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Billie Eilish Announces Third Studio Album ‘Hit Me Hard And Soft’ Out On May 17

Billie Eilish has revealed details on her highly anticipated third studio album, HIT ME HARD AND SOFT which will see its global release on May 17.

Her most daring body of work to date, HIT ME HARD AND SOFT is a diverse yet cohesive collection of songs, ideally listened to in its entirety from beginning to end. The album does exactly as the title suggests: hits you hard and soft both lyrically and sonically while bending genres and defying trends along the way. HIT ME HARD AND SOFT journeys through a vast and expansive audio landscape, immersing listeners into a full spectrum of emotions. It’s what the multiple GRAMMY® and Academy Award winner does best, continuing to affirm Billie Eilish as the most exciting songwriter of her time.

HIT ME HARD AND SOFT was written by Billie Eilish and FINNEAS, her brother and long-time collaborator, who also produced the album. HIT ME HARD AND SOFT will be available on all digital platforms, and in a continued effort to minimize waste and combat climate change; across all physical formats in limited variants on the same day, with the same track-listing and using 100% recyclable materials.

Charli XCX To Receive ASCAP Global Impact Award

ASCAP, The American Society of Composers, Authors and Publishers, the only U.S. PRO that operates on a not-for-profit basis, will present pioneering pop phenomenon Charli XCX with the ASCAP Global Impact Award in honor of her tremendous impact on pop music. The prestigious award recognizes the enduring worldwide popularity of ASCAP members and their music. Charli joins a select group of acclaimed musical hitmakers who have previously received the award, including Lana Del Rey and Hillary Lindsey.

“Charli is an unstoppable creative force. Her avant-garde style is daring, authentic and infectious as she expertly infuses the best of the underground and mainstream worlds into her music. She’s not just shaping pop music – she’s redefining it,” said ASCAP Chairman of the Board and President Paul Williams. “We are absolutely thrilled to present her with the ASCAP Global Impact Award.”

Charli XCX is an innovative pop icon, winning critical acclaim for her forward-thinking musical style and entrepreneurial spirit. Her upcoming sixth studio album BRAT is the eagerly-awaited follow up to 2022’s CRASH, which reached #1 on the UK’s official album chart. Following the breakout success of her Barbie soundtrack contribution “Speed Drive” last year, she is co-executive producing the score for the A24 film Mother Mary with Jack Antonoff and producing original music for Benito Skinner’s series Overcompensating. In addition to her chart-topping success as an artist, Charli has established a prolific songwriting career, co-writing megahits including Icona Pop’s “I Love It,” Iggy Azalea’s “Fancy,” Camila Cabello & Shawn Mendes’s “Señorita” and Selena Gomez’s “Same Old Love.”

Over the course of her career, Charli has received the Ivor Novello Visionary Award, Billboard Women in Music Powerhouse Award, Variety Hitmakers Innovator of Pop Award, two Billboard Music Awards, a YouTube Music Award as well as nominations at the Grammys, BRIT Awards and MTV EMAs.

“For me writing songs is not about structure or formula or doing what has previously “worked.” In my opinion, there is no special code or rule book that must be followed to obtain an amazing song. The best songs for me, are good because they can make you feel like the lead character in your own movie or because they have some kind of indescribable quality about them that makes them addictive. I’m honoured to receive this award from ASCAP; it’s cool to see them advocate for authenticity and nice to be recognised by an organization dedicated to supporting songwriters and fostering an environment where we can craft music we love,” said Charli.

The ASCAP Global Impact Award presentation takes place during an exclusive party to celebrate the ASCAP Pop Music Awards 2024 winners on Wednesday, May 8 in Los Angeles. The invitation-only event will recognize the songwriters and publishers of ASCAP’s most-performed pop songs of the past year.

Charli XCX is an iconic figure in the arts, having helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and the mainstream with her artistic output. Charli’s innovative approach has opened up new possibilities within the pop sphere for both her own career and those of the rising artists she has supported over the years.

Charli’s impending sixth studio album BRAT is the eagerly-awaited followup to 2022’s CRASH, which reached #1 on the UK’s official album chart, and promises to be an exhilarating club record built around high art references and social commentary: a new era both musically and visually.

Alongside her new album, Charli has been working on multiple film & TV projects following the breakout success of her Barbie soundtrack contribution “Speed Drive” last year. She is co-executive producing the score for the A24 film Mother Mary with Jack Antonoff and also producing original music for Benito Skinner’s series Overcompensating on Prime Video. In addition, Charli will star in the Daniel Goldhaber remake of 1978 cult horror film Faces of Death.

A singer, songwriter, documentary maker, radio host and co-owner and founder of management company Project Gold, Charli’s story is one of an artist who continues to succeed without compromise. Over the course of her trailblazing career, Charli has earned critical acclaim for her forward-thinking music style and entrepreneurial spirit. She has been recognized with the Ivor Novello Visionary Award, Billboard Women in Music Powerhouse Award, Variety Hitmakers Innovator of Pop Award. Charli has accrued two Billboard Music Awards and a YouTube Music Award, plus nominations at the Grammys, BRIT Awards and MTV EMAs. Not to mention the studio time she’s commanded with the likes of Blondie, Selena Gomez, Gwen Stefani, Camila Cabello & Shawn Mendes, Benny Blanco, David Guetta, Zara Larsson, Khalid and Diplo.

A one-woman force within the industry, Charli’s relentless work rate extends to writing for other artists while releasing her own music, running her own Vroom Vroom Recordings label, directing music videos and co-managing developing artists including rising alt-pop songwriter ELIO, electronic artist and producer Kelly Lee Owens and all female band Nasty Cherry – a group she formed that has been documented on the 2019 Netflix TV series I’m With the Band.

Charli started to release music in 2008 and has continuously strived to take the road less traveled throughout her career, with her debut album True Romance setting a benchmark for avant-garde pop music. This created a trajectory that has seen her write some of the world’s biggest hits (Icona Pop’s “I Love It,” Iggy Azalea’s “Fancy,” Camila Cabello & Shawn Mendes’s “Senorita”), while embracing pop’s most uninhibited sounds within her own work – gaining her a following that began in an internet cult capacity before spreading worldwide – assembling her own world via her fandom, affectionately called the Angels.

Sue Foley Debuts Immersive Masterclass “Guitar Trail Blazers” Celebrating Female Pioneers of Guitar

Leveraging TrueFire Studios’ patented music learning technologies, Sue Foley’s masterclass “Guitar Trail Blazers” unveils the seminal contributions to our musical heritage from six trailblazing female guitar pioneers: Elizabeth Cotten, Memphis Minnie, Ida Presti, Charo, Maybelle Carter, and Sister Rosetta Tharpe. Award-winning singer, songwriter, and guitar virtuoso Sue Foley guides guitar students through a highly enlightening, immersive learning experience. Watch the trailer HERE. Order “Guitar Trail Blazers” NOW.

”I am deeply inspired by the female guitar pioneers who made timeless contributions to American music and its history. These trailblazing women weren’t just playing the guitar; they were living it, pouring their souls into every note. Their stories are not just about music but about overcoming barriers, setting new standards, and inspiring generations of players.

I’ll share some of the musical qualities that inspired me about each: their technique, energy, and style — and then I’ll play a performance study to illustrate those qualities in a musical context.”

TrueFire’s multi-angle video lessons, interactive video teaching methodologies, and intuitive learning tools have powered immersive learning experiences for millions of music learners worldwide. “Guitar Trail Blazers” performances and examples are tabbed, notated, and synced to the video lessons with looping, slow motion, and fretboard animation. Other learning tools enable students to personalize their learning experience and learn at their own pace.

TrueFire founder Brad Wendkos expressed his excitement about the collaboration, stating, “Sue Foley is an exceptional multi-talented artist, brilliant singer-songwriter, master guitarist, and passionate educator. Sue personifies those qualities, as evident in ‘Guitar Trail Blazers.’ We’re proud to have worked on such an important project with Sue!”

