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(06/05/25 3:25am)
It starts like this: a flicker of synth, then a bloom of red and pink light. Mica Tenenbaum—one half of synth–pop duo Magdalena Bay—stands alone on a centerstage pedestal, framed by a halo of light and an enormous sunflower headpiece. Or maybe it starts earlier, in a dorm room—Tenenbaum at Penn, Matthew Lewin at Northeastern University—two ex–prog–rock teens trying to rewire their musical instincts into something shinier, more playful.
(06/06/25 12:30pm)
Throughout her career, Kali Uchis has proven herself adept at pulling out listeners’ every tender emotion through her ethereal vocals and magical storytelling. Her passionate embrace of the unspoken power found in femininity can be heard throughout all of her releases: Uchis’ first studio album, Por Vida, recalls the feeling of heartbreak after a failed relationship, while her most recent Latin album Orquídeas represents all of the beauty and mystique of her empowered femininity.
(06/10/25 4:34pm)
When KATSEYE dropped their latest single “Gnarly” this summer, the reaction from fans was swift and brutal. The six–member group, formed through the reality competition The Debut: Dream Academy and backed by K–pop powerhouse HYBE, had built their reputation on the soft, accessible sounds of their early tracks “Touch” and “Debut.” Their sudden pivot to hyperpop chaos gave listeners artistic whiplash, with the song's dissonant, industrial sound being a far cry from anything KATSEYE had put out before.
(06/13/25 4:43am)
Rays of sunlight embrace nearby trees. Row homes and Victorians line the streets. Lawns flaunt batches of petunias and tulips. Pedestrians sport fishnets, black concert tees, and myriad other grunge accessories, as they walk past children loudly advertising their lemonade stands. The aroma of fresh pastries from Clark Park pervades the air. Long lines snake out the door of every nearby cafe. Typically, one might dismiss these summertime emblems as ordinary. Today, however, they enliven my friend and I as we saunter through West Philly Porchfest—the neighborhood’s beloved grassroots music festival.
(05/30/25 1:55pm)
Underground Arts—an unassuming concert venue tucked just a few blocks north of Reading Terminal Market—sure lives up to its name. Upon entry, guests head down a stairwell into a music hall. With concrete floors, exposed brick, and hulking structural pillars, the place feels industrial, maybe even drab—but the barebones design provides a blank canvas for creativity. And on this Thursday night in late March, it’s filled with a symphony of sounds and a kaleidoscope of colors.
(05/04/25 8:20pm)
When Carlee “Lee” Reid (W ‘25)—also known by her stage name carLEEE—came to Penn as a freshman in August 2021, she had never sung in front of an audience before. Though she had a liking for music and songwriting since she was a kid, music was nothing more than a hobby, a distant aspiration. Four years later, after releasing her debut single “chew” alongside a self–produced music video, Lee can hardly believe that her love of music was once confined within her bedroom walls. The singer’s college years have been a whirlwind of musical talent, passion, and discovery, establishing herself as an involved musician within the Penn community. But how did she get here?
(04/28/25 6:21pm)
Djo had quite the year in 2024—a spike in success spurred by the sudden popularity of “End of Beginning”—a single from his 2022 album DECIDE. It became the alternative, nostalgia–provoking power–ballad of the summer. In a way, Djo proved that you could have it all—a successful acting career starring in one of the biggest shows on Netflix and a top 20 mega–hit to boot. Riding the wave of this success, Djo announced his triumphant return this year with his third studio album, The Crux, a concept album where he details his adventures through the lens of a fictional hotel and its guests. Really, the record has emerged as some kind of performance test for the artist: Will he be able to recapture the hearts of his audience again, or is it … djover?
(05/28/25 1:40am)
Are you really a Tate McRae fan if you can’t recall her YouTube days; an image of her playing the keyboard in her bedroom, singing a song from the perspective of an angsty teen butting heads with her parents? What do you know about the Troye Sivan and Tyler Oakley collabs? Have you ever watched meticulously as Conan Gray taught you how to make a five–minute microwave mug cake? What looming connection exists between Joji and chaotic internet persona Filthy Frank? Or maybe you caught a glimpse of Shawn Mendes during his Magcon days?
While these may sound like scattered trivia about today's chart–toppers, they point to an awkward truth: many of our favorite artists have their roots in early to late 2010s influencer culture. While today the musical ventures of influencers like Dixie D’amelio and Chase Hudson, also known as Lil Huddy, are frequently dismissed as desperate cash grabs, something just seemed to “click” for past aspiring internet personalities, successful in their transition to “serious” artists. In fact, their unfledged digital footprints have become ignored vestiges to current audiences, who hardly associate these artists with their previous online presence. So, why were they able to ditch the influencer image, while so many current creators seem to be unable to?
(04/21/25 7:56pm)
Walking into MOM’s Organic, I picked up some okay hummus and a handful of drinks, dressed in an all–black ensemble that told the world, despite my banal snacks, I was in for a fun night. The crowning jewel of my outfit, however, was the Poppy t–shirt from three tours ago, my only real tell to the night I was about to have—something my check–out assistant immediately picked up on. We talked about the artist’s one–of–a–kind status; her ability to bridge the gap between female pop icon and hard–rock superstar, transforming from internet oddity to the first female Grammy–nominated metal act, all without being cringe. But mostly, we talked about how jealous he was that I got to go to her show at the Fillmore—and for good reason, she was incredible.
