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Justin Faulknor Channels Classic Rock Spirit in Playful New Single and Video “Girl Like You” From Album ‘Far From Home’

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Canadian rock singer-songwriter Justin Faulknor unveils his latest single and video, ‘Girl Like You’ — a vibrant, tongue-in-cheek ode to classic rock storytelling and creative independence. The track serves as the lead single from his full-length album, ‘Far From Home,’ both out now.

A lifelong student of melody and lyricism, Faulknor wrote, produced, and performed ‘Girl Like You’ with a sound steeped in sixties and seventies influences — nodding to the timeless grooves of The Beatles and Bob Dylan while infusing his own modern-day wit and warmth.

“’Girl Like You’ started as a little bass riff I always kicked around,” says Faulknor. “One day, I decided to see how far the riff could take me, and it quickly morphed into a playful ditty with a soulful sixties kind of groove.” That spontaneous spark became the heartbeat of a song that feels both vintage and vividly alive.

Recorded with session players Federico Cremoli on bass and lead guitar and Sammy Dumanauw on drums, the single balances tight musicianship with a laid-back charm. The result is a track that captures Faulknor’s ability to blend introspection and humor, hallmarks of his evolving songwriting voice.

The creative energy extended to the video — a full-scale puppet production conceived, directed, and built by Faulknor himself. Inspired by his lifelong admiration for Jim Henson, the video follows two handmade characters through a whimsical, romantic storyline that could have played on The Muppet Show in its golden era.

“I doodled this Muppety female character one day and thought, what if she was the girl in ‘Girl Like You’?” he recalls. “I ended up storyboarding the whole thing, designing puppets, building sets, sewing costumes, and even learning some puppeteering. It became a huge labor of love.”

Drawing on his background in film and television production from Sheridan College, Faulknor edited and produced the video independently — a true one-man show in both vision and execution. “It was a lot of pressure and a whole lot of work,” he admits. “But my love and admiration for Jim Henson and his team helped me see it through.”

The result is a warm, nostalgic visual love letter to the artistry and joy that defined Henson’s creations. Both the song and video radiate the sincerity of a musician who believes deeply in craft, humor, and heart — the very pillars of great rock songwriting.

“Girl Like You” fits seamlessly within the broader tapestry of ‘Far From Home,’ an album written during the isolation of the pandemic. “There’s a playfulness, tongue-in-cheek feel to many of these songs, but also a touch of darkness at times,” Faulknor says. “It’s about feeling adrift, but still hearing that soft, distant voice of hope.”

Through its melodic guitar hooks, evocative lyrics, and imaginative storytelling, ‘Girl Like You’ captures Justin Faulknor as his most free and inventive rock craftsman reimagining nostalgia with contemporary heart.

Henry Lees Fires Off a Funky Kiss Off with Blazing New Single “Smoke”

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It’s a commonly held belief that the dating pool is infested with hungry sharks looking for easy prey. Put your trust in the wrong person and you could swipe right into a load of heartache. We’ve all been there and so has award-winning Toronto singer-songwriter Henry Lees.

Lees knows the perils of romantic pursuit all too well and some of those experiences provided the kindling for his fired up, funky new single, “Smoke”, out now and adding some spice to the start of another super sweet, Hallmark-drenched holiday season.

“I like to call ‘Smoke’ the bad dream date song,” offers Lees. “The reality is that it’s tough out there in the modern digital dating world, Connections are made so conveniently on a screen but, you can often discover how tenuous and superficial that connection is in real life.”

“It’s a good thing though that bitter disappointment can be great fuel for a song,”

You made promises you knew you’d never keep

You lit the fire then, left me smouldering in the street

Now, I want all the charming words you spoke to disappear like smoke

Co-written with and produced by Vancouver-based singer-songwriter, multi-instrumentalist and producer-on-the-rise Sean Thomas (Debbie Gibson, Joey McIntyre, NKOTB, New Edition), “Smoke” was ignited and almost completely finished during a single, laugh out loud cross-country writing session between Lees and Thomas.

