Pop & Indie
CONCERT: 5/17 – Ramona @ Space Ballroom
Lana Del Rey released her first single off of her upcoming 10th album, “The Right Person Will Stay,” previously expected to be titled “Lasso.” The single, “Henry, come on,” has some country influence both in the sound and lyrics. I like the depressing tone her music has, and it fits perfectly with her soft and quiet voice.
Cynthia Erivo has released a song that has me falling in love with her voice even more. “Worst Of Me” is the second single off of her upcoming album “I Forgive You”. The song follows the feelings of an ended relationship, and the emotion Erivo shows in her voice is incredible. I loved her in Wicked, and I can’t wait to hear more of her independent work.
Trousdale, a Los Angeles trio with the fashion vibes of the Powerfuff Girls, released their second album titled “Growing Pains”. I literally love every single track in this album, it’s just so good. I really like the slight country/jazzy vibe that some of the songs have. The title track and “Vertigo” are two of my favorites from the album, but I really enjoyed all of the songs.
HAIM, a pop-rock trio of sisters, released another single from what seems to be an upcoming album. I enjoyed this song, but I definitely liked “Relationships” more when it was released a few weeks ago. I know the band from their collaborations with Taylor Swift on her song “No Body, No Crime” and their song “Gasoline”. They also opened for Swift on The Eras Tour. I’ve been trying to listen to more of HAIM’s music, so I’m happy that they’ve had two releases in the past few weeks, and I hope an album is coming.
Dean Lewis released a song titled “I Hate That It’s True” about the feeling of missing a past relationship despite the parts that hurt him. He has conflicting feelings of being in love with the person but hating himself for feeling that way. This song is a single from the deluxe version of his last album, “Epilogue,” that came out in 2024. I really liked this track and I recommend it to any of his fans.
Punk & Alternative
CONCERT: 7/10 – Sarah and the Sundays @ Space Ballroom
Green Day released a new single this week, titled “Smash It Like Belushi.” By the looks of the album cover, it seems like it will be the first song released from the upcoming deluxe version of the band’s most recent album, “Saviors.” The song is interesting, definitely not as heavy as some of the band’s other music. It feels like a fun song the band would play as crowdwork. Fans are excited, however, despite the common opinion that the track shouldn’t have been on Saviors– so it seems like Green Day made the right choice in saving it until now.
California-based alternative band The Wrecks released a new EP this week. Titled “INSIDE :,” the EP features six tracks, spanning 21 minutes. The EP includes the last Wrecks release I covered on the Weekly, “Always, Everytime.” The Wrecks is still currently on its “INSIDE : OUTSIDE” tour, a name that makes much more sense following the release of this EP. The EP sounds like a mix of pop-punk, pop, 5 Seconds of Summer, and Ben Platt with a country twang.
Maryland-based hardcore punk band TURNSTILE released a single on April 8. The single, “NEVER ENOUGH,” is the first single to be released from the band’s upcoming album of the same name. It looks like TURNSTILE might be our new Scowl because fans online are predicting that this album is going to lean more towards alt-rock than hardcore. The track feels more like an introduction to the album than a true single, however, with some transitionary drums at the end of the song, so we’ll just need to wait and see what comes next from the band.
Folk & Country
CONCERT: 6/8/25 – The Native Howl @ Space Ballroom
Dean Johnson’s rendition of Lucinda Williams’ “Lake Charles,” released on April 11, 2025, as the B-side to his Saddle Creek Records single “Blue Moon,” offers a deeply personal and stripped-down rendition of the original. Recorded in 2011 in his bedroom, Johnson’s version features only his guitar and voice, creating an intimate sound that highlights the song’s emotional depth. In a note shared by Saddle Creek, Johnson mentions that he never intended for this recording to be heard. His recent signing with Saddle Creek Records, a label known for supporting artists like Indigo De Souza and Big Thief, marks a new chapter in his career. Although it is a cover, you could never tell; Johnson is so earnest in everything he does, and the passion he pours into all his projects is truly admirable. By revisiting a personal recording from over a decade ago, he invites listeners into a private moment, offering a fresh perspective on a beloved song. This release not only pays homage to Lucinda Williams’ original but also showcases Johnson’s unique voice and artistic vision. I hope to see more from Johnson soon. Until then, check out Blue Moon/ Lake Charles.