(04/21/25 8:05pm)
Her boyfriend? Shockingly identical to her brother. Her Wicked press tour? Overshadowed by her weirdly codependent relationship with Cynthia Erivo than the movie itself. Homewrecker allegations still slam her from all sides. The Oscars left her empty–handed; the Grammys, under–nominated. Ariana Grande had one mission with eternal sunshine deluxe: brighter days ahead: to polish the dents in her image and maintain her status as a pop superstar. And she delivered.
(04/14/25 2:49pm)
When I started Apple TV+’s Severance three years ago, two things struck me most: The first was its primary setting—Lumon’s headquarters—which happened to be a familiar and frequent study spot 20 minutes from my home in Jersey. The second, and perhaps more universally relatable, was its music. The opening theme is immediately engrossing, strange, and cinematic, introduced with eerie keys and crescendoing into swelling strings and electronics. Paired with the title sequence’s trippy visuals, it’s one of the strongest hooks I’ve ever encountered in television.
(04/07/25 7:40pm)
Trust me when I say this—you need to check out NMIXX.
(04/17/25 8:29pm)
On March 14, Playboi Carti released his long–awaited third studio album, MUSIC. The record followed his 2020 album, Whole Lotta Red, plus five long years of teasing fans with a plethora of other projects. The 30–track album sees Carti continue in experimenting with his sound and lyricism, moving away from the vampy production and baby voice seen across Whole Lotta Red and instead opting for lower–pitched, Future–esque vocals.
(04/20/25 6:11pm)
Japanese Breakfast's latest album—before the release of For Melancholy Brunettes (& Sad Women) on March 21—was not their widely acclaimed record Jubilee, as some reviews incorrectly cite. In reality, the group released an instrumental Original Video Game Soundtrack for Sable in September 2021 just a few months after the release of Jubilee. The game centered around exploration, and the soundtrack was softly infused with the whimsy and adventure of an open–world landscape.
(05/04/25 8:55pm)
A line forms outside the Foto Club, a scrappy bar in Harrowgate, Philadelphia. Outside, several people mingle in groups, standing awkwardly, yet excitedly in the darkness. I arrive an hour earlier in an unsuccessful attempt to nab an interview with ALEXSUCKS, the headliner for this special show. I do, however, catch the band members unloading their equipment as I exit, just in time to hear guitarist John Luther accidentally lock himself out of the tour van and mutter “Ahhh, fuck,” in perhaps a more unfiltered moment.
(04/10/25 4:45pm)
On March 13, 2025, indie pop singer Chappell Roan rocked the worlds of sapphic Midwest princesses everywhere by going full Nashville. On that fateful day, Roan released the single “The Giver” from her upcoming album, and to the shock of some (and the chagrin of many), the record is a country song. Roan joins many others in the industry that are undergoing an anti–Taylor Swift arc, if you will: female pop stars shifting their music over to a country aesthetic. Sabrina Carpenter, for example, collaborated with country superstar Dolly Parton on the deluxe version of her album Short n Sweet in February. Beyoncé released her first country album, Cowboy Carter, to much acclaim last year. So what’s going on? Are rhinestone cowboy boots trending of their own accord? Or are there larger political causes and implications behind the insidious move to guitars and Southern twang?
(04/13/25 4:42pm)
It's one of those days when everything feels like it's going wrong. You don't get your friend into the party (and nearly end a different friendship in the process), the guy you thought was pretty cool bails on you for his girlfriend, an ex–hookup hits you up at the worst time, and you’re sobering up in the cold wind. The host almost doesn’t let you into the venue because they don’t “do” press passes (despite you having an email confirming your press pass). All you have been looking forward to for three months now is this one concert, someone who you think made your Album of the Year, and still the opener is terrible. But maybe, just maybe, it’ll be worth it.
(03/31/25 1:56pm)
It’s hard to shove your way through a crowd of thousands who are a few steps away from seeing their rock idol, and even harder when you’re sober. I fight to the ticket stand and resist the urge to clip one of the Fillmore’s strange Red Bull vodka lemonades before the crowd herds me into the main hall. As the space opens up, I take in the view around me—half prohibition speakeasy, half disco hall, full of people somehow dressed for both.
(04/18/25 4:00am)
It is no secret to (most) students at Penn that something must be done about climate change. Information about the climate crisis haunts our “For You” pages, taints our conversations with friends and family, and plagues our everyday lives with an omnipresent awareness of rising tension and temperatures. As the atmospheric carbon concentration mounts, so does our sense of impending doom—until we’re left with nothing but a sickening sense of helplessness and a high level of media fatigue. At times like these, it’s easier to detach from the world. Others choose to completely numb themselves to its chaos: The choice seems to be between Adderall, Van Pelt Library, or crawling back under the covers and never coming out.
(04/09/25 7:22pm)
If you were able to snag tickets to your favorite artist’s tour, chances are you flooded your feed with 30–second clips featuring your painfully off–key scream–singing. If you didn’t, you probably clench your fists in anger at the mere mention of the show you missed. Touring has captured the attention of music enthusiasts around the globe (literally) for decades, playing an integral role in album lifespan and artist visibility. However, given the ticking climate clock, environmental activists have criticized touring musicians for their carbon emissions and energy usage, opening a discussion on the potential of sustainable tours.
