Where I’m at, school has already begun. As luck would have it, my town’s public transportation system decided to let students 18 and under ride it for free with a flash of their school ID. My once quiet and peaceful rides on the bus are now overflowing with the loud, obnoxiousness of the local high school students. I’ll live, though. But in this inevitable, forced closeness, I’ve realized that the restart of school has subsequently meant the restart of hazing for some. For those who are unfortunately being ostracized for their differences, Lisa Froment’s “Fly” thankfully provides some much-needed hope for a better future. Inspired by her own children, “Fly” was created as a tool of empowerment for those struggling with their own differences and being bullied for said differences. The melody of the song gives listeners a bountiful hope while the opening verse is quite melancholic. A bright piano begins to play while Froment sings the first verse; “Somebody, somewhere, hear me say / I don’t think I’ll make another day / I’m down, and bruised”. This paints the picture of someone who is already in the process of being bullied, no longer wanting to put up with it. After this, Froment quickly changes the lyrical tone with the chorus – making the lyrics match the uplifting melody. From there on, the lyrics not only tell listeners to embrace their differences but to know that there are others out there who not only adore you but are willing to ensure “you’re not alone” during this difficult time, too. At the end of the day, showing solidarity is what will guarantee that victims of bullying will thrive and soar, or “Fly” as Froment puts it. Ontario native, Lisa Froment, is a singer, songwriter, and multi-instrumentalist. Music is an inherited trait from both sides of the artist’s family. So, it came as no surprise when she picked up guitar playing by ear at 12 – an extremely impressive feat. The artist’s music is influenced by a wide range of genres from pop to rap; but the artist will always have a soft spot for 80’s rock. Attesting to their love of rock, Froment even formed the gothic-rock band, Fragmented Mind. Now as a solo artist, “Fly” is the fifth single Froment has released and she has plans to release more in the upcoming future. While we wait for more, listeners can always show the artist some virtual love in the form of streams, likes, and follows. Written By Giavanna Gradaille FOLLOW LISA FROMENT:

I don’t think we praise literature, plays, and movies final scenes enough. It’s responsible for bringing the audience into the full loop, or tying up loose ends, or exploiting those loose ends, or making us question the grand scheme of life, or just flat out confusing us – forcing us to think about it for years to come. That last sentiment has been the case for me regarding the end of Who’s Afraid of Virginia Woolf? In both the play and the later movie adaption, it ends with George mockingly singing with affection: “Who’s afraid of Virginia Woolf?”, to a heartbroken and distraught Martha, his wife, after killing their imaginary son. Martha replies with “I am, George… I am.” Thanks to Fran Lusty’s “Flight of Your Mind”, the intent and overall meaning of this ending no longer eludes me. “Flight of Your Mind” is a Folk-Pop single that serves as a lyrical double entendre; it’s acknowledging the preference for fantastical illusions over reality and the logical end of a relationship. The song begins with acoustic guitar notes that quickly establishes itself as a melancholic love ballad, making any listener’s chest swell with heavyheartedness. Lusty’s voice then entices the listener with the opening verse: “Morning / Tired of morning / I want the moon to come out / And teach us how to play again”, alluding to the first half of the double entendre. Morning and night are metaphors for reality and fantasy. And reality is not the least bit pleasant; there’s so much going on, too much at times that we need to escape occasionally into a world created by our own design, our imagination. We can only ‘play’ there – we can live out our wildest fantasies, right egregious wrongs, and make the fictitious feel real. After a soulful delivery of the chorus, Lusty then provides the third and fourth verse that gives listeners the second half of the double entendre; “Morning / Don’t want to mourn this / Something has come to an end / And I can’t put my finger on it // Hold me / That’s what you told me / And I can hear your words / But I can’t find your body in this mess with me”. It’s the recognition that the relationship has ended, and quite frankly it might have ended a while ago. As listeners, we can hear an admission of refusal. They do not want to process the end of this relationship. And why would they process it when they can very easily recess into the depths of their own mind and pretend this relationship is still thriving? In Who’s Afraid of Virginia Woolf?, Martha’s fantasy world is shattered by George at the end. Within the confines of her own mind, Martha had a doting husband and a son that was turning 16. But after George kills this imaginary son, it shatters Martha’s illusion and propels her into reality. The married couple cannot have children and George has an abundance of resentment for her. Martha now finds herself trapped in morning, no longer capable of escaping to night to be with the family she longs for. Which makes George’s singing crueler when the audience finally realizes he’s taunting Martha and her permanence in reality alongside him; in a marriage that failed a long time ago and was only being kept alive by her ability to fantasize. U.K. native and indie-folk artist, Fran Lusty, writes lyrically rich music with layers of depth and meaning. Currently based in London, “Flight of Your Mind” is the latest single to be released from the artist. “Flight of Your Mind” was inspired by Virginia’s Woolf’s diaries and showcases Lusty’s storytelling. Lusty was captivated by Woolf’s ability to ‘take flight’ when exploring the unknown crevices of her mind while writing, and the author’s immediate disappointment upon returning from ‘flying’. Lusty wrote the song from the perspective of Woolf’s husband. If you’ve enjoyed the musical atmosphere provided by Fran Lusty as much as I have, show the artist some virtual love in the form of streams, likes, and follows. Written By Giavanna Gradaille FOLLOW FRAN LUSTY:

