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Class Vee's "I Didn't Love Myself" is a raw and introspective ballad that delves deep into the emotional struggles of self-doubt and personal growth. The song's lyrics lay bare the journey of grappling with self-acceptance, where the narrator reflects on the pain of neglecting their own worth. Lines like, "I wish I could've told myself back then that I was strong all alone, but I didn't trust myself" powerfully capture the tension between wanting to connect with others while being at war with one's own insecurities. The haunting melody, combined with the vulnerability in the delivery, creates a space that feels both intimate and universal. For listeners, this song might resonate in moments of feeling disconnected --- like a difficult breakup or period of personal change. The song invites the audience to reflect on their own experiences of struggling with external expectations and internal conflicts. "I Didn't Love Myself" serves as a cathartic reminder that healing begins with self-love. "I Didn't Love Myself" is a masterclass in emotional vulnerability, both in its composition and execution. The song adopts a minimalist, piano-driven arrangement, with subtle strings that gradually build in the background. It, then, creates an atmosphere of quiet desperation that amplifies the introspective lyrics. The piano's soft, mournful chords serve as the foundation, while a delicate, reverb-laden guitar adds an ethereal touch. The mood is introspective and melancholy, with a slow, deliberate pace that mirrors the weight of the themes being explored. Vee's voice is fragile yet powerful, with a haunting quality that captures the pain and realization of self-doubt. It's a track that invites you into a quiet space of contemplation, urging you to confront your own struggles with self-worth. Class Vee is a singer-songwriter from Tampa, FL. She began her musical career as lead vocalist and songwriter for Soltrio, a local band, for two years. Her versatile musical style include genres like pop, R&B, funk, soul, disco, and Latin. Vee's vocals are energetic and passionate, resembling a blend of modern pop culture and timeless classics. Her voice has the ability to reach diverse musical audiences, captivating audiences with authenticity and charisma. Be sure to follow Vee on Instagram and Spotify for any new updates. I can't wait to see what Vee has in store for the future! Written By Catherine Espejo FOLLOW CLASS: Instagram   | Spotify  | Website  | Facebook | YouTube   *Sponsored Post - Discovered on Musosoup. A contribution was made to help create this article. #SustainableCurator

Shot by: @dani_ofthewoods "Hypocrite" is the newest single from Allison Park , its lyrics aptly defining the song's title. Park describes how it can be easy to make fun of others or criticize what they do or what kind of person they are without fully understanding their situation, but its not okay to do this. "Hypocrite" is the song that matches with the phrase "when you point at someone, three fingers point back at you". Park and her sister, Dani, also implement other expressions in the songwriting, including, "And what's that dish best served cold?", alluding to revenge; this is just one of the ways in which they are both great lyricists. A piano ballad, dark pop, and modern jazz all come together to create the sound of "Hypocrite". Immersive bass has its moments alongside powerful string arrangements and hi-hats that fit with the tempo of the song, and then increase in tempo as it continues. "Hypocrite" becomes more powerful in regards to its production style and overall vibe as it advances. Park has a fantastic voice and sings perfectly for this baroque-inspired single. There are also amazing drum fills in the latter half of the song. Dani was the producer as well, along with Cole Phillips, and they did an amazing job. The songs sounds like it could be played over James Bond taking out a villain in a movie installment for the series. Also the founder of the podcast In Tune with Allison Park , the Nashville-based multitalented musician has released her first single of 2025. She first began her music career in 2011 with debut EP Listen , and has released multiple songs since. She has also posted a cover of "Demons" by Imagine Dragons with Danny Padilla on her music YouTube channel, as well a live performance of her song "Holding Me". In 2023, she began her podcast, which discusses the importance of music and how influential and impactful it is with a different guest for each episode. On February 4, 2025, she performed live at the Nashville bar The End . Allison Park is an incredible music artist and podcast host! Written By Ashley Adams FOLLOW ALLISON PARK: Instagram | Spotify  | TikTok  | Facebook  | YouTube

Tate McRae stuns with her third studio album, “So Close To What,” offering sexy, vivacious tracks in addition to raw, vulnerable content, showing a new side to the pop princess. The 21-year-old Canadian star sets her eyes on new sights with her third record, allowing her sound to transform in edge and maturity. Blending her wide-ranged dance ability with both truthful and electrifying lyrics, she has been compared to stars like Britney Spears while contributing content and a personality that stays entirely true to what she wants to create. McRae holds nothing back in her third album, utilizing reflections of early 2000’s dance pop material in her music while making personal, bold statements showing mastery of the pop genre and grasping the ears of listeners.  