by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH SIREN

When a song is rooted in something deeply personal, bringing it to life visually becomes a delicate balance. For South Florida rock band SIREN, “February’s Son” is more than just a single release. it is also a tribute shaped my memory, loss and love. Translating that into a visual format required not just creativity, but sensitivity.

Rather than over-directing the process, the band took an unusual approach: they stepped back. Entrusting the project entirely to lyric video director Wayne Joiner, they allowed the visuals to be guided purely by instinct and interpretation. The result is a music video that is an organic extension of the song.

In this Exclusive, SIREN and Joiner share the creative decisions behind the “February’s Son” music video, and the power of leaving space open for interpretation as well as how a blank canvas can sometimes lead to the most meaningful results.

Tell us the story of this song and why you chose to visualize it this way?

“When I started on the February’s Son video, I knew that I had to approach it in a visually dynamic way but also I wanted to be sensitive to the meaning of the song. Every moving part of the video, from the motion graphic elements to the footage and photos used, ties together to tell the story of the lyrics. My goal was to have the viewer connect with the visual imagery in way that gave a personal feeling as if the song was written about them or moment in their lives similar to the concept of the song. Hopefully I made that connection.” – Wayne Joiner

What was the inspiration behind this new video (visuals, storyline, etc.)?

“Video Producer Wayne Joiner was brought in to create the lyric video, and we purposefully didn’t provide any insight or background as to what the song was written about, or what it meant to our family. It was such a beautiful video that he created and his interpretation was to us a perfect tribute to Reese, his mother and family.” – Rob Phillips

What was the process of making the video?

“Wayne is an experienced Pro who has worked with the likes of Mamouth, Creed, and Kansas, so we essentially gave him a blank canvas to work with. We didn’t want to give him any input or direction as I wanted him to be free to create his vision of our story. He nailed it!” – Rob Phillips

Connect with SIREN on their Website

03.24.26

by Jane Lambert

Life Between the Lines: Bobbo Byrnes and the Reality of the Touring Musician

Despite spending more than two decades on the road, and playing everywhere from living rooms to festival stages across the U.S. and Europe, Bobbo Byrnes has largely remained just outside the traditional spotlight. Therefore, it feels appropriate that his memoir, Too Many Miles: On the Road with an Unofficial Rock & Roll Goodwill Ambassador, doesn’t focus on a single breakthrough moment or career peak, but instead captures the long, winding road of a working musician who has built his life one show, one connection and one mile at a time.

This is not a typical rock memoir filled with tales of excess or industry mythology, nor is it strictly a travelogue. Alhough it does contain elements of both. While Byrnes does recount the expected stories the book quickly expands into something broader. It becomes a reflection on what it means to exist in that middle space of the music world: not unknown but not quite mainstream either, working within a global network of small venues, house concerts and grassroots connections.

Byrnes’s early years and evolution as a musician are touched on throughout, from his beginnings in the Boston music scene to his eventual relocation to Southern California and the formation of his band, The Fallen Stars. These formative experiences are presented as part of an ongoing continuum, one that includes constant touring, creative partnerships and the gradual shaping of his identity as both an artist and a storyteller.

A significant portion of the book focuses on Byrnes’s experiences touring internationally, particularly in Europe where his role often extends beyond performer. Much like the best travel writing, these sections highlight not just where he goes but how he is received along the way.

Encounters with audiences frequently shift from music to conversations about American culture, politics and identity, placing Byrnes in an unexpected position of informal ambassador. These moments, including a tense radio interview in Germany and performances for diverse audiences, underscore the idea that music can serve as a bridge in ways that more formal channels often cannot.

Parallel to these stories is the recurring theme of connection and how fleeting interactions with strangers can leave lasting impressions. Whether it’s a conversation after a show, a shared meal or a collaborative moment with fellow musicians, Byrnes emphasizes the communal aspect of a life on the road. In doing so, he subtly pushes back against the notion of the lone artist, instead illustrating how his career has been shaped by countless individuals along the way.