“There’s always an incredible energy co-writing with Henry,” notes Thomas. “He has such a natural talent for translating his passions into powerful, heartfelt songwriting. It was an honour to produce this track and bring it to life!”

This new collaboration already garnered pre-release industry honours when Lees was chosen as a Semi-Finalist in the Best AC Artist category for the 2025 Unsigned Only Music Awards based on the strength of “Smoke” as a submission to the annual, international contest.

“It was a real gift to have “Smoke” rise up and almost magically appear for Sean and me,” notes Lees. “Then, recognition by a major international music competition confirmed our feeling that we created something very special with this song.”

This is not the first time Lees and Thomas have won accolades for their collaborations. “Free This Love”, a 2023 single by Lees, co-written with Heather Pirie and Matt Gerber and produced by Thomas, became a Top 10 Finalist in the Pop category for the 27th USA Songwriting Awards and a Semi-Finalist for both the 2023 International Songwriting Competition and Unsigned Only. An earlier Lees/Thomas song, “Nothing Left to Lose” won second place honours in the 2021 Indie International Song Contest and was named a Top 10 Finalist for the 17th annual International Acoustic Music Awards. Since 2021, Lees’ songs have been honoured 10 times by major music competitions.

“Sean and I met and started writing together during the annual SongStudio Workshop in Toronto in 2018,” notes Lees. “I’m thrilled to see his career bloom as a sought-after writer, musician and producer doing amazing work with legendary pop icons like Debbie Gibson and Joey McIntyre and still finding time to produce and release his own brilliant music. I’m grateful for what we get to create together.”

Prior to this, Lees’ varied musical life included writing, recording and performing everything from radio jingles to musical theatre and has taken him from the national airwaves to stages across Canada, including singing on two cross-Canada Huron Carole benefit tours with singer-songwriter, actor, philanthropist and Officer of the Order of Canada Tom Jackson. Shannon Gaye, a dear friend Lees’ sang with on those Huron Carole tours and an accomplished Canadian singer-songwriter with several releases to her credit, provides the soulful harmony vocals on “Smoke”.

In 2022, Lees celebrated his first number ones as a songwriter when triple Maple Blues Award nominee Chris Antonik and his album “Morningstar” hit #1 for 2 weeks on Roots Music Report’s all-genre, Top 50 Canada Albums Chart and “Back to the Good”, one of six songs Lees’ co-wrote with Antonik for the album, also hit #1 on the RMR.

Also in 2022, Lees released the single “Walking With Fear”, a very personal song of support for those dealing with anxiety disorders co-written with multi award-winning singer-songwriter David Leask and produced by Leask with JUNO winner Steve Dawson and The Henhouse Express. “Walking With Fear” was released in partnership with Anxiety Canada in support of Action Anxiety Day.

And more music is on the way from Lees, with three more singles and a full EP in the works for 2026.

So, has creating “Smoke” cleared away at least some of Henry Lees’ own bad-dream-date memories?

“I’m very happily past those dangerous dating pool days,” he says, “but long may those life experiences keep the songwriting fires burning.”

Singer-Songwriter Ryan McMahon Unveils Emotional Folk Rock Single “There She Is”, Produced by Steve Dawson at Bryan Adams’ Warehouse Studio

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Canadian singer-songwriter Ryan McMahon unveils his powerful new single “There She Is,” produced by Steve Dawson and recorded at Bryan Adams’ Warehouse Studio in Vancouver. The track stands as one of McMahon’s most personal and moving compositions—a song about rediscovering beauty, forgiving oneself, and finding sanctuary in the simplest moments of life.

With seven solo albums, two acclaimed records with his folk-rock trio Lion Bear Fox, and nearly two decades of touring across Canada, the U.S., and Europe, McMahon has carved a reputation as one of Canada’s most authentic musical voices. His work bridges folk, Americana, and rock, rooted in sincerity and emotional storytelling.

