Andrew Spice is a classically trained pianist, vocalist and songwriter who grew up in rural Manitoba. He earned numerous accolades during his early music education, and was headed toward a career as a concert pianist. Then, influenced by the raw confessional albums released by artists such as Tori Amos, Fiona Apple and PJ Harvey in the 90s, Andrew began writing his own songs. The process proved powerfully cathartic. As a coming-of-age queer person, he soon caught the attention of 3-time Juno nominee Emm Gryner. Andrew moved to Toronto, set his classical aspirations aside, and signed with Gryner’s label.
The result was 2003’s Pretty Demons (Dead Daisy Records/Outside Music). Publication after publication raved about his debut: “So sensitive it will break your heart” (The Varsity); “profound, beyond-Thom Yorke melancholy…a genuine talent whose lyrics are carefully wrought poems” (Now Magazine); “between the loopy highs of Tori Amos and the degraded depths of Trent Reznor…with the talent on display on this album, I can see Andrew Spice one day reaching their status” (Swerve); and “this songwriter has the rare ability to make a profound statement using a minimum of words and notes… Spice manages to put his finger on our collective hearts”(The Toronto Star). Andrew performed with artists such as Jason Collett (Broken Social Scene), Amy Millan (Stars), Danny Michel, Dayna Manning and Jann Arden. He played a showcase set at NXNE, and was nominated for Outstanding Debut Recording at the OutMusic Awards.
Subsequently, Andrew’s path took another unusual turn: he earned a Ph.D. and became a clinical psychologist. Spice became well-respected in Toronto as a specialist in treating self-harm and suicidal behaviours, among other issues. Then, quite unexpectedly, inspiration struck again and he returned to music after over 20 years—all the while continuing to practice as a psychologist.
For Jake Fields, all it took was $70 and a thrift store visit to change the trajectory of his life. While he originally had aspirations to be in professional baseball, the chance decision of buying a cheap electric guitar and amp was all it took for him to dedicate his life to music. What began as a hobby quickly evolved into live gigs at iconic venues such as Los Angeles’ Whisky a Go Go, Hotel Cafe, and The Troubadour—ultimately leading to a full-time career in professional music. After falling deeply in love with songwriting and performing, Jake released his first artfully written solo EP, Someday You’ll Be Mine, before releasing his No One Wants To See The Grand Canyon Alone EP under his new moniker, with songs spanning the themes of love, loss, culture, and family.
Now under the name Fields of Jake, he’s excited to share his upcoming 8-song album, mostly recorded at the studio Lucy’s Meat Market in Los Angeles. For this anticipated pop-rock record, Fields of Jake once again teamed with famed producer Jim McGorman (Goo Goo Dolls, Marc Broussard). Drawing inspiration from legendary songwriters such as Jackson Browne and Paul Simon, Fields of Jake blends storytelling and melody in a style alluding to The Kinks and Dawes. With classic influences and a modern perspective, Fields of Jake is building organic momentum while carving his space in the music world, laying the foundation for his future projects. Visit him online at JakeFieldsMusic.com.
Nadia Younes is an independent recording artist, songwriter, and dancer from Saratoga, CA. Before stepping into pop and R&B, Nadia studied classical music and performed in Operas and musical theatre while also training in ballet and competitive dance. In 2019, she released her debut single, “You Can’t Love Me At All.” This ultimately led her to Los Angeles in 2020, where she collaborated with young artists as a songwriter, mentor, choreographer, and backup dancer. Nadia is featured on rapper Conejo’s song “H.O.P.E” earning a GRAMMY consideration for Best Gospel Performance Song. She can also be heard on the theme song for season three of YouTube’s Austin High series, upcoming independent film soundtracks, Warner Chappell’s “Cover Nation” pages, and on Kevin Bacon’s upcoming film, Connescence.
In June 2024, Nadia opened for American R&B singer, songwriter, and record producer Jon B. at the first-ever Independent Artists Music Awards (IAM Awards). In September 2024, she released her first-ever EP, Anybody but You, in collaboration with 3013 Music. With many more to come, Nadia released her first single of 2025, “One Day,” in collaboration with The Kickback Music.
