With fierce honesty and a firecracker sound, rising singer-songwriter Caryn Dixon releases her powerful new single ‘Bird in a Cage,’ now streaming on all major platforms. Built on striking imagery like “bottle caps on the ground, tiptoe through this quiet house, holding my shoes,” the song hits an emotional chord with anyone who’s ever felt stuck, silenced, or ready to break free. “‘I wrote ‘Bird in a Cage’ about realizing you’ve outgrown the version of yourself that stayed quiet just to keep the peace,’” Dixon shares. “It’s about the slow build: the tiptoeing, the unspoken things, the feeling of being small in your own life. I wanted to capture what it feels like to walk on eggshells and then finally decide to break free.”
Dixon describes her sound as “country-ish,” blending country, rock, bluegrass, folk, and pop with fearless creativity. Known for her energetic and heartfelt performances, she’s been called a “barn burner” by fans and insiders alike. Her debut five-track EP is out now, marking another major step in her journey as one of the next great country-influenced storytellers. Rooted in empowerment and authenticity, Dixon’s music speaks especially to women balancing ambition and family, reminding listeners that it’s possible to chase dreams without compromise.
Kayley Green releases her emotional new single ‘Dollars,’ a heartfelt reflection on ambition, gratitude, and the moments that truly matter. Written by Green alongside Emily Weisband and Jonathan Smith, the song captures the universal struggle of chasing big dreams while staying grounded in love and family. “’Dollars’ is one of the most meaningful songs I’ve ever written,” Green shares. “Like many artists, I have big dreams and big goals — but no matter how far I go, I never want to lose sight of what really matters. At the end of the day, it all comes back to family.”
The release follows Green’s summer single “You’d Still Be Drunk,” praised by Billboard for its “upbeat, throwback vibe soaked in girl power and attitude that further reinforces Green’s strong vocals.” Born and raised in Florence, South Carolina, and now part of Sony Music Nashville, Green brings authenticity and heart to every performance. From her early days singing in church to honing her craft on Nashville’s Broadway, she’s carved out a sound that’s both classic and fresh — proving once again, as MusicRow Magazine declared, “this gal’s got something goin’ on.”
Tipped as one of 2025’s rock bands to watch, Return to Dust have released their new six-track EP ‘Speak Like The Dead.’ The L.A.-based group — Matty Bielawski, Graham Stanush, Sebastian Gonzalez, and London Hudson — recorded the project with longtime collaborator and producer Jim Kaufman. “‘This EP is the nuances and ironies we’ve noticed in the world, the tragedies we’ve felt and cried over, and the excitement for the gift that is life. This EP is yours, Speak Like The Dead is out now,’” the band shares. The release is available to stream and on limited-edition ‘iridescent smoke’ vinyl.
‘Speak Like The Dead’ includes the rising single “Bored,” alongside “Shine,” “Downfall,” “Disarray,” “Summer Rain,” and “Abyss.” The “Downfall” video offers a striking visual reflection of the band’s gritty, emotional sound. Following their 2024 debut album ‘Return to Dust’ and breakout single “Belly Up,” praised by Distorted Sound as “a grungy, punky thrill ride” and by Revolver for its “Alice In Chains-inspired form of modern-day grunge,” Return to Dust continue to define their place in modern rock through authenticity, energy, and heart.
The world in 1971 was restless, and Sly and the Family Stone caught its heartbeat. ‘There’s a Riot Goin’ On’ arrived like a storm—slow, heavy, and unstoppable. It carried the spirit of protest, the fatigue of change, and the rhythm of a new kind of funk. Every hiss, groove, and layered sound came from a place of tension and truth. What emerged was not just an album but a declaration that music could hold both the fire and the silence of its time.
1. Sly Stone recorded most of it entirely alone Sly built his own studio in his Bel Air home and layered nearly every instrument himself. He used a Maestro Rhythm King drum machine and recorded vocals lying in bed with a wireless mic. Each track carries his fingerprint, from the groove to the murky mix, building a sound that became the blueprint for generations of funk and hip hop artists.