Born in Ladysmith, British Columbia, McMahon’s rise from small club stages to national tours alongside Burton Cummings, Tom Cochrane, and Lisa Loeb speaks to his craft, resilience, and connection to audiences nationwide.

A multiple Vancouver Island Music Award winner and SOCAN-affiliated songwriter, McMahon’s songs have been featured in Californication, Chesapeake Shores, and global campaigns, expanding his reach beyond the stage. His latest chapter builds on the success of Live Now (2023), an album that showcased his ability to channel life’s challenges into raw, redemptive art.

Lyrically, “There She Is” captures a moment of rebirth. Lines like ‘A sun that rises up over my town / A promise I believe this time around’ embody gratitude, serenity, and rediscovery. The song moves from heartbreak toward clarity, embracing the idea that peace comes not from control, but from acceptance. McMahon paints vivid images of sunrise, ocean waves, and forgiveness—symbols of beauty returning to a life once clouded by loss.

“It’s about recognizing beauty in all its forms,” McMahon explains. “A sunrise, a sunset, a slow smile of approval from someone you love. This life is beautiful, and I forgot that for a while. I wanted to write a song that people could exhale to—to find peace in what is, and to honor the beauty all around us.”

McMahon adds, “When I started working with Steve Dawson and his Henhouse PopUp Gang, the inspiration came fast. The song wrote itself in under half an hour. It’s about forgiveness, letting go of what doesn’t serve us, and holding tight to what does.” The result is a cathartic musical journey—one that invites listeners to feel both grounded and uplifted.

Produced by Steve Dawson (a multiple JUNO Award-winning producer), “There She Is” features an ensemble of exceptional players: Ryan McMahon (vocals, acoustic guitar), Steve Dawson (electric guitar, pedal steel), Jeremy Holmes (bass), Liam MacDonald (drums, percussion), Darryl Havers (organ), Jordan Pritchett (percussion, backing vocals), and Danielle Marie King (backing vocals). The track was engineered by Sheldon Zaharko, mixed by Jordan Pritchett, and mastered by Railtown Mastering Co. in Vancouver.

The song’s sonic palette blends folk introspection with Americana grit and soulful optimism. Dawson’s production brings warmth and texture, while McMahon’s vocal—equal parts weathered and reassuring—anchors the emotional core. It’s a sound that feels both timeless and unmistakably personal, embodying the best of Canada’s singer-songwriter tradition.

“There She Is” arrives as a statement of endurance and gratitude in an age that needs both. It’s a testament to McMahon’s gift for turning vulnerability into strength, and solitude into shared experience. For fans and newcomers alike, the single reaffirms why McMahon’s voice continues to resonate across the country’s stages and airwaves.

Toronto Rising Pop Star Bella Cole Brings Confidence, Fun, and Fire to New Single “Got Your Number”

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“I didn’t initially think of it as an empowering song, but that’s definitely how I felt performing it,” says Toronto’s own Bella Cole. “I hope anyone listening feels that same confidence and energy.” From the first note of “Got Your Number,” Bella captures that feeling of knowing exactly who you are and refusing to settle for less.

Bella Cole started out on stage, majoring in theatre at a performing arts high school where she fell in love with the power of performance and connection. That love evolved into a deeper curiosity about sound itself, leading her to study Audio Engineering at Trebas Institute in Toronto. Now, she brings both worlds together by blending storytelling and sound in everything she creates.

Emerging from Toronto’s vibrant music scene, Bella fuses classic soul, funk, and pop into a sound that’s both nostalgic and now. Inspired by artists like Amy Winehouse and Billie Eilish, she’s creating her own lane with songs that feel timeless but alive with modern attitude. Whether performing at iconic venues like El Mocambo or writing late into the night, Bella is always chasing the real, moments that connect and resonate.