I’m willing to admit I’m not the best singer. You can easily mistake my singing for that of a little kid’s. I misremember lyrics and roll with whatever comes out of my mouth; I don’t get the tone quite right, but my enthusiasm knows no bounds; and I’m guaranteed to make you smile and giggle a bit, too. But every now and then, a song gets me so swept up in the moment that I forget I’m making coffee in my kitchen. This week, the song that’s had me under its spell is Rob Lea’s “Summer in the Morning”. It’s light, sweet, and leaves me craving more exactly like a cup of café con leche with sugar. “Summer in the Morning” is a playful Pop single that compares a brief love to the aesthetics of summer mornings. The single opens with faraway callings of the song’s title before an atmosphere of light guitar strumming and soft whistling envelope the listener alongside it. It beckons the listener to recall summers of the past. The whistling begins to fade to the background, forcing the guitar notes’ prominence as Lea delivers the first verse of the song with soulful vocals. Listeners then get to feel Lea’s passion reach its height during the chorus; here we witness how much he truly cherishes the woman that inspired this song. For the rest of the song’s course, listeners can hear and resonate with the longing for this love. But this longing makes the eventual reunion that much more rewarding because the artist has “been waiting all [his] life to meet a woman like you”. This lyric makes any woman crave a love with an ounce of resemblance to the song – we love knowing and being reminded that we’re the only one for you. And if you’re struggling to find the right words to express to the woman in your life how much you adore her, playing “Summer in the Morning” is guaranteed to let her know she’s your muse. Sired in Lead but brought up in Blackpool, Rob Lea, is no stranger to the spotlight. For the last decade, Lea’s been masquerading as Freddie Mercury for one of the most recognized Queen tribute bands; Majesty. The artist and his group have toured and performed for outstanding crowds throughout the U.K. and Europe. For fellow fans of ITV’s Starstruck, you might even remember Lea competing and becoming one of the finalists as Freddie Mercury, too! While the artist still performs with Majesty, he’s decided to release his own music on the side. “Reflection” was Lea’s emotionally driven debut single, and “Summer in the Morning” is his lighthearted follow-up single. I cannot wait to see Lea do solo performances for his singles. In the meantime, listeners can catch him performing with Majesty for The Break Free Tour. The next show they have is for September 3rd, in Coventry at the Belgrade Theatre at 7:30 PM. If that’s too short of notice, the band has multiple performance dates scheduled for the future. Until then, shower Lea in virtual love in the form of streams, likes, and follows. Written By Giavanna Gradaille FOLLOW ROB LEA:

Let’s be honest; some of us need more of a push than others. No, I’m not talking about pushing people down flights of stairs or Heath Ledger’s infamous line from The Dark Knight about descending into madness. I’m referring to those of us that need bluntness from the people in our environment to feel an ounce of motivation. You cannot baby these people to death to motivate them – they won’t take it seriously. You need to burst into these people's homes at five in the morning, banging pots and pans together while jumping on their bed as they’re startled awake to motivate them. And as much as I’d love to be that person, I don’t simply have the time. But thankfully, Karly Driftwood does. Driftwood’s “Yet” is the ass-kicking we need in periods of stagnation. Listen to "Yet" by Karly Driftwood here. Driftwood’s “Yet” is a Country-Pop single that slaps listeners in the face with a transformative vocal delivery, an early 2000s twang, and a candid message of inspiration to get you in the mood to take on life. The track opens as a light guitar ballad - the sound is what I imagine flowers blossom to. Driftwood’s soft vocals come in to deliver the first sympathetic verse: "Are you crying on the floor? / Can't find a reason anymore / Like there's no way out of this mess / Can't find the light that's up ahead." The verse is describing the emotions and mentality that come with being in a stagnation with no end in sight. And just when listeners think the single is about to settle into a mellow groove, Driftwood comes soaring in with a loud chorus that blatantly states; “Get the fuck out of your bed / Quit wasting time in your head “, giving a new fiery passion to the song. This bluntness is guaranteed to grab a listener’s attention and makes them anticipate Driftwood’s fluctuation from sympathetic softness to a bold, can-do attitude that’s set on getting you out of your rut throughout the song's duration. It's an anthem of motivation for times when we require a firmer touch to spark that boost of energy within us to keep moving forward. The Virginia native turned Nashville resident, Karly Driftwood, is a singer and songwriter that turns country music stereotypes upside-down on their heads by embracing the grittier, darker tones of life. The country artist with a Rob Zombie-esque flare has a wide range of genres under her belt, though. Consequently, this means that Driftwood is one of the few voices in the current music scene that honestly can do it all, which makes labeling her and her music a bit difficult. But there's nothing wrong with that - labels are for soup cans, and people along with their stories should be complicated. If you've enjoyed Driftwood's wake-up slap single "Yet" as much as I have, you'll be happy to hear that she'll be gracing us with the new single "Trucker", on September 2nd. Until then, keep yourself occupied by showing the artist some virtual love in the form of streams, likes, and follows. Written By Giavanna Gradaille FOLLOW KARLY DRIFTWOOD:

I’m a big fan of role-playing and I think others should be, too. I know exactly where your mind went – get it out of the gutters, that’s not what I’m getting at. What I’m getting at is self-persuasion. Role-playing can be a great method to motivate ourselves’ to do something incredible, or to prevent us from doing something not as incredible and potentially dangerous. This tends to be the method I use; I love generating fictional arguments with myself about whether I need to do/perform/say x, y, and z, to get a desired result. But there’s other methods to be utilized. In the case of Wash Park’s “There’s Still Time”, it seems that repetition is the preferred tool of persuasion for the artist. “There’s Still Time” is an Indie-Pop single with a nostalgic, new wave sound that centers on self-generated persuasion to enact change within yourself for the sake of love. The song opens with light and breezy synths to create this environment of tranquility – a crucial component when it comes to attempting to convince ourselves’ to do something. It’s not too long before the audience gets to hear the introduction of Wash Park’s dreamy vocals accompanied by bright drumming and entrancing electric guitar notes. The melody is relaxing; it beckons a listener to slow their roll so they can better reflect on themselves. But this is more than just a reflection period. This is the much-needed prompting to change and be better for someone that happens to be object of our love. I feel four lyrics drive this sentiment home: “You're on my mind / I don't know why / I never seem to get it right / But I'm willing to try again”. This is followed by some momentary anxiety, but it’s quickly overcome by the artist’s repetition for change. By repeating that “everything must change” and “there’s still time to change”, listeners are seeing the artist’s self-generated persuasion play out before them. Eventually this tool of persuasion will provide the necessary encouragement to pursue a second chance honestly, and hopefully get it right this time around with the person they love. Wash Park, better known as Denver’s Keaton Dean, is the brains behind the music and the only face for the project, too. The one-man project exclusively features vocals, production, and instrumentals all from Dean. An extremely impressive undertaking from the 22-year-old. And he’s also got the coolest name ever; just switch around his first name and surname – you now have an iconic character from The Usual Suspects. Cool name aside, Dean is driven to write music that has a captivating sound and thought-provoking lyricism. “There’s Still Time” is the third release from the artist this year, with his debut single, “My Best”, gracing listeners ears back in February. If you’ve enjoyed Wash Park’s musical sophistication as much as I have, definitely show the artist some virtual love in the form of streams, likes, and follows. Written By Giavanna Gradaille FOLLOW WASH PARK:

This summer has been a sad girl summer. Society keeps pummeling women with unimaginable burdens, worries, and fears. We raise our dating standards because we want more than the bare minimum from the single men pursuing us. Have they met those standards? No. Instead, they’ve got their toxic ways in a death grip to ensure their spot in the manosphere while turning us into public enemy number 1. We beg our federal government to have women’s rights codified into law. It never happened. Instead, the federal right to a safe, legal abortion was terminated. I await in dread to see what else is in store for us. But thankfully, Mia Mormino's "Joan of Arc" has been a saving grace in providing me with the energy I need to keep moving forward; the single lets me know that I am not alone in my feelings of apprehension or my desire to fight. "Joan of Arc" is a transformative Pop track that begins with a beautifully melancholic piano tune that evolves into an ambiance of someone preparing for war. While the melody's evolution is unfolding, a profound emotional response is elicited from listeners. On top of a rich sound, the lyricism has layers of symbolism begging to get dissected. The two symbols I want to discuss are the crown and Joan of Arc herself. Crowns typically symbolize nobility. Within the song, we hear the lyrics: "I lost my crown / On the ends of the earth". Nobility has gotten us nowhere within a society purposely designed to counter our every move. In retaliation, we will no longer abide by arbitrary boundaries set forth for us. Alternatively, we will be abiding by our own rules to reclaim our agency. Then Joan of Arc has become a polysemic symbol; to different groups in modernity, the saint represents differing ideals and notions. Within the context of this single, Joan of Arc symbolizes loyalty to one’s community and the need to keep up the good fight. Thus, making "Joan of Arc" a direct, vocalized reminder of the importance of community for women. For every burden we bear on our shoulders, there will always be someone within this community willing to alleviate some of that burden or attempt to help us “burn” it as we strive to reclaim the agency that was robbed from us. The Los Angeles native, Mia Mormino, is a singer and songwriter with a niche for creating empowering Alternative-Pop music. By providing messages of social justice and being open to discussing contentious topics, the artist has an unmatched relatability with fans. Which in turn, makes Mormino all the more alluring as both an artist and a person. If you enjoy her presence as much as I do, there's an upcoming opportunity to see her perform live! On Thursday, September 15th, in Chicago, Mormino will be performing at Martyrs'. Tickets are $25 a person, and the show begins at 7:30 PM for 21+ crowds. But if you're in the 21 and under club, you can shamelessly stream Mormino's music. Written By Giavanna Gradaille FOLLOW MIA MORMINO:

The love that I’ve watched in older shows and movies makes me envious. They make the act of falling in love, of being in love, and staying in love look so effortless. Even if the love endures some hardships – no worries. A few magic sentences that contain the word sorry, coupled with a spontaneous gift like flowers seems to right all the wrongs that have been committed. Having this be my only healthy example of love has made me realize that maybe I don’t know what love looks like, or should look like. Daria Mirea seems to be in the same boat with her debut single, “Don’t Know Love Yet”. “Don’t Know Love Yet” is a guitar-laden ballad that focuses on emotional vulnerability when it comes to romance. The song starts with light acoustic guitar notes before Mirea’s voice can be heard. This is where listeners hear her soulful melody. Through it, she provides the countless examples of lackluster and confusing actions of a former flame – actions that initially made her adore this person and think of love. But now these actions make her question whether this was genuine love. And surprisingly, the song only utilizes Mirea’s voice and the guitar playing for the first half – doing so provides the artist with a significant amount of space to express and build to intense emotions listeners don’t get the pleasure of experiencing often. Mirea certainly lives up to this expectation of intensity in the middle of the track where floor drums enter the mix to give listeners a more passionate sound to familiarize themselves with while begging the question of what love should look like. The Romanian native and Pop-Soul singer, Daria Mirea, currently resides in London. Mirea always had a strong aptitude for music but didn’t catch the public eye until 2018 when she performed live on “The Voice of Romania”. In the subsequent years leading up to 2020, Mirea began writing songs while attending the London Music School and learning how to play the guitar. Fast forward to 2022, Mirea’s released her debut single, “Don’t Know Love Yet”, which exclusively features her otherworldly guitar strumming. While we patiently wait to hear more from the artist, we can shower her in virtual love in the form of streams and follows. Written By Giavanna Gradaille FOLLOW DARIA MIREA:

I love my solitude – maybe more than most. I love it so much that I don’t really participate in the digital era; no disrespect to those that do, but for me it’s always evoked deep feelings of loneliness as opposed to togetherness. Sounds a bit hypocritical coming from someone that enjoys solitude, right? But there’s a huge distinction between needing a moment away from everything and feelings of isolation intruding on you. Richbreed’s “Overdose” not only touches on this distinction but expands on how an overconsumption of social media only worsens a user’s loneliness. Listen to Richbreed's "Overdose" here. “Overdose” is a Pop-EDM track with catchy hooks and a melody that’s determined to play on loop in your head. The single details how social media gives the illusion of connectivity while in actuality, it’s isolating users. I think three lyrics within the chorus perfectly sum up the user experience with social media; “Every drug I take is on my phone / I have no friends, but they all say we’re close / I smile even though I feel alone”. All social media platforms now have apps that a user can download onto their phone which makes them easily accessible – leaving a user open to potentially overconsuming it. Or ‘overdosing’ on it. Then the ‘friends’ that are spoken of are referring to the people that follow us and we follow back. Those followers have a front row seat to the content we post, strengthening the illusion that they’re close to us. But it’s no secret that the content being posted is often just the highlights of our lives; these people genuinely have no idea if the user whose content they’re reviewing is well or not. So, for all we know, the smiles we’re seeing in videos and photos could be masking loneliness. “Overdose” is a powerful statement on the poor, current sociopsychological conditions people are dealing with as the result of engaging with social media. The Richbreed trio consists of Austin Kolbe, Atla Gadret, and Justin Bates. All three are better known for projects they’ve worked on outside of the group. Kolbe was a breakout star from the original Netflix series, “Westside”. Gadret was the mastermind behind the success of the EDM group, Lucent Dossier. And Justin Bates has written and produced music for trending artists like Kid Cudi and Steve Aoki. Now, Richbreed thrives on Bates’ songwriting and producing while Kolbe and Gadret are the faces and voices listeners get familiar with on stages. If you enjoy their emotional lyricism and tenacity as much as I do, there’s an opportunity to see the group perform live! August 17th, the Kiss Kiss Bang Bang lounge bar at The Line, in Los Angeles, is the next performance they’ve got scheduled. But if you’re homebound elsewhere, virtual love in the form of streams and follows is always appreciated, too. Written By Giavanna Gradaille FOLLOW RICHBREED:

The journey to self-love is a long and winding one. Everyone’s journey is different, but the one crucial requirement for this journey that everyone will experience is healing. And healing requires us to contend with a multitude of difficult and unpleasant emotions. Some are ready to take this challenge head-on, and some hide from themselves out of fear. “Tracks in Minor” by MKSM is dedicated to those who are still in hiding and in need of compassion in order to begin this journey. “Tracks in Minor” is a Dance-Pop track with an upbeat tempo that's carried by a violin heavy melody with lyrics that force a listener to examine themselves. The single describes how our insecurities manage to get the better of us and prevent us from taking risks that can double as opportunities. The single opens with the violin melody before MKSM delivers the verse. Within it, MKSM is relaying to the listener how they are simply just “going through repeating phases / still pretending I’ve learnt my lesson”; they’re confessing that they haven’t allowed themselves the time to process their emotions. But they are hoping that “new plans” will help distract themselves and mask this fact from others. And it does for a bit until we get to the chorus – here MKSM’s vocal delivery rises to show that this suppression of their own feelings is no longer working. They have now succumbed to these intense emotions which allows the artist to finally confront themselves – this is the beginning of a journey of self-healing and love. Maksim, better known as MKSM, is a singer, songwriter, violinist, and LGBTQ+ activist. The artist studied classical violin but began an affair with Pop music that has since turned into a passionate romance. MKSM currently resides in Berlin, however, he is no stranger to the rest of Europe. In 2019, he won the British LGBTQ+ Music Award as ‘Newcomer of the Year’, while his pride hymn “Original Self – Enough is Enough” won ‘Song of the Year’. The song even supported the largest LGBTQ+ organization within Germany, and he performed it live in 2020’s Global Pride. Since then, MKSM has released two EPs, with “Tracks in Minor” becoming the latest bop added to their repertoire. Their music encompasses the topics of soul-searching, affirmation and acceptance, love, and equality. So, if you ever find yourself in need of introspection and self-love, show MKSM’s discography some virtual love by streaming their music. Written By Giavanna Gradaille FOLLOW MKSM:

Urbanites like myself, operate by a different social code compared to others coming from suburbia and rural communities. Our social code revolves around survival and self-preservation, which makes certain concepts and ideas outside of that norm extremely difficult to come to terms with. The biggest for me has been second chances; for me, second chances have always been an opportunity for the ‘chance seeker’ to let me down again – and I refuse to let that happen. Despite the hardened exterior, disappointment devastates me beyond belief, so I never give multiple chances. Kinga Angelys “Second Chances” has made me reconsider, though. “Second Chances” is an Acoustic-Pop track set to a mellow melody accompanied by Angelys bright and cheery vocals. The single provides listeners with a bird’s-eye view of how Angelys herself would go about trying and executing a second chance with a previous partner. The opening verse begins with Angelys reassuring this partner that everything “will be alright / we’ll talk things through the night”. This is a genuine effort to explore the relationship – what worked for all the parties involved before, and what needs to be improved upon in order for this second chance to be fruitful. The consequent verses and chorus are Angelys providing additional reassurance to this partner, even informing them that all relationships are “a crazy ride / [but] I know we’ll make it if we try”. If all second chances were grounded in this much comfort and consolation, more people, urbanites and those that have been burnt one too many times, would be more willing to give them out. Canadian singer and songwriter, Kinga Angelys, currently resides in Hamburg, Germany. Angelys has been musically inclined since childhood. This inclination has helped develop her well known Acoustic-Pop sound and hone her gift for realistic storytelling within music. “Second Chances” was inspired by an older couple that Angelys performed a private balcony concert for; the couple was celebrating their wedding anniversary and second marriage to each other. Stories like this are bound to keep on catapulting the artist into the limelight. But until the next single, listeners can keep on streaming her current vibrant discography and even book her for live performances, too. Written By Giavanna Gradaille FOLLOW KINGA ANGELYS:

Competition within a relationship can be nice. Playful competition that is: when you can take part in silly, harmless games together. But when that devolves to one-upping the other and rooting for their failure, it ceases to be a loving relationship. It’s now become a rivalry where all the parties involved are just waiting for the next moment to antagonize one another. Making the overall relationship experience truly awful – especially if you’re made to feel lesser than. Sydney Gordon’s “Flirt With Disaster” is sung from the perspective of the ‘lesser than’ party who is refusing to return to and be made to feel this way again by the ‘better than’ party. “Flirt With Disaster” is an emotional Rock-Pop anthem with heavy synths that features Gordon’s vocal prowess. The single serves as a self-reminder for both the artist and listener. A first-time listen to the song might make a listener think Gordon is forewarning the person after her about the man at hand. But Gordon is reminding herself just how bad the experience with this man was. Any partner that forces us into a competitive state where one is considered as 'better than' the other is not a relationship worth revisiting. Relationships should not be boiled down to a ‘winner’ or ‘loser’; they should be about people with similar goals and values tackling the world together, one problem at a time. Gordon realizes this and even addresses this man directly in the chorus. She informs him that this dynamic will never happen again because she’s “stronger than I ever was before”. The track is the perfect self-respect and callout anthem to add to your ‘Do-Not-Fall-For-Their-BS’ playlist. Native New Yorker, Sydney Gordon, began singing and playing instruments at 7. Then at 15 she began writing her own music. Now she’s releasing songs through the record label she founded, Static Impulse Records. “Chains” was the artist’s debut single earlier this year, and “Flirt With Disaster” is the most recent add to her discography. The single was co-written between Gordon, Cindy Valentine, and Gemini. Then finally mixed by Tony Maserati and mastered by Dave Kutch. If you ever find yourself to be a little lonely and missing that down-right no good man, give Gordon’s single a quick listen just to remind yourself how much stronger you are without them. Written By Giavanna Gradaille FOLLOW SYDNEY GORDON:

Sometimes I think about changing my name. Lolita or Yolanda; some name that still ends in an ‘A’. Changing my name and just creating a new identity for myself altogether, and just rolling with it. Sometimes I just need a temporary break from being me – from my established routine. Daniel Steer’s “Rebel” understands this need all too well. "Rebel" is a Country-Pop track with light Rock instrumentalists all throughout to hammer home this freedom anthem. The single begins with smooth acoustic guitar strumming and heavy drum tromping – almost emulating the tone of an old-school western showdown. But suddenly Steer’s soulful voice slices through the tone and becomes the showstopper. The melody Steer carries across the chorus and verses is a joyful rebellion that rises in vibrato; it’s a call for people to break free of their everyday mundane routine. Teignmouth native, Daniel Steer, is a singer, songwriter, producer, and musician. In his teens, the artist fronted the Indie-Rock band, The Quails. This eventually led to Steer becoming the front man for the Rock band, Reigning Days, his most recognizable position. His wide range of collaborated works have been featured on multiple platforms such as radio, television, film, and advertising. During the pandemic and subsequent lockdown in 2020, Steer focused on producing solo projects – giving listeners “Rebel”, one of the many solo creations set to release this year. Listeners can eagerly wait for more and keep up with Steer’s work by following his socials! Written By Giavanna Gradaille FOLLOW DANIEL STEER: