Thank You, Goodnight: The Bon Jovi Story follows the history of Bon Jovi, featuring personal videos, photos, and music that provide a look at Jon Bon Jovi’s life and the band’s journey from New Jersey clubs to global fame. It starts streaming April 26 on Hulu.
My SiriusXM Show: Interviews with Alicia Witt, Godsmack, Jenny Boyd, and Matt Hay
My SiriusXM show: Interviews with Actress and Singer Alicia Witt; Jenny Boyd, author, Icons of Rock: In Their Own Words; Matt Hay, author, The Soundtrack of Silence; Sully Erna of Godsmack! Sat 8am + 7pm, Sun 12pm + 8pm (all ET), Channel 167, and anytime on the SiriusXM app.
Magic Number: Naughty Calvyn Cass Preaches The Power Of Three On “Ménage À Trois”
The annals of pop and R&B aren’t exactly lacking in heavy-breathing come-ons. But never let it be said that Vancouver soul-barer Calvyn Cass does things the old-fashioned way. His new single, “Ménage à Trois,” is a literal banger of the sort that have been making folks do the deed since time immemorial. It’s just that this time, there happen to be three of them.
“So what are you cravin’?” Cass lustfully inquires, on behalf of himself and a partner who’s equally hot to trot with an alluring stranger. “We got a room waitin’/ Let’s take a bae-cation.”
The gauntlet duly thrown, our clever little Lothario makes the picture even clearer with some basic math:
So tell me what it’s gonna be
You plus us adds up to three
It’s the musical equivalent of being bought a drink by that couple who saw you from across the bar and liked your vibe—only this time, you get to imagine them being as hot as your mind would prefer. There’s certainly nothing plain about the music, which stomps and implores up a storm, stopping only for some wicked bass slurs that repeatedly bring the (brick) house down.
Chalk it all up as mission accomplished for Cass, who says his agenda is to combine the lyrical fixations of ’90s pop with instrumental arrangements that bridge the gap between the early 2000s and today. Only there are no “blurred lines” here: This one’s all about consent. LOTS of consent.
The track is the product of a fevered writing session between Cass, superstar producer Adam H. (Ray J, Ne-Yo, Def Leppard) Don Wolf (lead singer of ‘80s major-label metalers White Wolf and a past collaborator with acts like Bon Jovi, Poison and Motley Crue) and one Jess Edo, whom Cass counts as both his most frequent writing partner and a close friend. (Hey, now we’re up to a foursome!) And to hear him tell it, things … er, flowed naturally between all of them.
“I came into the session wanting something fun and sexy and presented that to the group,” Cass says. “I’m in a throuple, so I suggested we make a fun song about that. Everyone loved the idea, so we ran with it.”
You couldn’t ask for a more forceful lead-in to Cass’ forthcoming album, Every Kind Chapter One: Reigning Stars. A loose concept record about the blissful honeymoon period of a relationship, the album has cuts produced by both Adam H. and Dave Genn of 54-40 and the Matthew Good Band. Its contents were previewed last fall with the release of “Hollywood Calls,” a sultry Left Coast curb crawl that was yet another collaboration between Cass and Edo. With that kind of one-two punch preceding it, the album is sure to connect. But really, Cass has been on a roll since his first single, “ME, Myself and I,” came out in 2020. In the ensuing four years, he’s racked up 1.16 million Spotify streams and half a million YouTube views, been a fixture on the German blues charts (!) for a 10-month stretch, and reached a whopping 15 million viewers as a guest performer for the TRND app.
Best of all, he’s doing it his way. A self-professed disciple of Elton John and David Bowie, Cass is proudly gender-fluid and avoids using pronouns in his music, to keep the emotions it imparts universal. Oh, and about the “Chapter One” in that album title: Yes, there’s going to be a Chapter Two. It’s going to explore the more difficult stage of a relationship, when the bloom is off the rose and you have to make some hard decisions to keep going. And after that?
“Part three comes much later,” Cass says. “I don’t feel anywhere near ready to talk about someone’s end-of-life experience with love just yet. My heart tells me I should wait it out and do a bit more living first.”
Sounds like he’s been doing plenty of living already.
Toronto’s MoZaic Leads Stirring Social Commentary in New ‘Undeniable’ EP
MoZaic’s 3-track Undeniable EP packs stirring social commentary while holding the listener close. The EP is led by her “Love Undeniable” single, which playfully challenges social norms around sex and gender. The track includes upbeat instrumentals and polished backup vocals that offer an appealing listener experience. Audiences will be both startled, and comforted.