Her new single “Got Your Number”- over 50,000 YouTube views in just 3 weeks – showcases that spirit with sharp wit and unapologetic swagger. “Every time you wanna come around, there’s one thing on your mind,” she sings, before flipping the script with the infectious hook, “It’s a game, I’ll make the rules, and you should know, that I’ve got your number!”

The song is playful and fearless, layered with smooth retro grooves and bold vocals that burst with confidence. “You hit me up, you’re playing the fool, cast a spell, I’m not going under,” Bella belts, turning a classic story of flirtation into a celebration of self-worth. It’s a track built to soundtrack every late-night dance party and mirror singalong.

“Got Your Number” represents everything Bella stands for, energy, empowerment, and authenticity. Her lyrics, full of charisma and personality, reveal a young artist who knows her voice and isn’t afraid to use it. Each verse feels like a wink and a nod to every listener who’s ever taken back their power.

Bella’s rise has been fueled by both talent and vision. Having studied sound design and engineering, she knows her way around every layer of a track, shaping her music from the ground up. Performances at Toronto landmarks have built her reputation as one of the city’s most engaging new voices.

With every release, Bella continues to connect with fans looking for music that’s as confident as it is fun. Her storytelling, rich with emotion and humor, has already caught the attention of the local scene and beyond.

Looking ahead, Bella is focused on creating songs that bring people together. “This project has been pure joy,” she says. “I’m so excited to finally share it and see people sing and dance along.”

Folk Guitarist John Dawson Brings New Light to a Christmas Classic With “O Little Town of Bethlehem”

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Every holiday season brings a sense of reflection, and for Canadian guitarist John Dawson, that reflection takes shape in music. “It always amazes me how the veil between past and present seems pulled back during the holidays,” he says. “Traditions meet change, and in that mix, we find meaning.”

Dawson, a longtime figure in Canada’s folk and roots scene, has quietly built a reputation as one of the country’s best-kept secrets. Based in the Greater Toronto Area, he is a songwriter, guitarist, and composer who has worked across performance, education, and composition. His resume includes sharing stages with Juno and Grammy-nominated artists and backing Jackie Lomax at a Beatles Festival in 2011.

For his latest project, Dawson strips away everything but the essentials. His new recording, a solo guitar arrangement of the traditional carol “O Little Town of Bethlehem,” is a quiet meditation amid the noise of the season. There is no singing, no embellishment, only pure, intentional playing. “It’s precisely what I do in the quiet nights by the soft light of a tree,” he says. “It’s what I wanted most to share.”

The piece unfolds with the patience of snowfall, guided by Dawson’s lyrical phrasing and deep harmonic sense. His arrangement draws on his lifelong appreciation for melodic and harmonic beauty, turning a centuries-old hymn into something intimate and timeless.

“O Little Town of Bethlehem” carries a stillness that reflects Dawson’s broader approach to music, where every note has room to breathe. It’s the sound of an artist unhurried by trends, whose focus lies in the quiet truths of tone and feeling.

Though he remains under the radar for many listeners, those who know Dawson’s work recognize a musician of rare sensitivity. His blend of classic craftsmanship and understated expression places him among Canada’s most quietly influential guitar voices.

Dawson’s musical journey began in theatre and evolved through decades of study and performance. A graduate of Humber College and York University, he combines technical command with a storyteller’s ear, often channeling influences from George Harrison to Mark Knopfler.

Listeners of “O Little Town of Bethlehem” can expect the warmth of tradition and the intimacy of a fireside performance. The recording feels handcrafted, capturing the same spirit that has made Dawson a trusted name among those who appreciate honest, unadorned musicianship.

As the season invites moments of pause, Dawson’s latest release offers a soundtrack for reflection. “This little offering is meant to accompany others during the quiet moments of such a busy season,” he says.

