Pop & Indie

CONCERT: 4/11- Alessia Cara@ The Paramount (Brooklynn)

Selena Gomez absolutely killed it with her new single “Call Me When You Break Up” with a Gracie Abrams feature. You could not have possibly picked a better song for Gracie to be featured on. The song is so upbeat and I absolutely love the answering machine at the beginning and a pause towards the end to say a quick little line. It’s like the part in “Look What You Made Me Do” when Taylor says “The old Taylor can’t come to the phone right now…” I am getting so excited for this album to come out and I love that Selena is doing the whole thing with her fiance. 

I like “Miss Possessive” but I have no idea what she’s saying for most of it. “Sports Car” has also grown on me since I last listened to it. I also enjoyed “Signs,” “Means I Care,” “Greenlight,” and “Nostalgia.” Our resident Tate McCrae fan, James Kassan, loved 9 of the songs and insisted I listen to the whole album. Overall, Tate McCrae just isn’t my style of music but I enjoyed the album. Some of the songs grew on me more the second time around.

Everyone’s favorite GM, Becca recommended Chloe Moriondo’s song “hate it” and I’m absolutely vibing with it. I guess you could say I don’t hate it. She got her start on YouTube in the mid 2010’s as a ukulele cover artist. Her first album, “Rabbit Hearted” was released in 2018, since then she’s released two more albums. “hate it” is the second single released from her upcoming album “oyster” which is coming out on March 28. Fans are enjoying the song, it’s her first full-length release since 2022 and is a return to the sound of her first two albums.

“Praying For Your Downfall” is actually a genius song and I’m fully obsessed. So naturally I listened to her other single “Massachusetts” and I am so ready for her upcoming album, “I Don’t Know How But They Found Me.” This song is about overcoming a breakup and giving the other person less of your energy. She describes how much of her life was spent on this person and how she found herself praying all these bad things would happen but she doesn’t actually want that. I just really like the motion and storytelling in this song. Listening to it makes you understand exactly how Jensen McRae is feeling. I definitely recommend listening to this song.

Punk & Alternative

CONCERT: 5/31 – Momma with Wishy @ Warsaw, Brooklyn

I’d like to cordially welcome Nashville singer Knox back to his rightful place on my section of the Weekly. With the release of his most recent single, “You Happened” on February 21, we have what appears to be the third single that’s set to appear on his upcoming debut album “Going, Going, Gone.” It’s notably joined by his hit single “Not the 1975”—one of the first releases I ever covered on the Weekly. Knox releases lots of singles, some that have never released on an EP or an album. Unfortunately, “You Happened” continues the trend that started with Knox’s release of “Invisible.” He seems to be re-aligning himself with a much more indie-pop sound and audience, which is truly a shame, as the heavier, alt-pop sound is missed in my headphone speakers.

In 2021, several hardcore bands in the Bay Area performed an outdoor benefit show that thousands of fans in the area came to. $5 tickets, no online sales, just people. Now, on February 21, a new compilation from the benefit dropped, with 17 different bands contributing to the track list. I’m focusing on “Horrible Feeling,” from a band we’ve become familiar with recently, Scowl. Despite recent criticism from hardcore fans online, this new song feels very familiar to some of the band’s earlier music that I’ve covered. The band’s mix of distorted lead vocals combined with screamo flair creates a song that is palatable to many more audiences but it still has roots in grunge and hardcore circles.

We got the first ever album from Nashville based pop-punk band Winona Fighter last week, “My Apologies To The Chef” is a compilation of the band’s best singles—much like Chappell Roan’s “The Rise and Fall of a Midwest Princess.” With 14 tracks, the album has a runtime of just over a half-hour, and the majority of it is really good music. Every song has that special something that makes it so incredibly catchy that you can’t help but listen again. You all know I’m picky with my picks and who I listen to on a regular basis, and Winona Fighter might just be sneaking their way on to that list. While the album is absolutely amazing, I do have to call out the negative—one of the songs, “Wlbrn St Tvrn” (while I do notice and appreciate the Fall Out Boy references in both the title and the lyrics) dates itself by mentioning TikTok directly. Some of the lyrics make me cringe inwardly so much that it’s a pretty hard listen. 

There’s also a new release from Los Angeles based alternative band Wallows this week. “Coffin Change” was released on February 20, to resounding success within the band’s fanbase. Long-time fans are excited that the song appears to be a return to the band’s old sound from when it began in 2017. This is a step in a positive direction, as the band’s previous album, “Model” released to moderate success. Fans fairly criticized the album’s “bland, TikTok pop” sound. “Coffin Change” is the second single to be released from Wallows’ upcoming EP, “More,” releasing in March. The band is currently on its “Model & More” tour, and will be coming to Bridgeport in June.

Folk & Country

CONCERT: 4/4 – Graham Barham @ Toyota Oakdale

Mumford & Sons have released their second single, “Malibu,” ahead of their highly anticipated fifth album, “Rushmore,” set to drop on March 28. The track is slow burning, it gradually builds and features the band’s signature layered instrumentals and rich, harmonized vocals. “Malibu” is a song about finding refuge in the people who know you best. With its warm acoustic textures, stirring harmonies, and uplifting spirit, the song embodies everything fans love about the band. Personally, I’m eager to hear how the rest of the album unfolds. In the meantime, give “Malibu” a listen and be sure to catch Mumford & Sons on tour this summer. 

Ahead of their highly anticipated fourth studio album, “Hope We Have Fun,” Mt. Joy has released a new single, “More More More.” It dropped on February 21; the track showcases the band’s signature genre-blurring style, blending elements of folk and indie rock. While difficult to categorize precisely, “More More More” embodies everything I love in music—an emotional build-up, rich instrumentation, and lyrics that resonate on a deeply personal level. At its core, “More More More” critiques the relentless pursuit of excess in modern culture, reminding listeners that fulfillment isn’t found in material gain but in the love and connection we share with others. This message aligns with folk traditions of gratitude and simplicity, which is why I can’t help but place it within that realm. Mark your calendars, Mt. Joy’s new record drops on May 30. 

Olive Klug released their new single, “Taking Punches From The Breeze,” on February 20. Klug first began making music seriously in 2020 after being laid off from their teaching job, turning to songwriting as both an artistic outlet and a means of self-expression. However, their musical journey started even earlier, with their 2019 debut single, which was more of a casual release than a serious career move. Since then, Klug has built a devoted following, thanks to their thoughtful lyricism. I first discovered their music through their 2024 release, “What To Make Of Me.” This new single, though, is truly extraordinary. Rooted in folk traditions, the song begins with gentle, understated instrumentation and soft harmonies, drawing the listener into its melancholic atmosphere. As the track progresses, it gradually builds momentum, introducing snare drumming and subtle audio effects that add depth and texture to the song. “Taking Punches From The Breeze” is about resilience: weathering life’s challenges, getting knocked down, and finding the strength to stand back up. Klug captures this sentiment with raw honesty, embodying the spirit of a true folk artist. Their ability to craft music that is both emotionally resonant and thought-provoking is what makes them such a compelling voice in today’s indie folk scene. If you haven’t yet explored Olive Klug’s discography, now is the perfect time, I can’t recommend it enough.

Hip-Hop & R&B

CONCERT: 4/26 – $UICIDEBOY$ @ The Webster

J.Cole had a very rocky 2024 in which he most notably entered the Kendrick-Drake beef as swiftly as he left it. He also dropped “Grippy,” not only one of the worst songs to drop last year, but one of my least favorite songs I’ve ever heard. The rough part is that I am a fan of J.Cole, even through all of the horrible bars I’ve had to hear from him recently. Dare I say it, a comeback might be brewing after checking into this track. The beat is really bubbly and light; it reminds me of something one of my favorites, Aaron May, would use. J.Cole sounds great on it when he vocalizes before the verses, but the actual rapping is where he shines here. His rhyme scheme and flow is straight-up incredible in the first verse, and I don’t think it’s crazy to say it’s the best verse he’s released in the last three years. I only hope he’s able to maintain this momentum into a quality album later this year.

One of my favorite women in rap, Rico Nasty has totally done it again with her newest single, “TEETHSUCKER (YEA3x).” Set to be the lead single off her newest album, “LETHAL,” set to release on May 16 this year. It’ll be her first album since 2022, which has me super pumped. Rico Nasty has always been an innovator in the space, and this song has a lot of hard rock/metal elements combined with her rapping ability. The main melody is an aggressive guitar filtering through the same power chords, but it works for what she’s going for. She even distorts her vocals and does a little screamo towards the end of the song too. All in all this genre-bending rock-rap fusion is so catchy and fit for the best action movie fight montage, and I’m excited for her album to build on it.

I’ve heard about Stormzy from peeking my head around the UK rap scene, and he’s an inevitable name. While he’s more of a tier two or three artist in terms of popularity in UK rap, that doesn’t mean his music isn’t up to snuff by any means. He’s most famous for his hard drill sound, but in this song, he opts to slow things down. My roommate is a bigger fan of his than I am, and his favorite slower song from Stormzy is “Interlude” from the “Black Panther: Wakanda Forever” soundtrack. His voice is so full and polished, honestly unexpected for someone who raps as hard as he does. This cover of “Godspeed” by Frank Ocean blew me away, though. It’s one of my favorite Frank Ocean songs already, and I promise this cover does it justice. It’s not the full song, skipping the instrumental bit in the beginning. This version definitely feels more soulful, thanks to just the organ and choir backing him up. Regardless of if you’re a Frank Ocean fan, please check this one out.

I found Eem Triplin through current indie sensation Malcolm Todd’s 2024 album, “Sweet Boy.” The song that Triplin features on is “New Friends,” and his voice totally fits Todd’s sound. Sweet Boy released over 10 months ago at this point, and Eem Triplin fell out of my mind until I saw he released his debut album on Feb. 17. His solo sound reminds me a lot of Jordan Ward, utilizing fast flows and catchy lo-fi beats with great hooks. He changes it up from song to song too, giving this album a healthy variety. The very first song, “Came In It,” instantly reminded me of Ward’s “WHITE CROCS,” my absolute favorite song of his. Triplin had some great upbeat songs in this one, with my favorite being “If We Being Honest.” I really like the flow and how the background melody complements it in the verses. I think one of the lead singles, “MISS ME?” brings more hype, and the strings in the verses really elevate it. As for the slower songs, “Kingdom Of Hearts” and another single, “DUYA” took the cake in my opinion. The slow drums and humming chords on “Kingdom Of Hearts” makes it a great outro. It builds pretty consistently with stunning vocals from an unattributed voice, too. “DUYA” reminds me a lot of vintage Noname, especially her sound from her 2016 cult classic “Telefone.” This album is only 35 minutes long and a pretty easy listen, so if you like some creative lo-fi rap, this album’s definitely for you.