Born in Tkaronto (aka Toronto) to interracial parents, MoZaic is a gifted wordsmith who has long studied intersections of sex, race and gender. “I wanted to write a song about empowered sexuality and gender expansiveness,” she writes. “The world invites queer, trans and nonbinary people to feel like there’s something wrong with who they are. And all people end up losing, because these are such narrow notions of who we’re all allowed to be. We can collectively move beyond these systems”.
MoZaic collaborated with quite a few talented individuals on this track, including Lisa Patterson on production and engineering, vocalist Joni Nehrita for gorgeous backup vocals, and Zainab Batool on the single cover.
She wrote this track some years ago, and with a different hook. During the height of the pandemic, she came back to it, evolved it, and reached out to producer Lisa Patterson. MoZaic shares “Lisa is this generous, multi-talented wizard who fully met me in the vision for this track, and together we made it exceptional.”
Influenced by key power players in the industry such as spirited rapper Azealia Banks, pioneer Michael Franti, and the late Sinead O’Connor, MoZaic blends her colourful raps with sensual melodies for Love Undeniable. This liberating track boasts exciting sounds for the listener from retro synth bass, piano arrangements, drum programming, and keys. The song’s infectious energy highlights her motivation to bring people together.
“This is also a song for young queer and nonbinary folk who may be looking for upbeat music that affirms their experience,” MoZaic says. “Love Undeniable” invites us to consider a future where people everywhere can have the freedom to authentically express who they are.
MoZaic extends appreciation to the Black musicians who represent the foundation and future of rap and hip hop.
Her music allows her to speak on various topics that many artists don’t address. It’s time for the world to listen.
Toronto’s Multi-Talented Harriet Chung Lights Up the Music Scene with Upbeat Single “Dawn Till Dusk”
Pop artist Harriet Chung is no stranger to the spotlight and the release of her latest single “Dawn Till Dusk” only comes as another one of her many creative accomplishments.
While Chung spent her childhood singing, dancing, and playing the piano, her time in the spotlight came when she was cast in a Toronto production of The Phantom of the Opera. The Toronto-based multi-faceted artist went on to receive several artistic accolades to the likes of receiving Outstanding Actress awards for the internationally acclaimed musical film Golden Lotus and performing in the most successful show in German history, Cats.
Now, Chung continues to share her talent with the release of “Dawn Till Dusk.” Her artistry and accomplishments shine through the single as Chung’s strong, well-seasoned, opera-like vocals are the showpiece of the song. Joyful horns contribute to the bright and upbeat melodies. Throughout the single, Chung shares a message of hope as she sings lyrics that view life through an optimistic lens.
There’s a fire inside my heart
To make each day a work of art
Rain or shine from dawn till dusk
Everyday is a brand new start
Chung’s personal and professional growth is apparent as she tells the tale of her relentless pursuit of excellence and her passion for living life to its fullest. In her latest music video, bright colours flash across the screen as children sing along with Chung as they paint blank canvas’ with bold colours — a testimony to Chung’s message that every day is a new canvas waiting to be painted with our brightest colors.
“Dawn Till Dusk” comes as more upbeat than her previous single “As Each Day Goes By.” Through delicate harmonies, the ballad takes a look at love and showcases Chung’s sweet and soothing voice, as do all of her singles.
Striking the perfect balance between strong and powerful yet delicate and graceful, it’s no secret Chung’s voice is well-practiced — and it’s what makes her stand out. In singles like “Today and Tomorrow” her craft is evident, and listeners can be moved by enchanting melodies and soft theatrical vocals.
Now, “Dawn Till Dusk” comes as another skillfully made single with added layers of upbeat and joyful components. Chung continues forward with passion for her craft and for her life and shares this message with us. “Dawn Till Dusk” is yours to listen to and love.
Award-Winning Folk Group MAGGIE’S WAKE Set To Release Self-Titled Debut Album March 17, 2024
London, Ontario folk group Maggie’s Wake is set to release their long-awaited debut album on March 17, 2024.
It took just over a year for Maggie’s Wake to write, record and release their first full studio album, which will finally be available on St. Patrick’s Day, following the success of their holiday single “Christmas is Coming (for You)” and the haunting fan favourite “Bridget O’Brien”. The album showcases their vast talents both as storytellers and musicians and has been a labour of love for the women who front Maggie’s Wake, singer and multi-instrumentalist Tara Dunphy and Lindsay Schindler, fiddler and harmony vocalist.
Don’t let the Celtic instrumentation of fiddles, whistles and flute fool you. It may lead you to believe that Maggie’s Wake are just another folk band playing jigs with a slightly modern spin but what you’re going to find is a refreshing and exciting departure. From the first notes of the spaghetti western Sadies inspired “Grosse Isle (Far Away)”, you are transported to “New Frontier”, which delivers the harrowing true story of an Irish immigrant moving to Canada on a coffin ship. In typical Maggie’s Wake form, they depart from the expected and instead of a traditional pedal steel guitar, it’s the tin whistle delivering those mournful high notes and the new frontier in question is not the Wild West, but the Island in Quebec that became the final resting place for thousands of hopeful immigrants.
The voyage continues through the turbulent “Harrison’s Way” and lilting “Adaptation”, instrumentals that manage to convey the feelings of turmoil and resilience more effectively than words could. Whether you’re being transported to “Louisiana”, and the decadence of New Orleans with the cajun sounds of twin fiddles or reverting to your free-spirited youth in “Arcane”, this album is all about the journey, not the destination. Most of these pieces were written throughout the pandemic, with “Bridget O’Brien” in particular being a product of Dunphy’s long walks through St Peter’s Cemetery, finding inspiration in the solitude and imagining the lives of these people who were now just names etched in stone. “Maid of Fortune” is a promise to be there, even in the darkest times and “Dochas” is quite literally hope, in the Gaelic language. With guest artists, including legendary Canadian country picker Nichol Robertson and Canadian Folk Music Award winning guitarist Kyle Weymouth, along with their incredibly versatile backing band, Maggie’s Wake has indeed made a genre crossing debut that is authentic, original and inspired.
The anchor to the album is the epic, four movement piece “Maggie’s Wake”, which follows the path of grief through loss, remembrance, acceptance and finally, celebration of what once was and in the case of this band, what is still to come.
Maggie’s Wake is a refreshing addition to Canada’s folk music scene, and already they have been recognized with the 2023 Forest City London Music Award for Best Folk/Roots group, they were official showcase artists at the Folk Alliance International conference in Kansas City, MO in February and will be embarking on their first U.S tour in the Fall 2024.
Swedish Duo Bara Jonson and Free Unleash Genre-Defying Country, Rock, Pop Magic with ‘Knock Knock’
Bara Jonson and Free, the dynamic duo from Rinkaby, Sweden, known for their genre-defying sound, are excited to announce the release of their latest single, “Knock Knock” (Dance Plant Records) – available now.
Blending elements of Country, Rock, and Pop into their own unique sound they call Crockpop, band members Jonas Tancred and Malin Osth deliver a powerful anthem in “Knock Knock”. They affirm their dedication and love for live entertainment, marking their eagerly awaited and joyous return to the stage, celebrating new songs, a new hope and building a new future. The song echoes the shared sentiment of longing for the stage, the warmth of the crowd, and the camaraderie of fellow musicians as the music community rises from the shadows of pandemic lockdowns and social isolation.
“There was a time, not long ago when the world found itself deprived of all live music,” says Jonas Tancred. “Huddled together in their tiny huts and flats people were longing for the day they once again could come together in front of a music stage somewhere and feel alive.”
In their latest single, the Swedish duo alludes to their eagerness to return to Newfoundland, their home away from home, to reunite with the beloved “b’ys on the Rock.” The band previously released a song “Hello Newfoundland” which vividly describes their first encounter with the spirited Newfoundlanders.
“Knock, Knock” is not just a song; it’s a celebration of resilience, hope, and the unbreakable bond between musicians and their audience,” proclaims Malin Osth.
Bara Jonson and Free have been nominated for ‘Best Emerging Artist – International’ at the Indie Week Showcase Festival in Toronto and were selected as INES#Talent 2020-21. They have performed in various countries, including Sweden, Denmark, Holland, Germany, UK, France, and Canada. In 2021, they founded Lilla By Festivalen, a hybrid festival; somewhere in between folk-fest and a showcase, promoting unsigned local, national, and international artists. They also performed at the Mood Indigo virtual festival in Bombay and the Future Echoes showcase festival in Norrköping. In 2023, the band performed at the Summerfest in Milwaukee, Wisconsin, the world’s largest music festival, and captivated audiences at the Spike Festival in Bulgaria.
Unifier In The Belly: Idealistic Folkers Stone Poets Seek To Bridge “The Great Divide”
Factions on the left, factions on the right … sometimes it seems as if the only thing we as a people can agree on anymore is to disagree. Loudly.