Nadia Younes draws inspiration from musical greats such as Whitney Houston, Mariah Carey, Chaka Khan, and Ariana Grande. She creatively combines the nostalgic sound of early 2000s R&B/soul with current pop sonics to create a unique, catchy, and danceable sound that resonates with older and younger generations alike.
Nashville-based singer-songwriter Jesse Daniel Edwards returns with Requiem Mass / Catechism En Masse, his boldest and most incendiary release yet. Split into two digital EPs – Requiem Mass (June 27th) and Catechism En Masse (July 25th) – and combined as a physical LP to be released on July 25 via Cavity Search Records, the project represents a searing, spiritual, and political reckoning. It is not an album meant to passively stream in the background. It is a work to be confronted – lived with, wrestled with, and ultimately answered.
“It’s a snapshot,” Edwards explains, “a snapshot of what happens when you sit alone in a room long enough with the world outside caving in and ask yourself, ‘What am I responsible for?’” In that spirit, Requiem Mass / Catechism En Masse emerges as a record not only of grief, but of furious questioning – of capitalism, technology, consumerism, apathy, and the political theater that has come to define American life.
The title itself is a dichotomy: Requiem Mass suggests a solemn mourning, a ritual for the dead; while Catechism En Masse hints at indoctrination on a grand scale. “This record is about the death of things,” Edwards says, “and about the ways we’ve been taught to live that might be killing us.” What he delivers is a darkly poetic liturgy for a society unraveling at the seams, wrapped in punk-folk defiance and moments of aching vulnerability.
Unlike previous records, which saw Edwards single-handedly performing nearly every instrument, this project marks a departure into collaboration. Recorded over months of experimentation, he brought in outside musicians for the first time in his solo discography – choosing connection over control. “I’d always been afraid that bringing others in would dilute the vision,” he says. “But it did the opposite. These songs needed more than just me. They needed the tension, the dialogue, the human element.”
Thematically, the album is dense, urgent, and unflinching. “Fine Print” tears into bureaucratic manipulation with scalpel precision. “Biting Off the Hand That Feeds” explores addiction and consumer dependence as tools of control. In “I Don’t Wanna Be Good (I Wannabe God),” Edwards laces religious language with bitter irony: “Love is all you need / But love won’t stop bombs.” Other tracks – like “Ads You Can Really Taste” – pivot between dystopian satire and bleak nostalgia. “We are inundated,” he says. “We see 5,000 ads a day. We don’t even realize how manipulated we are. This record is about waking up inside the machine.”
oined by longtime collaborators Lionel Loueke and Michael League, “Magic Dance” crafts a vibrant, free-flowing sound that blossoms with intuitive interplay. Intricate percussive elements weave through breezy guitar licks and sparkling synths, while Loueke’s hazy vocals add a dream-like depth to the musical alchemy. Speaking on the track, Nate Smith explains: “Sometimes the word magic is used dismissively, especially when it pertains to the creation of art… I prefer to think of the term magic the way a magician would – with the understanding of the discipline, skill and patience that actually makes magic look like magic. I’ve known these two geniuses (Lionel Loueke, Michael League) for over a decade now. Lionel is a whole planet of musical information – he makes it look and sound effortless, as does Michael. lucky to have them here.”
Following his critically acclaimed single “Automatic” (listen) ft. 5x GRAMMY-winner Lalah Hathaway – with WONDERLAND, BILLBOARD, and COLORS all championing his stunning reimagination of The Pointer Sisters’ 1984 smash hit – Smith officially announces his forthcoming studio album. On ‘LIVE-ACTION’, Smith explains: “It was a way to activate all of these relationships that I’ve been building over the last five or six years since the pandemic, many of them through social media… I wanted to make a record that sounded like it was recorded on a cassette in my bedroom. I limited my options. I used analog gear. I used the same instruments throughout the album. I did two or three takes of each element, no copy and pastes or anything like that. All of the instruments on the album are played live, nothing is programmed or sequenced.”
For nearly two decades, the multi-instrumentalist has been a key figure in reinvigorating the international music scene with his visceral, instinctive, and deep-rooted style of drumming. Continuing his pursuit as a professional songwriter and producer – with an early collaboration credit on Michael Jackson’s “Heaven Can Wait” – Smith would become an international touring force, firmly establishing himself as one of the most in-demand players globally before the release of his debut album ‘KINFOLK: Postcards from Everywhere’ (listen). The record would earn twoGRAMMY nominations, over 20M+ streams on Spotify alone, and serious acclaim from THE NEW YORK TIMES to an incendiary NPR Tiny Desk concert (watch) alongside his band.
In case you missed it, Los Angeles, CA-based indie electronic artist Baby Jane recently played a high-energy set at the renowned HÖR Berlin–watch now. As the artist continues to build a fervent following, a clip from the set has gained heavy traction with over 1.3M views on TikTok and nearly 300K likes. This October, Baby Jane will play San Diego’s Niteharts Festival with electronic music legends like Zedd and Skrillex.
Last month, the rising artist shared her ethereal, boundary-breaking debut album, A Grave Marked Strange, out now alongside the long-awaited early 2000s-style Eurodance rave track “End of the Night.” The full project blends hardstyle, jumpstyle, witch house, hard bounce, and techno into something cinematic, theatrical, and unafraid to break form.
Watch Baby Jane live set @ HÖR Berlin
Each track on A Grave Marked Strange, co-produced by Baby Jane and War Tourism, draws from classic horror themes—but with a campy, self-aware twist. Over 16 tracks, the tone is dramatic and stylized, but rooted in real vulnerability. Beneath the distortion and percussive intensity are sticky melodies, sharp hooks, and emotional undercurrents. The project features a collaborative verse from Damazein and additional guitar work by Matthew Michna on the ballad “Sistine.”
Baby Jane shares, “I wrote ‘A Grave Marked Strange’ about the feelings of such intensity that walk the line between life and death. It is the place where you meet your lover in pure bliss or agony outside the realms of convention and mundane life. At her core, Baby Jane is the protagonist I play in my fantasies; macabre and hopeless in nature, but holding out for reality to give her a reason to not to slip into the other side.”
Born to Soviet immigrants, Baby Jane left school at 14 to pursue songwriting full time and later studied music production. Influenced by the melancholic pop of her early childhood, Baby Jane draws from her Eastern European roots while carving a resonant, distinct space of her own through textural, cinematic soundscapes. She later began work as a DJ in the LA underground techno scene, leading to the development of her own gothic house sound. Earlier this year, Baby Jane honed her artistic vision through a string of singles and now reaches nearly a million monthly Spotify listeners. With the release of her debut album, written, recorded and engineered herself, a steadily growing online presence and fervent fan base known as The Coven, Baby Jane is proving herself as one to watch in the genre-defying, experimental electronic space.
Don’t miss more from Baby Jane–connect with the artist on Instagram, TikTok and YouTube. Listen to the electric debut album, A Grave Marked Strange, out now.
Cult-followed fashion label Zero Waste Daniel (ZWD) announces an immersive store takeover and a limited-edition capsule collection as part of Disney Entertainment Television’s summer-long celebration of the 40th anniversary of the Emmy® Award-winning series, The Golden Girls.
The official The Golden Girls x Zero Waste Daniel collection, inspired by the enduring legacy of the beloved characters Blanche, Dorothy, Rose and Sophia, reimagines sitcom nostalgia through the bold, artistic and unmistakably heartfelt lens of one of Brooklyn’s most distinctive creative studios. The collection will be available both in-store and online beginning Thursday, July 31.
“The Golden Girls were a North Star to me growing up,” says designer and founder Daniel Silverstein, known to many as Zero Waste Daniel. “They’re funny, fearless, wildly fashionable, and they showed up for each other in ways that felt groundbreaking, teaching a lifelong lesson of what it means to be a chosen family. As a child, I felt the warmth of their love and friendship. As an adult, I can see clearly that they are trailblazers, tackling tough topics with heart and humor in ways that are poignant and still resonate today. To be entrusted with honoring their 40th anniversary is one of the greatest privileges of my career. This collection is a thank you for all the laughter, lessons and late-night cheesecake.”