2. “Family Affair” broke ground and topped the charts The album’s centerpiece, “Family Affair,” mixed electric piano from Billy Preston with a heartbeat-like rhythm track. Sly and his sister Rose sang with quiet intensity, creating a groove both intimate and unshakable. It reached #1 on the Billboard Hot 100 and became one of the earliest chart-topping songs to use a drum machine.
3. The silent title track held powerful meaning The track “There’s a Riot Goin’ On” runs zero minutes and zero seconds. When asked about it, Sly said, “I felt there should be no riots.” The absence of sound carried its own message, a refusal to glorify chaos while still reflecting the tension of the time.
4. The American flag on the cover was redesigned to speak truth Sly replaced the stars with suns and turned the blue field black. He explained that black represented the absence of color, white represented all colors combined, and red symbolized blood—the one thing everyone shares. It became one of the most powerful visual statements in album art history.
5. The album reshaped music and culture ‘There’s a Riot Goin’ On’ hit #1 on both the Billboard Pop and Soul charts and later earned platinum certification. Its influence runs through artists from Miles Davis to Prince to Public Enemy. In 1999, it entered the Grammy Hall of Fame, forever marked as a creation that changed how funk could sound, move, and speak.
‘Sun City’ stands as one of the most powerful musical collaborations for human rights. In 1985, Steven Van Zandt brought together artists from rock, jazz, hip hop, funk, and soul to raise awareness about apartheid in South Africa. The song and album united voices across genres and continents, calling for equality through rhythm and conviction. The message spread far beyond the charts and became an anthem for change, proving that music can carry the sound of solidarity.
1. More than 50 artists joined the project Steven Van Zandt, Arthur Baker, and Danny Schechter gathered an extraordinary group of performers that included Bruce Springsteen, Bono, Bob Dylan, Lou Reed, Run-DMC, Herbie Hancock, Miles Davis, Peter Gabriel, Keith Richards, and Ronnie Wood. The collaboration created one of the most wide-reaching musical statements of its time.
2. “Sun City” became a pledge of artistic unity The chorus “I ain’t gonna play Sun City” carried a message of commitment and awareness. The resort represented inequality, and by refusing to perform there, each artist aligned themselves with the global call for justice. The song’s rhythm and chorus built a unifying voice against apartheid.
3. Bono wrote “Silver and Gold” in one night Inspired by the sessions, Bono composed “Silver and Gold” in his hotel room and recorded it with Keith Richards, Ronnie Wood, and Steve Jordan. The song appeared as an unlisted track on the album and reflected the urgency and creativity that filled every part of the project.
4. Miles Davis recorded with complete intensity When Miles Davis entered the studio, he created a moment of pure focus. Working with Herbie Hancock, Ron Carter, and Tony Williams, he played with depth and control that matched the power of the cause. His presence added a sense of gravity and artistry to the album’s energy.
5. The album supported global awareness and education ‘Sun City’ reached listeners around the world and raised more than one million dollars for programs supporting equality and education. It premiered at the United Nations and strengthened international awareness about apartheid, leaving a lasting example of collaboration and purpose in music.
Sunlight, raindrops, and melody all swirl through XTC’s ‘Skylarking,’ a record that feels like a living calendar. Produced by Todd Rundgren, the album blooms with psychedelic pop textures and lyrical warmth, moving through the cycles of love, growth, and reflection. Though its beginnings were complicated, its outcome glows with musical color and imagination. Over time, ‘Skylarking’ became a beloved classic, celebrated for its detail, cohesion, and fearless creativity.
1. Todd Rundgren mapped out the entire concept Before the first session began, Todd Rundgren listened to over 20 demos and designed the album’s concept himself. He sequenced the songs to flow like the cycle of a single life – birth, youth, love, loss, and renewal. The structure was so strong that XTC kept his order almost entirely unchanged on the final release.
