new music

Joanna Adams – New classicla Acoustic  / folk release  – Swoonworthy

In her latest single from an upcoming debut EP (out February 2026), Joanna Adams blends her classical roots with quirky pop and musical-theatre flair, turning lessons in love into richly detailed musical storytelling.

Built around lush string-quartet arrangements by classical composer Andrew Gabb, the song pairs flowing piano lines with confident, sweeping soprano vocals. The result is a sound that feels both theatrical and intimate, firmly establishing Joanna’s distinctive artistic voice.

The song was inspired by Joanna’s love of Jane Austen’s novels, particularly their witty and insightful explorations of romance and emotional nuance. For Joanna, lyrics often come first, followed by melody and harmony developed at the piano. The chorus draws influence from the classical-pop songwriting of Australian artist Kate Miller-Heidke, shaping a melody that is both playful and emotionally resonant.

“I love music that sweeps you up in its atmosphere and takes you on a journey. I always start with a feeling or an idea that has captivated me and that I feel the need to explore and express through poetry and music. That is what I wanted to do with Swoonworthy, and I hope you enjoy the fun and romance with me.”

Joanna Adams is a Sydney-based, classically trained soprano and emerging singer-songwriter. Alongside her original music, she works as an entertainer, performing concerts for residents in aged-care facilities—an experience that has deepened her appreciation for music as a tool for meaningful human connection. Her debut EP is scheduled for release in February 2026.

Broghan( Alternative ) New release Monstare In a Suit and Tie

 About Broghan

You’re looking for something different. Something meaningful. A distraction that doubles as therapy. A song that grabs you by the ears and whispers, “I get it.” One that takes all your jumbled thoughts and transforms them into a single melodic piece, sticking in your head long enough to drown out the endless noise of daily life. That’s exactly what Broghan wanted—and so she made it herself.

The young Scottish artist turned her own experiences—and the stories of others—into songs, each one vividly illustrated through her stunning paintings and drawings. Today, Broghan [BRO-GAN] is an independent artist whose music has reached listeners all over the world.

With songs available across all major streaming platforms, Broghan has released two music videos and performed at iconic Scottish venues, including the legendary King Tut’s. Her live performances captivate audiences, most notably when opening for Lewis Capaldi in 2023 at the OVO Hydro, performing to a crowd of 12,000.

Industry professionals have praised Broghan for her storytelling and cinematic songwriting. Her tracks are filled with catchy melodies, moving vocals, and thought-provoking lyrics. As A&R Factory noted about her single The Calm Before The Storm: “She’s a phenomenon in her own right, and it is only a matter of time before she’s showered with plaudits and songwriting awards.”

Joey Gutos Releases  – Life On Cruise, a Groove-Driven Indie Rock Single About letting Go and Moving Forward

 Phoenix-based singer-songwriter Joey Gutos unveils his latest single, “Life On Cruise,” a groove-driven indie rock track built on infectious rhythms, shimmering guitar hooks, and rich, soulful vocals. Known for merging modern indie sensibilities with classic influences, Gutos delivers a song that feels both effortless and intentional—tailor-made for late-night drives, alternative radio, and mood-forward playlists.

Drawing sonic inspiration from artists such as sombr, Foster The People, and Balu Brigada, “Life On Cruise” balances clean, contemporary production with the raw energy of a live band. Subtle nostalgic elements run throughout the track, echoing Motown warmth, 60s psychedelia, and folk-rooted songwriting, while remaining firmly grounded in today’s indie rock landscape.

For this release, Gutos and his band took full creative control after years of collaborating with top Valley producers. The result is a confident, self-directed statement that reflects both artistic growth and clarity.

“The song came from that feeling of being stuck in a version of myself that didn’t quite fit anymore,” Gutos explains, “and finally choosing to move toward what feels right.”

The song’s origins are just as atmospheric as its sound. The original demo was recorded overnight in a dimly lit rehearsal studio during one of Phoenix’s infamous summer haboobs—dust storms known for knocking out power across the city. With electricity cutting in and out, Gutos recorded in near darkness, taking intermittent naps on a sleeping bag between takes.

“Life On Cruise” has since become a live favorite with Gutos’ new band, featuring Nick Sterling, Jeremy Reynoso, and Marcus Weeden. A performance on the Amazon Prime-featured livestream The Recording Artist sparked an overwhelming audience response, ultimately convincing Gutos to transform the track into a fully realized studio release.

Beyond his recorded work, Joey Gutos remains deeply embedded in the Phoenix music community—collaborating with local artists, hosting songwriter meetups, and creating spaces for musicians to connect and grow together. “Life On Cruise” stands as both a personal milestone and a reflection of that community-driven spirit: a song about release, forward motion, and trusting the road ahead.