TRACK LIST Miss possessive 2 hands Revolving door bloodonmyhands (feat. Flo Milli) Dear god Purple lace bra Sports car Signs I know love (feat. The Kid LAROI) Like I do It's ok I'm ok No I'm not in love Means I care Greenlight Nostalgia Miss possessive The title track, “Miss Possessive,” also the name of McRae’s upcoming tour, kicks off the album with a bang. The first line, “No, seriously, get your hands off my man,” a sound bite precisely placed to introduce the album, perfectly details what fans are in store for. McRae has been known for her sexy, danceable tracks but “Miss Possessive” displays a different side of her through its declarative nature. This track shows a mature, confident side of Tate that additionally draws listeners into the album. While that phrase is, in itself, a bold statement to make, McRae follows through with the sound of “Miss Possessive”. Similar to her attitude, the song’s beat is hard-hitting and filled with passion, showing why the track was picked to additionally be the name of her tour.  2 hands “2 Hands”, the second track on “So Close To What” and second single to be released before the album’s drop, makes the transition from track 1 to track 2 smooth and subtle. While incredibly different songs in sound, “2 Hands” continues on a similar attitude from the first track. Again, the need for physical touch is emphasized by McRae to her partner as it was in “Miss Possessive”. Lyrics such as, “Just your two hands on me, like my life needs savin’”, not only shows the level of desire McRae feels toward this other person but additionally details that this connection goes beyond simply wanting something. “2 Hands”, while delving into the more sexual side of this connection, ultimately keeps listeners having fun while letting on the extent of this relationship.  Revolving door Exchanging a sexy, danceable vibe to lean into raw emotion, McRae brings in “Revolving door” for the third track off “So Close To What”. “Revolving door” entails a relationship that McRae is trying to let go of while navigating the highs & lows of entering adulthood. Lines such as, “I work so much, can’t be reminded,” and, “I need a minute”, show both a vulnerable side of McRae and wonderfully represents how difficult it can be to make things work, like relationships, while figuring yourself out at a young age. The visual representation of the name itself, a revolving door, brings layers to how difficult it’s been for her to let go of this relationship and, additionally, is telling of how much time she’s lost to this person in place of taking care of herself.  bloodonmyhands (feat. Flo Milli) Shifting to a different, cunning mindset - track four, titled “bloodonmyhands” featuring rapper Flo Milli, strays far from the nature of the first three tracks. Much similar to where the relationship between McRae and this other person leaves off, “bloodonmyhands” details McRae’s time after making the decision to leave her former partner. McRae references her intense pride and ability to leave, a detail that feels like a direct reference to “Revolving door”. Both in McRae and Milli’s verses throughout the track, it’s incredibly apparent that the decision to leave this person was for the best. To dance “like she can’t be bothered” and move on to a new partner, McRae states a shift both in the album and herself. She is commanding the situation, knows what she deserves, and won’t settle for less.  Dear god From the initial beat, the fifth track off “So Close To What” grabs your attention by the throat. “Dear god”, the bass-heavy, sex-laced track serves as the catalyst for the remainder of the album. Transferring from a period of hurt & reflection to healing, McRae details the grit behind the process of moving on from a partner. Piecing lines together like, “All the memories, babe, I play ‘em all back,” and, “Never used to be this person, but here I am,” in connection to the new person introduced in the song, McRae doesn’t shy away from the harshness of this situation. Attempting to move on and heal from a broken heart, “Dear god”, lays out a connection between McRae and a new partner that is strained, on McRae’s side, by reminders of the past. While McRae is struggling to move on from her former partner, her ultimate wish is for this new partner to please her to the point where she no longer has to think of her past relationship.  Purple lace bra Seemingly sexy in its title, the sixth song off McRae’s third record - “Purple lace bra” - displays vulnerability and an unfortunately common perspective. The story in “Purple lace bra” follows McRae struggling to communicate with her partner. The other person does not seem to be present with McRae, only paying attention to her and the relationship when it sexually benefits them. McRae explains in several lines that she has done things physically to try to pique her partner’s interest - dancing on their lap, whispering in their ear, taking clothes off for them, and finally - wearing a purple lace bra - physical representation of the sexual side she has to lean into for her partner to listen to her. While McRae’s music does not shy away from emotion and vulnerability, “Purple lace bra” is a unique and different song for the pop star. Mainly focusing on dance-producing material, the platform embedded into this song for resonation and difference shows just how much McRae has matured as an artist and allowed herself to explore new heights.  Sports car “Sports Car”, the third single and seventh track off “So Close To What”, spices the album up, allowing Tate to show off her pop chops. From top to bottom, “Sports Car” embodies the energy of McRae’s overall music. At the release of this track, fans of McRae quickly realized that this is not the Tate McRae they’ve become comfortable with. With a seductive, teasing start, you’re left wanting more from start to finish. Alongside deep bass and confident, cool vocals, McRae pulls you into the thrill of the romance she’s seeking. Through the song’s production and lyrics, it’s apparent that, much like a sports car, McRae is looking for a fast-paced and thrilling connection.  Signs “Signs”, the eighth song off “So Close To What”, keeps McRae rooted in her confidence and heading toward something bigger & better for her. “Signs” is a reminder from McRae to her current partner that she knows what she wants and does not want to backtrack in progress. “If you love me, you should know me better, see the signs,” a lyric repeated in “Signs”, wonderfully summarizes the song for listeners by being clear and concise. While McRae does not want to experience treatment similar to what she’s been given before, she additionally feels as though she should not have to voice her wishes. Moving forward, she does not buckle down and settle for her partner, staying true to herself and allowing her to move on from a relationship that isn’t working for her.  