British-Colombian folk/pop/roots act Stone Poets see the problem, and they refuse to be cowed by it. Lifting their voices in harmony to preach the virtues of… well, harmony, the trio of Cherelle Jardine, Scott Jackson and Marc Gladstone makes a soft-spoken yet impassioned plea for lowering the cultural temperature on “The Great Divide,” the first single from their new album, HUM∀N.
“Why oh why, can’t we see eye to eye,” the yearning lyric implores, surveying a sad landscape in which hurtful words fly out like bullets from behind walls of self-protection that “block out the sun.” All the while, the gentle flow of the chords and melody points our way toward a paradise where none of this has to be:
I know a place where there ain’t no sides
It’s right in the middle of the great divide
“Humans are becoming increasingly divided into opposing groups,” the band observes. “These divisions are becoming more and more entrenched in society. It’s very disheartening.”
That awareness, they say, determined the thrust of not just the song, but the entire new album: “We know how powerful music is, and we felt compelled to write songs that would bring people together, spread peace and love, unite hearts and combat hate, one listener at a time.”
It’s a pretty tall order of course, but in trying to fill it, the band is stepping into a sturdy tradition. While they say their ultimate artistic goal is to transcend categorization, you can trace a direct line from a song like “The Great Divide” back to classic idealistic protest folk like the Peter, Paul and Mary songbook and “One Tin Soldier.” Those echoes of the past reverberate in every aspect of the new single, from the lyrical point of view to the way the trio’s voices mesh so gorgeously on the choruses. (The degree to which they all shine individually on the verses is pretty nifty too.)
Stone Poets had originally traveled to Nashville to co-write “The Great Divide” with expat Canadian hitmakers Daryl and LeeAnn Burgess. Though LeeAnn has since passed away, she got to hear the finished track while she was still with us, and gave her blessing to its production quality, performances, and vocal arrangements. Need any more explanation why this crew is newly fixated on how much in life is really worth fighting over?
HUM∀N numbers a hefty 17 such songs of “hope, love and humanity,” ranging from pop tunes and soulful ballads to an instrumental piano piece by Gladstone and Jackson’s spoken word take on William Blake’s “A Poison Tree.” Also included is the previously released single “Gleam and Beam,” which marvels at the capacity for emotional intelligence a mother’s adoring gaze unlocks in a newborn.
The album was co-produced by longtime Stone Poets collaborator Sheldon Zaharko and recorded at Zed Productions, HippoSonic Studios, Monarch Studios and Grassy Knoll Studio. Additional instrumentation was supplied by Vancouver studio aces and firm friends of the band Jerry Wong, Nick Haggar, Liam MacDonald, Jeremy Holmes, Jordan Aranas, Geeta Das and Joe Alvaro.
It’s the Poets’ fifth recorded release since coming together in 2011 as a sort of regional supergroup built on the momentum of previous bands and solo projects. They’ve since forged a warm and intimate connection with their fans, through both the quality of their music and the between-songs storytelling they’ve discovered to be a crucial element of their live shows. Everything about HUM∀N —from the music to the packaging that’s festooned with images of homosapien DNA—broadcasts the band’s intention to deepen that performer/fan relationship and extend it to new converts as well. For everybody’s sake.
“It’s time to get the message out to the world,” the group says. “Peace movements are hard to start, but we believe once they start rolling, there’s no stopping them!”
Niagara-On-The-Lake Singer-Songwriter Todd Green Channels Loss Into Melodic Reflection With “Five Years Later”
Music serves as the timeless conduit that unites us all. For Todd Green, executive director of Tomorrow’s Voices Foundation and dedicated music enthusiast, his love for music transcends mere admiration.
With an extensive collection of records and countless concert experiences under his belt, Todd now embarks on a new venture as a singer-songwriter, adding another dimension to his musical journey.
At the core of Todd Green’s musical journey is Tomorrow’s Voices Foundation, a charitable children’s choir he established in 2017. With a passion for nurturing young talent, Todd founded the organization to provide aspiring singers across Canada with a platform to showcase their voices. Today, the foundation operates in six cities and three provinces, impacting the lives of over 200 children.
Surrounded by so many young talents, the Niagara-on-the-Lake native found inspiration in their vibrant energy to start his own path. Fuelled by his diverse musical influences and bolstered by his extensive experience, Todd’s journey into songwriting began with a profound desire to share his own stories and experiences. To kick-start, the singer just released his first single “Fiver Years Later,” a heartfelt reflection on loss and the journey towards acceptance.
“It’s also about thinking of what you would say to people you have lost if you had a second chance to do so,” explains the singer and songwriter. Inspired by his own experience of loss, particularly the passing of his former stepson, Todd delicately navigates the delicate balance between sorrow and healing.
‘I don’t think there’s a heaven,
I don’t believe we get a second chance.
And even though I’d love it to happen,
I don’t think we’ll get to talk again.
So I’ll say now, what I should have before,
The memories I cherish, just wish we had more.
[Chorus:]
And when I heard
That you went away
It took me several days
To believe it
To believe it’
With sincerity and grace, Todd shares his heartfelt reflections, offering a glimpse into the profound impact of loss while honoring the memories that continue to shape his journey.
“The song was part of the process I have been going through since he [his stepson] passed away, and I was finally able to put into words what I have been thinking since I found out he had passed,” continues.
Through gentle melodies and introspective lyrics, Todd invites listeners to join him on a journey of remembrance and reconciliation. The song serves as a tribute to his stepson and a testament to the enduring power of love and resilience in the face of tragedy.
As Todd embarks on this new chapter in his musical journey, he remains grounded by his family, including his wife and young son, Liam, who stands as his steadfast supporter and greatest inspiration. Looking ahead, Todd anticipates the release of a 5-song EP, featuring collaborations with the talented young members of Tomorrow’s Voices Foundation.
Beyond his musical endeavors, Todd’s academic pursuits as a marketing professor at Brock University intersect seamlessly with his passion for music. His ongoing research projects delve into music consumption and the intricacies of the music industry, offering invaluable insights into the cultural landscape of Canada.
“Five Years Later” is more than a song; it’s a testament to the power of music to heal, console, and connect us across time and space.
Toronto’s Teen Prodigy Sydney <3 Sparks Musical Revolution With K-Pop Elegance In 'Picture Perfect'
16-year-old budding pop sensation Sydney <3 is ready to introduce herself to the world with electric feel-good anthem “Picture Perfect.” Hailing from Toronto, Ontario, the artist is known for a unique sound that adeptly blends the soaring synths of Billboard Hot 100 chart-toppers with Korean pop music, bridging the sonic gap between Taylor Swift and MAMAMOO. Collaborating with 5x Grammy Award Winner Orlando Calzada (known for his work with Lady Gaga, One Direction, and Destiny’s Child), and produced by Adam Hurstfield, Sydney <3 recorded “Picture Perfect,” her first ever single, in both English and Korean, with the latter translation of the song was done by noteworthy names in the K-Pop world: Seung-Hyun Kim (MC the Max, Lee Eun Mee) and Kang Minseo (BASTIONS, JTBC Girls on Fire).
The track is a certified pop earworm tied together by a heartfelt message that’s sure to resonate with young audiences: the mental fallout from unrealistic societal expectations brought forth by social media — and what we can do to move forward despite.
While this may be her first record, Sydney <3 is far from an overnight success. The multi-faceted young artist’s musical journey is ten thousand hours in the making, beginning at the young age of three. She started off with classical training in dance (learning ballet, jazz, hip-hop, and tap), before taking up both piano and guitar. Then, inspired by the Pitch Perfect films, she learned how to DJ and also had the opportunity to train vocally with Cara Chisholm, known for her work in Les Miserables, Phantom of the Opera, as well as with Canadian rockstar Don Wolf. Her strong work ethic and raw talent paid off: Sydney <3 soon caught the attention of Adam Hurstfield, a world-famous music producer known for his work with the likes of Ray J, Ne-Yo, and DJ Khaled as well as K-Pop artists such as Super Junior, Girls Generation, TVXQ, BoA, and Lee Hyori. Adam worked tirelessly to help Sydney <3 learn the foundations of songwriting and recording, and they eventually made three singles together, all mixed by Calzada and slated for a 2024 release. “Picture Perfect,” the first of those tracks, is an addictive listen in both English and Korean and is rooted in strong themes that hold a special place in Sydney <3's heart. “It’s about the struggles of seeing things on social media and setting unrealistic goals for yourself, then realizing it doesn’t really matter,” the artist explains. “I want people who listen to this song to feel like they’re not alone. No one’s life is actually that perfect — you’re fine the way you are. You don’t have to change or make it seem like everything is amazing all the time.” With hard-hitting lyricism and a catchy, bubblegum pop-suffused hook, “Picture Perfect” is a compelling listen — and the perfect introduction to a young, bubbling under artist sure to be on everyone’s radar sometime very soon. Be sure to check out the K-Pop single package when it’s released on January 26th and the alternate pop versions - slated to arrive three weeks later - wherever you stream music.