“Guitar Trail Blazers.” is available now and can be downloaded to any desktop or mobile device, and streamed from any browser or on Apple TV and Roku. Purchase on SueFoley.com or TrueFire.com.

Texas-based singer, songwriter, and master blues guitarist Sue Foley cut her teeth amongst Texas guitar slingers like Albert Collins, Clarence “Gatemouth” Brown, and The Vaughan Brothers. Today, Foley performs and records her brand of Texas Blues with 17 albums and multiple awards to her credit, including the coveted 2024 Lifetime Achievement Maple Blues Award, Traditional Blues Female Artist in 2023, 2022 and 2020; Guitarist of the Year and Blues Act of the Year at the 2023 Austin Music Award; Guitarist of the Year at the 2023 Maple Blues Awards; and Best Traditional Blues Album at the 2022 Blues Music Awards for Pinky’s Blues. Foley is also passionate about music history, education, and passing the torch to the next generation of blues guitarists.

Driving Ambition: Rapper Pimpton Raises The “Moonroof” On Highly Motor-Vated New Single

At first listen, Canadian rapper Pimpton’s latest single, “Moonroof,” sounds like nothing more than a seductive invitation to a cozy nighttime drive. I mean, check out that slick come-on of a chorus:

Open up the moon roof
Let ya hair down baby, we gon’ fade away
We connect like a Bluetooth
Live from the belly of the beast, but in God we pray

Pretty romantic imagery, right? But it’s just the shared victory lap for verses in which Pimpton boasts eloquently about the perseverance that put him in that car in the first place. Dropping rapid-fire references to everything from Givenchy to The Fantastic Four’s Mr. Fantastic, he motormouths a toast to his own greatness that’s the perfect counterpoint to the lulling cruise control of the music. Long, held chords of orchestration are integrated so effectively into the mix that you barely notice when they momentarily drop out to be replaced by a collage of hushed background vocals.

This stealthily jam-packed jam is the spotlight single from Pimpton’s new album, P.T. & Kholebeatz—which just happens to be his closest collaboration yet with his musical “pen pal” of the last 13 years, the Oslo-based Kholebeatz. As album projects go, it’s one of those rare cases in which a contract dispute was actually good for music. Last year, Pimpton had been hard at work on what was to be his next release, KCMKV3, when some of the guest artists he had planned to feature on the record got signed to a major label, necessitating a renegotiation of their publishing credits. While that protracted process was working itself out, Pimpton reached out to Kholebeatz and proposed a stopgap: a collaboration on which Kholebeatz would produce every song, while Pimpton wrote, arranged, recorded and mixed.

Kholebeatz conscripted some of his own trusted collaborators to take part, Pimpton enlisted everyone from childhood friends to his touring DJ, and voilà! Eight new tracks dripping with self-belief directed both inward and outward.

“Ultimately, the album speaks to the Sisyphean journey all artists must endure on the rise to prominence,” Pimpton says—and he’s absolutely including the experience of making this particular record as well. The message to himself and others? “Keep going.”

It’s a philosophy that’s been good to the Saskatchewan-based rapper since he arrived from Trinidad & Tobago and set about combining his Caribbean culture with the contemporary hip-hop stylings of his adopted country. He’s since sold more than 20,000 copies of his previous six independently released studio albums. And just under four years ago, he wrote and directed TUNNELZ, the first visual album created and released by a Saskatchewan artist, which earned him a nomination for Video Director of the Year at the 2021 Western Canadian Music Awards.

Over the course of his career, Pimpton has performed over 500 shows across North America, including appearances at major festivals like SXSW, JunoFEST, BreakOut West, the Aftershock Festival, the Cannabis Cup and Canadian Music Week. He’s shared the stage with a host of internationally recognized acts, including the Wu-Tang Clan, Young Jeezy, Bone Thugz N Harmony, Xzibit and Warren G. In September 2019, he was the direct support act for Dizzy Wright & Madchild on a 25-date cross-Canada tour.

And since this is Pimpton’s first trip to Europe, he’s also booking a show in Oslo, so he can finally meet Kholebeatz face to face. For all they’ve shared and worked on, they’ve never been in the same room. Just shows you what believing in yourself can do.

This May, Pimpton will be heading to Rotterdam to showcase at New Skool Rules, the largest urban-music conference and festival in Europe. In preparation, he’s playing a handful of other dates in his native Canada and on the European continent:

Thursday, April 18 – Bulldog Event Center, Winnipeg, Manitoba
Saturday, April 20 – The Exchange, Regina, Saskatchewan
Sunday, April 21 – Penrose YXE, Saskatoon, Saskatchewan
Wednesday, May 15 – Milan, Italy (Barrios’s Live)
Friday, May 17- Catania, Sicily (Palestra Lupo)
Saturday, May 18- Siracusa, Sicily (Medusa)
Sunday, May 19- Santa Teresa, Sicily (Theme De Yo-Yo)
Monday, May 20- Bologna, Italy (IL Pallone)
Wednesday, May 22- Cologne, Germany (Veedel Club)
Thursday, May 23- Vienna, Austria (Na Nang Club)
Saturday, May 25- Freiburg, Germany (TBA)
Friday, May 31 to Sunday, June 2- Rotterdam, the Netherlands (New Skool Rules – De Doelen)
Friday, June 7- Oslo, Norway (Storgata 26)

Folk-Rock Group BROTHER BICKER BAND Releases New Single “Nothing At All” From ‘Another Kind of Train’ Album

Brother Bicker Band, the renowned Calgary-based folk-rock ensemble, releases their latest single “Nothing At All” that promises to captivate listeners with its powerful narrative and dynamic song writing.

Crafted from a riff born during band practice, “Nothing At All” shows the band’s collaborative energy and dedication. Evolving over years of live performances, the song analyzes the stages of grief and rejection, while exploring themes of denial, anger, bargaining, depression, and acceptance. It reflects on the pain and regret of lost love, evolving into the realization that every relationship, regardless of its outcome, shapes who we are as people.

The single starts as a Memphis Blues slow jam, reminiscent of iconic acts like the Black Crowes and the Black Keys, before building into a chaotic crescendo featuring duelling vocals and soaring instrumentation. Recorded at Broken Tap Studios in Calgary, the track showcases the talents of Darryl Swart on drums, Jeremy Hrdlicka on vocals, Tom Mogan on guitars, Ben Ellard on keys, and Jim Duncan on bass.

Adding a new dimension to Brother Bicker Band’s sound, vocalists Jennele Coulson and Claire Wilkes made their recording debut on “Nothing At All.” Their contributions elevate the song to new heights infusing it with an electrifying energy and a sense of urgency.

Reflecting on the essence of the band’s music, “Nothing At All” invites listeners to embark on a nostalgic journey. With their unique blend of maple whiskey rock ‘n’ roll, Brother Bicker Band continues to redefine the roots rock genre offering a sound that is both timeless and distinctly Canadian.

Prepare to be swept away by the infectious melodies and poignant lyrics of Brother Bicker Band’s latest release. “Nothing At All” is set to leave an indelible mark on audiences reminding us of all the transformative power of music.

Photo Gallery: Noah Kahan with Jesen McRae at Toronto’s Scotiabank Arena

Noah Kahan

All photos by Mini’s Memories. You can contact her through Instagram or X.

Noah Kahan
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Jensen McRae
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Bend Sinister Whip Up A Two-Fold Dose Of Encouragement With “Big Star” and “Gotta Get Ready”

No matter who you are, you could use a friendly but firm hand every now and then to keep your nose to the grindstone. Enter Vancouver quartet Bend Sinister, who dole out two kinds of motivation on their latest, double-A-sided single — a musical wake-up call for aspiring rockers and anybody else who needs a little bit of a fire lit under them just to take on the day.
The exuberant “Big Star” sets the pace, laying down an in-your-face groove that’s the perfect vessel for sentiments every working musician should heed:

You got to play the game
If you want people to remember your name
It’s hard to write a hit
If you give up and quit
So grab a guitar
It’s time to be a big star

Ironically, the genesis of the tune itself was a significantly less urgent process. “‘Big Star’ started as an impromptu jam session captured on an iPhone voice memo and left to simmer for months, if not years,” the band reveals. But something about it struck them as the appropriate soundtrack for a hymn to diligence: “Calling from the realms of Deep Purple and ’70s organ-rock, the song fit the vibe of either giving it your all or getting off the pot. Rock and roll life is a hard life, so suck it up and pay your dues!”

The Purple comparison is more than apt. The classic timbre of the song’s keyboard line will indeed have you picturing the dearly departed Jon Lord rocking his Hammond furiously back and forth, while the gospel-tinged vocal wouldn’t be out of place on the next Glenn Hughes tour. On the flip side, “Gotta Get Ready” applies more vintage organ squiggles to a slightly different vibe and a self-help sermon that’s a bit broader in scope. The tune is a slower, more sinuous curb creep than “Big Star,” with a repeated ascending riff that nudges the listener to commit to the not-so-simple task of getting up in the morning.

Like a bird hunts for prey
Like a star casts its rays
Its a game to be won
So son,
You gotta get ready now
Are you ready now?
You gotta get ready now
Are you ready now?

Everybody involved was definitely wide awake for the live performance videos the band shot in front of a lucky audience at Vancouver’s Tyrant Studios to promote “Big Star” and “What It Takes.” All three tracks appear on Mostly Great Things, the group’s just-released seventh album and their first full-length release since 2018. Produced by regular collaborator Ben Kaplan (Rare Americans, Five Alarm Funk), it’s the product of an eclectic set of inspirations the double single merely hints at.

“At some point in 2022, we made a giant playlist with a bunch of songs from Styx, the Doobie Brothers, Herbie Hancock, April Wine, Funkadelic … really whatever we were feeling, and just got to work,” the band says. “This record is the result. Nothing too fancy—just some good times, rock and roll and a few guitar solos!”

Creative synthesis has been Bend Sinister’s thing since 1999, when bandleader Dan Moxon (vocals/keys) conscripted three of his high-school friends to start writing and performing music influenced by math, indie, prog and alternative rock. Over the ensuing quarter-century, Moxon and bandmates Joseph Martin (guitar), Matt Rhode (bass) and Nick Petrowich (drums) have cultivated a diverse catalog that careens joyfully from influence to influence—sometimes even within the space of the same song.

As they describe it, their music can find “the tender longing of a Billy Joel piano ballad followed by the grimy, fuzzed-out riffing of Queens of the Stone Age, with the dramatic crescendo of a Mozart symphony, culminating in a fist-pumping BTO lumber-rock singalong chorus.” But you need to have plenty of musical arrows in your quiver if you want to convey the emotional peaks and valleys of a lyrical oeuvre that encompasses “love, life on the road, and dogs.” (Come to think of it, maybe there’s a stealthy conceptual motif at work here: As any pet owner will tell you, having a dog will teach you to get up good and early real quick.)

Currently signed to Cordova Bay Records, Bend Sinister have scored two Top 30 rock radio hits, and have racked up more than 5 million cumulative streams while being featured on multiple Spotify playlists. The new single and album are bound to goose those numbers even farther into the stratosphere. And the rapt crowd in those Tyrant Studios performance videos is just a hint of what the band will be seeing from the stage in 2024. Tickets are on sale now for Bend Sinister’s Thursday, June 20, headlining appearance at the Rickshaw Theatre in Vancouver—part of the prestigious venue’s four-day 15th-anniversary celebration. Keep your eyes peeled for further dates as the year unfolds; having your attitude adjusted has never been this much fun.

Philly Electronica Artist Paul G. Marchesani Unveils His Grandiose Vision Under Forest Kids Collective

What’s in a name? To Philadelphia electronic/EDM /vaporwave artist Paul G. Marchesani, the answer is apparently “a lot”—which is why he’s had more than 20 of them.

For 10 years, Marchesani has been recording under multiple musical aliases—starting with “Crossing Bridges” and snowballing from there—which he says has been the only way to preserve the distinct character of the more than 1,500 (!) tracks he’s laid down in that time. But every once in a while, he feels the urge to compile standout recordings by his various identities under a common umbrella. Hence “Forest Kids Collective,” whose new album, Galileo Grandiose, collates some of the best of Marchesani’s work into a remarkably smooth and cohesive listen.

A 17-song instrumental suite, the album segues effortlessly from soothing electronic soundscapes to quick stabs of unsettling atmospherics and back again. Spotlight track “Eye in the Sky” is a prime example of the former, laying out a pleasant churn of synths that patter like rain falling on a window while cymbals crash in a way that feels therapeutic rather than intrusive. The acoustic guitar flourishes add just the right melodic emphasis to keep the four-minute fantasia on a path of perpetual motion.

Moments like those repay the debt Marchesani says he’s always felt to “calm and passive music.” Because it’s that style in particular that got him through when his beloved older brother, who had inspired him to take up playing, took his own life. Marchesani’s subsequent depression only subsided when he stumbled across a YouTube animated video with a particularly compelling musical soundtrack. “I still was hurting, but this felt like I was healing,” he remembers.

What proved crucial was that he reserved the right to heal in a number of ways.

“My outlook on life has always been ‘Why do I have to choose?’” Marchesani says. “If given a color choice of something as a kid, I’d want the whole collection, I’d want the whole rainbow of color. So when creating music, it’s the same idea. I can’t stick to a single style or vibe.”

Galileo Grandiose is the clearest proof yet that variety is indeed his friend. The product of five years’ worth of tweaking and tinkering, the wordless album nonetheless flows like a great story, with all the peaks and valleys one would want. And that, Marchesani says, is the true rationale for having one alias that can hold sway over all the others.

“Forest Kids Collective is a full story,” he explains. “Each alias within the collective is a character with a personality and story arc that is reflected within their discographies. When I release a Forest Kids Collective album like Galileo Grandiose, it’s almost like a special event/ movie of all the characters interacting within this fantasy world.”

High-energy peaks and respites of stillness; grooving bangers and experimental mazes to get lost in; it’s all part of the sonic experience that is the Forest Kids Collective. On Galileo Grandiose and “Eye in the Sky” in particular, that experience draws you in like never before. What you call it almost doesn’t matter; what counts is that it calls to you.

Folk/Popper Sheena Legrand Gives Herself The “Green Light” To Change

What’s in a name? To indie-folk/pop songwriter and multi-instrumentalist Sheena Legrand, the answer is “Just enough to make you change it when the time has come to hit the gas.” For her return to recording activity after a 10-year hiatus, the former Sheena Grobb has taken on a whole new moniker to better reflect the direction of her life—and the updated musical approach previewed on her new single, the hauntingly beautiful “Green Light.”

In her husky, sultry semi-whisper, Legrand gives voice to the prayers of anyone who’s ever wished that life would stop throwing up roadblocks—only to realize they were the one in the driver’s seat after all.

Give me one green light
Come on let’s go
Turn turn for me
Train left long ago
What if it’s only sight we’ve been looking for
Green brings out your eyes when you realize
It’s time to let go

“When I wrote “Green Light” with Winnipeg producer Jonny Kirouac, I was pleading for some force outside myself to change my situation,” Legrand says. “However, as happens with most of my music, when I look back on what I wrote and what I was dealing with, I understand how the first green light had to come from within me.

“‘Green Light’ gives us permission to let go of old stories so we can be open to a fresh start.”

In Legrand’s case, that meant carving out a new identity to better reflect her standing in an industry that almost requires women to stay eternally youthful. After releasing three albums under the “Sheena Grobb” banner, the Manitoba-born, Winnipeg-based artist had put a pin in her career to raise a family. After a while, she found herself wondering if she still had a place in music at all. But she reached into herself and realized she was under no obligation to conform to anyone else’s stereotypes.

Instead, she set out to reaffirm the talents she had been honing since beginning to sing consistently at age 4, and which had made her a past nominee in the Western Canadian Music Awards. Some professional coaching helped her take the quality of her vocals to a new level, and with the help of producer/co-instrumentalist Kirouac, she upgraded the tenor of her music in toto.

Her forthcoming album, the appropriately named Back to Life, will show how she’s managed to retain the strengths of her earlier work—sweet melodic hooks, intricate keys and delicately layered vocals—while superimposing an electrifying live loop experience that will be sure to get bodies moving when she starts to play shows again.

At the same time, she’s continuing her side work as a public speaker who uses music, storytelling and mindfulness tools to help schoolchildren deal with mental-health struggles, bullying and issues of low self-esteem. She’s also a part-time health coach who specializes in helping patients survive autoimmune disease (which she herself has faced). The treatment regimen she advocates includes diet and lifestyle changes, plus emotional work and spiritual practices that stimulate healing from within.

The “from within” angle is big to Legrand right now: It’s the focus of “Green Light,” certainly, but also of a general attitudinal shift that sprang from bringing something quite special out of herself and into the world.

“I gave birth naturally in our living room, and I’ve never felt more powerful in my life,” she says. “That moment was a portal within my own personal growth. I will never be the same.”
No wonder she’s chosen to re-emerge under the surname of her chosen family:

“Joining my partner and son as a ‘Legrand’ felt right personally, but it also worked for where I was at professionally. I’m feeling the change, and it’s good!”
Now she’s looking forward to taking that attitude back to the stage whenever and wherever possible.

“When it comes to dreaming big, I’d say the sky is the limit. There’s been a shift in my availability, but travelling as a family is something we’re very much open to, so all of a sudden, the possibilities seem endless again. I love the spot I’m in!”

Toronto Rock Upstart DYLAN BRADLEY Unveils Cathartic Anthem “I’m Sorry” from Debut Album ‘No Turning Back’

Life has its sour moments, and it can be hard to move on when it happens with someone you love. Sometimes, hard things come before good things, and you have to work through some pain in order to get to a better place. This is showcased on Toronto based rock singer-songwriter Dylan Bradley’s new single “I’m Sorry” from his debut No Turning Back, which the album is already at over 70,000 streams on Spotify.

The song opens with some energetic guitar riffs reminiscent of pop-punk bands like Good Charlotte and Blink-182. Buffering this is Bradley’s passionate vocals as he sings of how a lover made false apologies after damaging his stuff and how he blames himself for not being the best person he could be.

When the song continues into the chorus, Bradley refuses to be guilt ridden any longer. He apologies for not being who his lover wanted him to be, but he also decides to be who he wants to be.

The song continues discussing the back and forth between Bradley and his lover as the guitar riffs have a little added flourish before the chorus comes in again. Afterwards, there is a bridge that almost feels like an apology for the song’s frivolous tone.

“I know I know I know
I’m not what you want, oh
I know I know I know
I’m insecure sometimes, oh
I know I know I know, I know”

Bradley acknowledges this tone by stating, “I’m Sorry is a song about living the way that you want to live, regardless of what other people think. It’s a sort of tongue in cheek apology to those who disagree with the way you choose to live your life. However, the lyric “one of these days I’ll get this right” brings a deeper meaning of feeling like you’re not quite who you want to be yet.”

The newfound freedom of “I’m Sorry” is captured in the song’s music video. It features Bradley happily performing the song alone under a graffiti-covered underpass and occasionally riding a skateboard. The latter demonstrates the influence of 00’s pop-punk songs like Avril Lavinge’s “Skater Boi”.

Dylan Bradley is breaking into the rock music scene with brand new singles and debut album No Turning Back. Heavily influenced by 90s and early 2000s rock music, Dylan Bradley brings an authentic and fresh sound for listeners worldwide. Dylan Bradley’s music covers genres including but not limited to soft rock, hard rock, and alternative rock.

His first single, “All Your Lies” was released in September, 2023, with the follow-up single “October” released in October of that year.

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That Eric Alper
6-time nominee for Publicist of the Year during Canadian Music Week, a 16-time JUNO Award winner overseeing PR campaigns, and have also been truly honoured to work with some of the biggest and most important artists of our time.

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