THE COLLECTION: A CELEBRATION IN CLOTHING
The 25-piece capsule collection is gender-free and brings the energy of each of The Golden Girls to life with bold visuals, emotionally resonant design, and a deep well of references for fans to discover. From banana-leaf wallpaper and couch-cushion florals to cheesecake motifs and memorable one-liners, the collection invites wearers to connect with their favorite characters in a whole new way.
Signature pieces include the following:
- Handmade mosaic portrait garments featuring The Golden Girls faces, crafted by Daniel in his signature textile portraiture style
- A “St. Olaf 40” varsity jacket, nodding to Rose’s earnest charm
- Totes and graphic tees declaring “I’m a Blanche” and “I’m a Sophia” with cheeky pride
- Cheesecake-covered sweatshirts, vibrant banana-leaf-print bomber jackets, and matching short sets inspired by the show’s iconic Miami backdrop
Every item is crafted to be worn with heart. The limited collection will be available both in-store and online starting July 31 at zerowastedaniel.com.
THE STORE TAKEOVER: A MIAMI-MEETS-BROOKLYN FANTASY
From July 31 through August 17, the Zero Waste Daniel flagship shop (257 Varet Street) will undergo a complete transformation into a Golden Girls-inspired dreamscape: part fashion destination, part fan tribute. Stepping into the store will feel like stepping onto the set, reimagined through the ZWD lens.
Visitors will find the following:
- Pastel-hued interiors with banana-leaf wallpaper, retro lounge furniture and curated vintage accents
- Photo-ready installations and vignettes inspired by fan-favorite moments from the series
- A shoppable thrift section, styled in homage to the Girls’ iconic looks
- Soundscapes and subtle scent styling, rounding out the full Miami immersion experience
It’s not just a pop-up! It’s a deeply personal, joyful thank you to four women who shaped generations.
One of NYC’s most vital new rock voices The Thing today shares the final double A-side ahead of their upcoming self-titled album: “Something to Say” and “Insane.” Out in full on August 6 via the band’s own Onion Records, The Thing has been unveiled gradually since March, released in a series of thematic A/B-sides that echo the analog ethos behind its creation — Stream today’s new releases.
To make a long story short, The Thing have covered a lot of ground in 2025. Last week, they closed out their European tour by opening for The Black Keys in Berlin to a sold out crowd of 10,000 people. While in Europe, they played to ravenous crowds at Freak Valley Fest, Best Kept Secret and Relache Fest. Now back in the states, The Thing will triumphantly return to their home of NYC for a three-week residency at Night Club 101. And newly announced, they will be playing their first ever Australian shows in October including SXSW Sydney. All tour information can be found here.
Today’s pair of singles showcase the band’s raw dynamism. “Something to Say” bursts out of the gate with the kind of conviction only earned through restraint. A fuzz-laced statement of intent about “having a voice” according to the band. Underpinned by a retro-quality, the New York band takes the blueprint and runs with it all the way to the California beaches of yesteryear. But in the official video, the band is seen wayfaring, gear in hand all across Europe — Watch.
The greatest holiday show south of the North Pole is back with another brand spankin’ new wintertide wonder! Award-winning comedy icons, writers, actors, and drag queen powerhouses BenDeLaCreme & Jinkx Monsoon are coming back to town with the wildly successful, internationally acclaimed, The Jinkx & DeLa Holiday Show (BenDeLaCreme Presents). Directed, produced, and written by BenDeLaCreme, this year’s show will tour 30 cities across the U.S. and Canada from November 12 – December 30 in major theaters.
Artist presale begins July 9 at 10 a.m. PST (Code: HOHOHO), and tickets go on general sale July 11 at 10 a.m. PST at JinkxandDeLa.com. VIP Packages, including photo opportunity and a Q&A with the stars, are only available to purchase separately at JinkxandDeLa.com with proof of ticket purchase.
