For the longest time, if you were talented and worked hard, that was the foundation everything else could be built on. Great music found its audience eventually. That’s no longer the whole story. Today, being a great artist is not enough. On top of making music, artists are expected to be full time content creators. Constantly on TikTok and Instagram, building a personal brand, sharing pieces of their lives to create a narrative around who they are. The thinking is that visibility is now one of the main ways to cut through the noise, and a strong social media presence can even help land a record deal.

The problem is that most artists are not content creators. It’s a completely different skill set. They got into music to write lyrics and melodies, to think about production, to perform and to bring something new into the world. Asking them to also produce multiple TikToks a day pulls them away from the very thing they’re good at and love doing. And even when they push themselves to do it, there’s no guarantee any of it will pay off. You can pour enormous time and energy into building an online presence and seek a viral moment, and still have it go nowhere. And that alone can cause real anxiety, especially for artists who wear their hearts on their sleeves, and the judgment from others is already a constant.

There’s another pressure that doesn’t get talked about openly enough. Streaming platforms have gotten very good at understanding what listeners want, and there’s an increasing temptation for artists to reverse engineer that. They study what’s trending, what sounds are performing, diligently analyze hooks and formats, and then try to make music that fits that mold. Personalization has been great for music fans, but it comes at a real cost for artists. When you’re constantly trying to chase an algorithm, you stop trusting your own instincts. And that will lead to feelings of self-doubt that can be debilitating.

There’s something else that doesn’t get talked about enough. The way music is made today has fundamentally changed who makes it and how. Technology has made it possible for one person to create an entire record on a laptop, alone in a room. That’s a genuinely wonderful thing in many ways, and it has opened music up to so many people who might never have had the chance before. But it has also quietly removed something that used to matter a lot. Not long ago, making music meant being part of a group. A band. A crew. People going through the exact same experience at the exact same time, together. They were a built in support system. Many artists are left alone with their phones, scrolling through other people's success, and feeling increasingly insecure about their own.

The research reflects all of this. A 2025 MusiCares Wellness in Music Survey found that musicians experience serious psychological distress at more than double the rate of the general US population. A separate study found that over half of musicians experience high levels of anxiety, and that those who viewed music as their primary career showed significantly worse mental wellbeing overall. And social media compounds everything. A UCL study of over 15,000 adults found that posting on social media daily was linked to significant declines in wellbeing over time, with researchers noting that the pressure to share publicly fuels anxiety and identity stress, particularly among people whose careers depend on performing for an audience. For artists who are already navigating an uncertain and demanding industry, that added pressure can become genuinely overwhelming.

I’m not a mental health professional, and I want to be clear about that. But having spent a long time working with creatives in and around the music industry, a few things seem to genuinely help. Stay focused on the craft above everything else. Get better at songwriting, at production, at collaboration. Work with other people, because other people push you in ways you can’t push yourself. Don’t chase the algorithm. Let it find you. The most important thing you can do is stay true to your creative instincts, because that’s where the music that actually connects with people comes from. Avoid forcing yourself into spaces that feel wrong, and that includes content creation if it causes real anxiety. Find your own ways to connect with an audience, whether that’s joining an open-mic night at a local venue or just being consistent and honest in how you show up. And don’t be alone. Having real people around you, a genuine support system, matters more than most artists realize.

What gives me hope is that some artists are responding to all of this in a really courageous way. Dylan Dunlap’s “Serotonin” is a powerful example of an artist turning personal struggle into art, putting his mental health journey directly into his music in a way that is honest and unfiltered. Noah Kahan has been openly vocal about his own experience with OCD, and has gone further than most by actively working to build real support structures for artists and music industry professionals. Noah started working with Backline to provide mental health services for his touring band and crew back in 2023, and has been a driving force behind B-LINE, a free 24/7 crisis support line built specifically for people in the music world. Both artists are using their platforms not just to comfort fans, but to reach their peers. That matters a lot.

There are a lot of wonderful artists out there navigating all of this right now, trying to make meaningful work in an industry that can be unforgiving and unpredictable. It’s not easy. And it’s okay to say so.

If you are an artist or music industry professional dealing with mental health struggles and need support, please reach out to B-LINE, a free 24/7 crisis support line created specifically for musicians and music professionals, staffed by counselors who understand the unique pressures of this industry. Call 1-855-BLINE99 or text 254-639 anytime. You can also visit Backline at backline.care for additional mental health and wellness resources. And if you need general crisis support right now, call or text 988.

Tick, tick, tick, tick.

From the very first second, Charli XCX’s “SS26” feels like it’s about to detonate. Pure angst, about to kick in. And then it doesn’t.

And yet I can’t stop listening.

The production alone is worth the listen. The song’s crisp and intimate in a way that feels almost uncomfortably close, Charli’s vocals pressed right up against the mic, passionate but controlled. Sweet but poignant. The punchy drum loop punctuates like a ticking timebomb, accentuating the impending doom of the song perfectly.

And it’s that persistent ticking that stayed with me.

The song’s title is a fashion reference, SS26 as in the Spring/Summer 2026 season, and once you know that, the whole song reframes itself. Because Charli isn’t writing a love letter to fashion. She’s using it as a mirror. The lyrics describe a world running out of hope. Charli describes it as “a runway that leads straight to hell.” Even the comfort of art and culture seems meaningless when everything feels like it’s coming undone. “Nothing will save us,” she declares in the chorus. “Not music. Not fashion. Not film.”

The ticking is getting louder.

And then comes the line that says it all.

“Yeah, I think I’ll be alright if I look good in the clothes.”

That’s the whole song right there. That’s also, if we’re being honest, a pretty sharp portrait of where a lot of us are right now. When the dread gets too heavy, we reach for distraction. We curate, we consume, we dress up, we escape.

What's fascinating is that even with that relentless ticking underneath, the song never gives you the release you're waiting for. The melody stays sweet, almost gentle, even as the lyrics go somewhere genuinely dark.

It ticks. It doesn’t explode.

Initially I thought that was a flaw, but listening more I believe that’s actually the point. That tension between the pretty melodic surface and the lyrical bleakness underneath is exactly what Charli is trying to capture. It’s brilliant.

The menace of “SS26” got me thinking about something I can’t stop noticing lately.

Where is the anger in music right now?

We’re a country at war. AI is coming for our jobs. Our society is polarized and many people are living under real threat. College grads are struggling to find work and figure out how to build a life. So where’s the fury? Where's the music that doesn’t just describe the feeling but actually sounds like it. This feels like the moment for rock to make its return. This should be a breeding ground for something raw and urgent to cut through all the noise.

Because the feeling is clearly there. We saw it in those viral commencement clips last week, young graduates booing the moment AI got mentioned at their own ceremonies. The kids have absorbed enough and are starting to push back.

So why isn’t that showing up in what’s charting? Or should I say, not yet? Or is the best thing music can do right now to distract us and provide escape and comfort?

“SS26” is the second track from Charli’s upcoming studio album, and in some ways it feels like the most culturally honest thing I’ve heard in a while. Charli has always had a knack for keeping her finger on the pulse, because even through her fame she firmly lives inside the culture. And I think audiences are aching for the angst to finally come out. Music that’s in your face.

Charli has opened the door. I’m genuinely curious who walks through it.

Have you heard anything lately that captures this moment honestly? I’d love to know what you’re listening to. Drop it in the comments.

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Hi friends 👋

I don’t share about pop music as much as I used to. What was once my job and my everything means something different to me now. I no longer have to curate playlists and wade through hundreds of songs every week. I get to tune in to what I genuinely love, and most often that means songs that are a bit more obscure, or from a foregone era. It’s more about chasing memories than chasing hits.

The landscape has changed too. Algorithms set the tone. TikTok is a whole new channel of discovery. The funny thing is that when I started my journey in music, there was no social media. No Twitter, no YouTube, no SoundCloud. It was a handful of blogs that spurred discovery of new music the same way we used to swap cassettes and make mixtapes for friends. Music discovery felt more personal. That era of blogs is long gone, and I miss it. Discovery now happens primarily through a handful of playlists, a wave of content creators, and an almighty algorithm.

That said, there is so much amazing music to celebrate. And every once in a while, a song cuts through the noise and I just have to talk about it. That’s exactly what happened with Dan + Shay’s beautiful new single, “Young,” the title track from their forthcoming new album.

