Tag Archives: new single

LISTEN: After Love and Loss, Amanda Keeley Finds ‘Better Days’

Acceptance is a vital part of moving on at the end of a relationship. That means coming to terms with everything that relationship was or wasn’t, and everything that it did — or did not — have the potential to be.

Amanda Keeley hits us with that realization with her new single, “Better Days.” The resilient tune paints expired love through an objective lens — an important part of the recovery process.

“The words came to me at a time where I needed help processing the loss and letting go of a longtime relationship,” Keeley said. “I’m grateful for this song finding its way through me as it helped immensely with closure and moving forward from a place of love.”

Keeley’s smoky vocals call to mind the soulful delivery of contemporaries like Sara Bareilles and Brandi Carlile, while the spellbinding, rhythmic folk-rock instrumental of “Better Days” conjures shades of Fleetwood Mac. The song’s steadfast tempo marches us along, akin to the days and weeks which provide clarity following a breakup.

“As a songwriter, I interpret many life experiences through songs. In this case, I found myself with certain lines floating through my mind like, ‘thought we were more than this, let us go, let it die, all the flowers have dried and just dust in the wind,'” Keeley said. “It really felt like the perfect way to clearly communicate how I was feeling. The grief I was experiencing was pretty intense; the ‘flowers’ felt like a representation of the need for a funeral of sorts to really grieve this loss, and once the flowers ‘dried and just dust in the wind,’ this was me coming to terms with it being over and letting go.”

“Better Days” is part of Keeley’s forthcoming album, which will dive further into the topics of loving, losing, and learning to love again.

“(The album) will be a compilation of songs telling stories of love; finding ourselves, our place in this world, and the one’s we’re meant to be with,” Keeley said. Also, stories of loss; heartbreak, letting go, and finally healing.”

LISTEN: Evan Kreutz Watches Love Drift Away Like a ‘Dandelion’ in the Wind

Remember that time you were in love, and it just didn’t work out?

Evan Kreutz does, and he filters that nostalgia through a 2000s pop rock-tinted lens on his new single, “Dandelion.”

Those who find resonance with the emotive alt-rock stylings of bands like Guster and Fountains of Wayne will enjoy diving into this one. From the opening line, “she’s all out of patience,” we can feel a deep sense of longing and regret. With each somber chord, Kreutz wistfully comes to terms with the fact that the love he once held so dear — which provided him with so many beautiful moments and memories — is gone with the wind.

“Dandelion” was produced by Doug Grama and mixed by Ray Martell at Westfall Recording, with Griff McCarthy on drums. Get ready to get into your feelings with this one!

With “Body as a Vessel,” Alis Vibe Reframes Death as the Next Phase of Our Spiritual Journey

Modern society has come to view death as an absolute end; a tragic event met with grief and, in sudden cases, a seemingly futile search for closure.

Alis Vibe (IG | Spotify)– the intentional and international singer-songwriter from Milan, Italy – invites us to reframe death as the continuation of our spiritual journey with her new single, “Body as a Vessel” (out Nov. 8, 2024).

“‘Body as a Vessel’ is inspired by the transformative nature of life and death. This song embodies the uplifting message that our bodies are merely vessels for our spirit and soul,” Alis said. “While death is often viewed with sorrow, I wanted to create a narrative that celebrates it as a powerful transformation; a continuation of our essence, rather than an end.”

Written by Alis Vibe and produced by Dillon Pace, “Body as a Vessel” is heavily influenced by the electronic dance pop of Alis’ home continent. The empowering anthem invites us to release fear and judgment, as we come to understand that our finite physical existence represents a mere snapshot of our soul’s connection to the universe.

“Overall, the song captures a transformative journey toward self-acceptance, mindfulness, and the realization of one’s inherent worth,” Alis said.

“Body as a Vessel” also marks an important point in Alis’ musical journey, as she transitions toward the next phase of her artistry. The Nashville-based pop songstress is preparing to offer new music, fresh perspectives, and exciting live experiences throughout 2025.

“‘Body as a Vessel’ is not only a song that deals with the concept of death, but it’s the end of an era for me,” Alis said. “We’re working on the next chapter of my music journey.”

Mixing, mastering, and sound design performed by Simone “Unsaid” Saparacino.