Dylan Connor Releases New Single – Hot Mess.

Singer-songwriter Dylan Connor has released his new single “Hot Mess,” a punchy, straight-ahead rock track driven by sharp, self-aware lyrics and restless energy. The song serves as the lead single from Connor’s forthcoming album Lest We Forget, set for release on January 30. Drawing inspiration from bands like The Cult, XTC, and R.E.M., “Hot Mess” balances classic rock urgency with a modern lyrical bite.

Lyrically, “Hot Mess” explores the tension between confidence and insecurity with humor and clarity. Connor contrasts an almost mythic figure — described as “a living goddess in a diamond-studded dress” — with a narrator unraveling in real time, repeating the refrain “I’m a hot mess / can barely get myself dressed.” The song captures modern restlessness and comparison culture, nodding to digital fatigue and compulsion with lines like “my fingers start to scroll / swiping always takes a toll.”

One of the track’s strongest hooks is its shimmering guitar work, played by producer and multi-instrumentalist Merritt Jacob. He opens the song with a catchy, immediate riff that establishes momentum from the outset, then returns throughout the choruses with a call-and-response interplay against the lead vocals. The result adds lift, texture, and memorability without overcomplicating the arrangement.

Rhythmically, the track is propelled by drums engineered and performed by Coley O’Toole, a multi-instrumentalist and member of the platinum-selling band We The Kings, who also toured with Green Day in the summer of 2024. O’Toole’s performance provides a tight, forward-driving backbone that keeps the song urgent and unfiltered.

Since its release, “Hot Mess” has landed on several Spotify playlists, helping build momentum ahead of Lest We Forget— an 11-track album that moves between darker, edgy guitar work, clean and sparkling textures, and stark, piano-driven moments.

Connor first gained widespread attention with his humanitarian anthem “If Only You’d Listen,” which went viral with over 9 million Facebook views. His music has appeared in films including Adverse and the Oscar-contending documentary Little Gandhi, as well as across networks such as MTV and Discovery.

With Lest We Forget arriving January 30, Dylan Connor continues to embrace an unapologetically human approach — capturing vulnerability, urgency, and self-awareness in equal measure.

Dylan Connor Releases New Single – Hot Mess.

Singer-songwriter Dylan Connor has released his new single “Hot Mess,” a punchy, straight-ahead rock track driven by sharp, self-aware lyrics and restless energy. The song serves as the lead single from Connor’s forthcoming album Lest We Forget, set for release on January 30. Drawing inspiration from bands like The Cult, XTC, and R.E.M., “Hot Mess” balances classic rock urgency with a modern lyrical bite.

Lyrically, “Hot Mess” explores the tension between confidence and insecurity with humor and clarity. Connor contrasts an almost mythic figure — described as “a living goddess in a diamond-studded dress” — with a narrator unraveling in real time, repeating the refrain “I’m a hot mess / can barely get myself dressed.” The song captures modern restlessness and comparison culture, nodding to digital fatigue and compulsion with lines like “my fingers start to scroll / swiping always takes a toll.”

One of the track’s strongest hooks is its shimmering guitar work, played by producer and multi-instrumentalist Merritt Jacob. He opens the song with a catchy, immediate riff that establishes momentum from the outset, then returns throughout the choruses with a call-and-response interplay against the lead vocals. The result adds lift, texture, and memorability without overcomplicating the arrangement.

Rhythmically, the track is propelled by drums engineered and performed by Coley O’Toole, a multi-instrumentalist and member of the platinum-selling band We The Kings, who also toured with Green Day in the summer of 2024. O’Toole’s performance provides a tight, forward-driving backbone that keeps the song urgent and unfiltered.

Since its release, “Hot Mess” has landed on several Spotify playlists, helping build momentum ahead of Lest We Forget— an 11-track album that moves between darker, edgy guitar work, clean and sparkling textures, and stark, piano-driven moments.

Connor first gained widespread attention with his humanitarian anthem “If Only You’d Listen,” which went viral with over 9 million Facebook views. His music has appeared in films including Adverse and the Oscar-contending documentary Little Gandhi, as well as across networks such as MTV and Discovery.

With Lest We Forget arriving January 30, Dylan Connor continues to embrace an unapologetically human approach — capturing vulnerability, urgency, and self-awareness in equal measure.

Snakeheads – The details.

James Roden and Pete Lusty share a 35-year friendship rooted in a deep love of punk, rock, mod—you name it.

Pete and James first met in Year 7 at Belconnen High in Canberra, bonding over their older siblings’ record collections and recognising each other through the band T-shirts worn under their school uniforms. They grew up obsessed with high-energy punk and rock: The Jam, The Clash, The Who, Sham 69, Buzzcocks, Stiff Little Fingers, alongside Australian greats like The Hoodoo Gurus, The Stems, Midnight Oil and The Easybeats.