Stylistically, the book mirrors Byrnes’s songwriting with its direct and conversational tone. There is little attempt to mythologize events or even elevate them beyond what they are. Instead, the strength lies in accumulation, in the gradual layering of stories that, taken together, form a clear picture of a life defined not by a sigular achievement but by persistence.

While the book stands out on its own, it also exists alongside a companion album which echoes many of the same themes. Much like the memoir, Byrnes’s music draws from years of travel and observation, reinforcing the idea that Byrnes’ songs and stories are inseparable parts of the same narrative.

If there is an overarching takeaway, it is that careers like this rarely follow a straight line. There is not a single defining moment or arrival point but just the work itself: the writing, the traveling, the performing and the decision to keep on going. If the realities of independent touring, the intersection of culture and songwriting and the quieter stories that exist beyond the mainstream music industry are of interest, then Too Many Miles is well worth the journey.

Connect with Bobbo Byrnes on his Website

03.23.26

by Jane Lambert

Video Voyageur: 3Qs with Teagan Johnston

Toronto alternative artist Teagan Johnston shares “My Luck,” an introspective, melancholic track that explores feelings of unluckiness, disconnection, and the strange dynamics we attract when life seems to stack the odds against us. Written during a period of creative pause, the song channels both heartache and observation, questioning whether feeling unlucky makes it easier to choose to lose.

“I wrote this song at a time when I didn’t feel very inspired, and really lacked a connection to believing in things working out,” Johnston explains. “I was struck by the storytelling in Beyoncé’s ‘Texas Hold ‘Em,’ and felt re-inspired to share my own stories again.”

1. Tell us the story of this song, why did you choose to visualize this song specifically? This song really just details times in my life of trauma and feeling unlucky as well as relationships I’ve cultivated with people who feel that same kind of unlucky. I really just had the idea for the music video and wanted to make it happen! I also usually make music videos for any single I put out, they are one of my favourite parts of releasing music. 2.What was the inspiration behind this video (visuals, storyline, etc.)?
I started writing this song mainly while I was visiting Niagara Falls so the visuals were really present in my mind while I was writing it. I also have a dream to make a twin peaks esque Can Con true crime inspired soap opera set in Niagara falls so that was quite present in my mind for the music video as well for some of the visuals and themes. 3.What was the process of making this video?Myself and my friend Dzesika Devic who filmed the video and Jessica Lahey who did set design and styling for the video all loaded up in my van and drove to niagara falls! We rented a hotel room, shot a little bit there, had dinner at hooters across the street and then wandered around niagara falls shooting in the casino and arcade and the falls. We then got back to filming in the hotel room untill 4 am, we all had stuff to be back for in the city that morning so we decided to just pack up and drive home at 4am! Overall a wonderful delirium of a shoot made possible only by wonderful friends.

The accompanying video, directed by Johnston herself and filmed by Dzesika Devic, was shot at Niagara Falls; a site Johnston describes as a perfect embodiment of the song’s emotional duality. “Niagara Falls is a place that simultaneously feels it has given up but is also trying harder than anywhere,” she notes. “It’s gritty, dirty darkness while also being shiny, bright, and over the top. The juxtaposition of gambling, drinking, and shiny lights with the unbelievable force of nature of the Falls smack in the middle of it creates a type of energy I will never tire of.”

The track’s production mirrors its themes: intimate and grounded, with alt-country and indie-pop textures that support Johnston’s heartfelt vocals and evocative storytelling. Rather than offering a tidy resolution, “My Luck” sits in the in-between to highlight the quiet, sometimes gritty spaces where life’s unpredictability meets human vulnerability.

Formerly known as Little Coyote, Teagan Johnston is a multidisciplinary artist and singer-songwriter who pushes genre boundaries with a raw emotional honesty that resonates across music, film, and writing. A seasoned live performer, she has toured Japan, North America, and Europe, including performing a private set at David Lynch’s Silencio nightclub in Paris. Johnston’s work in film (most notably her breakout acting role and original music composition in Canadian indie horror The Strings) has been praised as “commanding” and “magnetic” by The New York Times and The A.V. Club.

03.20.26

by Jane Lambert

GAB SAFA Illuminates the Beautiful and the Bleak on “BEAUTY TEARS”

GAB SAFA has returned with BEAUTY TEARS, a debut single that confirms her as one of the most compelling emerging voices in contemporary pop. Out now, the track is intimate and expansive – a meditation on love, grief and the stubborn persistence of the human spirit.

Sonically, BEAUTY TEARS is anchored in forward thinking pop and high energy dance movement, but it refuses to stay in one lane. Producer duo Myya Lal and Keandra Lal craft a soundscape that balances luminous synth textures, pulsing rhythms and experimental flourishes with moments of quiet introspection. GAB’s vocals are vulnerable and assured, taking the listener from fragile confessional verses into widescreen almost transcendental refrains.

Listen in here:

What makes the track remarkable is its thematic ambition. BEAUTY TEARS explores the coexistence of beauty and suffering, of light within darkness and of resilience amid loss. GAB’s perspective as a third culture kid shapes the song’s narrative, giving it a richness and depth. Yet, despite its introspection, the track manages to resonate culturally as it taps into universal feelings of longing and hope.

The song’s emotional arc mirrors a kind of prayer: a reckoning with what we carry and a celebration of the ways we continue to choose love, even in difficult times. It’s a rare combination of danceable energy and contemplative depth, a reminder that pop music can be both cathartic and transcendent.

But BEAUTY TEARS is not just any single. It’s an invitation into GAB’s singular creative universe. When everything around us seems so uncertain and void of hope, she cements herself as an artist who is unafraid to explore the paradoxical, messy and beautiful elements of life and to turn that exploration into music that is cinematic and also deeply human in its themes.

About GAB SAFA

GABS channels raw emotion into bold, immersive art defined by storytelling, ethereal rhythms and a daring vision.

An amalgam artist at heart, she moves fluidly across genres and mediums as a singer, songwriter, actress and multihyphenate creative force, blending music, film, writing, creative direction and performance into her own singular artistic language. Identifying with the third culture kid experience, she often returns to the feeling of being from everywhere and nowhere, delving into themes of identity, where to call home, and all of the spaces in-between.

Her work reflects on love, grief, resilience and the emotional legacies we carry. Never one to exist inside a box, especially ones she didn’t build herself, GABS approaches every medium as an act of authorship, self-sovereignty and liberation, creating immersive worlds that invite audiences to experience the beauty in life’s complexity.

Connect with GAB SAFA on her Website

Stream music on Spotify and Apple Music

03.20.26

by Jane Lambert

When Feelings Catch You Off Guard – A Is for Atom’s Brand New Single “Out of the Blue”

If you’ve ever found yourself drawn to songs that deal in nostalgia but don’t get stuck there, songs that understand the past is only really useful when it collides with the present, then A Is for Atom might already be on your radar. And if not, the new single Out of the Blue, which is the title track of the upcoming album, is as good a place as any to start.

We’ve all heard songs about that moment. The sudden shift, the emotional plot twist, the “how did I not see this before?” realization. But what makes “Out of the Blue” work is that it lingers in the build up, in the shared history and in the small, seemingly insignificant details.

Listen in here:

Trying to pin the sound down is a bit like trying to describe a memory you’re not quite sure you remember correctly. There are shades of indie rock, of course, but also a gentle electronic undercurrent subtle enough to shape the mood. Guitars shimmer rather than shout, rhythms move with a quiet insistence.

“Out of the Blue” isn’t really about a big moment of realization. It’s about that in between space when something has shifted, but you’re still figuring out what it means and what to do with it. The song looks back to childhood, to shared experiences and the kinds of bonds of friendship that only time builds, but it also acknowledges that life does not stand still long enough for you to examine these feelings deeply. Things change. People change. And sometimes, those changes arrive without any warning and ask you to catch up emotionally.

What does that all mean? It means “Out of the Blue” is one of those rare songs that could easily be about your life. It’s about recognition, not just of someone else but of yourself and how you have changed without noticing.

About A is For Atom

A Is for Atom is the creative project of songwriter, producer, and multi instrumentalist Mike Cykoski. His music is thoughtful indie rock mixed with subtle electronic textures and a strong sense of atmosphere.

With a background that includes a Master’s in Music Technology from New York University, as well as time spent at The Juilliard School, Harvest Works and Dubspot, Cykoski brings technical precision and creative instinct to his work. That balance is a defining part of the A Is for Atom sound – structured but exploratory and polished.

Over the years, he has performed internationally, with highlights including shows in Ireland, Mexico City and Toronto (NXNE and Canadian Music Week), alongside appearances in major U.S. music hubs such as New York City and Austin. Releases like Song for You and Last Man on the Moon have earned critical acclaim for their depth and detail, establishing A Is for Atom as a quietly distinctive voice in the indie music landscape.

03.19.26

by Jane Lambert

Little Bihlman Expands the Story of Heavy Head with Reflective Single “Seems Like Yesterday”

Scot “Little” Bihlman continues to shape the emotional arc of his forthcoming album Heavy Head with a two-track release through V13 Music that pairs the reflective single “Seems Like Yesterday” with the instrumental vignette “The Devil’s Cradle.” Together, the songs create a sense of movement within the album’s unfolding narrative, widening the landscape before turning inward toward something more personal and lived in.

“The Devil’s Cradle” opens with steel guitar and drifting harmonica, immediately placing the listener in a wide, open space. The track carries the feeling of a desert road at sunset, where the light fades slowly and the horizon stretches endlessly ahead. There is a cinematic quality to the sound, but it remains grounded and unadorned. Rather than pushing for attention, the piece relies on mood and atmosphere, allowing listeners to settle into the quiet solitude of the moment.

The instrumental was born from miles spent riding along the California coast, where long stretches of road create space for reflection. It captures the rhythm of travel and the steady flow of life moving past the window. Different journeys unfold side by side, each with its own destination, yet all share the same sky. As an interlude, “The Devil’s Cradle” acts as a bridge into the emotional center of Heavy Head, offering a pause before the album shifts toward more intimate territory.

“Seems Like Yesterday” picks up that thread and brings the focus closer to home. Built around a repetitive lead guitar riff and rooted in rhythm and blues, the song moves with an easy, natural momentum. It carries the warmth of classic rock and country storytelling while maintaining a voice that feels distinctly personal. The track centers on the memory of a relationship that once felt significant but gradually settled into distance. Two people move forward on separate paths, their lives occasionally crossing before drifting apart again.

Little Bihlman Expands the Story of Heavy Head with Reflective Single “Seems Like Yesterday”· Post

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There is a sense of familiarity in the details that fill the song’s world. Smoke lingers in the air. Coffee sits untouched on the table. Morning arrives, but the emotional weight of the night has not fully lifted. Bihlman allows these small moments to carry meaning, trusting the listener to recognize the quiet truth behind them. The repeated refrain of “Seems like yesterday” becomes less about nostalgia and more about the way memory holds its place, refusing to fade even as time continues to move forward.

As the horns rise into the final chorus, the song expands just enough to suggest perspective without offering a neat resolution. There is an outlaw country spirit beneath the surface, tempered by experience and acceptance. No grand conclusions are drawn. Instead, the song acknowledges that some lessons unfold slowly, shaped by repetition and reflection rather than sudden change.

With this release, Bihlman continues to develop Heavy Head into a record grounded in tradition while guided by personal history. Raised between industrial Indiana and the woods of Northern Michigan, he has spent more than two decades performing across stages ranging from small clubs to major venues, blending heartland rock, blues grit, and country soul into songs that focus on the realities of everyday life. His work has always carried a sense of honesty, drawing from lived experience rather than invention.

“Seems Like Yesterday” and “The Devil’s Cradle” deepen that approach, adding another layer to the evolving story of Heavy Head. Together, the tracks reflect on the passage of time and the quiet recognition that memory often lingers longer than expected. As the album continues to unfold, these songs stand as reminders that reflection is not always about looking back. Sometimes it is about learning how to carry the past forward.