Throughout the show’s 8-year history Jinkx and DeLa have met sentient Christmas treats, twisted space-time with Dickensian Ghosts, escaped the meta clutches of their own holiday traditions, and led a harrowing rescue mission in the Nutcracker‘s Land of Sweets. You never know what wild and unexpected sleigh ride these queens have in store! Whatever the twists and turns, fans can expect another year of over-the-top camp spectacle, side-splitting gags, brand new songs, heartfelt storytelling, thrilling dance numbers, and iconic costumes. Hailed by Entertainment Weekly as “the reigning queens of Christmas,” this show is not only a moment of respite, but a celebration of community, at a time when we need it most of all.
BenDeLaCreme says, “Jinkx and I are honored and grateful to continue our favorite holiday tradition with all of you. I cannot overstate the impact that gathering with our community and allies over the years has made on my ability to keep going. To believe in a future where things are merry and bright year round. These rooms full of good faith and uproarious laughter continue to heal my heart. Our intention with this show has always been about creating a space for our audiences to feel that too.”
Monsoon says, “In a world where A.I. can plop out a dimestore ripoff in a matter of moments, I take pride in the annual, painstaking efforts we take to bring our brand new, community driven theatre show, wherever we can – and are most needed to bring the cheer. This year, as you can expect, DeLa and I are going hard to combat the daily devastation with magic and mirth.”
This marks the dynamic duo’s 7th live holiday show production, following the massive success of six previous holiday tours, and a cult-classic holiday film (The Jinkx & DeLa Holiday Special in 2020). Since its inception, The Jinkx & DeLa Holiday Show has premiered a brand new show every year–a major achievement for two drag artists who tour annually at this scale.
The Jinkx & DeLa Holiday Show 2025 tour is written by BenDeLaCreme with additional writing by Jinkx Monsoon, directed by BenDeLaCreme, and produced by BenDeLaCreme Presents (a company comprised of producers BenDeLaCreme, Kevin Heard, Gus Lanza, and Associate Producer Jin Moon). For tickets and more information, visit jinkxanddela.com and follow on Instagram and TikTok.
a landmark release from multi-instrumentalist and creative iconoclast Tom Vek, who celebrates 20 years of his cult classic debut album We Have Sound, with the announcement of a 10-track remix album, We Have Sound Remixed, on StrataSonic Records. Set for release later this year, the album features a stacked lineup of artists whose own sonic identities trace back to Vek’s genre-hopping, DIY spirit — including Glass Animals, alt-J, Everything Everything, Baths, Porij, and more.
Leading the release is “C-C (Dave Glass Animals Remix),” out today — a joyously warped take from Dave Bayley of Glass Animals, who credits We Have Sound as one of the albums that inspired the band to start making music in the first place. “Joe from our band would obsess over the drumming,” says Dave. “I would obsess over the production. We had the posters in our rooms. And the vinyl. And he had the t-shirt. I didn’t, and I was jealous. That album was one of several responsible for us going on to make our own music. ”
The upcoming album is a rare kind of tribute, curated by Vek himself, with each artist handpicked and invited to reinterpret the record that helped shape their creative DNA. The result is a celebration of We Have Sound not only as a pivotal album of the 2000s, but as a blueprint for the fusion of guitar music, DIY electronica, and sharp-edged pop that now defines a generation of UK and alternative acts.
“I’ve been a big fan of Glass Animals since their debut, and how incredibly lush the production was. When the 20-year date was rolling round, I was thinking “what am I going to do? I was thinking about how to make it feel new, for me at least, and it hit me – remixes. When Dave sent it over, I almost couldn’t believe it because he’d given it a ‘FutureSex/LoveSounds’ era Timbaland vibe, which is an album I ferociously studied, trying to make the follow-up to We Have Sound, determined to make something that sounded like “My Love” but just couldn’t. I love that he’s focused on the chorus vocal line and emphasises the layered BVs. I immediately played this about 20 times, which is the sign I always look for, so grateful to Dave.” — Tom Vek
- Email: neill@outloudculture.com
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- @neill.outloud