I first heard it on a new music playlist and it stopped me in my tracks. The lyricism, the tender performance, the warm and restrained production. Everything felt so intentional and heartfelt. I was so moved I left a comment on their Instagram post for the video, which they reposted, affirming exactly how it had made me feel.

So much of today’s pop feels built around a vibe, a fleeting emotion, a killer hook, or something specifically designed to spark a moment and hopefully go viral. I love that energy too. Don’t get me wrong. Give me a Charli XCX banger or a fun Kim Petras track and I’ll blast it with the windows down. Those songs bring life and joy in their own way. But “Young” grabbed me somewhere deeper.

It’s a song about holding onto a young heart. About remembering what it feels like before life fills you with preconceived notions. When you’re still open, curious, and brave enough to try new things. Unafraid to make mistakes. Go ahead, wear the cape, and try to fly. The message is simple yet profound: don’t lose that spirit as you grow older. Keep the wonder. Keep the courage.

These lyrics stopped me cold:

“Young” reminds us to live in the moment. The sentiment might sound trivial, but after losing my mother earlier this year, I know it to be true. That kind of loss puts everything in perspective and makes you take stock of what really matters.

And then there’s this:

For me, this isn’t just about living it up while you’re young. It’s about holding onto that spirit. That’s how I interpret it, and it lands even harder right now because I’m asking myself the same questions. Can I still be silly, goofy, and spontaneous while also showing up as a measured adult?

Call it country, call it pop. I think it’s just a great song, full stop. Dan + Shay serve up the kind of songwriting that feels timeless. It reminds me of the depth we heard more often in the ‘60s and ‘70s, when lyrics carried real emotional weight and existential warmth. In an era dominated by algorithms, TikTok hooks, and sonic tricks, a track this thoughtful and melodic stands out like a beacon.

I’m so grateful it broke through to me. I’ll keep searching for songs like this: honest, vulnerable, and brave. If you know any that have been flying under my radar, please drop them in the comments. I’d love to hear them.

Here’s to staying young where it matters most.

With love and loud speakers,
Arjan

P.S. When we were young… Here's a little memory of meeting Dan + Shay back in 2014 at the Beats Music offices. More than a decade into their career, they still manage to inspire. I thank and salute them. 🫡 (Big ups to Ken Tucker for tipping us early.)

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Sofi Tukker has consistently produced high-grade dance-pop music for years. In anticipation of their new album, titled “Bread,” the duo of Sophie and Tucker has released the vibey “Hey Homie,” an ode to their friendship. “We love each other low-key like homies, and it’s special and holy to us even though it’s not romantic,” they explain. Musically, the track leans into their love for Brazilian sounds and rhythms. They describe the song as the most “raw” record on their album. I’d say it is one of the best songs they have ever released. 🙌

Addison Rae's “Diet Pepsi” is the sleeper hit you didn’t see coming—but should’ve. Yes, you’re nodding your head skeptically, but stick with me. Rae, known for her likable charm, has dabbled in pop before, but this time, with Columbia Records behind her, she’s struck gold. "Diet Pepsi" is slinky, shimmering, and undeniably fun—a sultry anthem to the electric thrill of young love, where hearts race and sparks fly. It sets the lights to dim, creating the perfect ambiance for a late-night vibe. It’s a sound and aesthetic that finally feels like a perfect fit for Addison, earning her the nickname “Lana del Rae” for a reason—this is her most polished effort yet at crafting a mood and nailing it. Here’s a juicy detail: “Diet Pepsi” was co-written and co-produced by Elvira Anderfjärd, the mastermind behind Taylor Swift’s “Message In A Bottle (Taylor's Version)” and The Weeknd’s “Dawn FM.” With that kind of pedigree, Rae isn’t playing around. It might take a few spins to fully click, but trust me, it’s worth it. This track is a winner.

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Katie Gavin’s “Aftertaste” evokes a warm, nostalgic feeling that transports me straight back to the mid-90s, a time when a wave of talented female singer-songwriters ruled the charts. Gavin, currently on hiatus from MUNA, has crafted a timeless piece that resonates deeply, offering a soothing and refreshing contrast to much of today’s popular music. This beautiful track is a delightful preview of her upcoming LP, promising more of the heartfelt music we all need right now. ❤️

🎶 https://katie-gavin.lnk.to/Aftertaste

Have you ever dreamed of traveling the world to experience its natural beauty and live among wildlife? For Swiss photographer Dylan Carvalho, this dream is a reality. Carvalho's work takes him to some of the most remote and rugged areas of the planet to capture stunning images of the natural world.

Through his lens, we see the world in a new light. We're transported to far-off lands and reminded of the majesty of the natural world. Carvalho's travels have taken him to some of the most breathtaking places on earth, where he's photographed gorillas in Bwindi, white rhinos in South Africa, trekked through dense jungles in the Amazon, and witnessed the awe-inspiring beauty of the savannah woodlands of Botswana. It’s a childhood fantasy realized.

Carvalho's work goes beyond just photographing wildlife. He also shares stories about the local communities of the places he visits, from coffee farmers in Uganda to wildlife rangers in Bwindi. It's a compelling, first-hand look at the people and cultures that make these places so unique. (Check out this video of Carvalho visiting farmers in Mt. Elgon, Uganda, who talk about the challenge to sustain their business.)

Carvalho primarily shares his adventures and wildlife photography on Instagram and TikTok. I highly recommend you give him a follow as his work will bring a much-needed dose of calm and inspiration to cluttered social feeds. 😌

Carvalho's work is proof of the power of photography to inspire, educate, and connect us with the world around us. Following a stint in the Swiss army and gigs as a safari guide, his story is also proof that it's possible to achieve your dreams if you put your mind to it. His storytelling often encourage others to do the same.

I first discovered Carvalho's work when exploring the world of fine art NFTs and digital collectibles. Fine art photography has been steadily growing in the NFT world, providing young and upcoming photographers with an opportunity to share their work and tap into new revenue streams.

While prepping for another trek around the globe, I checked in with Carvalho to learn more about his passion for photography and wildlife, his experience visiting remote places, and the inspiring journey he’s on. He has plans to expand his storytelling, design customized tours, and continue to share photography on his socials. Read on to get to know Dylan and what’s next.

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Hello, Dylan! I'm curious, where are you located currently, given that you're a global nomad?

“Right now, I’m back in Switzerland for a moment to prepare an expedition to Uganda. That said, I don't have a fixed location where I reside. It's been 3 years since I left Switzerland, and since then, I have been constantly on the move, splitting my time between Africa, Europe and America. While I do travel frequently, I make sure to plan my trips so that I can stay for extended periods in one particular country, sometimes for weeks or even months.”

What inspired you to become a wildlife photographer?

“Well, as a kid, I always had a fascination for wildlife and would often spend hours watching documentaries on the subject. I knew I wanted my story to be told on a network or TV, but as I grew older, I realized the potential of YouTube and how I could create my own show on this platform. When I turned 18, I picked up my first camera and started taking pictures of animals - anything from lizards to ducks to dogs. These activities brought me so much joy and meaning that I knew I wanted to turn my passion for wildlife photography into a career. And that's how it all started.”

How do you go about planning your photo expeditions, and what drew you to Africa as a base?

“It all started with my first trip outside of Europe, which was to Uganda, where I had friends. I spent seven weeks in the country and knew right then that I wanted to begin my journey in Africa. To prepare for my career as a wildlife photographer, I went to the Swiss Army to save money for a one-year program by Ecotraining, which enabled me to become a professional safari guide.

My approach to photography is simple: if you want to take better photographs, you must first understand your subject better. This means learning about their eating habits, behavioral patterns, and other key information that can help you locate animals and recognize when important moments are about to happen.

Research is the foundation of my approach to photography. For example, if I know that I'll be heading to the Pantanal in Brazil, I will start creating an ID list of all the animals I want to capture weeks before my trip. I'll read studies, consume information, and prepare a solid base of knowledge before arriving at my destination. This helps me to plan my photo expeditions better, find my subjects more easily, and capture the best possible shots.”

You've made some of your photography available as NFTs for collectors. Can you share your experience of releasing NFTs and whether it connected you to a new audience?

