GRAMMY Award-winning singer-songwriter ROSALÍA has been named the face of Calvin Klein’s euphoria elixirs, a new collection of 3 parfum intense fragrances, and the pairing is anything but a standard celebrity endorsement. Known for her genre-defying sound, commanding visual artistry, and the kind of cultural presence that makes everything she touches feel considered, ROSALÍA brings genuine weight to a campaign that puts her across 3 distinct sensorial universes, each built around a different expression of vanilla.
The collection breaks into magnetic elixir, bold elixir, and solar elixir. Magnetic layers vanilla with musk for an intimately warm, seductive quality. Bold contrasts vanilla with oakwood and jasmine for something deeper and more intense. Solar pairs vanilla with mango for a bright, joyful energy. All 3 are parfum intense at 28% or higher ultra-concentration, the highest fragrance concentration Calvin Klein Fragrances has produced.
The campaign, shot by Carlijn Jacobs, places ROSALÍA in a surreal, sensorial world that amplifies the spirit of euphoria across all 3 elixir attitudes. It follows her Calvin Klein underwear debut in September 2025 and deepens a creative relationship that clearly suits both parties.
“The euphoria elixirs are full of energy, possibility of expression and versatility,” ROSALÍA says. “Each of the three scents represents its own mood, but the vanilla notes run through all of them, giving a warm and familiar feeling on the skin. This reunion with Calvin Klein has been a dream.”
The campaign’s soundtrack is ROSALÍA’s own, with “Dios Es Un Stalker” from her album ‘LUX’ providing the music throughout. For anyone coming to the campaign as a fragrance consumer, it’s also an introduction to where she is as an artist right now.
Calvin Klein euphoria elixirs are available now at Macy’s, Ulta, and Amazon.
The streaming landscape shifted significantly over the past year, and new data from Gracenote, the content intelligence business unit of Nielsen, puts hard numbers on exactly how much. Sports programming across the top 5 subscription video-on-demand services jumped 52% year-over-year, with Paramount+ emerging as the clear leader after its acquisition of UFC broadcast rights from ESPN starting January 2026 pushed its sports catalog up 219% year-over-year, more than double any other SVOD platform. Disney+ moved in the opposite direction, contracting 23% over the same period.
The growth extends well beyond subscription services. Gracenote’s analysis of 2,060 FAST channels available worldwide found sports content on free ad-supported streaming up 30% year-over-year, while news programming on those same platforms surged 58%, driven by more than 200 dedicated news channels now available globally. Movies and TV shows on FAST rose 26% and 24% respectively, reflecting a broad expansion of no-cost, no-commitment streaming content across every major category.
KATSEYE and Matrix are a natural fit, and the numbers back it up. The GRAMMY-nominated global girl group, formed through HYBE and Geffen Records’ Dream Academy and Netflix’s Pop Star Academy, earned nominations for Best New Artist and Best Pop Duo/Group Performance for “Gabriela,” saw their EP ‘BEAUTIFUL CHAOS’ debut in the top five of the Billboard 200, and wrapped a sold-out first North American tour. Matrix, a professional haircare brand with a 40-year legacy built around the mission of “All Hair Types. All Humans,” has named the group its new Global Brand Ambassadors.
The partnership launches with Matrix Moves, a 2026 global campaign built around the concept of “Hairography,” the idea that hair is an extension of movement and self-expression. Directed by Cody Critcheloe, the campaign gives each of the group’s 6 members their own signature product and movement, from Manon’s curl-defining “Bounce Drop” to Sophia’s shine-forward “Glow Throw.” The diversity of hair textures across the group makes the campaign’s inclusive messaging concrete rather than aspirational.
“Matrix represents our shared values of inclusivity, self-expression, and joy,” KATSEYE said. “As a global group with diverse hair textures and styles, it is rare to find a brand that truly works for all of us.” With members hailing from across the US, Europe, and Asia, that statement carries genuine weight.
The campaign arrives as KATSEYE continues building serious momentum. Their single “Internet Girl,” a sharp, self-aware pop track exploring digital identity and online visibility, follows a breakout year that included being crowned TikTok’s Global Artist of the Year. The global hit “Gnarly” from ‘BEAUTIFUL CHAOS’ ranked among 2025’s most acclaimed songs, with praise coming from the New York Times, Rolling Stone, Billboard, and Complex.
A 1999 Late Night with Conan O’Brien clip featuring Tom Petty has resurfaced, and it’s easy to see why. Petty covers his custom tour bus, his vintage guitar collection, and his unfiltered take on the Backstreet Boys and NSYNC with the kind of dry, plainspoken honesty that made him one of the most quotable people in rock, and the whole thing ends with a surprise exchange of footwear on stage that you genuinely have to see to believe.
Dan Belcher has delivered a remastered 4K full concert from Steely Dan’s August 11, 2003 stop at Pine Knob Music Theatre in Detroit, a 22-song, two-hour-plus set featuring Donald Fagen and Walter Becker at the helm of a 13-piece band that runs deep through the catalog, opening with “Cubano Chant” and moving through “Aja,” “Peg,” “Hey Nineteen,” “Kid Charlemagne,” and “My Old School” before closing on “FM (No Static at All).” The original audio was mono but Belcher’s restoration brings it to life with real presence, and for anyone who never caught this era of the band live, this is the closest thing to being there.
David Bowie opened the 2001 Concert for New York City alone on stage with an Omnichord he’d gone to a music store to buy specifically for the occasion, performing Simon & Garfunkel’s “America” as the night’s first song, and the choice was an act of quiet, profound grace. Where other performers used the televised charity event to make statements, Bowie chose a song that is patriotic without being blind, deeply human without being sentimental, and his understated delivery, sitting on the floor with a little keyboard, turned every line into something almost unbearably moving.
Holly Cole announces a new run of summer tour dates in support of her thirteenth studio album ‘Dark Moon’,’ released January 24, 2025, via Rumpus Room / Universal Music Canada. The dates take her from the Rochester International Jazz Festival to stages in Sherbrooke, Huntsville, and Stratford, continuing a touring campaign that has seen the album connect with audiences across Japan, Germany, France, the United States, and right across Canada. For those who know Holly Cole, none of this is surprising. For those who do not yet, this summer is the moment to find out.
‘Dark Moon’ is the album of a singular artist at the full height of her powers. Holly Cole’s smoky, utterly distinctive voice reshapes material from the New American Songbook, with repertoire drawn from writers including Marty Balin, Peggy Lee, Hal David, Burt Bacharach, and Johnny Mercer, into something at once deeply rooted and completely her own. Smart arrangements, an unmistakable sense of drama, and the kind of ensemble playing that only comes from years of deep collaboration define the record. The expanded edition added “Comin’ Home Baby,” featuring a brilliant harmonica solo from Howard Levy and percussion from Brazilian-born Cyro Baptista, recorded on the eve of Mel Torme’s 100th anniversary, alongside the Good Lovelies lending their three-part 1950s Nashville-style harmonies. The Montreal Gazette’s Bill Brownstein captured the Cole effect perfectly: “Serial jazz fest performer Holly Cole returns to make magic and melt hearts.”
The career that has led to this moment is one of the most decorated in Canadian music. Cole began in 1989, signed to Blue Note’s Manhattan imprint in 1992, and released’ Blame It on My Youth’ to platinum-plus sales in Canada and over 200,000 copies internationally, with ‘Calling You’ hitting number one in Japan. Her album Temptation, made up entirely of Tom Waits material, became critically acclaimed in its own right. She has won two JUNO Awards from eight nominations, two Gemini Awards, two Japanese Grand Prix Gold Disc Awards, and the prestigious Ella Fitzgerald Award from the Montreal Jazz Festival, a distinction shared with Aretha Franklin, Diana Krall, and Etta James. In 2014, Queen’s University awarded her an honorary doctorate. With ‘Dark Moon’, she has returned with, as her own team put it, unstoppable force.
Holly Cole live is a different experience from Holly Cole on record, and both are extraordinary. Performing alongside her longtime collaborators Aaron Davis (piano), George Koller (bass), Davide Direnzo (drums), John Johnson (saxophone), and Kevin Breit (guitar), she brings to the stage the same ensemble warmth and interpretive intelligence that makes ‘Dark Moon’ the record it is. These summer shows are not to be missed.
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UPCOMING TOUR DATES:
June 27, 2026: Rochester International Jazz Festival, Kilbourn Hall, Rochester, NY
Plz Respond release their new single “Gold Rush” today, a raw, driving punk-rock track aimed at the economic systems that treat workers as expendable, and at the governments that let them get away with it. Written by frontman and drummer Galen Crampsey, produced by Logan Treaty, and mastered by Johnny Ross, the song is their most personal and politically charged statement yet, arriving as the latest in a run of singles from a band building toward something bigger.
This one comes from somewhere real. Six years ago, Crampsey was injured on the job when a door frame fell on his neck and fractured a bone in his spine. An injury he is clear could have been easily prevented. As a delegate to the Durham Labour Council, he has since given speeches on workplace safety to politicians, labour leaders, and community members across Durham Region. “Gold Rush” is what a speech cannot be: loud, unambiguous, and built to be played at full volume. “No one should have to gamble with becoming a statistic just to earn a living,” Crampsey has written. “It is unacceptable, and more people should be outraged.”
At the heart of the track is a tribute to the 26 workers killed in the 1992 Westray mining disaster in Pictou County, Nova Scotia, one of the most devastating examples of corporate negligence in Canadian history. Of the 52 charges eventually laid, 34 were dropped. That outcome, and what it says about who the system is designed to protect, runs through every line of the song. The band are explicit: neoliberal economic policy, across party lines, consistently prioritises profit over the people who do the work. “This isn’t new,” Crampsey writes. “Liberals haven’t been far behind in this regard.” Plz Respond do not traffic in partisan comfort. They name the pattern.
The song earns its anger through its specificity. “The bosses they make the rules / miners say the gold’s for fools / they won’t give their lives for jewels” strips the mythology of the gold rush down to its ugly core, while the recurring line “get back that 1950s Cadillac” carries deliberate historical weight: a longing not for nostalgia, but for the era of stronger unions, greater working-class security, and a society that had not yet been fully handed over to the market. The bridge drops any remaining metaphor entirely and addresses the audience directly on behalf of workers everywhere who died because safety training costs money and that money was never spent on them.
Plz Respond are Galen Crampsey (drums, piano/keys, lead vocals), Bryan Crouch (rhythm guitar, backing vocals), Brandon Smith (lead guitar, backing vocals), and David Bunn (bass, backing vocals). Rooted in Oshawa and drawing on the raw energy of the Ontario punk and alternative rock tradition, they play like a band with something real to lose and something urgent to say. They have shared stages at The Biltmore and the Bovine Sex Club, opened for Ill Scarlett, Lear Haven, and Excuses Excuses, and raised funds for the Durham Rape Crisis Centre and the AIDS Committee of Durham through benefit shows. Their politics are not a pose. They live where they write. “Gold Rush” follows “Budgets and Bootstraps,” the band’s previous single and one of the most direct working-class punk tracks to emerge from the Ontario scene in recent memory. With several more singles on the way, Plz Respond are building a body of work that takes seriously the idea that rock music exists to say things that are true and that nobody else is saying loudly enough.
Jayniac Jr. are back with “Tougher Than Tarzan,” a propulsive new single that fuses the band’s signature blend of rock, ska, and hip-hop into one of their most urgent and culturally resonant tracks yet. Written by vocalist and bassist Darron “Jay” Bailey Jr., composed alongside McLaren Alphonso and Andrew Shier, and produced by Austin Leeds, the song arrives as the lead single ahead of the band’s highly anticipated second album, due June 6, 2026.
Rewriting the rules of what a rock band can be, Jayniac Jr. put basslines and horn arrangements front and centre instead of reaching for the traditional guitar-driven formula. The Toronto quartet – Bailey Jr. (vocals/bass), Tavaughan Baisden (saxophone), Chelsey Clarke (vocals/guitar), and drummer Chris Zoubaniotis – came together formally in 2020, united by a shared instinct to push past genre boundaries and a deep cultural pride in the horn-driven traditions of Caribbean and West Indian music. Their 2025 EP Flower Mouth introduced a calypso-punk edge, and the band has since built a following that spans Canada, Australia, Brazil, and Jamaica, surpassing 79,000 YouTube subscribers along the way.
The spark for “Tougher Than Tarzan” came during a Black History Month conversation that turned into a full watch party of every Tarzan film from the 1932 Johnny Weissmuller series onward. “I found myself thinking, from the Tribe’s perspective, Tarzan is an Intruder,” Bailey Jr. has shared. “He’s not from the land. He’s invading their space, that they’ve lived in for centuries.” That question – why the outsider crowned King of the Jungle is while those indigenous to the land are framed as obstacles or background – crystallised into a broader idea: Tarzan as unintentional commentary on colonisation. A man arrives in a land that isn’t his, adopts parts of its environment, and is still elevated above those who were already there. The song reclaims that narrative entirely.
That reclamation plays out across the track with wit, fire, and genuine lyrical craft. Bailey Jr. flips the Tarzan mythology from the inside – adopting the character’s voice only to dismantle the power structure around it. Lines like “I no humble, king of jungle / land of thieves and home of slaves” reframe the iconic jungle throne as something built on erasure and extraction, while the outro’s declaration – “You’re my enemy, don’t pretend to be / my friend cause you never defended me” – cuts clean through any romanticism the original mythology might have carried. It is pointed, playful, and completely intentional.
Musically, the track is Jayniac Jr. operating at full throttle. Jay lays down the bass-forward groove, horn arrangements, and guitar work himself, while his mentor McLaren ‘Mack’ Alphonso locks in the tight, immediate rhythmic foundation the band has become known for — the two of them building the instrumental from the ground up together. Producer Austin Leeds captures the ensemble’s chemistry with clarity and punch, honouring the grit of rock and the bounce of ska while leaving full room for the hip-hop rhythmic sensibility that sits at the core of everything Jayniac Jr. does. The result is a song that sounds like a party and lands like an argument – one you can’t stop listening to.
With three Black members, one of which is part of the LGBTQ+ community, Jayniac Jr. bring lived experience to the cultural conversations their music opens up. Their sound – rooted in the multicultural energy of Toronto and drawing on the musical legacies of the Caribbean, West Africa, and North America – is not a stylistic choice but an expression of identity. “Tougher Than Tarzan” is the fullest realisation yet of that identity in song form: joyful, confrontational, deeply informed, and utterly alive. They’ve already drawn attention from CBC Lite, PunkBlack, Punknews.org, Sinusoidal Music, Blast Toronto, New Noise Magazine, Exclaim!, and Punk Head Magazine – and their “GirlFoe” video has over 100,000 views on YouTube, this new single is set to expand that conversation considerably.
The single arrives as Jayniac Jr. gear up for their most ambitious year yet. Their second album – pushing further into rock, ska, hip-hop, jazz, swing, and metal – drops June 6, 2026, with a record release show that evening at Primal Notes Studios in Toronto. A full run of live dates follows through the year, culminating at Hard Luck Bar on November 14th. For a band that has always channelled the full spectrum of Toronto’s multicultural energy into their sound, the stage ahead feels wide open – and Jayniac Jr. are ready to fill every inch of it.
UPCOMING TOUR DATES:
May 23, 2026 – Odd Farm Festival – Cambridge, ON
June 6, 2026 – Primal Notes Studios (Album Release Show) – Toronto, ON
July 24, 2026 – Bovine Sex Club – Toronto, ON
August 14-16, 2026 – Japan Festival Canada –Mississauga, ON
Jordyn Sugar, the 22-year-old Montreal-based singer, songwriter, drummer, and creator of Empowered Pop, today releases “Oops,” her bold and irresistibly fun new single, out now on all major platforms. A guitar-driven, hook-laden pop anthem about a spontaneous one-night connection told entirely from a place of confidence and zero regret, the track arrives on the back of over 500,000 views across pre-release teaser content and 55 million total social media views in the past three weeks alone. Early listeners have one consistent note: it is stuck in their heads.
The song began with a single word. Jordyn and her collaborators, songwriter Bayla and producer Lucas Liberatore, were working through a list of potential song titles when Jordyn offered “oops,” and it clicked immediately for everyone in the room. “I realised that no artist has really revisited the word in a modern pop context,” she says, “so it felt like the right time to bring it back.” The title carries a deliberate nod to Britney Spears’ iconic “Oops!… I Did It Again,” a gesture that signals from the outset that “Oops” knows exactly where it comes from and precisely where it is going. From that spark, the song came together across three four-hour sessions, quickly and naturally, with a flow that is fully audible in the finished recording.
Sonically, the track is rooted in early 2000s pop: bright, guitar-forward, and built around melodies that embed themselves after a single listen. The lyrics capture the night with vivid, scene-setting economy: “No lights your body was my focus / making me lose control / Felt right caught up in the moment / We just went with the flow.” And when the chorus lands, it lands with the kind of shameless, anthemic confidence that defines the whole song: “Oops, I woke up in your bed / I don’t know your name / But you’re stuck in my head.” Rather than reaching for apology or regret, Jordyn plants her flag squarely on the side of self-awareness and fun. “I know I’m insane, but I got no regrets” is not a confession. It is a declaration.
That emotional confidence is the hallmark of what Jordyn calls Empowered Pop, the genre she has been building since her debut single “Leaves Me” in 2021. Where much contemporary pop about one-night connections reaches for complexity or shame, “Oops” flips the narrative entirely, choosing humour and self-possession over hand-wringing. It sits squarely in the lane of Sabrina Carpenter, cheeky pop attitude wrapped in production clean enough for radio and irresistible enough for playlists. Recorded at Planet Studio in Montreal and 100% CanCon, the single was co-written by Jordyn, Bayla, and Lucas Liberatore, with Liberatore also producing.
The momentum surrounding the release speaks for itself. Since her debut, Jordyn has opened for Gloria Gaynor, performed for CeeLo Green at the Mandalay Bay Hotel in Las Vegas, and shared stages with Kardinal Offishall. She now commands 315,000 TikTok followers, 132,000 on Instagram, and more than 5 million Spotify streams, with over 110 million total social media views to her name and 30,000 new followers gained in the past 21 days alone. With collaborations with Canadian artists including Tyler Shaw in the pipeline and new music scheduled throughout 2026, “Oops” is the clearest, most confident introduction yet to an artist who has been quietly building toward exactly this moment.