2. ‘Dear God’ transformed the album’s fate “Dear God” was initially left off the first pressing of Skylarking because Virgin Records worried about length and controversy. But college radio DJs in the U.S. began playing it nonstop, and Geffen Records soon reissued the album with the song included. It climbed to #37 on the Billboard Mainstream Rock chart and helped Skylarking spend 29 weeks on the Billboard 200, peaking at #70. The song’s questioning of religion sparked national debate, leading to angry letters, one bomb threat at a Florida station, and even a student in New York forcing his school to broadcast it. Despite that chaos, the track became one of XTC’s defining songs, praised for its honesty, artistry, and courage.
3. The recording used only three reels of tape Rundgren kept the sessions lean at Utopia Sound Studios in Woodstock, New York. The band recorded the entire album on just three reels of tape – one for each album side and one for extras. This minimalist approach gave the music a spontaneous energy that matched its natural, cyclical theme.
4. Prairie Prince gave the songs their living rhythm Rundgren brought in Prairie Prince of The Tubes to add live drums to replace programmed percussion. His expressive playing lifted the songs’ flow and feeling, giving Skylarking the organic pulse that turned it from a technical record into a living, breathing work of art.
5. The album’s original artwork shocked record stores Andy Partridge originally planned a cover using photographs of human bodies adorned with flowers, but record stores refused to carry it. He replaced it with a reworked image from artist Hans Erni that became instantly recognizable. The final design matched the music’s elegance and the theme of nature’s endless renewal.
When Tina Turner released ‘Private Dancer,’ she lit up the world with confidence, style, and fire. It was more than a comeback. It was a full-blown transformation that shaped pop, rock, and R&B for decades to come. Here are five vibrant facts about the album that made her unstoppable.
1. A&R legend John Carter helped launch a new era Capitol Records executive John Carter believed deeply in Tina Turner’s voice and signed her when others hesitated. He oversaw the album’s creative direction, bringing together a mix of British producers and musicians that helped define her powerful new sound.
2. Mark Knopfler wrote the title track and Jeff Beck played the solo The song ‘Private Dancer’ was originally written by Mark Knopfler of Dire Straits for his own band but was later given to Turner. Her version featured Dire Straits musicians and a fiery guitar solo by Jeff Beck, creating a track filled with both elegance and electricity.
3. Four different production teams built the album’s diverse sound Each song on ‘Private Dancer’ carried a distinct mood, crafted by producers like Rupert Hine, Terry Britten, Martyn Ware, and John Carter. Their combined efforts gave Turner an album that moved seamlessly between pop, rock, soul, and smooth jazz energy.
4. “What’s Love Got to Do with It” became a global anthem Written by Terry Britten and Graham Lyle, the song climbed to #1 on the Billboard Hot 100 and won three Grammy Awards. It became one of the defining songs of the 1980s and turned Turner into a household name across the world.
5. The ‘Private Dancer’ Tour took her around the world The 177-date tour covered Europe, North America, Australia, and Japan. With opening acts like Glenn Frey and Mr. Mister, Turner performed her new hits alongside favorites like “Proud Mary” and “Nutbush City Limits,” thrilling audiences everywhere.
When Bob Dylan released ‘Oh Mercy’, it marked a creative spark that had the music world buzzing. Recorded in New Orleans with producer Daniel Lanois, the album shimmered with nighttime mystique, poetic grit, and late-80s groove. Here are 5 fascinating facts behind this haunting classic.
1. Dylan and Ronnie Wood recorded a whole other version first Before New Orleans, Dylan tried tracking the album with Rolling Stones guitarist Ronnie Wood. The sessions produced a complete version of ‘Oh Mercy’ that never saw daylight. Dylan later decided to start fresh, and that decision led to the version fans know today.