“I made a couple of sales of my NFTs, which was a great feeling, but more importantly, I was able to connect with a lot of people who were interested in my work. This led to more opportunities, such as being contracted for major NFT conferences in Lisbon, Paris, and NYC to photograph their events. Not only did this give me more exposure and credibility within the NFT community, but it also provided me with great networking opportunities.”

What are the biggest challenges you face when photographing wildlife in Africa?

“When it comes to photographing wildlife in Africa, there are certainly some challenges that need to be overcome. Firstly, it requires a lot of time spent in the wild, which can become rather costly. However, I found a solution to this problem by becoming a guide and content creator. I can be hired by guests or a lodge, which allows me to be immersed in nature for an extended period. This means that I can spend more time observing and photographing wildlife, which is essential for capturing the perfect shot. Finally, there are also logistical challenges, such as transportation and equipment. However, with planning and preparation, these can be overcome.”

What has been your most memorable experience while photographing wildlife in Africa?

“As someone who has been fortunate enough to photograph wildlife across Africa, it's hard to pick just one experience that stands out as the most memorable. However, if I had to choose, I would say that tracking the Mountain Gorillas of Bwindi's impenetrable rainforest was an experience like no other.

The trek through the dense jungle was challenging, but the anticipation of seeing these magnificent creatures up close kept us going. And when we finally found the family of gorillas, the experience was truly unforgettable.

The lighting wasn't ideal at first, but as luck would have it, some clouds rolled in and created a perfect opening for me to capture some truly stunning photographs. Seeing these majestic animals in their natural habitat was an awe-inspiring experience that I will never forget.”

What are your essential gear requirements when you go into the field to capture wildlife?

When it comes to capturing wildlife, there's a lot more to it than just pointing and shooting. Of course, your camera and lenses are a must-have, but to take your shots to the next level, you'll want to consider a few other things as well.

A sturdy tripod is essential for keeping your camera steady and capturing sharp images, especially when shooting in low-light conditions. A beanbag can also be a great alternative for keeping your camera stable on uneven terrain. Don't forget about lens filters, which can help reduce glare and enhance colors in your shots.

When you're out in the field, weather can be unpredictable, so make sure to pack a rain cover to protect your equipment from the elements. Adequate clothing is also important, as you may find yourself trekking through muddy or wet terrain as well as blending in with the right colours.

Once you've captured your shots, the post-production process is just as crucial. Bring your laptop and hard drives to store and organize your images for editing later. With these essential gear requirements, you'll be ready to capture stunning wildlife shots in the great outdoors.

Can you tell us more about your art and the Carvalho brand of photography? How do you approach capturing unique and creative shots of wildlife that stand out from other photographers?

Standing out in wildlife photography is a hard one. One approach that I pursued to stand out from the crowd is to use wide-angle lenses. This technique can create a sense of depth and immersion for the viewer, but it's not always easy to pull off, as the animal in question needs to be relatively close.

To capture stunning wide-angle shots of wildlife, it's important to consider the animal's behaviour and movement patterns. Photographers also need to be patient and persistent, as it can take time to get the perfect shot. Getting down low to the ground can also create an interesting perspective and make the animal appear larger than life.

Another way to make your wildlife shots stand out is to focus on capturing unique behaviours or moments. This requires careful observation and anticipation, as well as a willingness to experiment and take risks with your photography.

Your videos feature local communities extensively, including highlighting coffee farmers and promoting fair trade. How do you envision your work contributing to conservation efforts and changing people's perception of the African continent and its wildlife?

“Highlighting local communities, such as coffee farmers, is an important aspect of promoting fair trade and sustainable practices. By showcasing these communities and their unique cultures and traditions, photographers can help change people's perceptions of the African continent and its people. It's important to approach these communities with respect and sensitivity and to involve them in the creative process whenever possible. Ultimately, by combining my passion for photography with a commitment to supporting local communities and conservation efforts, I strive to make a real difference in the world.”

Your videos often feature motivational content to encourage people to dream and pursue their passion. Do you feel this message resonates well in the context of your own story? What do you want people to ultimately take away from engaging with your content?

“Motivational content can be a powerful tool for encouraging people to dream big and take action towards their goals. By sharing your own story and experiences, you can help others see what's possible and inspire them to pursue their own passions. It's true people get inspired by my work and I always get feedback from my relatives and friends back home on how proud they are of the path that I chose to pursue.

Ultimately, the message that I hope people take away from my content is one of inspiration and empowerment. I want people to see that it's possible to pursue their passions and make a difference in the world, no matter where they come from or what challenges they may face.”

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It's that time of year again to reflect and choose the things that 2023 will be remembered for, including music. Overall, the year in pop music felt rather stale, with the exception of Kylie Minogue, Alison Goldfrapp, and Jake Shears who made glorious comebacks. Joy Oladokun created one of the most meaningful and well-written records of the year, but unfortunately, it was largely overlooked. Jonas Brothers transformed into the Doobie Brothers and delivered one of the finest songs of their career. Slayyter, Tove Lo, and Caroline Polachek continued to push the boundaries of pop music, and I hope to see more of that in the future. Bebe Rexha, Sigrid, Cat Burns, and Mimi Webb crafted great bittersweet pop songs that always resonate. Last but not least, Kim Petras had an exceptional year. She won a GRAMMY and released two albums. However, I believe there is more for her to accomplish and showcase. She has a compelling narrative to share, and I would like to see her explore a more left-leaning, punk-inspired style and create more "art pop." Similar to Madonna and Lady Gaga in the past, she has a keen ability to connect with subcultures that can resonate with her music.

These are my favorite songs of 2023 in no particular order:

"Somebody To Love" by Kylie Minogue
"Somehow" by Joy Oladokun
"Minute" by Kim Petras
"Something About Your Love" by SG Lewis
"Borderline" by Sigrid
"The Last One" by Maisie Peters
"Miracle Main" by Bebe Rexha
"Waffle House" by Jonas Brothers
"Memories" by Slayyter
"Freezing" by Mimi Webb
”One That Got Away" by MUNA
"In Electric Blue" by Alison Goldfrapp
"Too Much Dancing" Jake Shears
“Don’t Get My Hopes Up” by Chace
"Welcome to my Island" by Caroline Polacheck
"i love u" by Tove Lo
"know that you're not alone" by Cat Burns

An honorable mention goes to “You Are The Eyes Of The World” by Phét Phét Phét that is 20+ minute tranquil opus that helped me to keep me grounded in the chaos of everyday life.

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🎵🌟 Let me introduce you to an exciting new artist I discovered while browsing the internet for music recommendations: Kenzie Harris.

She's a fresh face in the pop scene, with only a few thousand streams across various platforms. Her latest release, "Crewneck," perfectly showcases her talent for crafting captivating pop melodies. With blissful, glowing synths as the backdrop, the song beautifully captures a bittersweet sentiment about reminiscing on a past love that still lingers.

Prior to dedicating herself to music full-time, Harris had a bright future as a lacrosse player during her college years. However, an unfortunate incident occurred when she suffered an injury, forcing her to discontinue her involvement in the sport.

“I always loved music but it was when I tore my ACL the first time out of the numerous times I have. I needed to find something else because when I lost (lacrosse), I felt like I lost my whole identity., she tells the Syracuse University sports newspaper.

“I realized you can be more than just one thing. Finding music changed my life 100 percent.”

Harris recently moved to Los Angeles to pursue a career in music, and her songwriting efforts are off to a strong start. "Crewneck" is an expertly crafted pop song that demonstrates Harris' penchant for pop (albeit a minute too short). Fans of Chelsea Cutler and Jeremy Zucker will really enjoy this. It is very early days for Kenzie, but let’s follow her journey.

Have a listen and drop a heart if you love it as much as I do. ❤️🎶

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Kelly Clarkson possesses an extraordinary talent - she simply cannot create a subpar song. Every time she lends her voice to a track, it becomes infused with a touch of magic, elevating it to something that's undeniably great. Her latest album, Chemistry, serves as proof of this fact. Not only does the album boast exceptional songwriting and tight production, but it is Clarkson's larger-than-life vocals that truly make it shine.

I still vividly recall the moment I had the opportunity to meet Kelly backstage at the 2002 MTV Awards, just days before she triumphed as the winner of American Idol. She exuded excitement and wonder, fully aware of the spotlight that had been cast upon her as a result of her participation in the biggest TV show of that era.