I know love (feat. The Kid LAROI) The second feature on the album, The Kid LAROI sparks new meaning to “So Close To What” in the ninth track - “I know love”. Extremely different in sound from the eight tracks listed above, “I know love” is fun, pure, and embraces the unpredictability of love. The track explores the complexities of being in love and the complications it brings, all while staying positive. With The Kid LAROI being McRae’s boyfriend, the opening exchange in track clues listeners in on their playful but deep connection. While the chorus, and song overall, continue on to open up about how love can be consuming and confusing, LAROI and McRae switch carefully between keeping up that playful, flirty connection and being open with their emotions.  Like I do Switching the frame of reference, track ten - “Like I do”, changes the overall tone as McRae shifts the song’s subject. With lyrics such as, “Got your own, but you started eyein’ down my man,” McRae not only references back to the first track - “Miss Possessive” - but also shows a difference in who she’s speaking to. Similar to “Miss Possessive”, track ten emphasizes the perspective shared in track 1 with more detail. The line, “and sometimes I’m flattered”, coming before, “But also, fuck you,” shows the confusion McRae feels toward this other girl, darting back & forth between seeing the other girl’s perspective and sticking to her guns. This inability to decide how she truly, overall feels about this girl and her actions stems mainly from her trust being broken - similar to the stories shared of her romantic relationships in the album’s earlier songs. Much like how she’s been treated by romantic partners, the situation in “Like I do” is tiring for McRae and only emphasizes her current state - hurting and looking to heal. It's ok I'm ok “It’s ok I’m ok,” the eleventh track and first single off “So Close To What”, showcases a changed attitude in McRae and a smooth transition from track ten. In the previous track, “Like I do”, McRae was forced by the actions of others to switch between building a defense and letting her guard down. In “It’s ok I’m ok”, McRae has seemingly moved on from the predicament in “Like I do”. The line, “Take him, he’s yours,” indicates a transitional period for McRae, showing her growth from the previous track. “It’s ok I’m ok” is a step away from McRae’s past, aimed toward a period where she can enjoy her life without being tied down by someone who could potentially, again, cause her pain. Out of the fifteen tracks on “So Close To What”, this read as the most confident to me. While I’m unaware of if “It’s ok I’m ok” is meant to be symbolic with its release order, it being the first single off the album to be released, it entirely feels as though it was intentional. “It’s ok I’m ok” is not only a pure piece of above-and-beyond pop music, but additionally a statement piece. This song shows a shift in McRae’s perspective within the album’s story and in her career, communicating to listeners that she has entered a new phase of life.  No I'm not in love “No I’m not in love”, the twelfth song off “So Close To What”, follows a new horizon for McRae. From the song’s introduction, listeners are let in on a world that McRae wants to keep secret and closed off - at least for now. The title of the song itself, “No I’m not in love”, is reflective and symbolic of McRae being in opposition of herself. Throughout the track she debates with herself, pushing against the realization that she consistently stays over at this person’s place, wears their clothes, etc. This hesitation to dive into a real, romantic connection with this person is shown throughout several of the songs off “So Close To What”, but “No I’m not in love” differs from them in its level of impact. “No I’m not in love” is the biggest stance McRae has taken against her past, indicating even through the title that she is fearful of and resistant to the past repeating itself.  Means I care Track thirteen off “So Close To What”, better known as “Means I care,” comes in direct response to “No I’m not in love”. “Means I care” is more upbeat in nature than the previous track, leaning into McRae’s affection for this other person. Rather than deny her feelings, as shown in “No I’m not in love”, McRae pleads with this person to look past her actions and recognize her feelings for him - ultimately asking him to take her signs of rejection with a grain of salt. The lyrics in “Means I care” entail how McRae doesn’t view herself as successful in self-expression when it comes to relationships, highlighting a detail that ties back into former heartbreak.  Greenlight The final two songs of “So Close To What”, titled “Greenlight” and “Nostalgia”, tie in together to beautifully bring the album to a close. Both of these songs are incredibly emotional and personal. McRae lays out dark thoughts on the table and talks about them point-blank through “Greenlight”, once again displaying the maturity she’s shown throughout this album but in a more vulnerable way. While McRae finds herself truly falling for someone and on the path to healing, “Greenlight” details how that healing is not linear. Although the sound of “Greenlight” may be more upbeat than the lyrics let on, it’s truly about McRae’s raw & pained emotional state.  Nostalgia Following “Greenlight”, the final song of “So Close To What” - “Nostalgia” - is McRae’s most reflective song of the album. “Nostalgia” opens with information on McRae’s personal life, detailing the lives of her family and how pain has carried on from person-to-person within the family. This period of reflection is significant for McRae, as she did not reflect on her past in this way before losing her former partner. By placing this song at the bottom of the track list, I feel as though it was done purposely by McRae to show how she came to terms with this heartbreak. Not only does “Nostalgia” let listeners in on a very personal, more private side of McRae, but it additionally brings the album full-circle and ends “So Close To What” on a sweet, purely human note.  Written By Madison Spies FOLLOW TATE MCRAE : Instagram | Twitter | Facebook | Spotify | TikTok | YouTube *copyright not intended. Fair use act, section 107.

