Tag Archives: single review

LISTEN: On ‘Drown in the Desert,’ Mary Jennings Helps Us Weather the Storm

Following life’s storms, we all have a choice: let go of the pain and find oneself, or stay stuck where we are.

Mary Jennings explores this theme of resilience — even through catastrophe — on her latest single, “Drown in the Desert.”

Building on the socio-political themes of Jennings’ previous single, “Take A Number,” “Drown in the Desert” was inspired by Jennings’ experiences at Burning Man in 2023, which became infamous for the rare, torrential desert rain that caused mass evacuations and many stranded individuals at the festival. The single begins with a calm, ethereal electropop sensibility — meant to mirror the desert landscape’s typical tranquility — before tension builds and washes down on us. Jennings found the desert storm to be an apt metaphor for life’s more challenging moments, when we find ourselves overwhelmed by emotions, circumstances, or both.

“Drown in the Desert” was co-produced by Ryan Youmans, and is the second single from Jennings’ forthcoming EP, set to arrive this summer. Immerse yourself in this one below!

LISTEN: With ‘Spooky Girl,’ Lips Speak Louder Blasts Off Into 2025

It’s hard to imagine a band getting the year off to a hotter start than Lips Speak Louder just did with their newest single.

The turbo-charged “Spooky Girl” enters the equation with loud, fuzzy guitar riffs and aggressive drums, combining the grit of 90s grunge with the thrilling, rhythm-oriented bombast one might expect from a Queens of the Stone Age record.

“‘Spooky Girl’ is a song about walking the line between carnal fascination and hedonism,” notes vocalist/guitarist Rachel Brandsness. “The opening guitar riff, soaked in fuzz, dictated the direction of the song, which paved the path for the aggressive drums and created the perfect tonal landscape for the lyrics.”

Produced by acclaimed guitarist and songwriter Emily Wolfe, “Spooky Girl” is another offering from the band’s forthcoming album, to be released later this year.

“When we pictured the backdrop of ‘Spooky Girl,’ we envisioned the chase, or cat-and-mouse situation in a dark club with lots of stimulation, sexiness, and eagerness,” drummer Angie Lese adds. “We wanted the music to mimic that driving force, so by design, the song goes hard and doesn’t let up.”

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!

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: On ‘Hotel Bible,’ Max McNown Defeats Self-Doubt

Photo credit: Benjamin Edwards

We all experience moments of self-doubt. Yes, even if you’re Max McNown, last week’s #1 artist on the Billboard Emerging Artists chart, and the current CMT Next Up Now artist of the month.

For those moments, Max gives us “Hotel Bible,” a rollicking Americana anthem that inspires us to find the light in our darkest hours.

“Even the most confident among us doubt themselves at times,” McNown said. “‘Hotel Bible’ follows a loved one who’s lost their ability to trust and love themselves. But as the lyrics illustrate, even in the darkness of self doubt, there can also be light. The song is meant to serve as a reminder of the best times of our lives, when we inevitably endure the worst, to see value in the times we feel cheapest.”

The feel-good tune is the latest triumphant moment for McNown, who was named as CMT’s Next Up Now artist earlier this week. The honor included CMT premiering McNown’s new music video for “Snowman,” from his recent EP, Willfully Blind. The video will receive extra airplay on CMT’s 24-hour TV channel all month long, and has been added to CMT’s “Country Music Videos On Repeat Playlist.”

Strike a match, light a candle, and curse the darkness. Check out “Hotel Bible” below!

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.

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.”

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