I crossed paths with Kelly once again in 2019, backstage at a show in Nashville during a tour stop. She always remained a wonderful human being, brimming with energy and genuine interest in others.

It took Clarkson a span of three years to finalize Chemistry, a period marked by ups and downs, personal struggles, and the global pandemic. Throughout the album, one can sense the fruits of her introspection and regained independence. Tracks like "Rock Hudson" showcase her newfound confidence, while "Red Flag Collector" directly speaks to her recent personal experiences with lyrics such as, "I learned the hard way about love."

The mood takes an upbeat turn with "Favorite Kind of High," a fun and infectious pop song ready for the top 40 charts. Notably, the album features special collaborations, including Hollywood A-lister Steve Martin on "I Hate Love" (curiously, they have never met), and the talented Sheila E., who joins Clarkson on "That's Right." However, it is Clarkson's songwriting prowess and immaculate vocals that reach their pinnacle on the hauntingly beautiful ballad, "Lighthouse."

Even after all these years, Clarkson remains an influential figure on the pop scene, and her latest album stands as a timeless testament to her artistry.

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The much-anticipated release of Kim Petras' major label debut album, Feed The Beast, is definitely a highlight on the pop calendar this year. Riding the wave of international acclaim from her hit collaboration, “Unholy,” with Sam Smith, Petras evolved from a cult pop icon to a GRAMMY-winning sensation. This isn't a Cinderella tale though; Petras' rise is the fruit of perseverance and hard work. This album is the culmination of her journey so far.

Full disclosure here; I have to confess my bias. I've shared many memorable moments with Kim and have been her avid supporter since the early stages of her career. Witnessing her growth as a skilled songwriter, gifted vocalist, and a charismatic live performer, who loves nothing more than to put on a show, has been a delight. Having been brought up on a rich mix of techno and pop in Europe, Petras' inspirations are palpable. Petras has a firm grasp on the connective power of pop, intertwining bold imagination, evocative imagery, vibrant melodies, and resonant storytelling.

Deeply steeped in Euro rave-pop, Feed the Beast is Petras' effort to steer mainstream American pop back to its glory days of the late 90s and early 00s. Her ultra-commercial, glossy, danceable pop promises to not just fire up her existing fan base but also to resonate with those who came of age in the TRL era. Petras' brand of pop is like a pleasant rush of nostalgia, something that's hard to find elsewhere.

Despite the inevitable criticism for producing a 'straight-up' pop album alongside bold imagery, let's remember that this isn't the first time we've seen this. Both Madonna and Lady Gaga, about 15 years ago, embraced their pop personas without hesitation. As Gaga once stated, "Pop music will never be low brow."

And that's exactly the point. Petras is here to serve us entertainment the best way she knows. Collaborating with a star-studded lineup of industry veterans, she has crafted a vision of pop that feels retro in origin, yet is undeniably her own.

Feed the Beast is a non-stop adrenaline rush of high-voltage, synth-drenched pop that perfectly encapsulates Petras' pop ethos. The album effortlessly transitions from the opener "Feed The Beast," to her global hit "Alone," to the irresistible future single, "King of Hearts," boasting a colossal, arena-sized chorus.

Standouts for me are the disco anthem "uhoh," the Breakbot-esque French house stunner "Revelations," and the exquisite, goosebump-inducing "Minute," tailor-made for a nocturnal spin down Mulholland Drive. Another slice of dancefloor euphoria is the Cirkut-produced, vibrato-tastic "Claws" that I adore. Petras' homage to 90s house culminates in "Castle In The Sky," a vibrant post-rave gabber house track.

The term "Feed The Beast," in music industry lingo, implies the relentless churn of content by artists to inundate streaming platforms and keep their fan base hooked. In the context of this album, to me, it's Petras’ way of declaring, "Pop's not dead!" Pop music is that ravenous beast, eager for more, waiting to be unleashed. And there's no one better than Kim Petras to set it free.

Listen to Kim Petras Feed The Beast on Apple Music.

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As we surpass the halfway mark of the year, it's an ideal moment to reflect and delve into some noteworthy pop albums released in recent months. Among my personal favorites is Bebe Rexha's Bebe, which arrived in April through Warner Music.

Throughout her career, Bebe has consistently delivered smash hits in collaboration with other hitmakers such as Martin Garrix ("In The Name Of Love"), David Guetta ("I'm Good (Blue)"), and, of course, Florida Georgia Line ("Meant To Be"), a track that dominated the country charts for months and months. The success of that may have left Bebe contemplating a potential shift from pop to country music.

Fortunately, Bebe stood her ground and has continued to deliver outstanding pop music. Her latest album serves as solid evidence of her starpower. Bebe truly encapsulates everything we admire about her. It embodies audacity and boldness while remaining vulnerable, sincere, and showcasing impeccable songwriting. From the 80s-inspired energy of "Heart Wants What It Wants" to the euphoric and club-ready vibes of "Call On Me," and the echoes of Stevie Nicks' greatness on "Blue Moon" (complete with an incredible key change towards the end), the album is cohesive collection of songs.

Let's not overlook the grand finale, "Seasons," a remarkable duet with Dolly Parton, where Bebe effortlessly flirts with country music once again. As Bebe harmonizes on the track, "The seasons change right under my feet, I'm still the same," she beautifully captures the essence of her unwavering groundedness amidst the ups and downs of her life and career—an aspect that resonates deeply with her fans.

I must also give a special mention to "Satellite," a hidden gem that radiates the essence of a summer hit and deserves wider recognition. In fact, it stands as one of the finest pop songs I've heard in a long time. I encourage pop fans everywhere to stream this album, spread the word, and go see Bebe shine on stage. Right now, she deserves all the love and support we can give her.

Set to debut on July 5, Netflix is introducing "WHAM!", a music documentary directed by Chris Smith. It's described as "an intimate celebration of George Michael and Andrew Ridgeley's enduring friendship, from childhood and through their years together as one of the UK's biggest bands."

George Michael, through archival footage included in the documentary, discusses his struggle with his identity. "As a young gay man, I was uncomfortable because I was closeted. I was forging an identity through my success, and by necessity, I went with full gusto into the full progression of WHAM!," he shares.

Before their success as Wham!, George and Andrew initially formed a ska band called The Executive. They then released their first single, "Wham Rap!" in June 1982 under the name Wham! Their ascent to stardom was swift but short-lived, with their final performance held at Wembley Stadium in 1986.

According to a press release from Netflix, the documentary allows audiences to hear, for the first time ever, in their own words, the band's incredible story of how they dominated global music charts with their timeless and classic pop songs in just four years.

"With unprecedented access to both George and Andrew's personal archive, including remarkable and never-before-seen footage, alongside rare, candid, and previously unheard interviews, *WHAM!* charts their incredible journey from school friends to superstars. The result is a nuanced portrait of an enduring friendship and a joyous musical travelogue."

I'm looking forward to seeing a film that delves deeper into the friendship between George and Andrew. Stories about Wham! often rapidly transition into George's solo career, but there's an unexplored spark between the two that fueled their timeless hits, and it's a chemistry that's yet to be fully unraveled.

I have been really enjoying Jake Shears' terrific new album, "Last Man Dancing." The record takes listeners on a journey through a city's nightlife, starting with catchy pop anthems and smoothly transitioning into an exhilarating, psychedelic disco experience.

The album flows seamlessly from one chapter to the next, much like flipping a vinyl LP from A to B. Shears skillfully arranged the album to allow the songs to have "conversations with each other," creating a complete and connected musical adventure for his listeners.

While many are hoping for a return of Scissor Sisters, Shears delivers exactly what we crave right now: escapist, feel-good pop music that breaks the mold and is loaded with innovative and creative spins. He continues to champion unrestrained, pleasure-seeking pop music.

My favorite songs on the album include the lush "Too Much Music," "Last Man Standing," "Devil Came Down The Dance Floor" (featuring powerhouse vocals from Amber Martin), and "Voices" featuring Kylie Minogue.

Also a big shout to Jane Fonda whose voice appears on "Radio Eyes" that was taken from a movie project Shears worked on a decade ago. Amazing!

Here's a fun fact: Shears originally wrote the album track "I Used To Be in Love" for Kylie Minogue's "Disco" album, but he liked it so much he decided to keep it for his own album at the last minute.