Released on April 11, “The River Knows” marks the second single from bluegrass powerhouse The Steeldrivers, offering fans another glimpse into their upcoming album “Outrun,” due May 23 via the legendary Sun Records. With this latest track, the Grammy-winning group delivers a classic Southern murder ballad. Written by founding member Tammy Rogers alongside songwriters Daniel Ethridge and Tom Douglas, “The River Knows” tells the story of abuse and retribution. The song leaves the listener asking ‘who doin’ it.’ The abuser ends up dead, but the song withholds just enough to make you question exactly who pulled the trigger. The song is layered with tension, the sound of a mournful fiddle, and a steady bass to tie it all together. As the band gears up to launch its 20th anniversary tour at MerleFest this month, “The River Knows” serves as a fitting tribute to the legacy The Steeldrivers have built over two decades.
On April 11, the Ohio-based folk trio Oliver Hazard released the Living Room Version of their 2024 song “Wild Eyed Blue.” Originally featured on the band’s “Raindrop River” EP, “Wild Eyed Blue” is already a gentle track, but this new version is even softer, more intimate, and undeniably warmer. It’s the kind of song best played around a campfire or quietly echoing off the walls of a living room. That’s no accident, this version was literally recorded in the band’s living room, a space that has been both a studio and a stage throughout the band’s years together. Back in March, Oliver Hazard released a similar reworking of “Honey I’m Hardly,” also from “Raindrop River.” In 2019, they even went on a Living Room Tour, where they performed in over 600 homes instead of bars and theaters. It’s that kind of homespun charm that makes Oliver Hazard’s project so compelling. The song doesn’t need a spotlight or a massive sound system. It just needs a quiet space and a few voices to sing along.
Hip-Hop & R&B
CONCERT: 5/25 – Ziggy Marley @ Foxwoods Resort Casino
After “A Great Chaos” saw huge success in 2023 and 2024, Ken Carson’s newest album release has been super hyped up by fans. Carson stays true to his style from his previous album, promising “More Chaos.” The new album starts with a bang with “Lord Of Chaos,” which was a fantastic tone setter. The whole project is rife with his signature heavily layered and bass-boosted beats, which is a production style that I’m a huge fan of (especially if you read the newsletter from last week). The only issue is that the style does kind of get old as the album gets to the middle and the end, and even after another listen, I still feel the same way. Some of my other favorites include “Dismantled,” “Blakk Rokkstar,” and “LiveLeak.” “Off The Meter” was also really good, with fellow Opium label members Playboi Carti and Destroy Lonely offering some great features. They were the only features on the whole album, which was pretty impressive. My No. 1 song off the project is “Trap Jump.” I love his little gimmick where he corrects himself on the song, and since he shouts out Ja Morant, it’s been huge in basketball spaces online right now. If you’re a fan of trap in general, this album needs a listen. While I think this and “MUSIC” are about even in terms of quality, I think Ken put out the more consistent album, whereas Carti’s had more variety with some better ups but much worse downs.
Sheck Wes and Travis Scott’s newest single was a little disappointing, in my opinion. The beat is solid, with a good bounce led by a blaring 808 and Wes’ whining vocals. He’s apparently an artist with an underrated catalog, but I could never get past his actual voice. The lyrical content doesn’t do much to make up for it, either. “ILMB” is a pretty stereotypical trap song, and to be honest, I expect better of both these artists.
I’m such a fan of BabyTron, but even though he drops what feels like every week, I’m finally sending one. BabyTron is a Detroit rap staple, and personally, he’s my favorite scam rapper. The subgenre is self-explanatory, but it leads to some hilarious bars, especially from Tron. His goofiness in his rhyme schemes, as well as his lyrics and extremely wide sampling range, makes him an artist for anyone. In his newest single, “Ding Dong,” he joins fellow ShittyBoyz (Detroit rap group) member StanWill. On this one, Tron brings his signature flow with the low piano and lots of bells. They delivered a solid song, but I’ve heard better.
