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Spotify Streams Reveal Eurovision 2025 Frontrunners as KAJ Leads the Pack

Eric Alper
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Spotify Streams Reveal Eurovision 2025 Frontrunners as KAJ Leads the Pack

As excitement builds for the annual Eurovision Song Contest, Spotify data offers a fascinating glimpse into the songs and artists capturing the world’s attention. Sweden—the most successful country in Eurovision history with seven victories—is once again in the spotlight, with the dynamic trio KAJ and their song “Bara Bada Bastu” emerging as the current 2025 frontrunners.

With the semifinals beginning May 13 in Basel, Switzerland, the streaming data provides an early indication of which entries are resonating with fans. “Bara Bada Bastu” has clearly struck a chord, generating twice as many streams as its closest competitor.

The top 5 most-streamed Eurovision 2025 entries on Spotify

Beyond the top contenders, the data also reveals the diverse range of musical styles and languages captivating Eurovision fans. Entries from Italy, the Netherlands, San Marino, and Estonia round out the top 5, showcasing the pan-European appeal of the competition.

    1. “Bara Bada Bastu” by KAJ (Sweden)
    2. “Volevo essere un duro” by Lucio Corsi (Italy)
    3. “C’est La Vie” by Claude (Netherlands)
    4. “Tutta L’Italia” by Gabry Ponte (San Marino)
    5. “Espresso Macchiato” by Tommy Cash (Estonia)

Eurovision is more than a song contest—it’s a powerful platform for European artists to reach a global audience. On average, past winners of the Eurovision Song Contest have seen their Spotify streams grow by more than 1,500% in the year following their winning performance.

Following Nemo’s 2024 triumph with “The Code,” their streams have skyrocketed by more than 1,700% in the past year. Austrian entrant Conchita Wurst, who won Eurovision in 2014 with “Rise Like a Phoenix,” experienced a staggering stream growth of more than 6,000% in the year following their victory.

Will KAJ maintain their Eurovision 2025 lead, or will another entry emerge as the fan favorite? Only time will tell, but one thing is certain: Europe’s biggest music event continues to shape the global music landscape.

Stream Spotify’s Eurovision 2025 playlist to hear all of this year’s entries.

 

International Indigenous Music Summit 2025 Announces Rhoda Roberts as Keynote Speaker and Unveils Full Daytime Program

Eric Alper
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International Indigenous Music Summit 2025 Announces Rhoda Roberts as Keynote Speaker and Unveils Full Daytime Program

International Indigenous Music Summit 2025 details the daytime programming for this year’s gathering in Tkaronto, June 2-6, and welcomes Rhoda Roberts as the 2025 Keynote Speaker. A member of the Bundjalung nation, Widjabul clan, Roberts is an Officer of the Order of Australia, the Creative Director for Parrtjima Festival (NT), Boomerang Dreaming (NSW), and Shine on Gimuy (Cairns), as well as the First Nations Advisor for Vivid Sydney. Previous roles include the former Head of First Nations Programming at the Sydney Opera House and founder of the Dreaming Festivals (1995-2009).

Beyond her many roles and achievements, Roberts has a special connection to the Summit’s origin. In 2018, Digging Roots played Woodford Festival and met Roberts, along with a number of other Indigenous performers and producers. “The conversation we had that day was full of life and inspiration, shared experience and wisdom,” says Summit co-founder ShoShona Kish. “It was during that conversation that I first imagined the Summit. I wanted my colleagues at home and around the world to have that same experience of camaraderie and inspiration. A year later, we hosted our first gathering in Montreal.”

Daytime programming runs throughout the week, June 2-6, 2025, centered at TD Music Hall. This year’s conference program features artists and speakers from Indigenous nations around the world – groundbreakers, innovators, and change-makers alike – alongside key music industry professionals. With future-focused topics including “Medicine for Identity, Sovereignty and Belonging,” “Indigenous-Led Change,” “Auntie’s Language Council” and “AI and Creative Sovereignty,” the IIMS 2025 brings leaders and builders of the Indigenous music ecosystem together for timely and meaningful conversations.

IIMS 2025 speakers include curator/creative producer Denise Bolduc, Raven Kanatakta Polson-Lahache (Digging Roots), Keziah Myers (Advance Music Canada), artist Marek Tyler, artist The Kaptain, music supervisor Rick Clark (Dark Winds) and many more. Select daytime programming is intended for Indigenous delegates only.

The Opening Night Gala includes performances by Tanya Tagaq, Northern Cree, Alex Kusturok and Sara Curruchich, with a special appearance by Elder Gerard Sagassige and Nimkii Osawamick. The Opening Night Gala, hosted by Chelazon Leroux, takes place June 2, 2025 at TD Music Hall. Tickets are included in full IIMS 2025 registration packages or as a standalone purchase here.