2. The album was born under the moonlight Producer Daniel Lanois insisted that they record only at night. He believed the human body moved differently after dark, when “the pushing and pulling of the moon” shaped rhythm and mystery. The result was a sound designed to be heard at night, with every note drenched in atmosphere.
3. Bono helped connect Dylan and Lanois The partnership between Dylan and Lanois began thanks to U2’s Bono, who introduced them in the late ’80s. Dylan admired Lanois’s work with the Neville Brothers on ‘Yellow Moon’, and the two clicked immediately. That meeting sparked one of Dylan’s most distinctive sonic collaborations.
4. Some of Dylan’s best songs didn’t make the final cut “Series of Dreams,” “Dignity,” and “Born in Time” all came from the ‘Oh Mercy’ sessions but were left off the album. Each song later appeared on future releases, including The Bootleg Series and Greatest Hits Volume 3. Dylan’s cutting-room floor was filled with gold.
5. The cover art was discovered on a Manhattan street The mural of two dancers on the cover wasn’t staged or commissioned. Dylan spotted it on a wall outside a Chinese restaurant in Hell’s Kitchen. The artist, known as Trotsky, lived nearby and gave permission. It became one of Dylan’s most striking and serendipitous album covers.
Brantford-based Americana artist KC Armstrong is celebrating the return of his festive anthem “I Hate That Sweater,” a song that has found new life and a growing audience thanks to his rising profile and a fresh new video release. Originally crafted in 2024 under the rush of holiday deadlines, the track has now become one of the most requested seasonal songs and is set to light up this year’s celebrations with renewed energy.
“I Hate That Sweater” was first written in the spirit of fun, as Armstrong recalls picturing the descending riff of an earlier song played on Christmas bells. “I heard my inner voice shouting ‘I Hate That Sweater,’ and the lyrics came together within an hour,” he explains. The playful tale of a last-minute shopping disaster unfolds with horns, bells, and Armstrong’s unmistakable wit. The chorus delivers a refrain that has become a fan favourite: “green rhinestones, red pleather – I hate that sweater.”
The re-release is accompanied by an updated lyric video that showcases the humour and Americana charm that runs through Armstrong’s work. “I wanted to highlight the theme in a playful way,” he says. “The video gave me the chance to add commentary I had been anticipating since the song first came out.” The combination of visuals and sound invites listeners into the heart of his storytelling, capturing the joy and silliness of the season.
Armstrong’s band brings the track to life with a stellar cast of players: MaryEllen Allen on vocals, guitarist Scott Utting, Sean O’Connor on saxophone, Steve O’Connor on keys, and Marty Hepburn on harmonica. Debbie Armstrong also adds her spirited dialogue as “Little Debbie,” making the recording feel like a lively family gathering.
Beyond its humour, the song’s momentum speaks to Armstrong’s broader achievements. His music has been featured on national and international radio, and singles from his acclaimed album “Finally Crafted” have reached the Canadian Independent Country Countdown. With a style often compared to Randy Newman and Nick Lowe, Armstrong’s Americana voice blends wit, storytelling, and bluesy authenticity. His work as a Hawk for the legendary Ronnie Hawkins and performances alongside artists like Jeff Healey anchor his reputation as a musician deeply rooted in North American music history.
The renewed attention around “I Hate That Sweater” reflects Armstrong’s growing connection with audiences worldwide. The single has been heard internationally in England, Italy, Bermuda, Australia, and the United States, while also earning recognition as the “most requested Christmas song” by Cashbox Radio. With the updated video now available, fans have even more ways to engage with the song’s festive charm.
As Armstrong explains, the inspiration came from everyday life: “It’s a playful story about how we react to receiving an ugly Christmas sweater. It’s lighthearted, but it also captures a moment that so many people can relate to.” That relatability, paired with his Americana sound, has turned the track into something timeless and ever relevant.