Acclaimed Vocalist Jenna Esposito Releases New Album ‘The Sixties Chicks’ Celebrating Pop, Power, and Women’s Voices

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Acclaimed vocalist Jenna Esposito, hailed as the voice of Little Italy and a powerhouse of American cabaret and pop, announces her new album ‘The Sixties Chicks’, out now on Good Fortune Records. It’s a vibrant salute to pop’s heroines and a celebration of women leading today’s charts.

“This record is my love letter to the women who raised me through their records,” says Esposito. “I wanted every track to feel like a pep talk, a party, and a permission slip to be loud, bold, and fully yourself.”

Built on radiant harmonies, punchy brass, and feel-good grooves, the album blends classic pop sensibilities with a modern sparkle. Esposito upgrades vintage textures with today’s energy—catchy hooks, widescreen arrangements, and a wink of New York sass.

“Far’ L’Amore Con Te” leads the charge with heart-in-throat romance and cinematic sweep as a standalone teaser ahead of the new record. Originally penned by Ernest Rossi as a love song for his wife, the track shines with Jenna’s soaring vocal and a timeless melody that feels both classic and immediate. While not part of the forthcoming album, the song is being boosted as a single to build momentum for the release — and with the original version now just past its 10-year anniversary (first released August 25, 2015), it also carries the weight of a special re-launch moment.

Produced by Jenna Esposito and Fortune Esposito, the album features an all-star ensemble: Fortune Esposito (guitar), David Crone (piano/keyboard), Charles Broelmann (drums/percussion), Frank Petrocelli (tenor sax), Kelly Esposito-Broelmann (backup vocals), Rob Langeder (backup vocals), Pete Spina (tenor sax), Nick Vallerio (tenor sax), Christopher Rinaman (trombone), Bob Gravener (trumpet), and Chip M. Fabrizi (percussion).

As women continue to redefine pop from the ground up, Esposito’s ‘The Sixties Chicks’ adds momentum—amplifying stories of resilience, joy, and sisterhood. The result is a record that nods to the past while pushing the present forward.

“I tracked these songs with the same spirit I take onstage—open-hearted, a little mischievous, and totally in the moment,” Jenna adds. “We chased performances that felt alive, where you can hear the grin, the grit, and the goosebumps.”

Born in Middletown, NY and based in Brooklyn, Esposito made her New York nightclub debut in 2004 and has since headlined storied rooms including Birdland and Feinstein’s/54 Below, shared stages with legends, and earned acclaim for her tributes to Connie Francis, Dean Martin, and The Great Italian-American Songbook.

Her discography spans ’13 Men… and Me!’, ‘To Connie… Love, Jenna’, ‘That’s Amore: Songs from the Great Italian-American Songbook’, and ‘More Amore’. Recent highlights include a world-finalist nod at Sanremo Senior and a tour of Sicily with the City Rhythm Orchestra.

To mark the release of ‘The Sixties Chicks’, Esposito will bring her high-voltage show on the road. Expect powerhouse vocals, sparkling arrangements, and the kind of banter that turns a concert into a celebration.

Montreal’s R&B Sensation Noëlly Lives Up to Her Name by Releasing Her First Christmas Song

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Montréal-based Noëlly Nsimba celebrates her birthday early this year with the release of “Christmas Just Wouldn’t Be Christmas Without You.” The singer-songwriter and former tennis pro was born on December 26, aka “Boxing Day,” just thirty minutes after midnight, compelling her mom and dad to name her as they did. As a result and because of her abiding faith, Christmas has long held a special place in her heart, so it was quite natural for her to record a song of the season. “Christmas Just Wouldn’t Be Christmas Without You” is now available on all streaming services and is offered to radio programmers in North America and beyond for airplay consideration. Produced by Rox Capriotti (Shape of Water, Vivaldi Metal Project, Morpheus Project) in Manchester (UK), the backing track was sent to Noëlly, who recorded her vocal part at her home studio in Montréal.

Noëlly had previously been on the Women’s Pro Tennis Tour, a pursuit that saw her compete in tournaments around the world as well as in her native Canada. The daughter of immigrants from the Democratic Republic of Congo, she pursued her tennis career while becoming an accomplished singer and songwriter. While “Christmas Just Wouldn’t Be Christmas Without You” was written by Chris Maule, she worked with Capriotti to, as she puts it, “Make it me,” adding, “I love Christmas; it’s my favorite holiday so I’m very happy about this recording.” During the holidays, Montreal is noted for its many Christmas markets, celebrations and snowfall, further inspiring Noëlly. “This is my favorite time of year when we go to church and enjoy exchanging gifts with family and friends, so I had thought about doing a Christmas song and this one is perfect for me. I’m excited to see Christmas through Zyon’s eyes now that he’d old enough to take it all in but even as a tiny infant I could see how delighted he was with his eyes following the lights on the tree. This year is going to be even better now that we have such a great song to play.”

Concurrent with the release of “Christmas Just Wouldn’t Be Christmas Without You” comes “True Love,” an original song written by Noëlly to mark a very emotional time in her life. The song was created when André Lukombo, her favorite uncle and her dad’s youngest brother passed away early in life from pancreatic cancer. “I was in England when I wrote it to express what my Aunt Gisele was going through and to give voice to these strong feelings. When she heard it, I could sense the emotion in her voice and realized the song had touched her as my uncle’s passing did me.” “True Love,” as with “Christmas Just Wouldn’t be Christmas Without You” is now available on all streaming platforms.

Last July, Noëlly seamlessly transitioned from her earlier career as a ranked tennis pro to music when she performed “O Canada,” to kick off the 2025 Canadian Women’s Open.  Her version of Canada’s national anthem, as well as a song she wrote about the sport she loves, “4 De Love Tennis,” were released simultaneously, setting the template for this week’s offering of “Christmas Just Wouldn’t Be Christmas Without You” and “True Love.”

Lost Pitch Launch Into Chaos and Clarity With New Single ‘It’s a Trap!’ and Debut Album ‘Bumpy Ride’

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Toronto’s Lost Pitch has always lived somewhere between noise and nuance. With their debut album ‘Bumpy Ride’ and lead single ‘It’s a Trap!’, the quartet sharpen their signature blend of cinematic alt-rock, soulful distortion, and melodic urgency into something visceral and deeply human.

Frontman and songwriter Erick Vidal calls the record both a reflection and a release. Written during a year of upheaval, Bumpy Ride’ channels exhaustion, persistence, and hard-won peace. “It was a year that tested every part of us,” Vidal says. “Physically, emotionally, creatively — it was all over the place.” What emerged is a collection of songs that sound alive in the mess — jagged, shimmering, and unfiltered.

Recorded between the home studios of bassist-producer Leandro Motta and drummer-foley artist Alex Mine, the band tracked each instrument themselves. There’s an intimacy to the noise — guitars bleed into vocal mics, the percussion feels close enough to touch. They embraced imperfection as a creative stance, finding beauty in the rough edges. The result isn’t polished to a mirror shine; it pulses like skin.

‘It’s a Trap!’ captures that energy in full force. Written by Vidal and produced by Motta, the track is an anthem for anyone who’s ever been cornered by circumstance but found rhythm in resistance. Born during personal crises — family illness, injury, and a near wipeout of their music from streaming platforms — the song became a reclamation. A bright guitar riff cuts through like a flare, carrying a chorus that feels both defiant and cathartic.

Vidal describes the song as his punch back — a refusal to surrender to burnout or fear. The lyrics acknowledge the weight, but the groove never falters. “There are traps everywhere — in our minds, our routines, our fears,” he says. “You just have to laugh and keep moving forward.” The result is equal parts frustration and freedom — a sonic paradox that defines Lost Pitch as their most compelling.

If ‘It’s a Trap!’ is the spark, ‘Bumpy Ride’ is the wildfire. Mastered at Abbey Road Studios in London by Frank Arkwright (Oasis, The Smiths, Blur), the twelve-track album is restless and expansive. It moves between roaring walls of guitar and quiet, haunted spaces, threading through pop instincts, psychedelic textures, and emotional weight. Each track feels like a scene from an unfinished film — vivid, imperfect, real.

The band’s DIY recording process gave the record its raw pulse. “We tracked everything ourselves — drums, strings, brass, vocals,” says Vidal. Without the safety net of a studio machine, they leaned into experimentation. “The chaos actually became part of the sound.” That tension — between precision and unpredictability — defines ‘Bumpy Ride’ both as a title and a philosophy.

Visually, the album’s artwork — a woman falling from a carousel horse — mirrors the collision of balance and collapse that runs through the record. Designed by Vidal and Daniel D’Avila, the image captures the sense of motion that threads through every Lost Pitch release. It’s poetic, slightly unsettling, and exactly what the band wanted: a reflection of a world in flux that still finds its rhythm.

‘It’s a Trap!’ and ‘Bumpy Ride’ mark a defining moment for Lost Pitch — a band embracing risk, emotion, and noise with fearless intent. The music doesn’t chase perfection; it finds clarity in the crash. For Vidal, Motta, Santos, and Mine, this debut isn’t just a statement. It’s a lifeline — one that pulls beauty from disorder and turns turbulence into sound.

Toronto’s Kid DET & Sad Classes Bring Raw Emotion and Soul to ‘In This Bed’ – The New Single From ‘Soul Food II: At the Cabin’

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Toronto-born and based artists Kid DET and Sad Classes deliver a slow-burn masterclass in vulnerability and melodic flow with their new single ‘In This Bed,’ the latest drop from their album ‘Soul Food II: At The Cabin.’ Produced by the duo themselves and released under Finest Edge Music Inc., the song dives deep into the emotional wreckage left behind when love turns to distance — and the night feels too long to face alone.

After the success of their first single ‘Rearview’ and its cinematic Fatty Soprano-directed video, ‘In This Bed’ slows things down, offering a glimpse into the quieter, more reflective corners of their artistry. The track’s R&B-infused production pairs moody keys and atmospheric basslines with the duo’s raw, confessional lyricism. It’s heartbreak and honesty wrapped in midnight rhythm.

“In my room dreaming ‘bout you, I can’t sleep in this bed without you,” they sing — a refrain that captures the song’s ache and intimacy. Built on late-night emotion, the record blends hip-hop’s storytelling instincts with R&B’s melodic vulnerability. It’s a record made for anyone who’s ever stared at the ceiling, replaying the sound of someone they can’t forget.

The single sits at the emotional center of ‘Soul Food II: At The Cabin,’ their 12-track follow-up to 2017’s ‘Soul Food: Road Trip.’ Where the first album chronicled youth and movement, the sequel dives into introspection — love, loss, growth, and the space between. ‘In This Bed’ is that still moment when reflection hits hardest, and the silence speaks loudest.

The song’s lyrics came from a shared sense of longing. Kid DET and Sad Classes wrote and produced the track together, building it around late-night studio sessions that blurred the lines between heartbreak and healing. The duo’s chemistry — polished by years of collaboration and friendship — is what makes the record so immediate and true.

Their sound defies easy labels, drifting between hip-hop, melodic rap, pop-rock, and alternative R&B. It’s a mix that reflects their city: diverse, emotional, and full of motion. On ‘In This Bed,’ that hybrid energy becomes something new — a confession over rhythm, a journal entry that plays like a love song.

The music video for ‘In This Bed’ extends that story visually, directed once again by Fatty Soprano. Set against soft lighting and intimate framing, it captures the emotional pull between memory and presence — two people caught between what was and what could’ve been. It’s less performance than moment, a cinematic snapshot of heartbreak and desire.

On the production side, the single continues their tradition of building everything from the ground up. Recorded and mixed in collaboration with engineer Sammy Sosa, ‘In This Bed’ captures the clarity and precision that’s become part of their sound. It’s their craftsmanship — not just their lyrics — that makes the record resonate.

As the second single from ‘Soul Food II: At The Cabin,’ ‘In This Bed’ marks another evolution in the duo’s storytelling. If ‘Rearview’ was about reflection, this one is about confrontation — the quiet kind that comes when the lights are off and the truth finally hits. It’s intimate. It’s human. And it proves that Kid DET and Sad Classes are writing their next chapter in real time.

Danny Marks Releases Two-Sided Anthem ‘One Way Ticket Home’ and ‘Please Mister Conductor’

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Toronto-born musician, broadcaster, and storyteller Danny Marks releases his new double-sided single “One Way Ticket Home” b/w “Please Mister Conductor”, out now through Cabbagetunes Records. The release unites Marks’ authentic voice and masterful guitar work in a celebration of homecoming, resilience, and the spirit of the Blues.

A lifelong pillar of Canadian music, Marks began playing guitar at age 11, later co-founding Edward Bear, who opened for Paul Butterfield, Led Zeppelin, The Byrds, Badfinger and Humble Pie. His collaborations include Bo Diddley, Rita Coolidge, and Rick James, and his award-winning solo career spans acclaimed albums like ‘Guitarchaeology’ and ‘Cities in Blue’. Since 1997, Danny has hosted BLUZ FM on JAZZ FM91, cementing his reputation as a trusted voice of Blues culture.

Winner of the ‘Blues with a Feeling’ Lifetime Achievement Award, Marks’ career continues to bridge the gap between legacy and innovation. His recent singles “Man on the Radio” and “I’m Ready” reflect his growth as a songwriter and guitarist with an unmistakable sense of storytelling and tone.

The A-side, “One Way Ticket Home”, was born from a personal chapter of resilience following a devastating house fire. In its soaring chorus, Marks sings ‘Home is where the heart is” capturing a universal truth about belonging, recovery, and the pull of familiar ground. It’s a pledge of hope set to a driving Americana rhythm, shaped by a twelve-string Rickenbacker that channels the classic spirit of the Traveling Wilburys.

The B-side, “Please Mister Conductor”, turns up the heat with raw, unfiltered Blues energy. Based on a true story of jumping aboard a train to Hamilton to sing with Lori Yates, Marks transforms the tale into a soulful plea – “Please Mister Conductor, won’t you let me ride your train.” The song carries humor, humility, and redemption all in one groove.

Reflecting on the songs, Marks says, “I got down to the station a little bit late and jumped on board without proper fare. Blues is truth. Every song is a story, and these two are pages from my life.” Truth-telling is the heart of Marks’ songwriting: real experiences turned into musical allegories that anyone can feel.

Marks adds, “’One Way Ticket Home’ is more of a pledge than a plea. It’s about gratitude, about returning to what matters. Music has always been my home.” With his trademark warmth, Marks delivers performances that feel both intimate and timeless.

Both tracks feature an all-star lineup: Alec Fraser Jr. on bass, Jonathan Goldsmith on piano, Robert Piltch on guitar, Barry Keane and Chuck D Keeping on drums, and Gene Hardy on saxophone. The songs were produced by Marks and Fraser Jr., mixed and mastered by Jeff Wolpert, with the memory of Peter J. Moore honored throughout the project.

The recording brings together Country Rock and Blues in a modern yet classic fusion. From the twang of the A-side to the grit of the B-side, Marks’ guitar tone anchors the emotional journey. Each side stands strong on its own, but together they form a portrait of an artist deeply in tune with his craft and community.

“One Way Ticket Home” and “Please Mister Conductor” mark a new chapter for a Canadian icon whose storytelling continues to define authenticity in music. As radio DJs and fans prepare to ‘flip the record’, both sides promise connection, comfort, and the kind of musical honesty only Danny Marks can deliver.