Throughout high school, music was the only thing that mattered. It was a time when sneaking into university gigs was as easy as presenting a photocopied birth certificate with the date changed on a typewriter.

Inspired by what they saw and heard, they started their own bands: The Smart (playing The Who and Ramones covers in high school) and The Morticians, a university band that covered The Misfits before writing originals, supporting acts like The Hard-Ons, and releasing a 10” vinyl EP.

After university, they moved to Sydney and formed The John Reed Club, quickly earning a reputation for their high-energy live shows. It felt like their moment. They released their first single on Ivy League Records, signed with EMI, played hundreds of gigs and major festivals such as Big Day Out and Homebake, and supported Foo Fighters and You Am I—before burning out in acrimony just two years after their first gig.

Dusting himself off, James went on to form The City Lights (earning album-of-the-week spots on PBS, 4ZZZ and Triple J) while working at Modular Recordings (The Avalanches, Rocket Science). Pete turned his full attention to Ivy League Records, managing bands during a golden era of Australian music. Still, both missed making music together.

In 2016, Pete and James returned to their Belconnen High roots, jamming weekly with no pressure—just for the love of it. They resumed rehearsals at Pete’s house, each bringing half-finished ideas. The aim was simple: write and refine songs for enjoyment, look forward, and finally finish what they’d started as teenagers. It was also an excuse for Monday night drinks, banter and laughter. And the songs had to rock—hard.

“We only wanted to play what we loved at 15 years old, with no pressure,” says James.

“In a way, we were finishing what we started with The John Reed Club or earlier. The thinking was: ‘Let’s make the songs great, no matter how long they take.’ There’s huge pressure on bands to hurry up, but we didn’t have that. Every detail was discussed—bar by bar. We thought we’d cracked the code to making music fun again.”

Their writing sessions stretched over years. By 2019, as 30–40 songs recorded on Pete’s 8-track tightened up, they began working with friend and producer Wayne Connolly (Died Pretty, You Am I, Jim Moginie). Connolly joined the Monday nights, refining arrangements further and contributing to lyrics.

Finally ready to record, they rehearsed with Kit Warhurst (Rocket Science) on drums and Harry Roden (James’s brother; The City Lights, Hoolahan) on bass, tracking six bed recordings with Wayne at Hercules Studios. It couldn’t have been more fun.

Before the tracks could be mixed, Pete revealed he was seriously ill with high-grade non-Hodgkin’s lymphoma in mid-2019. After unsuccessful treatment in Sydney, he travelled to Boston for a last-chance procedure, joined by family and friends including James and Andy Cassell. Pete Lusty died on March 15, 2020.

Pete passed away before he could see the album finished, but he had heard where it was heading and was as excited as a teenager. One year later, James began the slow, difficult process of completing it. He finished the Wayne Connolly sessions (six songs) and began recording another eleven with Jay Whalley (Frenzal Rhomb, Neptune Power Federation), this time with Graeme Trewin (Sick Fizz, Peabody) on drums.

The album was mixed by Mo Mayhem and Clem Bennett, and mastered by Robin Schmidt, longtime mastering engineer for The Hives.

Without Pete’s decisive input, the project became a drawn-out quest—but it is now finally complete.

Snoe is the solo project of French guitarist and composer Noé Sebban, born in Nice in 1998.

Trained at the Nice Conservatory and the American School of Modern Music in Paris – where he currently teaches guitar – Sebban has developed a distinctive sonic identity at the crossroads of progressive rock, modern jazz, and instrumental metal. His playing balances melodic sensitivity with technical precision, driven by a constant search for organic textures. Drawing inspiration from a wide spectrum of influences, ranging from pop to traditional Eastern music, Snoe’s sound resists easy categorisation.

Following his debut EP Dreamland in 2023, Snoe returns with Playground, a bolder, analog-rich release shaped by artistic freedom and a deliberate disregard for genre boundaries.

The Playground Project

Playground represents a space of total creative freedom. It is a mental playground: chaotic, unfiltered, and unpredictable, where each track becomes an attraction, a challenge, or an experiment. Snoe dives headfirst into the unknown, embracing odd time signatures, unstable harmonies, and raw, organic textures.

The EP was born from the desire to compose without rules, much like a child running wild through a newly discovered world, never looking back. This philosophy extends beyond the music into the visual universe of Playground, which unfolds in a post-apocalyptic setting: a ruined amusement park swallowed by a sandstorm. What was once a symbol of innocence becomes a corrupted childhood space, where play transforms into a rite of passage.

Raw, instinctive, introspective, and explosive, Playground captures that fragile moment when chaos turns into creation.

Naomi Jane – Great new Ambient Pop ballad IDWK.

It’s Naomi Jane calling the shot on a planned pivot. She’s standing on the ledge between eras, looking directly at everything she’s built and choosing her next direction out loud. She’s not sneaking out of the party. She’s in the doorway, lights on, taking stock.

The Letterman Trilogy. The sweet talk. Every single and every video. All of it laid out before her as she asks a bigger question. When you leave the party, where do you go? More precisely: after this chapter, where do we go, and who’s coming with me?

Since 2023, Naomi has run one of the tightest release cadences in her lane, dropping a new record and visual roughly every six weeks. Every song arrives with a video. That pace has built a catalog now totaling over 15 million official video views, with three standouts – “In the Moment,” “Lighting,” and “Mr. Incognito” – each crossing one million views in under a month.

“IDWK” is the hinge point of her journey from dawn to dissonance. Every release before it has been placed with intention, every visual a breadcrumb leading here. This is the moment she turns to fans, editors, and curators alike and essentially says: grab my hand. Here we go. Let’s find out what comes after the party.

Before she fully opens up the sound on her upcoming project (working title: dissonance, a transitional placeholder that captures the clash between where she’s been and where she’s going), “IDWK” gathers everyone at the threshold. The new chapter leans into an alt-indie, country-fringed palette, with new instrumentation and a shifted perspective.

Naomi Jane has always been a world-builder through storytelling. What changes now is the sonic landscape and the vantage point. This moment isn’t just about what she’s leaving behind. It’s about the decision she and her audience make together: where to stand next, and how to see the world from there.

The Video 

Naomi Jane once again links up with her longtime cinematographer and editor, Matthew Patrick Donner, the collaborator behind the breakout visuals for “In the Moment,” “Lightning,” and “Mr. Incognito.” Together, they build a new chapter that feels less like a traditional music video and more like a moving threshold inside the Naomi Jane universe.

Rooted, as always, in Santa Barbara, the “IDWK” visual leans directly into the song’s central question: when you leave the party, where will we go?

Rather than staging a straightforward performance, the video unfolds as a modern stream-of-consciousness walk through her own mythology. Naomi drifts through scenes that feel strangely familiar: a fleeting glimpse of “TACOBELL,” a flash of “Like Like Love,” the quiet tension of “Mr. Incognito,” the lingering mystery of “Lightning.” Each moment is re-posed and re-framed, as if she’s passing through her past rather than living in it.

The references are there for fans who’ve been paying attention, but nothing is underlined. This isn’t a highlight reel. It’s a collage of echoes.

The result is a fan-centric puzzle, where each moment is meant to be felt first and decoded later. It’s an odd kind of homage that refuses to look backward. These older worlds appear less like souvenirs and more like signposts, pointing toward what’s coming next.

Miami’s Own Brett Adam Sherman Drops Great new track:

 Rising singer-songwriter and electrifying performer Brett Adam Sherman is set to unleash a wave of pure, unfiltered energy with his highly anticipated new single, “Feels Like Home,” dropping worldwide on December 17, 2025.

More than just a song, “Feels Like Home” is a relentless, funky, fast-paced surf-rock anthem built for sun-soaked days, packed venues, and unforgettable good times.

Funky, Fast, and Impossible to Ignore

Powered by an infectious rhythm and a fun-as-hell melody, “Feels Like Home” makes sitting still nearly impossible. The track’s ear-candy chorus is tailor-made for instant singalongs, effortlessly lifting moods and igniting any party it touches.

Early listeners have already taken notice, praising the production as:

“Ear candy — really good sound, well made and enjoyable, with stellar songwriting, performance, and studio execution.”

It’s the kind of track that hits hard, sticks fast, and begs to be played again.

“I Just Wanted It to Be Pure Fun”

Speaking about the inspiration behind the single, Sherman explains:

“I wanted to create something different, something that was purely fun and captured that feeling of absolute joy. The energy in this track is designed to get your heart pumping. People enjoy it because it’s different, it’s vibrant, and it just makes you move.”

That mission is crystal clear from the first beat to the final chorus.

A Vibrant Tribute to Miami Life

The idea for “Feels Like Home” was born out of a Miami-based songwriters’ group, where Brett was challenged to define what home truly means. The result is a vivid, heartfelt tribute to:

• Miami’s unmistakable rhythm

• The unwavering support of family and friends

• The simple, powerful joy of having fun

It’s a love letter to the city and the energy that fuels it.

Building Momentum Toward Sonic Bloom

With his sights firmly set on expanding his fanbase and sharing his sound with a wider audience, Brett Adam Sherman is stepping confidently into his next chapter. With its universal theme and undeniable momentum, “Feels Like Home”serves as the lead single from his upcoming album: