Years of watching the same story play out on Broadway gave HunterGirl her sharpest song yet. The country storyteller has released “Come and Get Your Boy,” a mid-tempo, barroom-ready anthem built on truth-telling, solidarity, and a little well-earned side-eye. It’s out now via 19 Recordings/BBR Music Group/BMG Nashville.
The track plays like a knowing nod across the room between two women who’ve seen it all before. Driven by a steady groove and a hook that lands like a warning bell, it unfolds with the sly confidence that only comes from hard-won experience. HunterGirl’s vocal carries equal parts grit and charm, turning the chorus into both a call-out and a call-in, where honesty hits harder than any heartbreak and the truth gets poured straight, no chaser.
The song came straight from real life. “I performed for years on Broadway in downtown Nashville and I have seen firsthand this story behind ‘Come and Get Your Boy’ play out in real life,” says HunterGirl. “This was such a fun song to write. As women, we all need to look out for one another, and most of the women I know have some fierce private detective skills. We have all witnessed that guy with the red flag waving.”
It was written by HunterGirl alongside Brock Berryhill, Jessie Jo Dillon, Jesse Frasure, Jaxson Free, and Taylor Phillips, and produced by Trent Willmon. The single follows “Somewhere Wild,” which opened her 2026 with a windswept, introspective turn, and continues a steady run that shows the full range of her voice as a storyteller.
The momentum keeps building on her own terms. With nearly 80 million global streams and a Grand Ole Opry debut that earned a standing ovation, HunterGirl steps into this next chapter fresh off tours with Luke Bryan and Kimberly Perry, proving that honesty, humor, and heart can still own the room.
Two kindred spirits link up once more on the latest release. The long-anticipated Juice Wrld and Marshmello collaboration “We Don’t Get Along” is out now, arriving alongside a psychedelic, claymation-style music video. Lushly melodic and powerfully introspective, it’s a song about persevering through pain.
The track folds gothic post-punk guitar into crisp trap percussion as Juice layers bittersweet melodies over the top. He moves through the darkness with lines like “Pain in my cardiac matches the pain in my brain,” yet keeps an eye trained on the future, closing in on the idea of letting his story be told. That balance of ache and hope gives the song its cathartic pull.
The video matches that spirit with a handmade feel. Directed by Johnny McHone (Robot Chicken, M.O.D.O.K.), it opens on Juice walking through nature before he transforms into a literal head in the clouds, drifting through a purple-hued prismatic ether and occasionally crossing paths with a bobbing Marshmello. He morphs into shapes that bring his lyrics to life, and fans who watch closely will spot Juice’s signature “999” hidden along the way.
The single follows last year’s ‘Legends Never Die (5 Year Anniversary Edition),’ the expanded reissue of Juice’s celebrated, chart-busting third album, which itself contained his and Marshmello’s very first collaborations: the quadruple platinum “Come & Go” and the double platinum “Hate the Other Side” with Polo G and The Kid Laroi.
The duo have built a genuine history together. Their chemistry showed up again on the 2022 single “Bye Bye,” and Marshmello later appeared in the Fortnite-themed video for Juice’s 2024 hit “Empty Out Your Pockets.” “We Don’t Get Along” adds another memorable chapter to that partnership.
A network of biomes in the Cornish countryside set the stage for one of The Who’s most memorable recent shows. The band have released ‘Live at Eden Project,’ a landmark live recording capturing their July 2023 performance at Cornwall’s iconic Eden Project. It’s out now, with first single “Pinball Wizard” leading the way.
The concert found founding members Pete Townshend and Roger Daltrey backed by the Heart of England Philharmonic Orchestra, fusing classic rock intensity with orchestral grandeur. Set within one of the UK’s most sustainable and visually striking venues, the show stands as a testament to both the band’s musical evolution and their enduring cultural relevance. The Eden Project’s natural acoustics and enclosed structures created a warm, detailed sonic environment with an intimacy unmatched by traditional stadium settings.
That atmosphere runs all through the recording. The Who’s “special location” shows have long been cherished by fans, and Eden ranks among the most memorable, a once-in-a-lifetime convergence of music, environment, and artistic vision. The smaller capacity fostered a deeper connection between band and audience, a sense of being inside the performance rather than watching from afar.
The setlist is one of the strongest and most focused of The Who’s orchestral period. Alongside beloved anthems like “Baba O’Riley” and “Pinball Wizard,” it digs into rarely performed gems such as “Cry If You Want,” “Anyway, Anyhow, Anywhere,” and “The Rock,” creating a career-spanning journey that balances hits, deep cuts, and orchestral showpieces with remarkable fluidity. Lead single “Pinball Wizard” offers a powerful first glimpse, capturing the heightened emotional nuance and orchestral depth that define the full release.
‘Live at Eden Project’ is available now as a 2 CD digipak, a limited 3 LP gatefold edition pressed on recycled vinyl with no plastic shrink wrap, a standard 3 LP gatefold, and across all major digital platforms. Vibrant, immersive, and uniquely alive, it stands as the definitive document of The Who’s orchestral era, a recording whose venue mirrors the band’s own commitment to evolution and innovation.
A surprise onstage moment at a country festival turned into a full studio collaboration. Steve Aoki has joined forces with Goo Goo Dolls to reimagine their diamond-certified hit “Iris,” transforming the beloved anthem into a festival-ready experience that pairs the song’s raw intensity with Aoki’s high-energy production. The rework is out now.
Originally released in 1998, “Iris” has become one of the most enduring songs of its era, a global touchstone nearly 30 years on. The track has amassed over 5.5 billion streams worldwide and surpassed one billion in 2025 alone. It recently climbed to new peaks on Spotify’s Global Daily Chart and was chosen as the final song ever played at Buffalo’s Highmark Stadium, closing out the venue’s 53-year run as the Bills’ home.
The new version heightens the song’s intensity with playful synths, driving rhythms, and cinematic builds, amplifying its energy without losing the immediacy and iconic chorus that made it a classic. It was born from a surprise appearance at Stagecoach in 2025, when Aoki invited Goo Goo Dolls frontman John Rzeznik onstage during his set for a live rendition. The performance became one of the weekend’s most talked-about highlights.
“Performing ‘Iris’ live with Goo Goo Dolls at Stagecoach was one of those rare, unforgettable moments,” Aoki shares. “You could feel the connection everyone had to the song, but also this incredible rush as we brought it into a completely different environment. That feeling stayed with me, and I knew we had to take it into the studio and build a version designed for festival stages, while preserving the heart of the original.”
Rzeznik felt the same charge. “Joining Steve onstage during his Stagecoach set was an unforgettable moment,” he adds. “The energy from the crowd was remarkable and the mixture of our two genres was amazing to witness live. We’re thrilled to release this new version of ‘Iris’ with Steve and share that magic moment with our fans around the world.”
The release arrives as Aoki celebrates the 30th anniversary of his influential independent label Dim Mak. Founded in 1996 from his college dorm room at UC Santa Barbara and named after his childhood hero Bruce Lee, Dim Mak helped launch The Kills, Bloc Party, and The Gossip, and has grown into one of electronic music’s most respected imprints. Aoki is currently on his Dim Mak 30th Anniversary Tour, a North American run with stops at Central Park SummerStage, Hollywood Palladium, Ultra Music Festival, and more.
A Renaissance sculptor’s answer about freeing an angel from marble became the heart of Rita Wilson’s new song. The singer-songwriter has shared “Michelangelo,” an empowering ballad from her album ‘Sound of a Woman,’ out now via her Sing It Loud Records, alongside an eye-catching video shot in New York City and directed by Steven Sebring (Patti Smith). It’s the second track unveiled from her ambitious sixth studio album, co-produced by Wilson and Grammy winner Dave Cobb (Brandi Carlile, Chris Stapleton).
Co-written with industry heavyweight Amy Wadge, the choir-accompanied track embraces poetic simplicity as Wilson reflects on uncovering one’s most authentic self. Her crystalline vocals sit against sparse piano that captures the contemplative, introspective nature of the lyrics.
The title carries real weight for her. “Michelangelo was asked how he made such exquisite statues out of blocks of stone; his answer was, ‘I saw the angel in the marble and carved until I set him free,'” Wilson explains. “So much of becoming ourselves involves the lifelong work of chipping away at what’s nonessential and getting closer to the truth of who we are as women. That process is not without pain and loss, but in the end there’s so much beauty to be gained from the constant practice of looking inward with real curiosity and courage.”
She continues: “As an artist, or as a woman in any facet of our lives, we are sculpting ourselves into being. Which to me means getting rid of all the excess and discovering who you are in the most essential sense, recognizing the work you’ve done to become the person you are.” Mirroring that idea, the video finds Wilson alone in an art studio, ending with her writing Zora Neale Hurston’s words across a canvas: “There is no greater agony than bearing an untold story inside you.”
‘Sound of a Woman’ explores the arc of a woman’s life as part unfiltered memoir, part nuanced observation of the world. The album moves beyond gender bounds and cuts to the raw truth of human experience, offering catharsis, reflection, and unabashed joy along the way, with a sonic depth that matches the scope of Wilson’s soul-baring songwriting.
French-based outfit Zonbi bring their hypnotic, Haitian-rooted blend of saxophone-driven jazz, voodoo ritual, and heavy groove to Live on KEXP, recorded at ESMA in Rennes during Trans Musicales 2025. Led by Dimitri Milbrun on vocals and alto saxophone, the five-piece move through five tracks, “Lanmou Ak Lanmo,” “Bwodè,” “Bizango,” “Ogou Feray,” and “Divine Horsemen,” summoning a sound that’s equal parts trance, fire, and spiritual invocation.
A piano ballad grew teeth and became a rock powerhouse. Rising UK heavy-rock talent Georgia Nicole returns with her latest single “Too Alive,” a raw, electrifying anthem born from personal struggle and resilience. Known for her dynamic vocals and high-octane live shows, she’s been captivating audiences across the UK since 2021.
The song came out of a difficult stretch. “Too Alive” was written during a particularly challenging period, capturing feelings of isolation and inner turmoil before it evolved from a quiet piano ballad into an anthemic, chant-driven rock track. “I wanted to show people that they’re not alone in their suffering,” says Georgia, and that intent gives the song its real emotional pull.
Georgia has been making waves since her debut, with her first single racking up over 23,000 streams in six months. She performed five times at the Isle of Wight Festival in 2025 alone, on stages including Platform One, Kashmir, and Electrolove, broke the South Coast Music Show record for consecutive weeks in their top ten with “Game You Play” (which reached number 2 in their 2025 charts), and earned One to Watch features on Isle of Wight Radio in 2024 and 2025.
Her versatility runs wide. She’s lead vocalist for the celebrated function band Forever To Go, performs as Hayley Williams in Paramore tribute act Paramour (which drew a 4,000-person crowd at its 2025 Isle of Wight Festival debut), and sings in an Eminem tribute that regularly fills Electrolove to capacity. Inspired by Nothing But Thieves, The Killers, Muse, and Shinedown, she blends powerful riffs with emotionally charged lyrics.
“Too Alive” is part of her upcoming EP ‘A Little Bit Of It All,’ and marks the next step in her journey, highlighting the resilience, passion, and dedication to live performance that have defined her rise.
Six years between proper singles ends with four arriving at once. Indonesian alt-pop trio Elephant Kind have signed to Alcopop! Records and released their third studio album ‘More Time,’ out now, kicking off with four new tracks, “Plan,” “Hooked,” “Strangest Thing,” and “Exactly What I Needed,” plus a live performance video of all four filmed in their hometown of Jakarta.
The new material introduces a more upbeat, dance-influenced side to the band, built on striking lyricism and dynamic production. “We’re so happy to finally share our first singles in 6 years that leads into a full album,” says vocalist and guitarist Bam Mastro. “This time we’re holding a complete record we truly believe in. More Time is Hip Hop, House, Rock, Eastern, Dance, and more genres we can’t even put into words, a twist and turn of frequencies pulling you from one realm to the next. An innovation.”
Comprised of Bam Mastro (vocals, guitar), Bayu Adisapoetra (drums), and Kevin Septanto (bass), Elephant Kind have built a signature sound shaped by their journey from Jakarta to London and beyond, blending genre-bending alternative indie with sharp pop sensibility. The band developed ‘More Time’ from 2023 through 2025, a period of significant transformation, and return with their most personal and expansive record to date.
Written between the sprawling chaos of Jakarta and the introspective quiet of London, the album explores transformation, longing, and the relentless pursuit of meaning in a world that moves too fast. It captures a group fully stepping into their identity, unafraid to fuse alt-rock roots with breakbeats and melancholic ballads with dance-floor catharsis.
The production carries serious pedigree. “Plan” and “Exactly What I Needed” were produced by Bam Mastro, while “Hooked” and “Strangest Thing” were co-produced with Iain Berryman (Arcade Fire, Wolf Alice, Beabadoobee, Sam Fender, Young Fathers), engineered by Drew Dungate-Smith at Narcissus Studios in London, mixed by Robert Adam Stevenson (QOTSA, Jeff Beck, KT Tunstall), and mastered by Christian Wright at Abbey Road Studios.
By 2025, Elephant Kind had hit remarkable milestones, playing major UK and European festivals including YNot, Tramlines, and Wilderness, completing a sold-out headline tour, and delivering sessions on Radio X, BBC Radio 6 Music, and BBC Introducing. Their return to Jakarta saw them sell 3,000 tickets in under five minutes, their biggest headline shows yet. A UK headline tour is scheduled for September, with more live dates to be announced.
‘More Time’ Album Tracklist:
Emotion
Plan
Exactly What I Needed
Hooked
The Ability To Listen Before You Speak
This Feeling
So Many Dayz
Love Scene
I Love The Cold Weather But Keep The Sun Around Longer
A love song about falling fast across an ocean opens the debut from Saltaire. The Dublin dark-folk trio have released “Aldborough Parade,” the focus track from their debut EP ‘Only Moonlight,’ which is out now. The single establishes Saltaire as a formidable new presence in the contemporary Irish folk and trad scene.
“Aldborough Parade” is a stirring original written by member Ian Kinsella about the feverishness of falling quickly, the ache of love stretched across an ocean, and the sweetness of finding home in another person and their music. It sets the tone for an EP that interlaces original work with carefully chosen folk classics.
The record moves through a rich mix of tradition and invention. A richly textured take on “Matty Groves” refracts an English folk song through Appalachian melodies, grounded by ominous folk cello, intricate guitar and bouzouki, and a pulsing bodhrán heartbeat before a climactic bouzouki-led outro from Conor Lyons. The instrumental set “Slip Jigs & Jenny’s” gathers four traditional tunes and highlights Kaitlin Cullen-Verhauz’s cello as both atmospheric foundation and lead melody player.
The EP takes its title from a line in its rendition of Townes Van Zandt’s “Lungs”: “Gather up the gold you’ve found, you fool it’s only moonlight.” The trio see something fitting in it. “Sometimes being a musician feels something like that; we try to gather gold in what we create and navigate the shifting shadows of doubt,” they say. They were drawn to the song for its bite, too, calling it painfully pertinent amid a rise in racism and anti-immigrant hate, and a reminder of Ireland’s own long history of immigration and asylum-seeking.
The EP closes with debut single “The Axe,” a contemporary take on the murder ballad inspired by the true story of the Axeman of New Orleans, who terrorised the city between 1918 and 1919. The track navigates fear, bigotry, the sensationalising of tragedy in media, and the ways collective terror can either splinter or bind a community.
Saltaire bring together three distinct voices: singer and cellist Kaitlin Cullen-Verhauz, guitarist Ian Kinsella, and bodhrán and bouzouki player Conor Lyons, all shaped by years in acclaimed Irish trad and folk bands. Cullen-Verhauz has performed with 2025 RTÉ Folk Award winners Natalie Ní Chasaide and Iarfhlaith Ó Domhnaill, Lyons is a founding member of The Bonny Men, and all three feature in Eoghan Ó Ceannabháin’s live band. Recorded at Black Mountain Studios in Co. Louth with co-producer Alex Borwick and mastered by Seán Mac Erlaine, ‘Only Moonlight’ arrives as a defining calling card.
A favorite song that nobody had ever heard sat in the vault for decades. Boston singer-songwriter Robert Ellis Orrall has finally released it, as the title track to his new album ‘Wonderland,’ out now via Fixation Records. The record gathers a freshly produced batch of unreleased songs from his seemingly endless creative vault, plus a reimagining of a fairly famous track he co-wrote with Taylor Swift two decades ago.
The collection takes its name from the MBTA’s Blue Line stop near Orrall’s North Shore home, and the songs share a theme. “I spent many years writing songs for other artists, and along the way, I wrote songs for me to record but I never released them,” Orrall admits. “Some of my favorite songs ever, in fact. Now that I’m back performing and recording with my original band, it was time to release this collection into the world.”
The title track came out of a search through his own catalogue. “Someone asked me ‘What is your favorite song you ever wrote?’, and I reflexively said I don’t think I could pick one, there are over 2000 in my catalog, including over 350 cuts,” Orrall says with a laugh. “But I thought it would be fun to revisit a few hundred songs to see if I really could pick a favorite. The clear winner was a song that has never been cut, really never been heard by anyone. It’s called ‘Wonderland.’ Sad songs are my favorite songs, and this one is the saddest of them all.” It opens the album with a grand orchestral arrangement conducted by David Hofner, setting the thematic tone before the record turns toward Orrall’s more upbeat nature.
Lead single “Brand New Me” is where that energy kicks in, a shoulder-swaying anthem fit for arenas and post-Valentine’s playlists. “I love the way this song kicks off with drums and sparkling electric guitars,” he reveals, “and the lyric dives right into a back-handed admission of guilt and the lament that although he has supposedly fixed all his flaws, she’s not around to see it. He’s sad, he’s angry, he’s sorry and he’s showing off at the same time.” Orrall is obsessed with harmonies, sometimes stacking as many as 20 vocal tracks, and that love runs through the whole set.
The deeper cuts keep the unrequited-love thread going. “I’m Coming With You” rides a cruising piano and guitar groove, the smoky “I Disappear” came from his work with Juan Carlos Perez Soto, and the glam-tinged “Carol Ann” was co-written with Plain White T’s frontman Tom Higgenson of “Hey There Delilah” fame. “End Title Song” nods to Orrall’s screen work, which most famously includes “Ultimate,” written for Lindsay Lohan and heard at the end of 2003’s Freaky Friday, then rebooted by The Beaches for last year’s Freakier Friday.
The album also folds in one Swift collaboration. “I’m Only Me (When I’m With You),” first made famous on the deluxe edition of Swift’s 2006 debut, trades the original’s guitar-pop propulsion for an orchestral ballad. “When Angelo Petraglia and I wrote the song with Taylor for her debut album, it was a fun uptempo declaration of love,” Orrall recalls. Now 45 years into a loving marriage, he reads it differently, “like in a I-can’t-imagine-life-without-you kind of way,” and reworked it accordingly, adding a note of hope to a record otherwise built on longing.
Orrall’s history runs deep. RCA Records signed him in 1980 alongside his dream band of Kook Lawry (guitars), Don Walden (bass), and David Stefanelli (drums), part of a New Wave of Boston artists who rocked The Rat, the Paradise, and the Orpheum and toured with U2, The Kinks, and the Psychedelic Furs. After the band dissolved in the mid-’80s, Orrall moved to Nashville and became a prolific songwriter and producer, earning five Number 1 songs, helping launch Swift’s career on her 10x-platinum debut, and founding indie label Infinity Cat Recordings. The band reformed in 2021 and has released five albums since. Across ‘Wonderland”s 10 songs, Orrall calls them “10 singles for single people,” finally getting the release they deserve.
Live Dates:
August 7 – The Cut, Gloucester, MA
September 3 – Wildcat Outdoor Concert Series, Jackson, NH