In her latest single, released February 7th, British pop-country artist Twinnie combines the thrilling rush of developing a crush, but also being crushed by it. Twinnie states that “Worst Kind of Crush” is about “missing the potential of what could have been—when someone does a 180 on you and their feelings completely switch.” Her lyrics absolutely nail this feeling of apprehension, but the soundscape is full of synth pop sounds and upbeat vocals. This combination doesn’t feel like it should work as well as it does, but Twinnie blends them seamlessly and takes listeners on a journey of dealing with heartbreak, self-awareness, and the fact that, even though she knows they will not work, she still wants him. This track opens right off the bat with a repeated “the worst kind of crush” overlaying electric synths and a steady beat. The first verse describes how their love was like a speeding car that suddenly hit the brakes, and yet Twinnie still wants to get right back in. The chorus hits just as fast as the brakes, with Twinnie’s voice building up into “The worst kinda crush” yet again in the same breathy but strong vocal tonality as the first line. She goes on to sing about what the crush feels like, that it “Is us making out at midnight on New Year's Eve / The worst kinda rush / Is us giving it up and you disappearing on me”. Twinnie-Lee Moore, known in the music industry as simply Twinnie, was born with music in her heart. Hailing from England and now residing in Nashville, Moore was raised in a Romani Gypsy community where music was a way to share stories and was central to her upbringing. She started acting professionally at age four, accumulating roles in West End and on the big screen. She debuted her first album with a major record label in 2020 with ‘Hollywood Gypsy’, which was praised by many big name artists and companies. Raised on artists like Dolly Parton, Billy Joel, and Shania Twain, she has perfectly blended a country twang into her musical style. Make sure to follow the social medias below to stay tuned for more music from Twinnie. Written By Tessa Maddaloni FOLLOW ARTIST: Instagram | Spotify  | TikTok  | Facebook  | YouTube

Travel back in time and embrace the intertwining of americana roots, indie success, and pop preciseness with artist Malia Rogers’ latest single titled “I Could Barely Drive”. Introducing the song with the strum of a guitar & banjo fading in, Rogers takes listeners on a journey that feels both personal and entirely, easily relatable. “I Could Barely Drive”, while upbeat in sound and style, contains a deeper meaning with lyrics littered with detail and a classic charm. Blending a multitude of genres and embedding personal, real-life-example lyrics, “I Could Barely Drive is a song that would be favored by artists like The Chicks, Joan Baez, Carol King, etc. Telling a story revolving around pain, Rogers beautifully navigates the space between hurting & healing. “I Could Barely Drive” takes listeners on a journey that doesn’t shy away from low, gritty moments and simultaneously produces a message of hope for the future that stems from Rogers reflecting on how to help both herself & others. Although the story of “I Could Barely Drive” is produced from a consistent issue, Rogers steers away from a bruised attitude and instead focuses on how to better the situation for her and her former love. While a significant amount of pop music material revolves around serving justice when someone has wronged their partner, Rogers buckles down and channels her energy in a healthy way. In place of creating a song that embodies a perspective of pain & revenge, Rogers genuinely wants the best for herself and this other person. The loss of the connection laid out in this track is very obviously a long-term, deep, and mature relationship – shown through lyrics dating back from the past to present, the inclusion of luscious and complex instruments, etc. Listening to “I Could Barely Drive” from start to finish, you are thrown completely into the relationship through both lyric and sound. Though, above all, Rogers’ implementation of folk-leaning instruments like banjos, guitars, etc., alongside production that falls under the umbrella of pop & alternative, showcases how seriously she takes this craft. Each detail of this song adds a new layer to the story, building upon one another to properly dive into this deep relationship. Yet, the meaning received above others in “I Could Barely Drive” transcends the story of the relationship, showing people that communication, forgiveness, and hard work can lead to progress for yourself. Malia Rogers is a Canadian folk singer-songwriter, actor, and multi-instrumentalist from Nova Scotia. Raised with a maritime upbringing, Rogers sees a connection between music, storytelling, and community. In her songwriting process, Rogers creates an approach that is personal and vulnerable, putting lyrics from the heart in place alongside grounded instrumentation. Rogers’ first, upcoming EP, Chameleon , involves themes of fear, grief, love, legacy, and hope – in addition to imploring people to be compassionate in their own lives, to themselves. On top of her solo work, Rogers performs and tours as a band member with music projects Jessica Pearson & the East Wind and Ian Sherwood. When not performing solo or band music, Rogers can be found onstage at Theatre Gargantua, Theatre of the Beat, and Neptune Theatre as an actor-musician. Now based in Ontario, Rogers is ready to take listeners on a journey that is representative of what life on the East Coast, at home with her family feels like – warm, full of personality, and rich with life. Written By Madison Spies FOLLOW MALIA ROGERS: Instagram | Spotify  | Facebook  | YouTube

"Love You Blindly" is the latest release from indie pop artist, Mia Baron. Fitting with the romantic nature of the song, it was released on this year's Valentine's Day. The track tackles feelings of love, longing, and nostalgia, wrapped up in impassioned vocals and lush production, as she sings to a former lover about how things would be different if they gave it another chance. The song is perfect fans of artists like Madison Beer, Nessa Barrett, and Olivia Rodrigo, who will be drawn to the powerful vocals, poignant lyricism, and emotional soundscape. Make sure to add the release to your favorite playlists! "Love You Blindly" describes feeling in love with and devoted to someone after the relationship ended. As she sings about replaying the memories, sorting through objects left from the relationship, and wishing they haven't moved on, it becomes clear how much she regrets any mistakes made and just wants the chance to make things right. These feelings culminate in the powerful chorus with lyrics, "I'll love you blindly / Hold you tightly / Promise I won't let go lightly." She let them go before, but if given another chance, she would be committed to loving them the way they deserve. It's a bittersweet sentiment delivered through emotional vocals, backed by a guitar-driven production. Mia Baron is a 17-year-old singer-songwriter from Toronto. Her musical journey began when she was 11, then she was classically trained on piano at 12 and wrote her first song by 13. Now, she has released over a dozen songs and gained over 4,000,000 streams across platforms, fully independent without a label or management. Her lyricism often explores the darker sides of her personality, intoxicating romance, and heartbreak with vulnerability and poeticism. If you enjoyed "Love You Blindly," make sure to check out the rest of her discography. You can also keep up with all the latest information on Mia Baron and her music by following the social media links below. Written By Sydney Gray FOLLOW MIA BARON: Instagram | Spotify  | TikTok  | Facebook  | YouTube

VXXK's "Drifting Away" is an exploration of emotional distance and the quiet disintegration of a relationship. The song weaves through a melancholic melody, underscored by atmospheric production that mirrors the isolation conveyed in the lyrics. The narrative captures a moment where two people slowly lose touch with each other, both physically and emotionally. "Drifting Away" speaks to a familiar feeling of a fading connection, a loss of intimacy that many listeners will relate to. The song evokes moments when you find yourself standing in a room with someone, yet feel miles away, unsure of when exactly the distance began to grow. Whether it's the lingering absence of someone you thought you'd grow old with or the quieter dissolution of a friendship. "Drifting Away" captures that painful, universal moment of realizing the inevitable is happening -- everything you once shared is slipping out of reach. "Drifting Away" is a masterclass in atmospheric, alt-pop that balances subtle instrumentation with an emotionally charged vocal performance. The song opens with a minimalist piano riff, which sets a melancholic tone, quickly layered with soft, reverb-drenched guitar lines that add depth and texture. The beat has a quiet, slow-paced rhythm that complements the song's introspective nature. As the track progresses, electronic elements subtly creep in, creating a spacious, dreamlike quality that mirrors the lyrical theme of emotional detachment. VXXK's voice is soft yet haunting, it has a touch of fragility that brings an air of vulnerability. The overall feeling is one of introspection -- like floating in a state of longing, caught between holding on and letting go. It's a song that resonates with a quiet sadness, making listeners reflect on lost connections and the drift of time. VXXK is a DJ and producer known for his electrifying beats and boundary-pushing tracks. His music consists of club anthems and soulful collaborations, a journey of sound that resonates across the globe. His music carries the ability to captivate audiences with the blend of emotion and rhythm. VXXK released his debut single in 2024, called "To the Ceiling" and has also released Heal My Pain. Be sure to follow VXXK on Instagram and Spotify for new updates. Continue to stream "Drifting Away" along his other music on your preferred streaming platform. I can't wait to see what VXXK has in store for the future! Written By Catherine Espejo FOLLOW VXXK: Instagram   | Spotify  | TikTok  | YouTube   *Sponsored Post - Discovered on Musosoup. A contribution was made to help create this article. #SustainableCurator

Who doesn’t love a love-rock ballad? Hello Sister’s new song ‘All Over Again’ reaches into the depths of our young loving hearts with a unique take on songs about relationships. Instead of looking back on a past relationship and remembering all the fun, happy things that happened, All Over Again focuses on the bad things and say despite these events happening, they would still do it all over again. Viewers dive into the song through descriptive lyrics like “On a cold November evening” starting off at the top of the song as well as intimate stories about a fight happening at the movies while also giving the listener space to put in their own scenarios for relatability. These lyrics attached to their pop-rock sound will attract any listener from any background.  Hello Sister knew that all they needed were a few drumstick clicks to grab our attention and to kick things off with this song. Between the drums sounding like they’re out of an early 2000’s Kelly Clarkson music video and the guitar and piano bouncing off of each other make this song any music lover's dream. As someone who is a huge fan of rom-coms, this song gives off the feeling of when the two main characters get into an argument and are looking for ways to rekindle their relationship. Hello Sister brings the heart and emotion back into pop rock with a modern twist while tying in inspiration from their favorite bands.  All the way from Orlando, Florida, Hello Sister is a pop rock group consisting of three sisters who are here to rename the rock n’ roll game. The band's members are Grace, 18, on bass and vocals, Gabriella, 16, on the electric guitar and Scarlett, 15, on the drums. Their music inspirations are Green Day, Paramore and Avril Lavigne and their sound is exactly spot on with their mentors. At such young ages, these three sisters are already getting their name out there with over 150k followers on Instagram. These sisters are about to take the music industry by storm so be sure to keep your eye out!  Written By Breanna M. FOLLOW HELLO SISTER: Instagram | Spotify  | TikTok  | Facebook  | YouTube