When you think of boybands, the image that comes to mind is likely that of a carefully crafted group with a heavily scripted approach to their music and image. However, PRETTYMUCH, the group hailed as the official successor of One Direction, broke the mold with their unique approach to music and artistry.

Formed in 2016 with the help of pop impresario Simon Cowell, the group consists of Brandon Arreaga, Edwin Honoret, Austin Porter, and Zion Kuwonu. Many of the same songwriters and producers that worked on One Direction's global superhits also helped craft PRETTYMUCH's early songs (including Savan Kotecha and Ilya who are titans in the world of pop). The band was also signed to Sony and were managed by some of the same team who were part of One Direction’s success.

Despite the similarities between PRETTYMUCH and One Direction, there was one crucial difference that set the former apart. Each member of the group brought their own point of view, unique aesthetic, and sense of authentic artistry to the band from the very beginning. This was a radically different approach than how many boybands had operated until that time.

The group's raw and honest approach fit the times of Instagram's heyday, Snapchat’s first rise, and the birth of live broadcasting on social media. Having each of the band members be themselves, filter-free, right from the beginning was a perfect match for that era of social media.

And then there was the music, of course. I remember sitting in Max Martin's West Hollywood studio and hearing the early PRETTYMUCH demos, including “Would You Mind” and “Open Arms.” I was blown away by the quality of the performance and the universal appeal of the music. When I spent time with the group in the house they shared in the Hollywood Hills, I was impressed by their energy and undeniable star power. There was no doubt in my mind that PRETTYMUCH, and more importantly, each of the band members separately and together, was the real deal.

Their debut followed along with a bunch of great singles, but the group wasn't necessarily interested in selling out stadiums and pleasing the bosses. The more they got to know the music industry, the more they learned about making pop, and the more they were interested in making their music interesting and fun.

Warner Records recognized that vision, and the group departed Sony to join a new roster. The group released "Stars," "Corpus Christi," and the gorgeous "Parking Spot" from their Smackables project that showcased a mature R&B inspired pop that helped shed their boyband image.

The global pandemic put many of their plans on hold, ultimately causing the group to pursue new passions that led to the decision to break from the major label system to have full creative independence. The group's freewheeling and creative spirit was a vital part of their DNA, and it was only a matter of time before they broke free. (Nick Mara, the group’s fifth member, took the opportunity late 2022 to pursue other creative endeavours and leave the group while their friendship lives on.)

Music NFTs and digital collectibles were the perfect vehicle for the group to freely share the many songs stuck on their hard drives while opening up a new revenue source and a meaningful way to connect with fans. After the release of their genesis release "H2L" in 2022, four more NFT releases followed, including "Better Than The First Time," "Nervous," "Enough Love," and "Wrong."

The pop quartet has also continued to release music on streaming platforms, including the double-A single, “Excited” and “Maria,” which dropped at the end of March.

At the start of an exciting new era for PRETTYMUCH, let’s take a moment to delve a little deeper into their thoughts on Music NFTs and digital collectibles, as well as their newfound creative freedom. We spoke with Edwin to detail the future and reflect on the past. (Spoiler alert: An album may be on the way this year.)

What inspired you to venture into Web3 and explore the new music format?

“We have always been at the forefront of NFTs from a creator and trading standpoint. I introduced NFTs as a way for us to get our music out there, monetize it, and continue to commission off of it. I thought that was such a powerful thing. It's about putting the power back in the hands of the artist and not in the hands of the collector or investor.

When I saw that NFTs were putting that power back into the artist's hand, it definitely inspired me to learn more about it and to step into the space. So I started trading a little bit, and it opened my eyes to the community aspect of NFTs. People wanted to see people win, people wanted to help people. C

oming from a boy band perspective, I know a lot about community. I know what it takes to drive a fan base and to interact with a following. Web3 is the ideal setup for PRETTYMUCH. We know exactly what we want to do, bring community to the music, and put ourselves in control of the music together with our fans.

The whole concept is just based on a fair exchange. It's the idea that if I have a Lamborghini and you have a rare Pokemon card, as long as we think that the value is the same, there's an even exchange, and everyone's happy. When I have conversations with fans about what it means to support an artist, they always ask, ‘What are the ways that we can support you?’ I really couldn't give them an answer because the money was always given to somebody else.

Now that we’re independent, the support comes directly to us. The equal exchange where the giver and receiver both see value in something and walk away happy is the most empowering part to me”

How did you go about selecting your first NFT?

“Enough Love” was a demo that Brandon brought to us. We loved the record and how different it sounded. It didn't sound like anything else, especially with the pre-chorus, how the words get chopped up. We actually sang every word in that pre-chorus individually to give that choppy effect.

We recorded it once, and we still kind of didn't know where it fit in our release plan in our structure, so we kind of banked it for a bit. And then once we started talking about getting out of our record deal, then we started constructing our release plan for our independent album.

Also, the lyrics of “Enough Love” are very true to our situation. It’s about the fans who have stuck with us from the beginning. It felt right to make that track our genesis Music NFT release.

How has the response been from fans that you're getting into the NFT space?

I think there’s a lot of propaganda around Web3, crypto, and the ecosystem. A lot of people don’t know a lot about it, and so we help educate our fans so they understand it’s a meaningful way to support us.

We don’t dive into something without really understanding it. What we do and how we do things is ultimately how we are perceived. We wouldn’t jump into something that wouldn't benefit the fans or us.

We realize though it can be a big hurdle for fans who can listen to our music for free. It’s about explaining to our community that Music NFTs are a great way to support us monetarily, directly.

What's your take on Music NFTs from an artistic point of view? Does it spark new creativity?

Yes. We can take more risks musically and do what we want to do for our fans. It’s not about pleasing anybody else.

When I listen to the artists on Sound.xyz, for example, I hear so much diversity. Many of these artists don’t have a lot of followers on social media, but it’s a level playing field.

There are people with zero followers who are making high-level records that can compete with big artists signed to major labels in this new space. PRETTYMUCH was in the major label space, so we know how it works. There’s a lot of ego once you’re there. We’ve gone through the ups and downs of it all, and we dropped the ego. It lets us create freely. It encourages us to make better music and to push the dial harder.

It also inspires us to want to collaborate with artists who don't have that following or stick to the status quo, the status that we've been so accustomed to being around.

Who are the people in the NFT space you look up to?

I look up to Daniel Allen, Grady, and Reo [Cragun] who I can call my friends. I look up to them because they made the Web3 system their own, and they did it in such a way where it gets everyone around them excited. They've given us so much advice, and they have taught us so much when it comes to the Web3 space, how to drop music, and lots of best practices. Overall, there is so much camaraderie in the Web3 community. Artists want to see artists win.

Elsewhere in the music business, there can be so much politics, which makes the creative process hard sometimes. My aspiration in Web3 is to help build the community where people in Web3 can look at and be like, ‘wow, I wanna be a part of that.’ Everyone in Web3 can move as a force and show there’s a different way to release music, have your fans hear it, and also be able to make a living off of it.

What do you think is the biggest misconception from artists about music NFTs? What may be holding them back?

It’s the miseducation. It creates some fear about jumping in. You have to educate yourself and give it a try. The moment you do a drop and you see how fans can directly support you, you understand how it’s a game-changer.

You have to come in selflessly being a part of the community and love for real talent. It should not be about money.

At the end of the day, and I know you know this too, Arjan, talent will always prevail. And if you're pushing yourself, if you're hungry, your talent will always show, and someone out there will respect your music and your art and see its worth. Everyone in the NFT space has a winning chance.

Disclaimer: As a day one supporter of PRETTYMUCH, Arjan is a proud collector of “H2L,” “Better Than The first Time,” “Enough Love,” “Nervous,” and Wrong.”

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Trevi Moran has many reasons to celebrate this week. The pop singer has released a brand-new version of her 2014 hit "Echo," along with a fresh new outlook on her life and career. The unveiling of new music marks the start of an exciting new era for Moran who has faced both highs and lows over the past decade. What’s driving her new art and ongoing determination? “Songwriting helps me process everything that I went through,” she tells me. “I want to impact the industry in whatever way I can, but ultimately I just want to inspire the listener.”

Moran started her career on YouTube, where her impromptu performances at Apple Stores catapulted her to viral stardom, leading to her joining the YouTube influencer collective Our2ndLife. She also auditioned for The X Factor US edition, where her undeniable starpower impressed judges and fans alike. A year later, Moran started to release music, with hit songs like "Someone," "The Dark Side," and "Slay" building a solid foundation for her future success in the music industry.

In 2020, Moran shared with the world that she was transgender and would now go by Trevi. Living her truth and feeling comfortable in her own body was the beginning of a process of healing for Moran, who also dealt with addiction at the end of the last decade. Despite these challenges, Moran has remained focused on her goals and her passion for music, using her songwriting as a cathartic outlet and her platform to talk candidly about her sobriety while also advocating for trans artists.

In fact, throughout her journey, Moran has been a vocal advocate for mental health, using social media to share important messages about self-care and coping strategies. She has often spoken about the challenges of dealing with mental health issues in a world that values influencer status and success over self-care and well-being. Through her music, Moran is proving to be a powerful force for positive change, using her platform to uplift and inspire others.

Now, as she embarks on a new beginning, Moran is re-releasing "Echo," a fan-favorite that she first released almost a decade. The double single also includes the rocked-up pop stunner “Confession” that’s another example of Moran’s songwriting savvy. Both tracks serve as a symbol of new beginnings while also honoring her past success. As we check in with Moran, we look forward to learning more about her latest release and reflecting on her journey over the last ten years, which serves as a testament to her unwavering determination and starpower.

Before we dive into your new music, how are you doing?

I am incredible! Self-care is on 100 right now. Sometimes I get caught up and forget to take care of myself, especially if it’s during the week of a release.

I was thrilled to hear that you've remade "Echo" for this new release. What inspired you to revisit this fan favorite?

Nostalgia is one of the most powerful emotions a human can experience. I wanted to evoke this feeling and bring the listener back. Also, the fresh sound and new vocals reflect who I am now.

You collaborated with producer Inverness on the revamped version of "Echo" and "Confession." How did you two come together for this project?

I DM’d him on Instagram because I love his work. We were literally in the studio the next week. It was instant magic. I knew immediately that it was going to work. He helped bring both of my visions to life with these songs and I can’t wait for everyone to hear what’s to come.

How would you describe your personal brand of pop, and what unique elements do you bring to the genre?

Raw, vulnerable, expressive, honest, and audacious. I frequently write about mental health and my experience with addiction. Doing so, it really helps me process everything that I went through in the past. It’s basically like a therapy session with myself.

If you could choose any artist to go on a world tour with, who would it be and why?

Lady Gaga. Her 2009 VMA performance had my 11 year old self crying. She is the reason I wanted to choose this route for my career! That woman is so inspiring in so many different aspects. I loved growing up having her as my role model.

You've navigated the highs and lows of YouTube fame and social media stardom. Looking back on the past decade, what's the biggest lesson you've learned?

Put away your phone more. Keep your mental health in check. There is a distinctive difference between a supportive constructive comment and just straight up hate. Keep pushing through.

Your journey as a musician has coincided with your journey of self-discovery and coming out as transgender. Have you ever faced any challenges or obstacles related to your sexuality or identity in your music career?

The only thing I can really think of is that the music industry is just now slowly adjusting to trans artists. With the rise of Kim Petras and Ethel Cain, these girls are changing the minds of the “big guys” and are pioneering for us to be taken seriously as artists.

How has your journey influenced your music and creative process?

My sobriety, my transition, the death of a manager, and growing up the way I did will allow me to have endless things to talk about in my music. Though I was confused in the moment why these things were happening, I am able to turn that pain into art and something positive.

What message do you hope to convey to your listeners through your music, and how do you hope to impact the industry as a whole?

To the listeners, find your own way to define my music. Everybody has their own perception. If you connect with it, vibe with the music and create your own meaning. As far as the whole industry goes, there are a lot of stigmas I want to break. I want to impact the industry in whatever way I can, but ultimately I just want to inspire the listener and convert songs into real emotions.

What's next for you after the release of this new music? Can fans expect to see you on tour in the near future?

More music!!! I am working my ass off right now and I cannot wait for everybody to hear! Yes I am planning on touring once all of this is out.

🎵 Listen to Trevi Moran “Echo (Trevi’s Version)” and “Confession.”

(Note: This interview has been edited for clarity.)

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Web3 needs more pop. More importantly, it needs more pop hits that can break beyond the world of NFT collectibles to forge a viable new path for artists to achieve mainstream success. Enter pop newcomers Beachcrimes. They are the dynamic songwriting team of Tia Tia and Ryan McMahon (formerly part of DJ outfit Captain Cuts). The duo is certainly no stranger to pop aficionados among us; Tia and McMahon have written hits for some of the biggest artists in the world, including Justin Bieber, Ava Max, Carly Rae Jepsen, Monsta X, Keith Urban, Walk The Moon, and the list goes on and on.

Tia and McMahon have joined creative forces to bring their passion for pop and penchant for delivering global hits to the Web3 space. Instead of pitching their songs to others, they have decided to launch their own artist project. The duo has kicked off a Music NFT project with the intent of releasing 24 new songs as digital collectibles in 48 weeks. It’s an unprecedented undertaking in the world of pop that pushes the frontier of music and Web3 in an exciting new direction.

Leave it to the creative minds of Beachcrimes to deliver some of the best pop and hit-worthy material I’ve seen in Web3 so far. It’s exciting. In fact, it’s artists like Beachcrimes who show that with great music, it’s possible to chart an alternative course and build a community of fan-collectors in Web3 that can serve as a launching pad for success in Web2.

It's time to get to know Tia Tia and McMahon and learn what Beachcrimes is all about. Read on and you’ll find that there’s no doubt that the duo is up to the task of shaking up Web3 with their uncanny ability to write infectious pop that has the potential to go far and wide.

Hi Beachcrimes! Tell us more about you. How did you become a duo?

“First of all, we must say this is an incredible honor to be interviewed by the undisputed king of pop, Arjan Writes. Your blog was the only Web2 bookmark necessary to discover new music. And 15 years later, you’re still putting new artists on the map every day - thank you for all that you do!

We are Ryan & Tia Tia aka Beachcrimes. We’re a duo from LA and we spent the last year making songs in hotel rooms around the world. Beachcrimes is the soundtrack to that adventure. Beach for the fun, happy, summer side. Crimes for the dark, 4am, club side.

For the past 8 years, we’ve been full time songwriter-producers for hire. Ryan has written songs for Halsey, The Chainsmokers, Bebe Rexha, and "Shut Up & Dance" for Walk The Moon, while Tia Tia has written songs for Justin Bieber, Ava Max, Anitta, and others. Ryan has also been DJing for 10 years and was signed to Epic Records with his former DJ trio Captain Cuts. Tia Tia drops music of her own and has upped the ante this year by releasing a pop banger every Friday. We both love working with other artists but we always had this itch to make our own music.”

How do you collaborate as a duo? Can you describe your creative process?

“Sometimes it starts from a lyric. Sometimes a melody. But most of the time, we’ll whip up a simple instrumental loop and then start freestyling melodies and lyrics on the mic. In the past, we would then pitch these songs to other DJs like Chainsmokers, Zedd, and Marshmello, but found that they often ended up sitting on a shelf for 12-18 months without any control over their release. Some of our Beachcrimes records faced the same fate before we decided to claim them for ourselves and take control of their narrative. Because for every song on this project, we just felt something in our DNA that these were uniquely ours. And so Beachcrimes was born.”

"Melody (In My Head)" is your latest NFT release. What inspired you to release it as digital collectibles first?

“‘Melody (In My Head)' is our fourth release. Following up 'Let’s Play House,' 'Do It Better', and 'One Step.' One thing that led us to the Music NFT space was seeing these artists release music on their own terms. That’s huge for us.

As professional songwriters, we write hundreds of songs every year for other artists, but only a handful of them ever get picked up and even fewer ever see an actual release. It's a common horror story among songwriters to have a favorite song sit "on hold" with a major artist for months, if not years, and never see the light of day. Even if a song does get released, writers rarely have any say in the campaigns.

We wanted to take control of our music and release it on our own terms. What if we wanted to release 24 songs in a year? What if we wrote a song this week and wanted to share it right away? What if our day-one fans could invest in us and even financially benefit from believing in us? With Web3 tech and Music NFTs, we can do just that.

The Music NFT space eliminates the need for traditional music industry gatekeepers and intermediaries who often stand between artists and their fans. It allows us to go direct-to-consumer in a way that was previously not possible for artists. We see this D2C as Direct To Community, and we're excited to bring this project to life with our fans.”

What has you experience been releasing music as digital collectibles?

“All 4 of our releases are sold out on Sound. The response in the Web3 community has been super positive and we’re so blessed to have so many supporters already. We’ve got a Telegram group with all our holders and we love to check in with them. We give them some exclusive first listens and some mashups and edits that we make - as you now know, Arjan!

While we do consider ourselves Web3 artists, we wouldn't say that we're exclusively Web3. We still value the traditional Web2 platforms as places to build community, but Web3 offers more direct-to-community opportunities. The Web3 audience has also been much more supportive overall, and it already feels like we're family.

We wanted this project to life in Web3 from day one so we put our debut single on-chain. ‘Let’s Play House’ was our genesis track and it hit Sound.xyz before anywhere else. Debuted permanently on the blockchain. But this is just the beginning. We have very big plans for the space.”

You release a new NFT every two weeks. What's the vision behind this frequent release schedule?

“We made a lot of songs, and we can’t wait to share them. All of them. This year we’re releasing 24 songs in 48 weeks. If we’re being real, it’s actually two albums – there’s AM and there’s PM. AM is the lite stuff, PM is the nite stuff. The Radio vs The Club. We loved these 2 verticals of dance music too much to pick one. So we picked both."

We want to build these albums in real time, alternating between AM and PM releases every 2 weeks. Consistency is more important than ever in 2023 and we want our fans and our Web3 community to be able to depend on us. We won’t let them down.”

Who are people in the NFT space that you look up to?

“We dove headfirst into Web3 this year and have been completely overwhelmed by all the amazing artists building in the space. Mixes are our love language so we made a 3 minute minimix of 14 of our favorite artists in Web3.

On the busines and tech side, we absolutely love David and everyone at Sound.xyz. They were extremely supportive from the jump. On the curator side, we are so grateful to our earlier adopters like Coopahtroopa (), Brokeinvstr, and Neon Gold to name a few. In January, we sent the music to Ben James [Billboard writer and Ziggy Ziggy () founder'] and he loved it so much that he offered to be our Web3 spiritual guru. And to say he has been an invaluable asset to our team would be a serious understatement".”

What do you think is the biggest misconception about Music NFTs?

One of the major misconceptions is thinking that Music NFTs are only practical for well-established artists. In fact, the complete opposite is probably more true. Up-and-coming artists can use Web3 and Music NFTs to offer one-of-a-kind experiences, collectibles, royalty streams and more. As a Web3 artist, your fanbase can essentially become the main investor in your business. And while the underlying technology of NFTs is complex, we also need to shatter the misconception that music NFTs are too complicated. So many platforms, like Sound or Royal, make it incredibly easy to buy and sell your music, collectibles, royalties, etc. Let’s get with the times, Grandpa!”

What does the next six months look like for Beachcrimes?

“We’re posting content on all social platforms every single day. That Web2 baloney like Tik Tok, Instagram Reels, Facebook Reels, YouTube Shorts, etc. We filmed all of our travels last year so we have tons of footage of us making and singing the songs in all the cities where we made them.

In terms of live shows, we have big plans but we’re more focused on the releases and building our catalog right now. We need at least 5 songs out before we start talking tour dates. But we’re looking forward to joining the Web3 DJ circuit - ETH Denver looked incredibly lit.

The next 6 months will see 12 new songs from Beachcrimes as we are releasing a new song and an NFT every 2 weeks. We only debuted this project 6 weeks ago but we are betting the house on it. We want this to be the biggest DJ project of the year. And because we spent the past 8 years writing and producing global hit records for tons of artists, we know when we have hits. And trust us - all of these songs are hits. You can quote us on that!”

Disclaimer: Arjan collected edition #27 of Beachcrimes “Melody (In My Head).”

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Pop newcomers The Scarlet Opera have just released their new single "Alive," and it's one of the most noteworthy pop records I've heard in a long while. Unashamedly pop, it's a big and bright song about living in the moment despite all the tragedy in the world.

"There is a feeling, there is a moment, there is a memory worth having," says charismatic frontman Luka Bazulka. "To me, that's what this song means. It's my one last fatal attempt at keeping the party alive."

"Alive" was written and produced by Bazulka and his band, together with hitmaker David Stewart. Stewart is responsible for recent hits by BTS ("Dynamite"), Jonas Brothers ("What A Man Gotta Do"), and Ava Max ("Million Dollar Baby").

As someone who values authenticity in music, I appreciate The Scarlet Opera's commitment to creating pop music that is both fun and meaningful. They don't shy away from the genre's inherent sensibilities but instead embrace them wholeheartedly, infusing their music with a sense of optimism, joy, and acceptance.

The group sums it up perfectly in a recent tweet: "Welcome to the place you can be unapologetically yourself, welcome to The Scarlet Opera."

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It’s been almost 12 years since I first wrote about Lincoln Jesser on my Arjan Writes Music Blog. Back in 2011, Jesser still went by his producer moniker Pace while attending USC and making beats in his dorm room. Following his first set of releases and remixes, the multitalented Jesser has continued to fine-tune his craft, consistently putting out great dance-pop music while becoming a go-to collaborator for many artists. Jesser is one of nicest people in the business who always brings great energy to a writer’s room. It should come as no surprise that artists like Shoffy, FRÉNE, Kendall Morgan, Gabrielle Currant, Malaysian superstar Yuna and others have tapped him for collaborations.

This week, Jesser is teaming up with singer EMME to release their debut music NFT for the song “Can’t Help But To Think About You.” It’s the first track from his forthcoming new EP, titled Escapetape. Digging into music NFTs is an exciting new endeavor to make music available to collectors. Time to catch up with Jesser and discuss the state of his music and the music industry at large.

Arjan: You've been on an incredible journey. I remember first writing about you back in 2011 around the time when you formally started your production and songwriting career. You have been consistently releasing new music since then. The music industry has gone through quite a transformation over the last decade—from iTunes to streaming to TikTok to NFTs. As a creative, what's your take on the current state of music? Are things changing for the better?

Jesser: Thank you Arjan. It's been incredible having you supporting me this whole time. I still remember when you first posted about me, and I'm still as excited and honored when you reach out now as I was then. My take on the current state of music is that creative presence is the most valuable asset an artist or creator can have -- and by that, I mean that while the opportunities for mass exposure have increased, the amount of art/content is at an all-time saturation high. And so putting your authentic energy into what you do and having fun with it, while also not being too attached to the outcome, is the most likely way to create resonance with the universe.

There are just never any guarantees that a piece of work will ever connect, and yet, with almost everything that does, the reasons why are pretty clear. So I would say things are changing for the better in that there's more room for people from any circumstance to succeed, but I'd temper that by saying that it makes me sad in a way how many artists focus on short-term content over long-term work that might better stand the test of time, because at the end of the day most people only have so much energy to devote to their work. But, life is long, and people blowing up off jokey TikToks could create masterpieces down the line. So who's to really say?

You are releasing your first music NFT this week. Why did you decide to release “Can’t Help But To Think About You” as an NFT first? Did you find it a challenging process, or was it a relatively easy process?

I connected with Sound.XYZ a while back actually, and we expressed that we both would love to work on a drop together because I'm very into the ethos of Web3 and music. I love the idea of music being valued like fine art, or even just as a more tangible/finite substance. And so the timing just worked out for “Can't Help But Think About You.” And I've been low-key collecting a few art pieces in the NFT space for a while now, so I'm not a complete newcomer to the process. It's easy once you get the basics down!

What do you expect from your first drop? More generally, do you think NFTs provide new creative opportunities for artists?

I just hope to connect with more people in the space, and hopefully make friends with other collectors who see the value in the Music NFT experience. It's new, it's fair, and it's fun.

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Let's talk about the music. “Can’t Help But To Think About You” is a smooth and perfectly-produced dance-pop gem. How long has this song been in the cooker? How did the partnership with EMME come about?

EMME and I actually met writing for a mutual friend/artist a few years back, and kept somewhat in touch. We finally got into the studio together just a few months ago and “Can’t Help But To Think About You” was born. She's got beautiful melodies and is just a fun and funny person to work and hang with. This song helped me process a painful breakup, and I think it taps into feelings a lot of us have experienced, in that cool pop way that I always strive to touch on.

You've branched out and toyed around with different genres throughout your career, from the indie-leaning "Peleton" to the nu-disco "Undone." Do you ultimately think dance and pop feel most native to you as a producer?

I do. There's something in the energy and sound of records like this one that just feels intrinsic to me. It tends to manifest when I'm feeling raw and just letting go. I've always felt a bit too dancey for the pop world and too pop for the dance world, and the more music I make the more comfortable I've become living in that nebulous space. The things that make an artist insecure tend to be the things that make them special, don't you think?

Any big plans for spring?

I'm going to continue rolling out music with my label Th3rd Brain -- “Can’t Help But To Think About You” is the first single off the Escapetape EP. And I'll have some shows to announce soon too. But really, just trying to spread love.

🖼 Collect “Can’t Help But To Think About You” on Sound.XYZ, and stream Lincoln Jesser’s music on Apple Music.

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Annika Rose is no stranger to the wild twists and turns of the music business. The rapidly-rising pop singer was only 13 years old when she was signed to Simon Cowell’s Syco label to be the lead in a girl group the famed pop impresario was putting together. Things didn’t work out exactly as planned and Rose embarked on a solo career working with some of the biggest hit writers in the world.

Things continued to look up when Tap Management signed Rose alongside fellow clients Dua Lipa, Ellie Goulding, and Lana Del Rey. The singer had early success with tracks like “In The End” and “I’m Better” which received lots of playlist love from Apple Music. But despite Rose’s burgeoning professional success, her personal life turned upside down when her parents divorced with lots of complications and an unexpected illness. If all that wasn’t enough, a global pandemic brought all forward momentum to a screeching halt. (Rose provides more details in a candid TikTok video.)

Rose is not a quitter and regained her footing by focusing on the one thing she loves most: making great music. It should come as no surprise that Web3 and Music NFTs are an exciting new format for the singer to further her career. In recent months, the singer has immersed herself in the NFT community by taking part in numerous Twitter Spaces, speaking at a Water & Music panel in Los Angeles, and performing during NFT NYC in June.

This week, on Friday, October 7, Rose is teaming up with Sound.xyz to mint her fantastic new single, “Bruises.” It marks the start of a new era of artistry and exploration for the singer. With the NVAK Collective team firmly by her side, Annika is looking forward to this new chapter in her career that focuses on doing music entirely on her own terms.

Inspired by a friend’s mental health struggle, "Bruises” gently masks its serious undertones with a message and sound that is both uplifting and deeply comforting. There is no need to tackle these issues alone. Rose acknowledges the hardship her friend is facing. “You’re blowing smoke up in the air, like you’re on fire,” she sings.

🤔 Here’s what I think: “Bruises” is one of the most chart-ready, pop-loving Music NFTs I’ve heard to date. The song’s glowing ‘80s feel and swaying chorus are absolutely gorgeous. “Bruises” is a Web3 hit about to happen. Frankly speaking, artists like Annika Rose are crucial in taking Music NFTs to a new level of pop and mainstream acceptance.

I chatted with Annika Rose via email and text to learn more about "Bruises” and her experience with Music NFTs so far.

Congratulations with your first Music NFT drop this week! What compelled you to step into the world of Web3 and explore this new music format?

“Thank you so much! The anticipation has been real. There are a few reasons I was initially compelled to join space, and they seem to keep on growing the more I learn and participate. Of course, when you hear the word NFT having only ever been fed the narrative around NFTs that the mass general public seemingly has adopted, you’re skeptical. However, I was lucky enough to be gently guided by someone I trust, who allowed me the time and space to fall in love with it in my own time. [Music NFTs] help to create deeper personalized relationships and connections to early supporters; they foster community-based collaboration, traceable actions, exchanges, and compensation; Music NFTs can be long-form art where I’m able to tell a story not just through a song, but through an entire experience. NFTs also include a diverse crowd through that experience - gamers, tech people, collectors, and rabid music fans. [Music NFTs also redefine] ownership; the fact that I can build a meaningful audience that doesn’t have to stay exclusive to a single entity. I can take my audience with me wherever I go, with fairer and immediate compensation for my art and collaborators. 

As if just a couple of those reasons weren’t enough, there was no doubt in my mind that this was something I should explore and utilize immediately.” 

Tell us about the song you’re minting. Why did you pick this song in particular to be your first Music NFT?

“The song is called “Bruises.” I wrote it with my dear friend and collaborator Paul Phamous. It’s cycled through many lives on the production side, but the final sonic palette was finished off by Bailey Lindley, Alex Salibian, and Ethan Schneiderman—that’s my little crew. I had been watching a very close friend of mine suffer from some pretty debilitating mental obstacles and self-sabotage and I was terrified to my core that I couldn’t help her any more than I had already tried. I came into the studio in October last year and it was so prevalent in my thoughts, there was no other song I could’ve written that day. It was my way of trying to connect with her in the only way I could at that point. The song wrote itself. 

It seemed to me like the perfect song to kick off my journey into Web3 because although lyrically the story is dark, there’s a lightness to the music around it and I want people to dance and cry. I want them to do all of it, which is pretty characteristic of me. So, I ran with it.”

How has the response been from fans? Have you noticed curiosity? For some of them, it may be the first time getting a crypto wallet and purchasing an NFT.

“Honestly, it’s the first time for most of them! It’s been a huge learning curve for me. I know the approach has to be gentle. I don’t want people to be forced into something. I want it to be their idea. It’s a slow burn. I’m very careful with how I phrase things, and if a new word or concept, or activity causes someone to tilt their head and dig a little deeper, that’s my hope. I do see it happening. I’ve been just casually onboarding people into my Discord and watching every day how they start to ask more questions and my community comes together to help answer those questions and get new friends set up for success in creating a wallet and participating in what I’m doing. It’s incredible to watch. and of course, I answer any and all questions thrown my way too. Curiosity is the key, followed up with supportive guidance.”

What’s your take on Music NFTs from an artistic point of view? Does it spark new creativity?

“10000%! It’s quick, which is not how I’m used to working. I’m a very meticulous person in all pursuits—the perfectionist type. It makes me less protective in a sense, more open. not decreasing the quality of what I create, but more so pushing me out of my comfort zone and self-critical headspace. There’s less time to question every single piece of the puzzle, which is really good for my creativity. Collaborations in Web3 feel almost spontaneous. and they’re outside the bounds of what collaboration looks like in Web2. It’s a challenge, mentally and creatively, but it’s unlocking new portals.”

Who are people in the NFT space you look up to?

“Oh, man! There are so many! Off the top of my head, I’m obsessed with the Hume Collective! I love what they’re doing for the future of music through Angelbaby, metaverse stars, and how they’re restructuring what “success” could look like. The fan-to-artist relationship and partnership is an inspiring model for me to look at for what I’m doing. I also love Jagwar Twin and how he’s marrying both Web2 and Web3 in an insanely innovative way. His whole project feels like a secret game. I’m dying to learn how to play. 

Outside of the Web3 music world, I’m a huge fan of social change communities like DoinGud, and myBFF amongst a handful of others. Those communities are incredibly important.”

What is the biggest misconception from artists about Music NFTs? What may be holding them back?

“A lot of music artists simply just do not know a space like this even exists, and I think the ones that do are scared. It makes sense to me. I’m still scared sometimes. New things are scary. As I mentioned earlier, there are so many widely adopted misconceptions about NFTs, so the prospect of publicly putting yourself out there and talking about it is frightening. The internet can be a really dark place and people are quick to make assumptions about your intentions. I think it takes a huge amount of courage to take the leap and have an underlying belief that you’re doing things for the right reasons. I don’t think artists/fans have fully realized how much incentive lies in Web3 for both parties. It’s a very layered new world, still being built upon, waiting to be utilized in meaningful ways. 

I also think there’s a misconception floating around that if you immerse yourself in the Web3 world, you’ll immediately be classified as a “Web3 artist.” which is bullshit. Not everything needs to have a title. If you’re an artist, you’re an artist. Period. There’s no reason why creatives shouldn’t be capitalizing on every single tool available to help extend their art and explore every path to find success, in whatever way they choose to define it. “