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The “Indigenous Adele” Ottawa’s Alicia Kayley Makes Her Debut With Two Singles On Crystal Shawanda’s Record Label

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New Sun Music is proud to announce the simultaneous release of “New Beginnings” and “Don’t Break My Heart,” the debut double single from Alicia Kayley,  dubbed the “Indigenous Adele” by the Ottawa Citizen, out now. A rising voice in Pop/R&B and Blues/Soul, Kayley arrives fully formed on these first two offerings – together painting a vivid portrait of an artist fluent in both tender vulnerability and hard-won clarity. Produced in partnership with Crystal Shawanda’s celebrated Nashville-based label, the double release signals the arrival of a songwriter whose range, depth, and emotional intelligence are extraordinary from the very first note.

Alicia Kayley is a Pop/R&B singer-songwriter from the Algonquin and Tahltan Nation, raised and currently residing in Ottawa, Ontario. She holds a Bachelor of Music from Carleton University, where she specialised in classical voice and popular style songwriting – a foundation that gives her artistry both technical precision and genuine emotional immediacy. Her powerful, warm vocals have graced some of Canada’s most prestigious stages, including the Harbourfront Luminato Festival, Canada Day’s 150th Anniversary main stage event on Parliament Hill, and the Site Selection Ceremony for the Residential Schools National Monument. In 2024, she brought that same commanding presence to the Indigenous Day Festival in Whitehorse, Yukon, and Vancouver Indigenous Fashion Week.

“New Beginnings” is a deeply personal conversation with herself – a reckoning, and ultimately a resolution. Kayley conceived the song while standing at a crossroads, weighing the value of a relationship against her own sense of worth and the wisdom of those closest to her. Rather than framing the experience as something to undo or leave behind, she recast it as the foundation for something entirely new. “I hated the idea of starting over,” she has shared. “So I chose new beginnings instead – not erasing the past but carrying forward everything it taught me.” That distinction – subtle but transformative – gives the song its emotional weight and its universal resonance.

Where “New Beginnings” arrives at peace, “Don’t Break My Heart” captures the tender, hopeful tension of a heart still open and still willing to trust. Together, the two singles showcase the full emotional spectrum Kayley brings to her songwriting – the courage it takes to love, and the strength it takes to know one’s own worth. Releasing both tracks simultaneously is a deliberate artistic statement: this is an artist who holds complexity with ease, and who understands that the most honest storytelling lives in the full arc of an experience, not just its conclusion.

Both tracks bear the hallmarks of Kayley’s classical training and her instinct for popular songcraft. Her voice – rich, warm, and precisely controlled – moves through each song with a naturalness that only comes from years of dedicated study and an innate emotional intelligence that no conservatory can teach. The productions, shaped within the New Sun Music family in Nashville, provide a sonic home that is at once intimate and expansive, giving Kayley’s storytelling the space it deserves to breathe and resonate.

As a young Indigenous artist, Kayley brings a perspective to mainstream Pop/R&B that is both timely and essential. Her partnership with New Sun Music – founded by Grammy-nominated country and blues artist Crystal Shawanda, herself a proud Odawa First Nation member – reflects a shared commitment to amplifying Indigenous voices across the broader musical landscape. Kayley has spoken openly about her intention to provide Anishinabe people with a visible, joyful presence in mainstream music, and today’s double release stands as the opening statement of that mission. The songs’ themes of self-worth, hope, and forward motion carry cultural dimensions that extend far beyond any single personal story.

The double single release arrives alongside a robust season of live performances that underscore Kayley’s growing momentum, including an appearance at Hard Rock Ottawa’s Council Oak Stage on May 23rd and a landmark slot at Ottawa Bluesfest on July 10th – one of Canada’s most celebrated summer music festivals. Both singles are the first taste of her debut album, set for release this summer via New Sun Music. With each new chapter, Kayley is building a body of work as musically ambitious as it is culturally meaningful – and the journey is already extraordinary.

Tour Dates:

May 23 – Hard Rock Cafe Ottawa, Council Oak Stage, Ottawa, ON

May 30 – Hard Rock Cafe Ottawa, Ottawa, ON

July 10 – Bluesfest, Ottawa, ON

Ben Affleck and Matt Damon Prove 40 Years of Friendship in GQ’s Quiz

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GQ put Ben Affleck and Matt Damon’s decades-long friendship to the test with their signature quiz format, and the result is exactly as warm, funny, and slightly chaotic as you’d expect from two guys who have known each other since childhood, risen to the top of Hollywood together, and clearly never stopped finishing each other’s sentences. Affleck does most of the talking, Damon remembers every sentimental detail, and the whole thing is a genuinely charming reminder that their friendship has outlasted most things in the industry.

Video: Jack White Goes Deep With Reverb on Vintage Gear, Third Man Records, and the Creative Obsession Behind It All

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Jack White sat down with Reverb for one of the most candid and wide-ranging conversations he’s given in years, covering the thrill of hunting down obscure vintage instruments, why fighting your gear unlocks creativity, how everything from Silvertone amps to copper-plated pedals shaped his approach to tone, and the origins and ongoing mission of Third Man Records. It’s a genuine deep dive into the mindset of one of modern rock’s most gear-obsessed innovators, and viewers who know him primarily through the music will find a side of White that’s open, specific, and thoroughly infectious in his enthusiasm.

RAYE’s Tiny Desk Debut Remains One of the Most Electrifying Sets in the Series’ History

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In 2023, RAYE walked into NPR headquarters for her Tiny Desk debut with something to prove, and she left no doubt. Fresh off the independent release of ‘My 21st Century Blues’, the South London singer-songwriter delivered a 4-song set moving through jazz scats, gospel, and blues with the confidence of a veteran and the raw emotion of someone who had spent years waiting for exactly this moment, closing on “Buss It Down.” with a call-and-response that turned the room into something far bigger than a desk concert.

What Is Fleadh Cheoil na hÉireann and Why Belfast 2026 Is Such a Big Deal

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There are moments in music that you remember for the rest of your life. The first time a song stopped you in your tracks. The first concert that made you feel like the world was bigger and more beautiful than you ever knew. The first time you heard music being played live in a room so full of joy that you couldn’t help but smile at a complete stranger. Belfast this August is going to be full of moments like that. From August 2 to August 9, 2026, the city of Belfast will host Fleadh Cheoil na hÉireann for the very first time. And if you’ve never heard of it before, this is the perfect place to start. Because this is something truly special.

So What Is Fleadh Cheoil na hÉireann?

Say it with us: Flah Kyole. It takes a second but once you’ve got it, it stays with you. Fleadh Cheoil na hÉireann translates from Irish as “the Festival of Music of Ireland” and it’s widely recognised as the world’s largest annual celebration of traditional Irish music, song, dance, and culture. It began modestly in 1951 in Mullingar, County Westmeath, when a small group of passionate musicians and cultural guardians came together under a new organisation called Comhaltas Ceoltóirí Éireann, which roughly translates as “the gathering of the musicians of Ireland.” Their goal was a beautiful one. Traditional Irish music was in decline. Emigration, modernisation, and the pace of change had pulled people away from the tunes and songs that had been passed down through generations. Those musicians wanted to bring it all back. They’d celebrate it, share it, and make sure it was never forgotten. That first gathering in 1951 drew around 1,500 people. Today, the Fleadh attracts over 800,000 visitors from around the world. It grew because the music was that good. It grew because the spirit of the thing was that infectious. And it grew because once you’ve experienced it, you never quite get over it.

What Actually Happens at the Fleadh?

This is where it gets really exciting. The Fleadh isn’t a single-stage festival where you buy a ticket, find your spot, and watch from a distance. It’s something far more alive and immersive than that. It spreads across an entire city. Streets, pub corners, parks, squares, doorways — music happens everywhere and it happens spontaneously, joyfully, and constantly. There are formal All-Ireland competitions where the finest traditional musicians, singers, and dancers from across Ireland and the world compete at the very highest level. There are headline concerts and big stage performances. There are céilís, which are traditional Irish social dances that welcome absolutely everyone regardless of whether you know the steps or not. There are masterclasses and sessions and workshops and parades. And then there’s what many people love most of all: the informal sessions. Wander down a street and you might find a group of fiddle players sitting outside a pub, completely lost in a reel. Step into a bar and you’d find a session already in full swing, the music building and building until the whole room is leaning in. These moments are unscripted and unannounced and they’re the true heartbeat of the Fleadh. Around 20,000 performers take part each year. Dozens of nationalities come together in one place. And the atmosphere is warm, welcoming, and completely without pretension. It’s music for everyone.

Why Belfast and Why Now?

Belfast is a city that’s always had music running through its veins. It’s the birthplace of some of the most important artists in popular music history. It’s a city that used music to process, to heal, to celebrate, and to connect. And it’s now a UNESCO designated City of Music, a global recognition of just how deeply music matters here. The Fleadh has only been held in Northern Ireland once before, in Derry/Londonderry in 2013 as part of the UK City of Culture celebrations. That was an unforgettable occasion. What Belfast is preparing to do in 2026 promises to be even more remarkable. There’s something genuinely moving about this city hosting the world’s greatest celebration of traditional Irish music right now. Belfast’s come so far. It’s opened its arms to the world and the world’s responded. And this August, over 800,000 people are expected to come and share in eight days of music, culture, and craic on the banks of the River Lagan. The main stage, known as the Gig Rig, will be set up at Belfast City Hall and will offer free performances throughout the entire festival. The Cathedral Quarter, the pubs, the streets, the public spaces — all of it’ll be alive with music from morning to night.

Why You Should Be There!

You don’t need to know anything about traditional Irish music to fall in love with the Fleadh. You don’t need to play an instrument or speak a word of Irish. You’d just need to show up with an open heart and a willingness to let the music in. Belfast in August is a wonderful city to explore. The food scene’s incredible. The pubs are legendary. The people are famously warm and welcoming. And with the Fleadh filling every corner of the city with sound, the whole experience becomes something you’d be talking about for years. Whether you come for a day or the full eight days, whether you catch a headline concert or spend your time wandering between street sessions, whether you’re a lifelong devotee of traditional Irish music or a complete newcomer, the Fleadh’ll give you something. It always does. Belfast 2026 is going to be one for the ages.

Fleadh Cheoil na hÉireann takes place in Belfast from August 2 to August 9, 2026. For more information visit fleadhcheoil.ie, visitbelfast.com and discovernorthernireland.com.

British R&B Trio FLO Transforms the Tiny Desk Into Club FLO and Delivers One of the Year’s Best Sets

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British trio FLO arrived at the NPR Tiny Desk for their debut appearance and turned the whole setup into Club FLO, complete with disco balls, martinis, a custom marquee, and a 7-song set that opened with a fresh take on their debut single “Cardboard Box” and closed with 2 unreleased tracks, “Therapy at the Club” and “HaterBooth,” offering the first real glimpse at what their sophomore album has in store. Across tracks from their Grammy-nominated ‘Access All Areas’ including “AAA,” “On & On,” “Get It Till I’m Gone,” and “Shoulda Woulda Coulda,” Jorja Douglas, Renée Downer, and Stella Quaresma demonstrated the kind of three-part harmony chemistry and vocal range that makes this one of the most exciting groups working in R&B right now.

Bill S. Preston Esq. Walks Into the Criterion Closet and Proceeds to Blow Everyone’s Mind

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Actor and filmmaker Alex Winter, best known to generations as Bill S. Preston Esq. from the Bill and Ted films, walks into the Criterion closet and immediately reveals a cinephile with serious depth and range. His picks span Iranian cinema legends Abbas Kiarostami and Jafar Panahi, the surrealist genius of Luis Buñuel, whom he calls “the grand master of cinema,” and foundational works of silent comedy, all framed with the kind of specific, informed passion that makes this one of the most genuinely interesting Criterion closet visits in recent memory. Winter grew up in movie theatres, and every pick in this collection shows it.

Video: Architectural Digest Goes Inside the Newly Restored Hotel Chelsea, Where Rock History Lives in Every Wall

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New York’s Hotel Chelsea has housed Bob Dylan, Patti Smith, Leonard Cohen, Andy Warhol, and Sid Vicious, and now Architectural Digest goes inside the newly restored landmark with owner Sean MacPherson to show how he’s brought this 1880s Victorian Gothic Revival building back to life without erasing a single layer of its legendary, often chaotic history. The renovation preserves original details throughout while updating the amenities, and the result is a building that still carries the rebellious creative spirit that made it one of the most mythologized addresses in music and art history.

Robyn Lets Charli XCX, Troye Sivan, Esther Perel, and More Ask Her Absolutely Anything, and the Results Are Perfect

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The Cut’s Spring Fashion Issue brought together an eclectic group of musicians, artists, and tastemakers, including Charli XCX, Troye Sivan, Esther Perel, and The Dare, to ask Robyn anything they wanted, and the Swedish pop icon handled the whole thing with exactly the kind of unfazed, boundary-setting, deeply authentic energy you’d expect from someone who once recorded a song called “Don’t F***ing Tell Me What to Do.” She’s visibly most excited about Esther Perel, completely unbothered by celebrity, and entirely willing to simply decline a question she doesn’t want to answer. Genuinely refreshing.

Daryl Hall and John Oates’ 2008 Troubadour Show Gets a Stunning Restoration and It Holds Up Completely

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A 2008 intimate club performance from Daryl Hall and John Oates at West Hollywood’s Troubadour has been meticulously restored, deinterlaced to 60 FPS with full color correction and audio treatment, and the result is one of the best documents of the duo in a small room that exists anywhere online. The 20-song set pulls deep across their catalog, from “She’s Gone” and “Sara Smile” through “Maneater,” “Out of Touch,” and a full encore that closes on “Private Eyes,” with the full band, including the late Tom “T-Bone” Wolk on guitar, firing on every level throughout.