You probably know what copyright is - a piece of intellectual property that the owner has the exclusive right to publish, perform, film, or record. This principle is enshrined in Article I Section 8 of the Constitution to “Promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries". Since then, copyright laws have only become more and more wide-ranging and specific. Although the basics of copyright are pretty easy to understand, music copyright laws are often vague and complex to the average person. So, let’s take a deep dive into US copyright laws and how they apply to music. There are two kinds of copyrights in the music industry - musical works and sound recordings. Musical works , sometimes referred to as the underlying musical composition, is the composition part, aka the lyrics. Songwriters commonly share ownership with the music publisher. Sound recordings , on the other hand, are the physical recording of the song.  Ⓒ is the symbol for the music composition and ⓟ is for the sound recording - the ⓟ is for phonogram. In order for a work to be protected under copyright law, it must be a) original to the author, b) of sufficient substance to be considered a work, c) fixed in a tangible form (CD, sheet music, etc) or on a machine or device (hard drive, computer, mp3). As I mentioned earlier, copyright law was enacted under the constitution to ” In 1790, the first copyright law was enacted by Congress, which established copyright protection for 14 years with a renewal period of 14 years. This act only protected maps, books, charts, and at this point, the Library of Congress and Copyright Office did not exist - they were created in 1800 and 1897, respectively. Copyright protections were expanded to include musical composers with the Copyright Act of 183 1. This also extended the period of protection from 14 to 28 years, but still kept the 14-year renewal period. In 1889, copyright protections applied to public performances. Places like gyms, restaurants, and live music venues need to obtain a public performance license to play music in a public setting. Performing Rights Organizations collect and distribute the royalties to the artists, which I’ll go into a bit later. This copyright act predates copyright protections for recorded music, which doesn’t come until 1909 . This major update introduced mechanical rights, aka the mechanical production of songs. This means that an artist will get paid when their composition gets mechanically produced. At this time, this applied to the phonograph, one of the earliest mechanisms to record music. This updated the protection period once again - this time, the renewal period was 28 instead of 14, summing to a total 56 potential years your copyright could be protected. The next major update to copyright law was the Copyright Act of 1976 , which generally speaking, is the basis of our current copyright laws. This act did multiple things to change copyright laws. First, this updated the protection period for the author’s life + 50 years. For example, if you released a song at 20 and died at 70, your work would be protected for 100 years, since you were alive for 50 years after your song’s release plus an extra 50 years. This details the basic rights of copyright holders and codified the doctrine of fair use. Fair use is a doctrine that states that someone can use copyrighted material without permission from the rights holder(s). An example of fair use is a journalist reporting on a song and including a lyric from the song. Synchronization rights were also established in 1976, which means that music synchronized in video games, movies, and TV shows, are protected and are synch fees upfront and granted royalties ongoing. To use music in your own works, you must contact the copyright holder(s) and negotiate a synch license.  Roughly 20 years later in 1995, the Digital Performance Right in Sound Recordings Act was created. This allowed for music creators and record companies (who usually had ownership of the sound recording) to get royalties from digital performances. This was in response to the increasing frequency of unlicensed mp3s and illegal downloads from websites like Napster. In 1998, there were two prominent acts that influenced music copyright - Sonny Bono Copyright Term Extension Ac t and US Digital Millennium Copyright Act (DMCA) . The Sonny Bono Act extended the period of protection once again; the renewal period of protection was extended. This updated the protection period for the author’s life + 70 years. For example, if you released a song at 20 and died at 70, your work would be protected for 120 years, since you were alive for 50 years after your song’s release plus an extra 70 years. The DMCA required webcasters to pay license fees to record companies. This act also protects Internet Service Providers (ISPs) from infringement if they remove the alleged infringed material on their website. In addition, this heightened punishment for copyright infringement on the Internet specifically.  The latest changes to copyright law in the US is the Music Modernization Act of 2018 . This addressed problems that digital music providers, (DSPs) like Spotify and Apple Music, were facing in the digital age. This act improved payments to songwriters and streamlined the music licensing process for audio-only, on-demand streaming. The act did 3 main things. Created a blanket license for DSPs to offer downloads and streams Created the Mechanical License Collective (MLC) to administer blanket licenses Created a public database of songs, their owners, and the percent ownership and matches writers to their compositions and sound recordings Now, let’s discuss the 6 exclusive rights that copyright owners have. Reproduction - the right to reproduce a work in copies Vinyls, cassettes, CDs, sheet music, digital files, streams Distribution - to sell the coped works, import/export, aka make money Uploading to Spotify, SoundCloud, Apple Music, etc Derivative works - a work based on a previous work, such as a musical arrangement, can be changed or adapted The copyright holder has the right to license modified works For derivative works, you must need a license from the publisher and the record company Public performances - the right to perform the copyrighted work publicly; Performing Rights Organizations (PROs) collect and distribute the revenue from this ASCAP , BMI , and SESAC are the three PROs Display work publicly - applies to any literary, musical, dramatic, choreographic works and pictorial, graphic, or sculptural works Different from public performances Ex: putting a lyric on a t-shirt Digital audio transmission - the right to perform copyrighted work through digital audio transmission Digital audio transmission can be from the Internet (ex: Pandora), satellite (ex: SiriusXM), or Cable TV So, what exactly can you and cannot copyright? Only the expression of the idea is copyrightable, which is a bit ambiguous. You cannot copyright a genre - you can’t copyright pop or rock. You can’t copyright a chord progression , like I-V-vi-IV. Your melody is protected under copyright , even if another artist changes the key. Essentially, you own the melody in all the keys. Your lyrics are protected under copyright  as well. Even your melodies written in your Notes app or Voice Memos app, it is protected by copyright. Singing it aloud to your friends without proof of it is not copyright protected. What are the rules with samples, covers, and interpolations? Sampling , the reuse of a portion of a previous recording in a new work, requires a license  from the r ights holders of the musical composition and the sound recording . Even using a second of a previous recording without crediting the rights holders is illegal, and can result in copyright infringement. Interpolations , on the other hand, is a re-working or re-recording of a musical composition. This could include different performers or different instruments, for example. For interpolation, you only need a license from the rights holder(s) of the musical works . With covers , it is covered under a compulsory license, meaning that the rights holders cannot stop you from recording a cover.  However, you must notify the owners of the musical composition and need to pay them royalties. Now I want to talk about some famous copyright infringement cases and their outcomes. Robin Thicke, Pharrell Williams vs. Marvin Gaye Estate for “Blurred Lines” Marvin Gaye’s estate argued that Thicke and Williams stole the “groove” and “vibe” of Gaye’s 1977 hit “Got to Give it Up”. The plaintiffs regularly mentioned a quote from a GQ article with Thicke, saying that one of his favorite songs was “Got to Give it Up” and wanted to recreate the vibe. The case stretched on for 5 years, and eventually Thicke and Williams had to pay $5 million to the estate. I may not be a lawyer, but in my opinion, I don’t believe that Thicke and Williams copied Marvin Gaye. Robin Thicke is a controversial figure, and I believe that could’ve potentially swayed the jury in favor of Marvin Gaye’s estate. Taylor Swift vs. Sean Hall and Nathan Butler for “Shake it Off” Hall and Butler were on a “3LW” titled “Playas Gon’ Play”,and they argued that Swift stole their lyrics “players gonna play” and “haters gonna hate”. Swift denied any knowledge of the song before writing her 2014 hit. The plaintiff’s filed the suit in 2017, and went on for 5 years. In 2022, the two parties made a private agreement and jointly filed to dismiss the case. Although this suit never made it to court, I believe that the plaintiff's argument would not have held up. “Players gonna play” and “haters gonna hate” are common phrases, and Swift argued at her young age, she wouldn’t have heard these phrases on the radio, rather, on the playground. Vanilla Ice vs. David Bowie and Queen for “Ice Ice Baby” David Bowie and Queen sued Vanilla Ice, whose real name is Robert Van Winkle, for sampling the bass line of “Under Pressure” in his song “Ice Ice Baby” without crediting them. Vanilla Ice argued that since he added an extra beat to the bass line, it wasn’t the same and therefore he didn’t need to credit them. Bowie and Queen were eventually given writing credits after being settled out of court. After the case was settled, Vanilla Ice admitted that he did in fact sample “Under Pressure”, but he bought the rights to the song. In my unprofessional opinion, there was no way this case would’ve held up in court - anyone who knows both songs can recognize that the bass line in “Ice Ice Baby” is clearly the same as “Under Pressure”, and the one extra beat does not make a difference.  I hope everyone enjoyed this deep dive into the US Copyright Law regarding music. Let us know what music industry topics you want us to cover in a future article! Written By Lauren DiGiovanni Instagram | Twitter | Facebook | Spotify | TikTok | YouTube *copyright not intended. Fair use act, section 107.

Memories are tied to relationships just like a thread is to a sweater. If the thread starts to pull and then starts to unravel, the sweater is damaged and it’s not the same as when you bought it. The same could be said about relationships, when the second the good memories turn into bad ones, the relationship will never be the same. “Turtleneck” by Maddie Regent uses the metaphor of a turtleneck sweater to describe a bittersweet reflection on a past relationship. One of the most creative metaphors in the song is about an Etch A Sketch. Maddie sings about drawing her ex’s face and how she wishes she could “copy and paste” the small intricate details she used to know so well. She’s holding on to their memories and drawing them is almost like reliving them or keeping them stored in her mind, but when she goes to “shake, shake, erase” she’s wiping them away and taking the first step to letting the relationship go. It’s a great way to compare the complex mixed feelings that occur when you’re heartbroken. We learn in the chorus that the actual turtleneck was a symbol for their connection. Through the imagery of the turtleneck, we learn that their relationship was comfortable and intimate. Maddie also sings about passing through the planets and says she’s “way out here in outer space” which could symbolize distance and isolation. Assuming he’s on earth, by traveling to outer space she’s going on a solo journey where the different planets she visits can represent overlooking a different stage in their relationship. When a relationship is truly over, it’s hard to fully let go for good. Maddie expresses the desire to let go while simultaneously wanting to relive certain moments again through these lyrics. “Turtleneck” by Maddie Regent is a perfect description of the cycle of love, heartbreak, and every emotion in between. Produced by Cade Hoppe and Harper James, this song combines beautiful acoustic elements with powerful and vulnerable lyrics. This track is powered by the guitar. The vibe that this song gives off is almost whimsical, and I think it’s partially because of Maddie’s soft voice and through the instrumentation. While listening, it’s just clear that this song was produced very well because all elements of the track flow together seamlessly and complement each other very well. I love Maddie’s voice, especially during the bridge because you can hear her emotion get more intense and the music matches it. This song is so good it’s so easy to keep it on repeat and not get tired of it. Maddie Regent is a singer-songwriter originally from Toronto, Canada, but is now based in New York City. Maddie grew up as a musician and started making music at just twelve years old. Music became her superpower, and truly gave her an outlet to express herself and explore her creativity. Maddie released her debut EP “MISS REGENT” in October of 2021. That EP was produced by the Grammy-nominated songwriting-production trio LIONCHILD, who has worked with Britney Spears, Bebe Rexha, and Calvin Harris. Her single “EGO” was a smashing success and even produced some viral Tik Tok moments. The song currently has over one million streams on Spotify. Maddie is definitely an artist to watch and her album “On the phone with my mom” is set to drop this spring. Check out “Turtleneck” and give it a listen! Written By Alexa LaMalfa FOLLOW MADDIE REGENT: Instagram | Spotify  | TikTok  | Facebook  | YouTube

Life is a constant battle of expecting the worst and hoping for the best. As we get older, we start to realize how easy disappointment comes and how numb we start to feel towards it. We pick up the habits of predicting all the worst outcomes to try and guard our emotions from the initial hit. Makena released a new single titled “Natural Born Pessimist” about self-doubt in life and relationships.  It’s an alternative pop song with a pulsing beat, soft synths, angelic vocals and sharp lyricism. She writes about the fear that one day, love might slip away. It’s not because of any external sign, but the habit of anticipating heartbreak. Makena said “I wrote this in the middle of spiraling. Nothing was actually wrong, but I couldn’t shake the feeling that it was only a matter of time before things fell apart.” She went on to explain how it all comes down to the mental battle of being a pessimist and choosing to believe in impending doom despite others external actions. “I’ve always seen the world in gray.” She puts so much depth into her words showcasing how much internal pain this causes her. “Natural Born Pessimist” is a vulnerable track with raw energy that resonates deep into your bones. If you’re one to find any reason for disaster, this song is for you. Makena is an alt pop singer-songwriter based in Los Angeles. She is known for her edgy, self aware lyrics that resonate with her listeners. Her debut single “Time of My Life” was released in 2020 and she’s been growing her discography ever since. With 10.1K monthly listeners on Spotify, it’s safe to say she has a gift. Her bad bitch energy and vulnerability make her stand out with her music. With every release, she continues to grow her space in the alternative pop scene and it’s rightfully deserved. "Natural Born Pessimist" is a bop and I anticipate great things from Makena. Follow her socials down below to stay in the loop with her current and future music. Written By Emylee Herring FOLLOW MAKENA: Instagram | Spotify  | TikTok  | Facebook  | YouTube

New single "Follow Me" by artist Lamia explores the overpowering nature of love and how all else is abandoned for the sake of it. It explores relationships that consume your entire being and how this love may be dangerous, and that even when the smart move is to leave, you find yourself frozen. The song itself is a fun dream pop track that thrives with its dynamic guitars and vivid imagery. "Follow Me" understands what it's like to be taken over by someone you love to the point where you no longer think straight, almost as if you're under a trance. The song repeatedly highlights the blind faith that love entices and it does it in such a magical manner. The beauty of "Follow Me" is how easy it is to connect to those emotions being sung, to recall all those moments where you found yourself being drowned by love, unable to swim away. "Follow Me" is slightly whimsical and this unique nature is what immediately draws you in when you press play. The lyrics do a great job of portraying the urgency of the speaker, painting the dependency of this relationship and how it's completely taken over. As the song progresses we hear how the speaker has completely let themselves go for the other person and they become so desperate to know if the situation is the same on the other side. When thinking of the guitars on this track the first thing that comes to mind is the term "pretty," because they sound so sweet and vivid throughout "Follow Me." Same goes for Lamia and her performance, filled with such emotion, her voice soothes and entrances. The chorus feels very cinematic and this specific section really helps listeners walk in the shoes of the speaker, almost as if we are experiencing these overbearing emotions as well. Lamia has such a way with words, her lyrics haunt listeners with their transparency, perfectly relaying this all-consuming relationship. With this track, Lamia comes across as a very unique and interesting artist you can see yourself falling in love with only one track. Lamia is an artist originally from Dresden, Germany who first released music in 2022. She takes inspiration from artists like Daughter and Halsey, which can definitely be heard in her own work. Lamia's style of music definitely makes audiences feel like they're living in a dream-like state, everything feels so fuzzy and abnormal, in a good way. For this single Lamia had the opportunity to work with her partner to create this story and this information only makes the listening experience much more enjoyable. She holds a lot of pride for "Follow Me" because she was also able to record and produce this song in her own home.  Overall, it's nice to see how much fun Lamia had making this track with those she holds dear, because it's always important to remember to enjoy the process of making art. Currently, Lamia is working on an EP that is expected in the summer so keep your eyes and ears wide open for that. Written By Chantal Charles FOLLOW LAMIA: Instagram   | Spotify  | YouTube   *Sponsored Post - Discovered on Musosoup. A contribution was made to help create this article. #SustainableCurator