The Summit’s 2025 theme is Bemaazhid E-Niigaanzijig, an Anishinaabe phrase which means “Soaring Together as Leaders.” The theme orients this year’s program with a mindset of ‘we are all stronger together’ and the collective work of raising and uniting the global Indigenous community. Driven by the Summit’s commitment to collaboration and mutual benefit as the foundation to a thriving Indigenous music ecology, Bemaazhid E-Niigaanzijig sets a table with space for everyone.

30 Songs That Keep the Music Alive: Tribute Tracks Honoring Fallen Musicians

Eric Alper
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30 Songs That Keep the Music Alive: Tribute Tracks Honoring Fallen Musicians

When musicians leave us, they don’t really leave. They echo in our headphones, they live in our playlists, they speak through the songs written in their memory. Some tributes are tearful ballads, others are anthems of celebration—but all of them remind us just how deep the bond runs between artists, fans, and the friends they made on the road and in the studio. Here are 30 of the most powerful tribute songs for lost musicians. Play them loud. They were made to be remembered.

“Here Today” – Paul McCartney
A tender, heart-wrenching letter to John Lennon, written after his murder. It’s as close as McCartney ever came to saying goodbye in public, filled with love, regret, and all the unspoken things between old friends.

“River” – Natalie Merchant
Natalie Merchant’s “River” is a devastatingly tender tribute to River Phoenix. Written after his tragic death at 23, the song captures the ache of watching someone burn too brightly, too briefly.

“Porcelain Monkey” – Warren Zevon
Less a sentimental ballad and more a sharp-eyed eulogy for Elvis, Zevon’s lyrics cut through myth to explore the toll of fame and isolation.

“Desperado” – Alice Cooper
Written for his friend Jim Morrison, Cooper paints Morrison as a wild outlaw—part myth, part man, and totally unforgettable.

“All Those Years Ago” – George Harrison
Another tribute to Lennon, this one more upbeat—featuring Paul and Ringo, too. It’s a reunion of sorts, stitched together through grief, gratitude, and reflection.

“Empty Garden (Hey Hey Johnny)” – Elton John
Elton’s tribute to John Lennon is full of longing. “It’s funny how one insect can damage so much grain,” he sings, aching and eloquent.

“Real Good Looking Boy” – The Who
A moving nod to Elvis Presley, sung with warmth and nostalgia by Roger Daltrey, borrowing lines from “Can’t Help Falling in Love.”

“The Needle and the Damage Done” – Neil Young
A quiet, devastating reflection on addiction, written for Crazy Horse guitarist Danny Whitten. Young performs it like a prayer, barely louder than a whisper.

“Bleeding Me” – Metallica
Often interpreted as James Hetfield’s reflection on the death of Cliff Burton, the song is more metaphor than direct eulogy, but it drips with pain and catharsis all the same.

“Sleeps With Angels” – Neil Young
Written in the shadow of Kurt Cobain’s death—and the chilling echo of Young’s lyric “It’s better to burn out than to fade away” in Cobain’s suicide note—this haunting track is a whispered eulogy

“Miss You ‘C’” – Nils Lofgren
Originally written as a tribute to Ray Charles, this heartfelt song took on deeper meaning after the passing of Clarence Clemons in 2011. Lofgren rewrote the lyrics to honour his beloved E Street Bandmate, and the result is a gentle, emotionally layered track that also nods to other fallen friends like Danny Federici and Danny Whitten.

“Let Me Down Easy” – Paolo Nutini
Written in memory of soul legend Solomon Burke, this aching track blends gospel roots with modern soul—a quiet moment of reverence from one singer to another.

“Under a Raging Moon” – Roger Daltrey
A thunderous farewell to The Who’s Keith Moon, complete with a rotating cast of legendary drummers paying rhythmic tribute to rock’s wildest spirit.

“E-Bow the Letter” – R.E.M. ft. Patti Smith
A slow-burning, poetic tribute to River Phoenix, the track pairs Michael Stipe’s stream-of-consciousness delivery with Patti Smith’s ghostly presence.

“The Last Carnival” – Bruce Springsteen
A soft, accordion-laced tribute to Danny Federici, the E Street Band’s organist and one of Springsteen’s earliest collaborators.

“Above and Beyond” – Deep Purple
Written for keyboardist Jon Lord, the song reflects on mortality with prog-rock grandeur and a soulful message: “souls, forever entwined.”

“The Miracle (of Joey Ramone)” – U2
An anthemic tribute to punk’s soft-hearted king, this song channels Ramone’s influence and the feeling of hearing rock music that changes your life.

“Edge of Seventeen” – Stevie Nicks
Written in the wake of John Lennon’s death and the passing of her uncle, this thunderous anthem captures the shock, sorrow, and surreal beauty of grief. That galloping guitar riff became a symbol of strength in mourning.

“American Pie” – Don McLean
“The day the music died.” McLean’s epic ode to Buddy Holly, Ritchie Valens, and the Big Bopper is more than a song—it’s a cultural eulogy, chronicling how a plane crash changed rock ’n’ roll forever.

“Back on the Chain Gang” – The Pretenders
Chrissie Hynde mourns the death of guitarist James Honeyman-Scott in this pop-rock classic that hides deep sorrow in shimmering chords.

“Wish You Were Here” – Pink Floyd
Written with Syd Barrett in mind, it’s a song that aches with absence. You don’t need to know the backstory to feel the loss—it’s in every note.

“The Late Great Johnny Ace” – Paul Simon
Simon bridges the death of 1950s singer Johnny Ace with the death of John Lennon, creating a quiet, stunning meditation on the passage of time.

“Nightshift” – The Commodores
A soulful, heartfelt tribute to Marvin Gaye and Jackie Wilson that became a hit on its own. Smooth, soothing, and sincere.

“Go Rest High on That Mountain” – Vince Gill
Gill’s vocal soars in this tribute to Keith Whitley and, later, his own brother. It’s a spiritual farewell sung with reverence and grace.

“Of Missing Persons” – Jackson Browne
Written for the daughter of Little Feat’s Lowell George, Browne delivers empathy wrapped in warmth.

“Black Gives Way to Blue” – Alice in Chains
Jerry Cantrell and the band process the loss of Layne Staley with quiet piano and aching harmonies. Elton John joins on piano for the final goodbye.

“Nobody’s City” – Iggy Pop, Nick Cave & Thurston Moore
A gritty, gothic salute to Jeffrey Lee Pierce, bursting with the raw edge and reverence only friends could deliver.

“He Loved Him Madly” – Miles Davis
A spacious, mournful piece in honor of Duke Ellington. It’s Miles at his most meditative and abstract.

“Stuck in a Moment You Can’t Get Out Of” – U2
Bono’s emotional plea to Michael Hutchence. It’s full of empathy, regret, and everything we wish we could’ve said to someone in pain.

“Rememberin’ Stevie” – Buddy Guy
A blistering instrumental in honor of Stevie Ray Vaughan—pure blues love from one guitar legend to another.

5 Surprising Facts About Brian Eno’s ‘Here Come the Warm Jets’

Eric Alper
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5 Surprising Facts About Brian Eno’s ‘Here Come the Warm Jets’

Brian Eno’s 1974 debut Here Come the Warm Jets was a kaleidoscope of glam rock, avant-garde experimentation, and dadaist mischief, all filtered through the mind of a man who treated music like a science experiment dipped in glitter. It helped set the tone for decades of art-pop, post-punk, and ambient music, but despite its legendary status, there’s still plenty even hardcore fans don’t know about its creation. Here are 5 jaw-dropping facts that reveal just how far Eno was willing to go in the pursuit of sonic alchemy.

1. Eno Wanted Musical Chaos—and Got It on Purpose
Rather than find players who matched, Eno deliberately picked musicians who didn’t. He assembled an army of misfits from Roxy Music, Hawkwind, Matching Mole, King Crimson, and more—not because he thought they’d blend, but because he knew they wouldn’t. “Let them compete,” he said, like a rock ‘n’ roll ringmaster setting up a sonic demolition derby. The result? Glorious collisions of sound that turned “accidents” into high art.

2. Robert Fripp’s “Baby’s on Fire” Solo Was a Fever Dream
That legendary three-minute guitar solo on “Baby’s on Fire”? Robert Fripp delivered it while jet-lagged, sick with the flu, and probably questioning his life choices. He walked into the studio, picked up a guitar, and unleashed a solo that still melts brains 50 years later. Fripp didn’t rehearse. He didn’t even know the key. But what he played became one of the greatest unhinged solos in rock history.

3. Eno’s Instruments Sound Like Sci-Fi Props—Because They Kind of Are
The liner notes credit Eno with playing things like “snake guitar,” “electric larynx,” and “simplistic piano.” None of these are real instruments per se—but they describe exactly what you hear. The “snake guitar” slithers and coils. The “electric larynx” distorts vocals into alien speech. Eno wasn’t trying to show off—he was trying to describe what he felt the sounds did. The result is a rock album that reads like a sci-fi soundtrack.

4. The Lyrics Were Total Nonsense—Until They Weren’t
Eno didn’t write lyrics like most people. He’d record gibberish vocals over the music, then listen back and decipher phrases from the nonsense. That’s how you get songs about combusting babies, photography shoots gone wrong, and historical figures with breath-based fire powers. He famously said “Needles in the Camel’s Eye” was “written in less time than it takes to sing.” And yet the imagery sticks with you—like a fever dream you’re oddly fond of.

