall.

Fans of the pop rock space may know the name Hardcastle from a few of their well-known hits. In 2019, the Nashville-based band was gaining heavy traction, joining The Band Camino on a sold-out national tour. Unfortunately, COVID impacted the world shortly after the tour concluded, and subsequently, the band. With the group going their separate ways, singer and guitarist Graham Laderman decided to realign with his artistic vision and set his sights on beginning anew in Los Angeles. 

Since then, Graham has assembled a surrounding team, including managers, producers, and new bandmates, to venture into new musical territory. With a few upcoming shows and new music locked and loaded, Hardcastle is gearing up for a righteous return to the stage (and headphones). I got a chance to interview Graham at his recent Los Angeles show at Paramount LA and asked him a few questions about his musical journey. 

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So before we get into it, you have to tell me what happened with your hand here.

Without going into too much detail, a car hit another car at an intersection, and I was sort of caught in the mess. I looked up, and there was just a car flying at me, and then everything went black. I didn’t lose consciousness, but I closed my eyes and sort of tensed up–when I opened my eyes the world slowly came back into focus and there was a ringing in my ear. I started checking my head after and was just thinking “Oh my god, I’m alive,” and I looked down at my hand and just saw a lot of blood. I had to get 11 stitches in my thumb and it kind of looks like Frankenstein. It’s very visceral when I talk about it, to be honest. 

Wow, that’s insane. I’m happy that you’re okay cause that sounds like it could have been a lot worse for you. Obviously, you were dealing with a lot of shock, and then went to the hospital I assume, but how long after the initial hit did you think “Oh shit, I have shows coming up?”

Immediately. It was the next thing I thought about after realizing I was alive and that my head wasn’t bleeding. Still, despite the stitches and the arm brace, I’m just happy to be here.

How is it affecting the string of shows you have coming up?

Well, I definitely can’t play guitar, which is going to feel so different. I’ve played since middle school and I’ve always been so connected to it ever since I started. I’ve been building out my pedal board and started getting into a lot of capabilities for live shows, and it was feeling like a big culmination of a lot of years, especially now working with a five-piece band and really getting close to how things sound on the record. Now, it’s opened my perception to “Who am I without a guitar?” I have to really tap into a new area as a singer. A week ago I was thinking that I’d never put my guitar down, but I’m excited to get in touch with my power as a frontman and see where it goes. It’s a growing experience, for sure.

Right, I like your optimism there. Let’s hope that your next artistic change doesn’t come at the hands of an accident like this again though, yeah?

Haha, definitely. I like to think of it this way– you have this energy, and you can spend it in a lot of different ways. I’ve just been trying to spend that energy looking into what the opportunity is here.

I want to hear about being raised up in the Nashville music scene from a stylistic influence perspective, how does that experience carry on with you still?

So I moved to Nashville from Atlanta in 2016. In high school [in Atlanta] I was kind of playing this ‘Foo Fighters meets southern rock’, and I was just having fun and didn’t know anything about anything. I’d write half a song, and book shows and just make up the rest onstage, because I just wanted to play so badly. 

When I made it to Nashville, I got into the songwriting program at Belmont for a year and a half before I dropped out, but I realized that writing lyrics was amazing, and that songwriting could be the center of gravity for the things that I wanted to do. I just started collaborating with a lot of people and co-writing with my bandmates at the time [Val Hoyt, Noah Christian, and Miles Laderman, Graham’s brother], and some early stuff with Old Sea Brigade [Ben Cramer]. I was such a hardcore The 1975 fan and got exposed to more pop music, whereas back in Atlanta I was kind of more anti-pop in a way haha. It just really helped to expand my sound and led to songs like “Back To You” and “Mundane.” We started to work with The Band Camino on those tours and show trades, and they’ve always been great at making those anthemic pop-rock songs, so getting to tour with them was a big influence. Somewhere in there though, I started to lose myself a bit, because I was trying to be so many things. 

Yeah, being in a big music market like Nashville, there are so many different avenues a person can go. With Nashville especially, it goes a lot further than just country music, which is where people often stop at. I liked your term of anthemic pop rock to describe it, but there’s a lot going on over there. On to your LA move, how do you carry that experience over here? 

The first thing that comes to mind is the power and process of collaboration and co-writing. When it came to writing the songs on the new record, I had some great help in my corner and narrowed the album down from a ton of songs. I also was just able to find myself again, which has been great. I was always the kid daydreaming in class about being out here in LA. 

Is it what you thought it would be?

So far, it feels like I’m living that dream I’d think about when I should have been paying attention in class. A few months ago, I was in the studio recording a song that’s on the new record called “Down,” and I got to work with Rob Cavallo who’s produced for some of my favorite albums of all time, and I’m holding his guitar–if you listen to “Iris” or “Wake Me Up When September Ends,” it’s THAT guitar. We mic’d the guitar and muted the placeholder electric we had on the track, and I was literally living what I would be daydreaming about. I’m getting chills talking about it right now! It’s just all unreal. 

Bring me up to speed with yourself, and with Hardcastle now– what are you excited about, and what has changed/felt new?

Over a year ago, I connected with Rob and Lisa Cavallo with Done Deal Management. Lisa has just been truly a life-changing mentor, and from the first moment I sat across from her at the table, I felt seen and encouraged to be myself wherever that takes me. I would start having A&R meetings with Rob which was crazy, and HE encouraged me to be myself too, even if it’s left of center. I was also in a place where I was ready and open to receive that kind of advice. Then I got back into the songwriting part and reconnected with the stuff that first turned me on to music, like back when I was a kid in the back of my dad’s car. I guess for a while, I had lost the connection to that ‘spark’–but fast forward to now after being in the studio, I have this record that’s everything I’ve ever wanted and that represents me and all of the people I’ve worked with for Hardcastle, whatever that entity is. I feel completely represented. 

What would you like to tell Hardcastle fans about this new phase?

Overall I think it will be different, but it’s a return to center for me. You’ll hear it when you hear it!

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Through this band transition, Graham has kept busy under the Hardcastle moniker. He released the track ‘Malibu’ in 2023. Before that, Hardcastle collaborated with LA-based singer/songwriter Lorelei Marcell on a single called “Flashbacks,” releasing both a studio-recorded version, as well as a stripped-down acoustic version. 2022 brought fans 2 EPs– Hundred Million Seconds released in October, as well as One More in June. In between the EP releases, September 2022 brought listeners two additional singles “Holding on to You” and “Murphy’s Law”. While Graham’s strong songwriting and instrumental arrangement is present in all of his work, he leans heavier into the bedroom pop/pop rock genres. 

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Currently, ‘Mundane’ and ‘Back To You’ are both around 5M plays on Spotify. Did either of those songs feel different during creation, and what are your thoughts on them now being a few years out?

When I wrote those songs, they both came as ideas while I was writing in my room on this $50 piano that I was borrowing from Val. Mikey Reaves, Val Hoyt, and Ben Cramer were collaborators that helped me fully realize ‘Mundane’. Owen Lewis, too, was a big part of the production. And then Madelyne Morris was my co-writer on ‘Back To You’. Although, it initially felt like those melodies just started coming out of me, kind of spiritually.

So you felt it right off the bat that they were special?

Yeah, and when all of those were popping off, it was everything. I just kept thinking about how lucky I was. After a while during that ‘lost’ period for me, the meaning and impact of those songs were sort of lost on me, too, but now that I got this going I look back on those songs with the same fondness and admiration. 

I mean, that’s how I’m here right now! I remember I was put onto “Mundane” around 2020, and then have been sort of following you guys from then on. When I saw the show billing for Hardcastle @ Paramount LA I knew I could have an opportunity to do this chat here. It’s cool that those songs are part of the reason we’re talking now.

Exactly! That’s why those songs are amazing. I’m glad that they had an impact on people.

If you could tell past Graham anything, what would it be? 

It’s clichè for a reason, but just keep going. Open your mind to new possibilities and give yourself some grace, and that’s really it. It’s a long journey, and you really don’t know how it’s all going to go. Earlier on, I thought I knew how it would all go, and that kind of poisoned the well a bit for me. 

What about future Graham? What would you say to him?

Probably just to stay connected to joy. Trust that that’s a worthy investment, even if it’s something you can’t quantify or qualify. 

Just to wrap it up here, and kind of a fun one to end on–who was your first concert, and best concert?

Oh, man! My first concert was Wilco with my family in Atlanta. I was raised on that band, and we saw them a couple of times in Atlanta. Every second of every day was Wilco, haha.

The one that jumped out at me when you said “best concert”–I remember Val and I camped out early in the morning to see Foo Fighters at Centennial Olympic Park. I remember the doors opened and we sprinted up to the barricade and got way up close. Actually, we tried to throw our demo CD at [Dave Grohl.] 

That’s hilarious! How old were you?

I think I was a sophomore in high school. I remember thinking this could be our moment, like “Put us on stage right now!” 

Amazing. Any other thoughts you had before we call it a wrap?

If anyone wants to bring us on tour, we’re looking to do that! 

You heard it here first, everyone! Hardcastle is ready! Thank you for your time, Graham.

This was so fun, thank you!

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Hardcastle gave fans incredible onstage energy, thanks to Noah Christian (bass), Raul “Perro” Murillo (guitar), Aram Behshid (drums), Zeph Park (keys, guitar), and frontman/singer and interview guest Graham Laderman. Hardcastle has always had their roots in rock, but opts for an edgier sound that feels like it fits in your favorite 2000s alternative rock playlist on your iPod. The band performed fan-favorite “Mundane,” but left the rest of the setlist for their new and unreleased tracks, in addition to Perro surprising fans with a cover of the popular Spanish pop rock song “Lamento Boliviano.” Fans can expect Hardcastle’s new sound slated for release in May of this year, with the full record expected in early Fall 2024. 

Categories
Music News

SZA – S.O.S Aus Tour

Fresh from performing at this year’s GRAMMYS and taking home 3 awards including Best Urban Contemporary Album and Best RnB Song – music trendsetter and icon SZA announces her return to Australia for a run of dates this April with two additional shows. Making it her first visit to the country in nearly five years!

This tour has been highly anticipated by her fans after SZA released her chart topping S.O.S album in December 2022 with hit songs such as “Kill Bill” and “Snooze.”

Tour dates and locations listed below!

Friday, April 19 – Brisbane, Australia – Brisbane Entertainment Centre

Saturday, April 20 – Brisbane, Australia – Brisbane Entertainment Centre *NEW SHOW*

Tuesday, April 23 – Sydney, Australia – Qudos Bank Arena

Wednesday, April 24 – Sydney, Australia – Qudos Bank Arena

Friday, April 26 – Sydney, Australia – Qudos Bank Arena *NEW SHOW*

Monday, April 29 – Melbourne, Australia – Rod Laver Arena

Tuesday, April 30 – Melbourne, Australia – Rod Laver Arena

Tickets:

Tickets for SZA’s Australian tour are on sale now and available at Live Nation‘s website! Don’t miss your chance to witness this incredible artist live in concert.