Page 226 – That Eric Alper

Toronto’s Country Rising Star Hayden Ryann Stands Tall with Empowering New Single ‘No Room for Bitchin”

Music

Eric Alper

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Oct 12, 2025

Toronto’s Country Rising Star Hayden Ryann Stands Tall with Empowering New Single ‘No Room for Bitchin”

Toronto-born artist Hayden Ryann brings a confident new voice to country-pop with her single “No Room for Bitchin’,” (Slammin’ Media and distributed worldwide by Believe) out now. At just 21 years old, Hayden combines a modern lyrical directness with the warmth of country storytelling and the energy of pop, crafting music that resonates with young listeners who value authenticity and empowerment.

Growing up in Toronto’s Beaches neighborhood, Hayden found her artistic spark early in music, poetry, and visual art. Summers spent in Montreal immersed her in the city’s thriving arts scene, shaping her creative identity. “The recording studio feels like my instrument,” she says, reflecting on her sessions in Nashville, Toronto, and Montreal that laid the foundation for her debut album arriving in 2026.

Her journey is anchored in her own words and experiences. “I’ve written over a hundred songs,” Hayden shares. “Songwriting is how I make sense of the world. It’s how I hold onto joy, let go of frustration, and find strength.” That philosophy runs through her newest track, a collaboration with The Lockyer Boys that centers on self-worth and unapologetic independence.

From the first verse, “No Room for Bitchin’” sets its tone with defiance: “I found a boy, had to let him go / He didn’t like the way I didn’t do as I was told.” Hayden delivers each line with a mix of grit and clarity, transforming personal reflection into a universal anthem for anyone refusing to shrink themselves.

The chorus amplifies that voice: “So you don’t like me, when did I ask? / Don’t get caught up on me, ‘cause I ain’t gonna do it back.” Her conversational delivery and infectious melody underline the message—confidence doesn’t need validation, and self-respect is its own power.

Later in the song, Hayden sharpens the message for her listeners: “So listen up, girls, this is our song / We ain’t gonna apologize when we don’t do nothing wrong.” With that rallying cry, she transforms the track into a collective statement, positioning her music as both a personal release and a cultural moment for her generation.

The anthem is already inspiring movement—literally. A line dance choreographed to “No Room for Bitchin’” is picking up steam across TikTok and Instagram, giving fans a playful new way to embody its message. The video brings the song’s empowering spirit to life, uniting music, movement, and community in a way only Hayden Ryann could.

The impact of “No Room for Bitchin’” extends beyond its hooks. It resonates as a declaration of emotional clarity, offering anthems of resilience to those navigating toxic relationships or societal pressures. Hayden’s ability to channel frustration into empowerment places her in conversation with peers like Maggie Rogers and Lizzy McAlpine while carving a space uniquely her own.

For Hayden, empowerment means presence. “Say what you want, be who you wanna be,” she sings, embodying a philosophy of living without compromise. This message positions her not just as a performer, but as a voice for young women claiming space with unapologetic confidence.

Looking ahead, Hayden is preparing the release of her debut album in early 2026. She promises a body of work that blends her influences—country, pop, and folk—with lyrics rooted in raw honesty. “These songs come from real places,” she says. “They’re about finding joy, holding your ground, and sharing stories that matter.”

With her music set to reach audiences across Canada, the U.S., and beyond, Hayden Ryann stands poised to become one of country-pop’s most empowering new voices. “No Room for Bitchin’” is more than a single; it’s a statement of identity, a soundtrack for resilience, and a reminder to live boldly without apology.

As Hayden puts it herself: “I’m a hell of a girl, in a hell of a world, that’s got no room for bitchin’.”

Canadian Songwriters Unite for Second Edition of Country Talks CAMH Benefit Concert

Music

Eric Alper

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Oct 12, 2025

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Canadian Songwriters Unite for Second Edition of Country Talks CAMH Benefit Concert

Canadian country artists are once again coming together to share their lived experiences with mental illness, addiction, and other mental health challenges through a unique storyteller-style benefit concert in support of the Centre for Addiction and Mental Health (CAMH).

The second edition of Country Talks: Mental Health will take place Sunday, October 26 at The Rec Room Square One in Mississauga. The show will feature top Canadian country artists performing in a Nashville-style writers’ round, blending personal stories with the songs that have been part of their healing journey. All proceeds will be donated to the CAMH Foundation.

This year’s lineup includes Andy Colonico, Taylor Wilson, Nicole Christian, Jessica Towler, Tim Hance, and Angelica Appelman. Toronto-based duo Broadtree will return as hosts, following the sold-out 2023 debut at Oakville’s Moonshine Café, which raised over $1,000 for CAMH through ticket sales, raffles, and donations.

“We didn’t know what to expect when we launched the first show,” says Country Talks co-founder Armand Antony. “The subject matter can make people uncomfortable, and the artists were incredibly vulnerable. But the way the audience came together to create a safe, supportive space was inspiring — it became the perfect setting for this kind of event.”

Nicole McCafferty, Antony’s partner in Country Talks, added “Music is a universal language. Someone might not relate to a condition like bipolar disorder or schizophrenia because of stigma or fear, but they can relate to the emotions in a song. That connection makes difficult topics feel less distant — it opens the door to understanding.”

The series aims to normalize conversations about mental health the same way people discuss any other medical condition. For many performers, the Country Talks stage has been the first place they’ve spoken publicly about their struggles.

Taylor Wilson, a Hamilton-based artist who headlined the inaugural concert, recalls, “I’ve shared my story online, but saying it out loud in a packed room was something entirely different. The response from the audience was deeply moving — people connected not just with the music, but with the honesty behind it.”

Wilson says the event is a powerful reminder that open conversation can be healing: “While we’ve made progress, stigma still exists. Events like this give people permission to speak up, and that can change lives.”

“CAMH Foundation is grateful to Country Talks for their support and to all of the Canadian artists for courageously sharing their lived experiences,” says Deborah Gillis, President & CEO of CAMH Foundation. “This event not only raises vital funds for Canada’s leading mental health hospital, it sparks open, hopeful conversations that remind people there is always help.”

Tickets for Country Talks: Mental Health are available by donation and can be purchased online at https://countrytalks2.eventbrite.ca

Country Talks Mental Health vol 2 – an evening of songs and storytelling to benefit the Centre for Addiction and Mental Health

When: Sunday, October 26, 2025 @ 3:00pm

Where: The Rec Room Square One: 100 City Centre Dr #1-705, Mississauga, ON L5B 2C9

Tickets by $20

Public on sale: September 12, 2025

More info and tickets at https://countrytalks2.eventbrite.ca

From Cabaret to Studio, Kelly Clipperton Finds Renewal with “Summer’s Gone”

Music

Eric Alper

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Oct 12, 2025

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From Cabaret to Studio, Kelly Clipperton Finds Renewal with “Summer’s Gone”

Toronto’s own Kelly Clipperton has long embodied the role of Renaissance man, and with his latest release “Summer’s Gone,” he cements his place among the great survivors and visionaries of Canadian music. His artistry, spanning four decades in theatre, film, fashion, and song, proves that endurance and reinvention are not just survival tactics, but an ethos of creation itself.

“I honestly didn’t know I had this live piece in me,” Kelly reflects on his cabaret triumph Let’s Assume I Know Nothing, And Move Forward From There. Directed by Naomi Campbell, the show sold out The Monarch Tavern in May 2024 and returned for a two-week run at Factory Theatre the following March. “It proved to be the vehicle that pulled everything I do together,” he says, from designing costumes and projections to embodying his own grandmothers on film.

This instinct for integration has defined Kelly’s entire career. “I’ve worked as a producer, songwriter, playwright, singer, designer, actor, stylist, photographer, filmmaker and former PSW,” he explains, tracing a path that has landed him on the covers of NOW, eye, Xtra!, Capital Xtra!, The Star, The Globe and Mail, Boom, Prairie Dog, Windsor Star, Fab and Out. His band Kelly & The Kellygirls released seven recordings between 2004 and 2014, toured across Canada, the UK and the US, and reached indie chart success with the singles “Catherine Deneuve and the Deus Ex Machina,” “Better Times” and “Vodka + Cynicism.”

“Summer’s Gone” arrives as Kelly’s first new single in over a decade and signals the beginning of a fresh era. Written in the afterglow of his cabaret’s closing night, it channels the bittersweet rush of endings that spark new beginnings. “As I was saying goodbye to the team on the closing night of my show, I had an overwhelming feeling of: this will never happen again. Not like this at least,” he recalls. “It felt like saying goodbye to new friends you made during summer camp.” The next day, the song poured out of him in a single sitting at the piano.

The track blooms with shimmering imagery and aching memory. “Live inside my gaze and wave goodbye / never get lost please come along,” Kelly sings, his voice carrying the heat of nostalgia. Elsewhere, his lyrics ache with clarity: “Crystallize and baby your summer’s gone.” There’s longing, yes, but there is also release—a moving on that makes room for what’s next.

Anchored in pulsing production and intimate vocals, “Summer’s Gone” resounds as both a personal elegy and a communal hymn. Kelly captures what it feels like to hold tight to a moment that can’t return, while finding strength in the inevitability of change. “I want some sweetness in my throat / there was a time when I believed that this heatwave was the only way out,” he sings, revealing both the vulnerability and resolve that mark his latest work.

Such creative resilience defines Kelly’s enduring place in Canadian arts. Forty years into a career that began with a York University BFA in Theatre, he continues to move seamlessly between disciplines. His work is never bound to one medium, but united by a singular drive: to craft, to connect, to leave audiences changed.

What sets Kelly apart is not only his versatility but his vision. As a gay artist who has long embraced representation and authenticity, his music and performance carry the weight of lived experience. “I reflected on going to IMC music camp at 16 and the boys I had crushes on and the ease I felt, possibly for the first time as a young gay man, in the company of these other musicians,” he shares. That memory of freedom, joy, and belonging still pulses through his art today.

“Summer’s Gone” is the first glimpse of a full-length album expected in spring 2026, his first in twelve years. If the single is any indication, the album will not simply mark a return, but a revelation: a summation of everything Kelly has lived and a declaration of what still lies ahead.

Kelly Clipperton stands as proof that longevity in music is not about holding on—it’s about letting go at the right time, so that new work can emerge. “Summer’s Gone” is a song of farewell, but also a bright introduction to a future that Kelly continues to shape with passion, persistence, and brilliance.

Flamenco Virtuoso and MVP Guitarist of Jesse Cook’s Band Matt Sellick Releases “Drink from the Fountain” from ‘Watching the Sky’

Music

Eric Alper

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Oct 12, 2025

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Flamenco Virtuoso and MVP Guitarist of Jesse Cook’s Band Matt Sellick Releases “Drink from the Fountain” from ‘Watching the Sky’

Matt Sellick is widely recognized by discerning audiences as the MVP guitarist in Jesse Cook’s internationally renowned ensemble, a position that requires not only flawless technique but also a rare depth of musical intuition. To play alongside Cook is to exist in a crucible of precision and passion, where every note must balance virtuosity with emotional immediacy. It is within this demanding environment that Sellick has distinguished himself, quietly amassing a reputation as one of Canada’s most gifted and versatile guitarists.

Born in Thunder Bay, Ontario, Sellick’s roots trace back to the rugged landscapes along Lake Superior, environments that continue to inspire his writing. After earning his HBMus at Lakehead University in 2013, he immersed himself in the flamenco heartlands of Spain, studying with master guitarists and absorbing the genre at its source. His formative time in Madrid and Granada provided the foundation for the artistry he now shares with audiences around the world.

“When I first went to Spain, I felt as if I had finally found the beginning of my path,” Sellick recalls. “Everything about the experience—the narrow streets, the sound of flamenco echoing from balconies, and the friendships I made—showed me the kind of musician I wanted to be.”

Upon returning to Canada, Sellick became a fixture in his hometown, performing as a soloist with the Thunder Bay Symphony Orchestra and presenting intimate solo concerts. These years gave him the chance to experiment with orchestration and develop a growing catalogue of original work that reflected both discipline and imagination.

In 2019, Sellick moved to Toronto, marking the beginning of a new phase in his career. Joining Jesse Cook’s touring band, he performed across Canada, in more than twenty U.S. states, and in eight European countries. These experiences refined his artistry to a razor’s edge. “My years with Jesse Cook’s band taught me what it means to perform at the highest level,” Sellick reflects. “Every night demanded absolute precision and passion—it sharpened me as both a guitarist and a musician.”

Yet alongside this high-profile work, Sellick was quietly crafting another repertoire. For over a decade, he orchestrated his guitar works for full symphony, a project that culminated in Watching the Sky, released in June 2025. The album represents both a return to his musical roots in Thunder Bay, where the Symphony gave him his first orchestral stage, and a bold step forward into a new sound world.

“With Watching the Sky, I wanted to show people the music I’ve been quietly building for a decade,” he explains. “Flamenco is still my heartbeat, but now it’s in dialogue with the orchestra, with landscapes, with memory. It feels like opening a door to a new chapter.”

The single “Drink from the Fountain” holds special resonance. Inspired by advice he once received from Toronto flamenco guitarist Nicolas Hernandez, the title refers to traveling to Spain to study at the source of the music. “That phrase—‘drink from the fountain’—has stuck with me my whole life,” Sellick says. “It reminds me of buying my first flamenco guitar in Madrid, of seeing the Alhambra, of the mentors who shaped me.”

Sellick’s compositions echo personal milestones: the sleepless night before purchasing his first flamenco guitar, the friendships formed in Spanish mountain towns, and the gratitude for those who opened doors along the way. “It reminds me of where I’ve been, what I want to learn, and where I want to go,” he adds. “Every time I play it, I feel that sense of discovery again.”

The response to his orchestral premieres has been remarkable, with audiences celebrating the seamless integration of flamenco textures and symphonic grandeur. His collaborations with conductor Evan Mitchell and percussionist Marito Marques further highlight the social, collaborative spirit of his music. “In flamenco, everyone supports one another, but each person gets their moment to be the soloist,” Sellick notes. “That’s what I wanted this album to reflect.”

What once seemed like an undercurrent in his career now emerges as a defining statement: Sellick is poised not only as a master interpreter of flamenco guitar, but as a composer with a distinctive orchestral voice. His trajectory suggests an artist on the cusp of wider recognition, one whose music bridges cultures and traditions.

Touring remains central to this momentum. Audiences will have the chance to hear his new work live in a series of performances across Canada, and internationally as part of Jesse Cook’s acclaimed ensemble. These concerts will showcase Sellick’s rare gift: the ability to connect intimacy and virtuosity with expansiveness and grandeur.

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Cuban Roots, Canadian Home: Montuno Cubano Release Salsa and Bolero Son Gems “Tu Arete” and “Bendita Luz”

Music

Eric Alper

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Oct 12, 2025

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Cuban Roots, Canadian Home: Montuno Cubano Release Salsa and Bolero Son Gems “Tu Arete” and “Bendita Luz”

Montuno Cubano announces the release of two new singles—“Tu Arete” and “Bendita Luz” out now—followed by title cut from their album ‘Frágil de Cristal’ on October 10, 2025. Blending Salsa, Bolero Son, Son Cubano, Guaracha, and Bolero, the album brings Cuba’s most cherished traditions into dialogue with the global stage, reimagined from the group’s new home base in Prince Edward Island, Canada.

At the heart of Montuno Cubano are Cuba-born brothers Jorge Luis Peña Acosta (vocals, requinto, guitar) and Luis Peña Acosta (vocals, guitar, percussion), whose sibling harmonies and partnership have become the group’s defining sound. Alongside them, a talented circle of musicians—including Mark Carr-Rollitt (Latin percussion), Christopher Martell (upright bass), Devin Hornby (electric bass), and Sergey Varlamov (keys, violin, bass)—contributed to the studio sessions and select live performances, enriching the recordings with authenticity and depth.

Montuno Cubano’s repertoire spans salsa, guaracha, bolero, rumba flamenca, and son cubano, weaving stories of love, resilience, and cultural memory. As Jorge explains: “First I hear the rhythms in my head. If I am excited, I write salsa or guaracha. If I am calm, I write boleros. Rhythm drives the song, but now that I live in Canada, I focus on both the rhythm and the story.”

For new listeners, Salsa is a vibrant Afro-Caribbean dance music style; Bolero Son blends romantic bolero with the rhythmic backbone of Cuban son; Son Cubano is the foundational Cuban genre mixing Spanish guitar with African percussion; Guaracha is a fast-paced, festive style once sung in Havana’s theatres; and Bolero is the quintessential Latin American love song, slow and tender, often poetic in its lyrical expression.

These traditions echo through Montuno Cubano’s new work. In “Tu Arete,” Jorge writes with intimacy: “Hoy sentí envidia de tu arete / Que sin ser tan fuerte a su antojo te tenía”—a meditation on desire and closeness. In “Bendita Luz,” the refrain pleads:

“Bendita luz de la vida, alumbrame mi camino / Apartame to lo malo, que no se metan conmigo,” a spiritual invocation for light and protection. And in the forthcoming title track “Frágil de Cristal,” he sings: “Como yo olvidarte a ti mi amada frágil de cristal / Si eres una mujer hermosa, delicada y muy sensual,” a bolero ode to love and vulnerability.

The songs were recorded over several years at Crabbe Road Productions in Prince Edward Island with producer Sergey Varlamov, whose violin contributions added an international texture to the band’s Cuban foundation. “Although the style of my music is Cuban, with Sergey adding violin my recordings feel more international. It’s amazing to hear how the requinto, violin, and percussion work together,” Jorge reflects.

Bassists Christopher Martell and Devin Hornby alternated across the sessions, while percussionist Mark Carr-Rollitt provided bongos, congas, and claves, ensuring authenticity in every rhythmic layer. “It is important to understand which percussion instrument is right for each song,” Jorge adds. “Mark understands.”

Montuno Cubano’s music is both an homage to heritage and a contemporary offering. It highlights Cuba’s deep well of musical genres while making them accessible to audiences around the world. For world music enthusiasts, it is a showcase of cultural lineage; for newcomers, it is an introduction to one of the most influential musical traditions. Above all, it is an invitation to feel joy, connection, and rhythm.

Francis Baptiste Strikes a Raw Chord With Indigenous Folk-Rock Testament “Locked in for Life”

Music

Eric Alper

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Oct 12, 2025

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Francis Baptiste Strikes a Raw Chord With Indigenous Folk-Rock Testament “Locked in for Life”

Francis Baptiste, the Syilx singer-songwriter whose voice has become a vessel for Indigenous truth and lived testimony, presents his latest single “Locked In For Life,” a searing portrait of survival in East Vancouver. The track arrives as Baptiste continues to build momentum toward his third full-length album, Lived Experience in East Vancouver, and confirms his place as one of Canada’s most vital Indigenous folk-rock artists.

“Locked In For Life” is stark in its honesty, a song that confronts the rising cost of living and the precariousness of survival in a city that often feels indifferent to its artists. Francis Baptiste delivers both guitar and vocals, joined by Rob Thomson on bass, Max Ley on drums, Feven Kidane on trumpet, and Ricardo Pequenino on vocals. The ensemble creates a soundscape that is urgent and resonant, one that embodies the tension between exhaustion and endurance.

“I’m barely f’cking surviving here,” Baptiste admits in the lyric, a declaration that is not performance but documentation. The refrain, “Don’t try to wake me if I’m screaming / I’m just dreaming / of a day that I don’t hate this life… I’m locked in for life,” stands as both lament and affirmation. This is music that refuses pretense, instead carving strength out of the raw contours of lived experience.

The trumpet line from Feven Kidane gives the track an almost 90s punk-ska edge, widening its emotional scope. For Baptiste, the sound reflects the resilience of East Vancouver: rough, resourceful, and relentless. He recalls busking on Granville Island to pay rent as a single father, each day a grind of survival. That memory infuses the track and its accompanying video, which revisits those streets as both witness and stage.

“Locked In For Life” belongs to the larger narrative of ‘Lived Experience in East Vancouver’, a record that Baptiste has described as an album about survival. Each song is drawn from the textures of his neighborhood, where stories of addiction, Indigenous identity, poverty, and resilience converge. Rather than distance himself from these realities, Baptiste positions himself within them, singing not just about survival but from within survival itself.

This grounding has been a hallmark of Baptiste’s artistry. His debut album ‘Sneqsilx (Family)’ introduced listeners to songs sung partly in Nsyilxcən, his endangered Indigenous language. His follow-up, ‘Senklip, the Trickster’, extended those commitments to oral tradition, fatherhood, and intergenerational trauma. By the time of “Locked In For Life,” Baptiste’s voice carries the authority of an artist who has walked through these stories and returned with the music to tell them.

Critical reception has matched the gravity of his work. CBC has praised him as “unsparingly candid,” while the Georgia Straight described his songs as “bluesy, bruised, and blossoming.” Such praise reflects not only the quality of his songwriting but the integrity with which he marries biography and artistry.

Musically, “Locked In For Life” is as compelling as it is unflinching. Rob Thomson’s bass anchors the song in steady pulse, Max Ley’s drumming supplies both propulsion and grit, and Pequenino’s layered vocals serve as counterpoint to Baptiste’s. The result is a track that feels less like a studio construction than a lived document — one born of collaboration and necessity.

Baptiste frames the song’s message in broader terms as well. “As time goes by East Van feels increasingly like a place that is defined by its struggles: whether you’re a drug addict, an Indigenous person, poor, a single father, or a starving artist — this city is about survival. That’s what this album is about and what this song is about. It gets harder every year, but we can’t give up now. We’re locked in.”

It is this refusal to give up that defines “Locked In For Life.” Far from despair, the song affirms persistence. It recognizes the hardships of addiction, housing insecurity, and systemic injustice, while insisting on the dignity of those who endure them. Baptiste’s art turns endurance into testament, and testament into song.

Queens Of The Stone Age Unearth Magic With ‘The Catacombs Tour’ Across Europe

Music

Eric Alper

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Oct 12, 2025

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Queens Of The Stone Age Unearth Magic With ‘The Catacombs Tour’ Across Europe

Queens of the Stone Age have announced a European run for The Catacombs Tour, a limited series of special one-night-only evenings. The shows will take place this October in a curated selection of venues throughout Europe, culminating at the Royal Albert Hall in London.

The conception of The Catacombs Tour was inspired in large part by the band members’ collective experience during the creation of their Alive in the Catacombs cinematic and musical opus. Released in June on Matador and available to stream now, the acclaimed concert documentary captured their unique, first-of-a-kind performance in the Paris catacombs in July 2024. Purchase or rent the film now at https://qotsa.com/ or stream the audio on all streaming services.

Composed of all-new arrangements crafted specifically for the occasion, The Catacombs Tour will see QOTSA draw upon the spirit of those sublime subterranean renditions and infuse it into reimagined versions that promise to twist the volume knob in both directions. Enhanced by assembled ensembles, the result will be a precious few unique and intimate performances unlike any previous QOTSA tour.

Dates for the US leg of The Catacombs Tour have also been announced and are on the brink of completely selling out already.

Queens of the Stone Age The Catacombs Tour 2025 European Dates:

Oct 18 – Milan, IT @ Teatro Lirico Giorgio Gaber
Oct 23 – Berlin, DE @ Theater des Westens
Oct 24 – Copenhagen, DK @ DR Koncerthuset, Koncertsalen
Oct 26 – Amsterdam, NL @ Royal Theater Carré
Oct 27 – Antwerp, BE @ Queen Elisabeth Hall
Oct 29 – London, UK @ Royal Albert Hall

The Cult Reignite Their Post-Punk Legacy With ‘Death Cult’ North American Tour

Music

Eric Alper

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Oct 12, 2025

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The Cult Reignite Their Post-Punk Legacy With ‘Death Cult’ North American Tour

The Cult will once again celebrate Death Cult, its storied post-punk progenitor featuring The Cult singer Ian Astbury and guitarist Billy Duffy, with a string of North American dates in October. Special guests on the trek will be the Los Angeles band Patriarchy. The shows will feature one set as Death Cult and one as The Cult.

Initially known as Death Cult when they formed in 1983, the British group shortened their name to The Cult in January 1984.

In the mid-1980s, The Cult gained a strong following in the UK with a post-punk and gothic rock sound, exemplified by singles like “She Sells Sanctuary.” Their early albums, like Dreamtime (1984) and Love (1985), showcase this era.

In the late 1980s, they shifted towards a harder rock sound, breaking into the mainstream in the United States, largely influenced by producer Rick Rubin on their 1987 album Electric, which featured hits like “Love Removal Machine.” Their subsequent album, Sonic Temple (1989), continued this trajectory with popular songs such as “Fire Woman.”

While retaining a hard rock style, their later albums, such as Hidden City (2016) and Under the Midnight Sun (2022), have seen them return to some of their gothic roots.

After their initial success, internal tensions and substance abuse issues led to a split in 1995. They reunited in 1999, released Beyond Good and Evil, and then went on hiatus again in 2002. Since reforming in 2006, they have continued to tour and release new material.

The Cult Death Cult N America 2025 Tour Dates:

Oct 14 – New York City @ Beacon Theatre
Oct 15 – Washington, DC @ Warner Theatre
Oct 17 – Charlotte, NC @ Ovens Auditorium
Oct 18 – Atlanta, GA @ Cobb Energy Center
Oct 20 – Ft Worth, TX @ Will Rogers Auditorium
Oct 21 – San Antonio, TX @ Majestic Theatre
Oct 24 – Las Vegas, NV @ The Pearl
Oct 25 – San Diego, CA @ The Sound
Oct 27 – San Francisco, CA @ The Warfield
Oct 30 – Los Angeles, CA @ Shrine Auditorium

Chase McDaniel Sparks Hope With Emotional ‘Lost Ones’ Album And Music Video

Music

Eric Alper

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Oct 12, 2025

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Chase McDaniel Sparks Hope With Emotional ‘Lost Ones’ Album And Music Video

Big Machine Records singer-songwriter Chase McDaniel strikes a deep emotional chord with the official music video for his latest release, “Lost Ones.” It also serves as the soul-searching title track of the Kentucky-bred artist’s autobiographical debut album, Lost Ones, out now.

Helmed by director and repeat collaborator Robby Stevens, the cinematic visual tells a raw, relatable, and all too real story. After losing his brother to depression, the main character quickly begins to lose himself. Left with only a suicide note and his brother’s lighter, he can’t get the light to ignite no matter how hard he tries, while drowning his pain in alcohol. In between, McDaniel performs in the clearing of a forest illuminated by flickering and flashing lamps. The intensity of his countenance throws off just as much heat in its way. The clip threads together footage of fellow “Lost Ones” who’ve scrawled their respective struggles on paper like “Lost, Broken, + Addicted,” “Attempted Suicide,” and “Cheated on, Left, + Divorced by 26.” Dawn breaks by the end, and we hear McDaniel ask, “Hey man, you need a light?” Catching fire finally, McDaniel reminds, “Sometimes, all you need is a little spark.” After displaying the 988 Suicide & Crisis Lifeline, a heartfelt message appears on the screen, “Lost one, you are not alone.”

Lost Ones is a body of work born from McDaniel’s mission of bringing strength to anyone who feels hopeless or adrift. With every track co-written by McDaniel, the album shares the most painful aspects of his personal story, including his struggle with depression and the life-altering experience of losing his father to addiction. Produced by Lindsay Rimes and recorded with a first-rate lineup of musicians at Sound Stage Studios in Nashville, Lost Ones merges that bravely honest storytelling with McDaniel’s gritty and exhilarating form of country-rock, ultimately providing a powerful catharsis even in its most devastating moments.

Fueled by his soulful vocal work previously shown on hit songs like “Project” (a 2022 release that shot to No. 1 on the Billboard Country Digital Song Sales chart), Lost Ones reaches a particularly gripping intensity in its title track. With its haunting piano riff, waltz-like tempo, and spellbinding steel guitar, the Lindsay Rimes-produced “Lost Ones” unfolds with a hypnotic urgency as McDaniel opens up about the very phenomenon that inspired the entire album: the deeply affecting experience of connecting with fans who’ve found solace in the unfiltered truth of his songwriting (“They come outta nowhere from all around / From big city streets to them county road towns / Broken and hopeless, hoping to be found / Hurtin’ so loud but they don’t make a sound / All showing up with their broken wings / Praying their misery meets company”). Co-written by McDaniel, Chris LaCorte, and Josh Miller, “Lost Ones” ultimately finds McDaniel delivering a bit of hard-won wisdom and much-needed guidance: “Ain’t what you wanna hear, but hell, since you’re here, let me tell you that pain’s got purpose / Tell me who you’re gonna reach if you ain’t been through nothing / Take the pain and overcome it, turn it into something.”

With album tracks “Heart Still Works” and “Made It This Far” initially dropped as solo releases in 2024, McDaniel rolled out back-to-back songs from Lost Ones earlier this year. In February, he offered a potent insight into the emotional landscape of the full-length project with “Burned Down Heaven.” A true-to-life reflection on the overwhelming sorrow that follows hurting someone you love, the debut single landed him in the Top 3 most added at country radio for the first time.

Country Star Charles Wesley Godwin Brings It Home With ‘The Hometown Sessions’

Music

Eric Alper

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Oct 12, 2025

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Country Star Charles Wesley Godwin Brings It Home With ‘The Hometown Sessions’

Charles Wesley Godwin delivers The Hometown Sessions to fans with weekly performance video drops on YouTube. The series includes fan-favorite songs as well as reworked versions of beloved live show staples. It kicks off with the release of his rendition of Tyler Childers’ “Whitehouse Road.”

Teaming up with his longtime band, The Allegheny High, Godwin collaborated with director Justin Clough, who shot the performances at The Metropolitan Theater in Godwin’s hometown of Morgantown, West Virginia. “It’s one of my favorite venues in my hometown,” Godwin shares. “We chose some of our favorite songs to perform live and even reworked a few. Can’t wait for y’all to see these!”

The Hometown Sessions span Godwin’s career and feature songs such as “All Again” from his breakout album Family Ties, tracks from his most recent EP Lonely Mountain Town, including the title track and “It’s The Little Things,” as well as songs from his breakthrough debut Seneca – “Hardwood Floors,” “Seneca Creek,” “Strawberry Queen” – and more.

That Eric Alper

Toronto’s Country Rising Star Hayden Ryann Stands Tall with Empowering New Single ‘No Room for Bitchin”

Canadian Songwriters Unite for Second Edition of Country Talks CAMH Benefit Concert

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