5. The Album Title Still Confuses Everyone—Including Eno
For decades, people assumed Here Come the Warm Jets was a euphemism for something… well… not safe for work. Eno even added a cheeky playing card to the back cover showing a woman urinating outdoors. But in a twist, Eno later claimed it referred to the treated guitar sound on the title track, which “sounded like a tuned jet.” Either way, the title walks the same fine line as the music itself—mysterious, slightly filthy, and undeniably cool.

When Brian Eno left Roxy Music, he also left the gravitational pull of pop convention entirely. Here Come the Warm Jets wasn’t built to fit in. It was made to stand apart, confuse, thrill, and inspire. The album was a blueprint for decades of sonic rebellion, a joyful mess disguised as a glam-pop record, and the moment we all realized that Eno’s real instrument was possibility.

5 Surprising Facts About Kiss’ ‘Alive!’

Eric Alper
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5 Surprising Facts About Kiss’ ‘Alive!’

Before Alive! hit shelves on September 10, 1975, Kiss was on the brink. Three studio albums deep and barely scraping by, the band’s onstage pyrotechnics and face-painted theatrics weren’t translating into sales. But with Alive!, they captured lightning in a bottle. It became a double-platinum lifeline, resurrecting their career and rewriting what a live rock album could be. Behind the smoke and fire, though, lies a backstory even wilder than the music itself. Here are 5 facts about Alive! that even hardcore Kiss fans might not know.

1. Slade Was Their Guide
Before Alive! became the ultimate live album for fire-breathing rock and roll excess, it took a cue from across the pond. The album title was a nod to Slade Alive!, the 1972 live album by glam rock heroes Slade. Kiss not only looked up to Slade—they studied them. From the sonic thunder to the glitter-meets-leather stage energy, Slade laid the glam-laced groundwork. Alive! was Kiss’ statement of arrival, channeled through the amps of their idols.

2. The Tour Was So Broke, the Manager Paid for It Himself
Casablanca Records was practically in ashes by 1975. After a failed Tonight Show compilation, the label was barely breathing. So who saved Alive!? Kiss’s manager, Bill Aucoin. He fronted $300,000 of his own money to finance the tour that birthed the album. Without him, Alive! may have just been another idea tossed on the pyre of rock history. Instead, he staked it all—and lit the fuse on Kiss’s superstardom.

3. The Only “Live” Thing Left Was the Drums
If you thought Alive! was raw concert footage slapped onto vinyl… surprise! The final product was so heavily overdubbed, the only untouched tracks were Peter Criss’s drums. Guitar parts, vocals, crowd noise—spliced, sliced, and diced in Electric Lady Studios. Producer Eddie Kramer even layered in cheers from other gigs to pump up the energy. It wasn’t deception—it was theater. And Kiss, after all, never promised subtlety. Just spectacle.

4. They Were Too Hot to Handle—Literally
At some shows on the Dressed to Kill tour, Kiss set literal rings of fire around the stage. Flamethrowers, rising drum kits, face paint, and fire-breathing antics? No wonder headliners like Black Sabbath and Argent kicked them off tours. Gene Simmons once said other bands didn’t want to follow them—and you can’t blame them. With stagecraft like that, Kiss turned every concert into a war zone of glitter and gasoline.

5. This Was Their Last Shot—And They Knew It
Alive! was a Hail Mary. Kiss hadn’t made a dime in royalties from their first three albums, and Casablanca was circling the drain. The band was broke, the label was broken, and this live album was a last-ditch gamble. The result? A double-platinum juggernaut that not only saved Kiss—it saved the label, too.

Fiona Ross Marks 100-Song Milestone With ‘Moments in My Notebook’ – A 21-Track Jazz Journey From London

Eric Alper
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Fiona Ross Marks 100-Song Milestone With ‘Moments in My Notebook’ – A 21-Track Jazz Journey From London

Fiona Ross has never been one to follow convention, and her upcoming album, Moments in My Notebook, arriving May 30, 2025, is a testament to her boundless creativity and storytelling prowess. Ahead of the release, the singles “Let Your Soul Shine” and “I Don’t Want Money” are out now.

Moments in My Notebook is a chronicle of love, loss, discovery, and relentless creativity, marking her 100th original song release. Across 21 tracks of jazz-fueled storytelling, the award-winning vocalist, pianist, composer and producer delivers an expansive, deeply personal collection that spans the intimate hush of a late-night ballad to the rhythmic pulse of Latin jazz, with moments of raw, stripped-down vulnerability woven throughout.

Ross, best known for carving her own lane in contemporary jazz, Latin rhythms, and vintage club sounds, crafted this album as both a journey through time and an exploration of the present. “I still write everything in notebooks,” Ross shares. “Some songs started with a bass line, some with a lyric, some from something I overheard in a café. This album is 21 moments from those pages—21 moments in my life.” The record is also a love letter to the past, featuring two songs she wrote as a teenager that have finally found their voice.

The album’s first single, “Let Your Soul Shine,” is a luminous anthem of resilience and self-worth, inspired by a moment of serendipity at a market stall. “I saw a sign that said, ‘Let Your Soul Shine,’ and I couldn’t stop thinking about it,” she recalls. “I walked home, sat at the piano, and the song just poured out in ten minutes.” The result is a soul-stirring piece that encourages listeners to find strength in their own light. Another standout, “Pirates in Paris,” is a romantic ode to freedom and artistic rebellion, inspired by Ross’s many visits to the French capital. “Paris has always been my escape,” she says. “A place where I can just be me. This song is about that—about finding a space where you can exist without judgment.”

Then there’s “I Don’t Want Money,” a track that captures the struggle every musician knows too well. “Wouldn’t it be nice to just make music without thinking about the cost of it all?” Ross muses. “But the reality is, we live in a world where money dominates everything. This song is for every creative who just wants to do what they love.” And if that’s not enough, Ross also gifts us “Voices Unheard,” a haunting, socially charged reflection on forgotten histories and overlooked figures—with the closing lines name-checking Melba Liston, James Baldwin, Countee Cullen, Mary Lou Williams, and Ida B. Wells.

“China Told Me: The Live Session,” inspired by acclaimed vocalist, broadcaster, and cultural force China Moses was rehearsed and recorded in a single day at Premises Studios, London, and features a remarkable, female-empowered lineup. ‘China’s voice, her artistry, her humanity are important. She changes lives. She empowers,” Ross shares. Collaborators include Mary Sho (championed by Moses herself), who wrote the second verse top line, and the groundbreaking J Steps ensemble — an award-winning group for female and non-binary jazz musicians under 18, founded and directed by Hannah Horton. “I am absolutely thrilled to have J Steps making their recording debut on this song,” says Ross. “It was such a wonderful day. This song is meant to be enjoyed with the video, (releasing in June), where you can see the joy, love and kindness in the room.”

Recorded with a stellar lineup of musicians, Moments in My Notebook features Gibbi Bettini (guitar), Derek Daley (bass), Marley Drummond (drums), Loren Hignell (saxophones, clarinet, flutes), Simon Todd (Percussion) and Dave Boa (trumpets), with guest appearances by Laura Impallomeni (trombone) Charlotte Keeffe (trumpet), Hannah Horton (saxophone), Diana Torti (vocals), and Migdalia van Der Hoven (drums). The album was engineered, mixed, and mastered across multiple studios, a labor of love that captures both the exhilaration of live jazz and the precision of a carefully honed composition.

With her 100th song milestone in mind, Ross closes the album with the poignant “100 Songs,” an introspective reflection on legacy and loss. “What would my parents say if they were here?” she wonders. “Would they be proud? Would they understand what I’ve built?” The song lingers, leaving the listener with a sense of unresolved contemplation—exactly what great art is supposed to do.

To celebrate the album’s release, Fiona Ross will embark on a UK and European tour, bringing these songs to life on stage. The official album launch will take place on June 4th at London’s newest, record-breaking jazz venue Soul Mama, where fans can experience the magic firsthand.

Fiona Ross – 2025 Tour Dates :
• May 31, 2025 – Highworth Jazz Festival, UK
• June 4, 2025 – Soul Mama, London, UK
• August 16, 2025 – Acorn Theatre, Cornwall, UK
• September 13, 2025 – Hampstead Jazz Club, London, UK

With Moments in My Notebook, Fiona Ross cements her place as one of the most fearlessly original voices in contemporary jazz and singer-songwriter storytelling. One hundred songs deep, and she’s just getting started.

Emma Rush Illuminates 19th-Century Guitar Pioneer With “The Life and Times of Catharina Pratten” Album

Eric Alper
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Emma Rush Illuminates 19th-Century Guitar Pioneer With “The Life and Times of Catharina Pratten” Album

Acclaimed classical guitarist Emma Rush, hailed as “one of Canada’s premier classical guitarists” (Vivascene Magazine), brings a forgotten icon to vibrant life with her latest album The Life and Times of Catharina Pratten, available everywhere now. With a rare blend of historical depth, expressive mastery, and curatorial brilliance, Rush presents the first-ever album dedicated to 19th-century virtuosa Catharina Josepha Pratten, a woman whose legacy she is determined to restore.

“Pratten was so prolific as a performer, composer, educator, and publisher,” says Rush. “She taught Queen Victoria’s daughter, invented new music notation, and even tuned her guitar down to D—a hundred years before Black Sabbath did!” But despite her influence, Pratten has been “largely excluded from guitar history,” Rush notes. “I intend to set the record straight.”

The album features seven previously unrecorded works by Pratten alongside first recordings of music by her father Ferdinand Pelzer, her husband Robert Sidney Pratten, colleague Leonard Schulz, and student Frank Mott Harrison, and works by her contemporaries Francisco Tárrega, Giulio Regondi, and Ernest Shand. “I wanted an album that showed Pratten’s work in context—to give a picture of the guitar scene in London in the 1800s,” says Rush.

Rush recorded the album using two historically significant guitars associated with Pratten: one bearing Pratten’s personal signature, and the other a Boosey and Sons “Pratten model” from the 1850s, effectively making them the first-ever signature series guitars. “To hold and play instruments that she herself endorsed—it’s like reaching through time,” Rush reflects.

Highlights include “Absence,” which Rush calls her personal favourite: “It is a technically rich piece, but has such emotional depth and I find it really moving.” The single “Evening Song” showcases Pratten’s lyrical sensitivity and harmonic flair, demonstrating her gift for writing compact yet profoundly expressive works.

Rush is no stranger to uncovering hidden voices. Her 2020 release Wake the Sigh featured rare music by 19th-century women composers, while her 2023 album A Dream of Colour commissioned new works inspired by Canadian painter William Blair Bruce. With The Life and Times of Catharina Pratten, she extends her mission even further – connecting the dots between performance, research, and advocacy.

Rush’s international reputation continues to grow, with past performances at the Altamira Shanghai International Guitar Festival, Future Echoes in Sweden, and a cross-country tour aboard The Canadian. Her 2025–26 touring schedule will take her across Canada and into Europe, including the prestigious Iserlohn International Guitar Symposium in Germany and a U.K. tour.

A sought-after lecturer and festival director, Rush is Co-Director of GuitarFest West (Calgary), Director of Pigeon Lake Guitar Retreat and Hamilton Guitar Day (Ontario), and a collaborator with Wakefield Guitar Festival (Québec). Her work has been supported by the Canada Council for the Arts, Ontario Arts Council, and FACTOR.

The Life and Times of Catharina Pratten is not just a tribute—it’s a reclamation. “She really defined the guitar in Britain for most of the 19th century,” says Rush. “And now, finally, she can take her rightful place in our musical memory.”

Steinruck & Anet Unveil “Atmosphere” Holding Our Modern Chaos Up To The Light

Eric Alper
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Steinruck & Anet Unveil “Atmosphere” Holding Our Modern Chaos Up To The Light

In a world gasping for clarity, STEINRUCK and ANET offer up something radical: a song that doesn’t try to fix things — but dares to feel them. Their new single, “Atmosphere,” now, is a brooding, cinematic meditation on what it means to be alive in a time that feels both heavy and wondrous. It’s a soul-deep collaboration between two of Canada’s most fascinating artists — rock lifer Tim Steinruck and multi-platinum songwriter and opera performer Annette Ducharme, known professionally as ANET.

The track begins with a whisper and expands like breath — “You are like the rain / And you wash away the pain…” From its haunting verses to its sky-bound chorus, “Atmosphere” lives in the tension between despair and transcendence. “This is why we’re here,” the pair sings in harmony. “Just open your eyes / Beautiful and clear / In the atmosphere / Alive.” It’s not a statement. It’s a revelation.

The song emerged from a simple social media connection in 2024, when Steinruck reached out to Ducharme after a kind comment. “It had always been my dream to write a song with her,” Steinruck shares. The duo quickly found a creative wavelength, bringing lyrics and melodies to life in a deeply intuitive session. Ducharme suggested the title — “Atmosphere” — and they ran with it, crafting a piece that holds a mirror to the present moment. “It questions us to ask: can we observe the dark forces at play in the world yet still be grateful for the opportunity to simply be alive?” they write in their press materials.

The lyrics tell a story of internal war and emotional reckoning:

“You’re like an accident / And I just can’t look away / Blood and bodies everywhere / We watch and pretend to care…”

It’s heavy. But the chorus doesn’t sink — it soars. With lush harmonies and sweeping production by legendary producer John Webster (whose credits include Bon Jovi, Aerosmith, and more), the track lives in the same neighborhood as Enya, Kate Bush, and even early Pink Floyd — sonically rich, emotionally raw, and deeply human.

ANET, born Annette Ducharme, is no stranger to capturing complexity. The Windsor native has written hits for Tom Cochrane (“Sinking Like a Sunset”), Boom Desjardins (“Ta Chanson”), and Larry Gowan (“Soul’s Road”), while maintaining a fierce solo career. Her catalogue spans seven studio albums, numerous Top 10 singles, a JUNO nomination, SOCAN awards, and a diamond certification — and in recent years, she’s added leading operatic roles to her repertoire. From La Traviata to Macbeth, her voice continues to break through genre and expectation alike.

Tim Steinruck, meanwhile, has built a life on stages and inside studios — from a major-label deal with KISS’s Paul Stanley in the ’80s, to licensing music for the NHL and MTV with his band The Mighty One, to launching a solo project focused on “high-vibe, consciousness-raising” collaborations. He’s a success coach and multimedia entrepreneur who has transformed his life more than once. “Life is ugly but beautiful,” he says — and that’s exactly what “Atmosphere” delivers.

Together, their voices don’t just harmonize — they collide, converse, and lift each other. There’s no ego here, just resonance. “Atmosphere” doesn’t pretend to offer easy answers. It’s a song that asks — and in asking, creates space for the listener to feel. To grieve. To be grateful. To be… alive.

“Maybe we’ll never agree / Or maybe one day we’ll see / It was not about you / It was not about me,” they sing in the bridge. It’s not just a lyric. It’s a reminder. That in the middle of the noise, confusion, and fire of modern life, there is music. There is atmosphere. And there is still room to breathe.

HuDost Breaks the Silence With “Broken Down in America” in a Haunting Defiant Call for Change + Announces Tour Dates

Eric Alper
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HuDost Breaks the Silence With “Broken Down in America” in a Haunting Defiant Call for Change + Announces Tour Dates

There’s no metaphor. No abstraction. No retreat.

What does it mean to raise a child in a nation that won’t protect them? To send them off to school each morning with a silent prayer—because hope is all that’s left when policy fails?

HuDost isn’t asking these questions quietly.

Their latest single, “Broken Down in America,” co-written with Dan Haseltine of Jars of Clay and The Chosen, is a soul-piercing cry of grief, rage, and resilience. It’s a song for every parent rehearsing tragedy in their head. For every student taught to hide before they’re taught to dream. For every citizen too exhausted to shout—but too heartbroken to stay silent.

And it’s not a song that asks for permission.

“We cried a lot while making the video,” says Moksha Sommer, one half of the duo with husband and bandmate Jemal Wade Hines. “As parents and artists, we couldn’t look away. So, we turned the grief into music. That’s what we do.”

“Broken Down in America,” the latest single from HuDost’s upcoming album The Monkey in the Crown, to released on June 6, 2025, is a project born of urgency, activism, and an unwavering belief in the power of truth-telling through art. Written in the wake of gun violence, political polarization, and personal heartbreak, the track balances sorrow with strength.

From the aching opening lines—“Hey my son, it’s Monday morning / Use your teacher like a human shield”—to the soul-wrenching refrain, “The only arms I bear are here and open,” HuDost captures a fractured national psyche with surgical precision and poetic defiance.

Musically, the track is rich, raw, and intimate. Produced by HuDost’s own Jemal Wade Hines, it features lead vocals by Moksha Sommer, harmonium, programming, and backing vocals by Jemal Wade Hines, with the rhythm section from Chris Powell on drums and Dan Walters on bass, while Charlie Lowell adds depth on keys. Additional layers of harmony come from a talented group of backing vocalists, including Rachael Davis, Bethany Bordeaux, Liza Holbrook, Matt Odmark, Charlie Lowell, Moksha Sommer, and Jemal Wade Hines.

From shimmering ambient textures to visceral lyrical punches, every sound is designed to feel like a truth too long withheld.

But for HuDost, the personal is always political. As Canadians living in the American South, they walk the line between cultures, countries, and consciousness. Their activism through music isn’t new—it’s a legacy. They’ve advocated on Capitol Hill as part of the ONE Campaign, stood up for global aid programs like GAVI and PEPFAR, and challenged complacency at every turn. Their music is their megaphone.

But accolades aren’t the point.

“Music,” says Jemal, “isn’t a luxury. It’s a necessity. Especially now.”

And in 2025, they’re taking it to the streets.

HuDost’s 2025 “Monkey in the Crown” 20th Anniversary Tour Dates:
May 15-16 SERFA- Owensboro, KY
May 17-18- Kentucky Yoga Festival- Edmonton, KY
May 23-27- Ozark Sufi Camp- Lake of the Ozark State Park, MO
May 29- Greenwood Social Hall- Kansas City, MO

June 7- Duncan Hines Days- Bowling Green, KY
June 18- The Porcupine Theatre- Homer, AK

June 20-22- Seldovia Arts Council Summer Music Festival, AK

June 25- Levitt AMP Soldotna Music Series- AK

June 27- Denali Arts Council- Live at Five Summer Concert Series- AK
June 28-29 Tonglen Lake/Anchorage AK TBA 

July 4-6- Midsummer Music Festival- Smithers, BC

July 11-12- Oregon Country Fair- Eugene, OR
July 15- Oregon Shakespeare Festival- Ashland, OR
July 16- TBA- Corvallis, OR

July 19- TBA- Seattle, WA
July 30- Nathalie’s Grandview- Columbus, OH
August 9- Vermont Solar Fest- Brandon, VT
August 28-29- Wild Goose Festival- Harmony, NC

August 30-31- Floyd Yoga Jam- Floyd, VA
Oct 2- HuDost on WDVX- Knoxville, TN

Oct 4- ‘Ol Front Porch Music Festival- Oriental, NC

Oct 10-12- CaveFest at The Caverns- Pelham, TN
(More to be announced)

“Broken Down in America” is a reckoning. It’s HuDost standing in the fire with their arms open wide. And it’s a reminder that sometimes, the only way to rebuild is to bear witness to what’s broken.

This is not about party lines. This is about the people. This is about love.

And yes—love can stop the war.

Marie Minet Bridges Cultures with New Acoustic Single “Je Serais Tout Ce Que Tu Veux – High Life Edition”

Eric Alper
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Marie Minet Bridges Cultures with New Acoustic Single “Je Serais Tout Ce Que Tu Veux – High Life Edition”

Marie Minet returns with a captivating new single, ” Je Serais Tout Ce Que Tu Veux – High Life Edition Acoustic”, from her revisited album Clair Obscur – High Life Edition Acoustic. A passionate fusion of Chanson Française and Highlife, this track showcases Marie’ s unique blend of African rhythms, evocative lyrics, and delicate melodies. Recorded live after an inspiring journey through West Africa, and featuring world- class musicians, Je Serais Tout Ce Que Tu Veux is a testament to her musical evolution and cultural exploration.

” Je Serais Tout Ce Que Tu Veux” transports listeners into a world of émotion, passion, and Identity. The song delves into the intensity and llusions of love, questioning how far one can go to f it into someone else’ s ideal. Wrapped in a melodic cloud, Marie’ s voice floats effortlessly, crossing the distances that the oceans unite. With its delicate acoustic arrangement and vibrant African influences, Je Serais Tout Ce Que Tu Veux embodies Marie’ s ability to weave together French chanson and West African musical traditions, creating a sound that is both intimate and universal.

Out now, Je Serais Tout Ce Que Tu Veux will be one of the lead singles from Marie Minet’ s revisited album Clair Obscur – High Life Edition Acoustic. The album promises to bring together the best of Chanson Française and Highlife, featuring contributions from renowned West African artists such as Gyedu- Blay Ambolley, Seyi Shay, and Joshua Moszi. 
“Je Serais Tout Ce Que Tu Veux” is a deeply introspective track that blends Marie Minet’ s poetic lyricism with an acoustic arrangement infused with the essence of Highlife music. The minimalist instrumentation highlights a delicate guitar melody, weaving together the emotional depth of French chanson with the vibrant energy of African rhythms.

The song captures the intensity and contradictions of love — a story of passion and illusion, where one tries to f it an ideal image. Je Serais Tout Ce Que Tu Veux is a song of desire, adaptation, and vulnerability, where Marie’ s voice floats effortlessly, embracing a melodic balance between French chanson and Highlife music.

With its timeless and universal essence, Je Serais Tout Ce Que Tu Veux speaks directly to the heart, creating a deep and intimate connection between the artist and the listener, transcending language and geography.

Marie Minet’ s musical career began with her debut album Clair Obscur, which fused French chanson with influences from Portugal and Cape Verde. Now, with “ Je serais tout ce que tu veux – High Life Edition – Acoustic”, Marie embarks on a new chapter of her journey, one that dives deeper into the rhythms of West Africa and celebrates her strong connection to Ghana.

Her recent time spent in Ghana, experiencing the raw energy of Highlife and Afrobeat, profoundly influenced her music, inspiring her to continue her exploration of African sounds. This collaboration with Joshua Moszi is a direct result of that connection and marks just the beginning of her ongoing partnership with West African artists. Marie has plans for future collaborations with artists such as Gyedu- Blay Ambolley, Seyi Shay, Kill Beatz, and Kel- P, bringing more Afro- fusion and Highlife- inspired tracks to her growing audience.

Through her music, Marie Minet continues to break cultural boundaries, blending the sounds of Europe and Africa, while creating songs that resonate on a global scale. She is proud to be part of the growing movement of artists merging African influences with global genres.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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