LISTEN: On ‘Where Are You Now,’ Matthew Ryan Jacobs Captures Life’s Bittersweet Journey

Life doesn’t always wait until we’re ready to make changes.

Kitchener-Waterloo, Ontario-based songwriter Matthew Ryan Jacobs has experienced plenty of growth over the past few years, and he captures its essence on “Where Are You Now.” This bluesy waltz is passed through a gritty alt-rock filter, as Jacobs helps us reflect on the pivotal moments that comprise life’s bittersweet journey.

“’Where Are you Now’ is mostly about making changes in your life, whether you want to or not,” Jacobs said. “A lot of my writing over the last few years has had a lot to do with getting older or growth; and the struggle of leaving certain things or people in your past. It’s not intended to be a negative narrative, just honest. Even if you know you’re making the right — or at least, better — decision, you still second guess yourself along the way.”

“At least I do.”

Produced by Ben Kempel, Jacobs describes “Where Are You Now” as a song that “just kind of happened” — much like the reality that inspired its narrative.

“I didn’t overthink anything in the process. It felt right, so we went with it,” Jacobs said. “I had a pretty clear vision for the production, and Ben did a great job as usual making it happen.“

LISTEN: With ‘Questions I Can’t Ask,’ falllift Finds Closure

Sometimes, the only closure we’ll receive is that which we give ourselves.

North Carolina-based duo falllift explores the topic on their new single, “Questions I Can’t Ask.” The pair — songwriters Micah Cottingham and William Steven Hall — worked in tandem to craft the narrative, which addresses the words left unsaid after love has run its course.

‘”Questions I Can’t Ask’ is a song about closure where there was none,” they explained. “It’s about letting go and wishing someone peace, even when the same grace wasn’t given. This song is full of the things we would say to these people, the questions we would ask, if given the chance.

Listeners can expect a gorgeous, sweeping alt-folk arrangement; one whose impact hits us with a crescendo of both sound and emotion as the track progresses. Produced by Nick Bullock and mastered by GRAMMY Award-winner Kim Rosen, “Questions I Can’t Ask” features the talents of Clark Singleton (bass), Aaron Shafer-Haiss (drums), and Emanuel Wynter (violin).

“We chose Nick to produce the singles we’ve released this year, and we couldn’t be happier,” the duo said. “He took our ideas and transformed them into world-class tunes, while maintaining the artistic integrity we presented. Clark nailed the bass and Aaron added an effortless touch on the drums. Emanuel did what only he could do on the violin, and Kim taught us about mastering with her GRAMMY-winning touch.”

You may be hearing “Questions I Can’t Ask” around much more very soon. The song was picked up for sync placement on the long-running hit ABC series, Grey’s Anatomy.

Not only has falllift found success with this release — they’ve found great artistic and personal fulfillment.

“Although it can be difficult for some to address prior relationships, we felt it was important for us to give ourselves that space.”

LISTEN: David Tucker Has a Hard Time ‘Forgetting Her’

Missing somebody means missing all of them — even the little things that make us crazy.

David Tucker explores the difficulties of moving on with “Forgetting Her,” a spacious pop-country waltz that makes us consider whether walking away is really the right move…

“I’m tired of getting eight hours cause she isn’t keeping me up
I’m tired of not being late cause her hair don’t look good enough
I wish I could still see the face that she makes
When something I did isn’t going her way
If you’re ever thinking that loving her is too much for you to take
Try forgetting her.”

-David Tucker, “Forgetting Her”

Co-written alongside longtime collaborator Jake Saghi and seasoned Nashville artist Qvint, “Forgetting Her” has been making waves on the musical landscape. The single was exclusively premiered by PEOPLE Magazine last month — and, with its heartfelt subject matter and absolutely gorgeous vocal harmonies, it’s easy to understand why this one has gained traction — with listeners and media outlets alike!

LISTEN: On “Charlotte’s Web,” Andi Jane Walks the Thin Line Between Love and Obsession

What happens when love is taken too far?

Andi Jane explores the moments when love turns to obsession on “Charlotte’s Web,” a lush, haunting masterpiece just in time for spooky season.

Co-written alongside her partner at the time, Craig Anderson, the gothic folk single was crafted with inspiration from chilling real-life events.

“I wrote the song shortly after being physically threatened by my partner’s admirer; a woman who admitted to stalking him in order to become his friend,” Andi said. “After the incident, I met my first brown recluse spider, and I couldn’t close my eyes without thinking of spiders and stalkers. We ended stayed up all night to write this song.”

Representing the “battle between longing and harm, desire and destruction,” “Charlotte’s Web” features the one-man string section of Billy Contreras, who added depth to the sonic landscape by performing each the song’s five — yes, five — distinct violin parts.

“Watching him layer part after part, with each violin having its own unique name, was like watching a mad scientist at work,” Andi said.

WATCH: On ‘Philadelphia,’ William Harries Graham Shares Joyful Reflections

Photo credit: Col Elmore

We can appreciate our youth for what it was, while realizing that there is happiness to be found in the present.

That is the theme of William Harries Graham’s new single, “Philadelphia.” The third single from Graham’s forthcoming album, Annie’s House (due out Oct. 25), the spacious folk ballad is hallmarked by hushed, reflective vocals and a wistful, yet steadfast acoustic arrangement.

“‘Philadelphia’ really is a song about looking back at the life you had when you were young and could do anything, but not missing it,” Graham said. “There is something nostalgic about that youth, but this song is about finding joy in every stage of life.”

The music video — directed by Ruby Lavin and WITH — conjures faded memories of summers gone by, as various adventures across the great American landscape are presented through a grainy lens. These scenes are weaved between Graham by himself, strumming and singing in a lawn chair. The Austin-based troubadour’s relaxed demeanor communicates a sense of peace for all that was, is, and will be.

“When people hear this album, I want them to walk away from it with some reflection on their own lives and experiences.” Graham said. “The music that I personally connect with is always music where I see some part of myself in it. I hope you see yourself in Annie’s House.”

LISTEN: The Trampoline Delay’s Wake-Up Call

We’ve all had that loved one whose destructive decisions are becoming worrisome. The Trampoline Delay is here to help us sound the alarm.

The band’s new single, “Little Lucy,” comes in with a thunderous urgency. The fast-paced alt-rock offering — which clocks in at just under two minutes — is written from the perspective of a friend who sees the crash coming, but feels powerless to stop it.

“‘Little Lucy’ is about watching someone self-destruct and trying to snap them out of it. Lucy’s caught up with the wrong crowd, doing things that drag her down—whether it’s drinking, drugs, whatever,” said frontman Pete Marino. “It’s that downward spiral you can’t always pull people out of. The first chorus is a wake-up call, like, ‘Get it together,’ but by the end, it’s more desperate, like, ‘Please wake up,’ after it’s too late.”

The scorching new tune was created out of a fun creative competition between Marino and other musician friends, where they pick a theme, select an existing song, and make it their own. “Little Lucy” started as an indie rock makeover of the Everly Brothers classic, “Wake Up Little Susie.”

From there, it found new life.

“I think it took about 30 minutes to program drums, record the guitars, bass, vocal. In this case, I loved the version I made so much, and it was completely different than the original, I didn’t want it to go to waste,” Marino recalled. “So, I wrote new lyrics, while still keeping that iconic chorus line of “wake up little…” but definitely took the song in a darker direction. Then, I went back to it, and added real drums and new vocals.”

“Runaway” to the 80s with Lawrence D.

The neon glow of a clear Nashville night has nothing on the shimmer of “Runaway,” the new, 80s-inspired track from Lawrence D.

“Runaway” combines clean, catchy guitar riffs with retro synth tones and Lawrence D.’s silky-smooth vocals, taking us on a dynamic thrill ride that would find itself at home among The Weeknd’s best work.

Seriously… put it up against any track on Dawn FM, and try telling us it doesn’t fit right in. We dare you!

“My producer and I were sitting in his studio in Nashville, TN and he created this nice 80’s track,” Lawrence D. said. “I wrote the record that night. It reminded me of a Red Ferrari drive on the roadside of the beach somewhere in Miami. My other producer added the bass line, and I had the idea to bring the live electric guitar into the fold to give it an electrifying rock feeling. I love everything about this record, and I hope whoever is listening will love it, as well.”

« Older Entries Recent Entries »