The re-release also signals Armstrong’s ongoing evolution as a songwriter and producer. A self-taught musician, he continues to craft songs and videos that resonate across genres and audiences. His YouTube channel has grown steadily, and his upcoming album promises to showcase more of the blend of humour, heart, and roots authenticity that defines his work.
With the holiday season approaching, “I Hate That Sweater” returns not just as a novelty tune but as a reminder of Armstrong’s enduring artistry. The song’s joyful energy and playful storytelling embody the very spirit of Americana music—honest, communal, and deeply human. This re-release stands as both a celebration of the season and a testament to KC Armstrong’s rising momentum.
Armstrong is currently at work on his next studio project, building on the success of his recent singles and the renewed attention around “I Hate That Sweater.” For fans, it’s the perfect time to rediscover a holiday gem and to look ahead to the music still to come from one of Canada’s most engaging Americana voices.
With a voice that feels both familiar and fresh, London, ON-born, Windsor, ON-based singer-songwriter Addi John steps confidently into a new chapter with his single “These Walls,” out now. The track glows with indie folk warmth and a heartfelt honesty that has quickly become Addi’s trademark—a sound built for open skies, long drives, and quiet moments of reflection.
Addi crafts songs for the hopeful and the wanderers. His music invites listeners to find stillness in the storm, and his storytelling carries a rare emotional transparency. After years of touring the world with his award-winning band Lost in Japan, Addi found new creative freedom in solitude—building his own studio in the countryside and rediscovering his voice as both artist and producer.
“These Walls” captures that rediscovery. Written, produced, and composed entirely by Addi himself, the song represents a deeply personal moment of vulnerability. “I wanted to write something that reflected how I was really feeling, not just what sounded upbeat,” Addi shares. “Being on tour can feel lonely even when you’re surrounded by people. This song came from confronting that feeling head-on.”
The track unfolds with gentle acoustic textures, layered harmonies, and subtle percussive warmth—a sonic palette that recalls the intimacy of artists like Gregory Alan Isakov and Ben Howard. Addi’s production carries his signature minimalist touch, letting space and silence speak as loudly as his words. Each note feels intentional, guiding the listener deeper into his world.
At its core, “These Walls” explores the distance we create to protect ourselves. Addi sings, “Maybe I’m lonely, maybe I’m alone because these walls…” —a lyric that turns inward, inviting empathy instead of isolation. The song reflects not despair, but acceptance—the understanding that healing comes through honesty and openness.
In speaking about the song’s inspiration, Addi reflects, “I think a lot of people will relate to putting up emotional walls without realizing it. For me, writing this song helped me take those walls down. It’s about letting people in, even when it feels hard.” That sentiment flows through his performances—where the connection between artist and audience feels unbreakable.
“These Walls” also carries a quiet resilience born from personal growth. Following the loss of his father, Addi found himself turning to music as both a refuge and renewal. Every melody feels like a step toward light—a way to share grief through beauty, and to remind others they’re not alone in their own process of healing.
Addi’s evolution from band frontman to solo storyteller has earned him growing recognition across Canada. His debut album ‘Another Way To Love’ introduced listeners to his blend of introspection and optimism, while his work as a self-taught producer led to a nomination for FCLMA Producer of the Year. With “These Walls,” he cements himself as a defining voice in the modern indie folk landscape.
As folk music continues its resurgence across streaming platforms and festival stages, Addi John stands poised to join a new generation of Canadian voices reshaping the sound of authenticity. “I just want people to feel seen in the music,” he says. “If someone listens and feels less alone, then I’ve done what I came to do.”
Addi John will bring his heartfelt songs to the stage this winter and spring with a series of intimate live shows across Ontario:
• December 4 – London, ON – London Music Hall with Virginia To Vegas • February 5 – Waterloo, ON – Maxwell’s • February 6 – London, ON – Wolf • February 7 – St. Catharines, ON – Warehouse
Each performance promises to be a shared moment of connection—an invitation to step inside the songs, feel their pulse, and celebrate the stories that make us human.
