Kitchener-Waterloo-based artist Henry Taylor delivers a high-voltage rock experience with “HUMMINGBIRD,” the explosive focus track from his sixth studio album, SWEET THUNDER! A departure from the gentle and delicate imagery often associated with its namesake, “HUMMINGBIRD” is a fan-favourite at Taylor’s live shows, showcasing his signature blend of rock ‘n’ roll, Americana, and folk rock.

“HUMMINGBIRD” was born on a back porch while Taylor and longtime songwriting partner Monique Montgomery were playing music with former bandmate Mark. A chance glance at a hummingbird feeder sparked an idea—chords turned into a chorus, lyrics fell into place, and within 40 minutes, the song was complete. The decision to push the track into full-blown rock territory sets it apart from other “HUMMINGBIRD”-titled songs, reflecting its dynamic energy and unconventional take on the theme.

SWEET THUNDER! was inspired by a serendipitous moment when Montgomery spotted a license plate reading “SWTTHNDR” on a blue Corvette. That moment perfectly encapsulated the album’s essence—a fusion of thunderous rock anthems and tender acoustic ballads. The album balances electrifying rock tracks like “HUMMINGBIRD” and “I DON’T HAVE A NAME” with the softer, folk-tinged melodies of “WITHOUT YOU” and “HEY OLD PAL.

SWEET THUNDER! is a compilation of songs that express the range of emotions we’ve experienced over the last few years – hard and soft. Sometimes the only way to make a big noise is to speak softly and tell the truth. But sometimes you have to smash the pots and pans to be heard. SWEET THUNDER! does both. We included some lighthearted numbers like “HUMMINGBIRD” and “I’VE GOT THE GUNS”. Other songs are heavy. We wrote “BURN” a few days after the U.S. Supreme Court overturned Roe v. Wade, and “I DON’T HAVE A NAME” was initially a response to stories about missing and murdered Indigenous women in Canada. In Nashville, we wrote “SHOEBOX OF MONEY” to shine a light on the strength it takes to get out of a bad situation. We hope these songs resonate with people who need a lift – people who need to know they’re not alone. – Henry Taylor

Alternative-pop artist Lyubov Kay unveils her bold and emotionally charged new single, “shoulda run,” a powerful anthem about realizing your worth and walking away from what no longer serves you. With its striking blend of evocative storytelling, fierce instrumentation, and Kay’s signature smooth yet commanding vocals, “shoulda run” captures the emotional weight of staying in a one-sided relationship for too long—and finally breaking free.

Kay’s songwriting shines as she reflects on the disappointment of giving your all to someone who was never fully present. The song is both a reflection and a declaration—acknowledging past mistakes while celebrating the strength it takes to move forward.

“shoulda run” is an anthem for anyone who’s ever looked back and thought, “Why did I keep going?” The track encapsulates that bittersweet moment of finally seeing the truth and choosing yourself.

I wanted “shoulda run” to feel like a release—a song for anyone who’s been in a situation where they weren’t getting the love or commitment they deserved. It’s about that moment of clarity when you finally snap out of it and realize your worth. It’s fierce, it’s liberating, and it’s a reminder that sometimes walking away is the strongest thing you can do. – Lyubov Kay

International Acoustic Music Award winning songwriter Robert Thomas and his band, the sessionmen, cast a playful groove-laden Americana track with their latest single, “Cast a Line.” Inspired by some unconventional dating advice from Thomas’ father back in 1976—delivered, fittingly, in the form of a fishing metaphor—the song takes a tongue-in-cheek look at the idea that love is just a matter of casting out a line and waiting for the right catch. With its irresistible rhythm, clever storytelling, and a Little Feat-style groove, “Cast a Line” has become one of Thomas’ most enduring and requested songs, covered by artists across the industry.

Written in 1990 and predating the popular dating site Plenty of Fish, the song’s central metaphor still resonates today. A testament to the unpredictability of songwriting success, Thomas reflects on how a humorous idea sparked by questionable advice turned into one of his most lucrative and beloved tracks.

I always get a chuckle every time we perform this song or every time I open my SOCAN statement. I feel like I got away with a bit of a bank robbery in that such a goofy idea actually turned into one of our most popular songs. – Robert Thomas

Ian North, the celebrated Canadian folk-rock artist, returns with a fresh and buoyant instrumental single, “Malahat.” Named after the scenic highway on Vancouver Island, this driving track captures the spirit of adventure and the joy of the open road. The instrumental piece is a celebration of both the beauty of the Malahat drive and the personal journey that led to its creation.

Produced by Chris Gartner, “Malahat” takes listeners on a sonic journey that moves between soaring crescendos and subtle, intimate moments. With intricate finger-style guitar, the track builds in intensity before returning to a quiet yet reflective finish, capturing the unique ebb and flow of the Malahat highway itself.

The song’s title holds personal significance for North, whose family has deep roots in British Columbia. He explains, “The Malahat is the highway that runs down the east coast of Vancouver Island from Nanaimo to Victoria. I’ve driven it many times, and the cover image of the song is a photo I took of my daughter walking along a wall at a lookout on that very highway.”

North continues, “I wanted to develop the song beyond a simple acoustic guitar piece, and working with Chris Gartner helped me achieve that. We worked together to create a sound that matches the scenic beauty of the Malahat with energy and motion.” 

Canadian singer-songwriter Ian James Bain, a core member of Nicolette & the Nobodies and guitar player for Jeremie Albino, unveils his latest single, “Come & Gone,” a heartfelt country anthem that reflects on the struggle of trying to make a career in music while grappling with self-doubt, burnout, and the pull of nostalgia. A deeply personal track, “Come & Gone” paints a vivid picture of the uphill battle faced by independent artists, balancing romanticized dreams with the harsh realities of life on the road.

Rooted in classic country storytelling but infused with Bain’s distinctive modern edge, “Come & Gone” blends traditional form with unexpected chord changes, creating a sound that is both timeless and fresh. Lush pedal steel and twangy guitars carry Bain’s introspective lyrics, culminating in a song that feels both melancholic and reaffirming. 

Total Fucking Darkness emerges from the abyss once more with “Take It Easy”—a pulsing rave anthem that invites listeners to dance and despair in equal measure. 

The irony of the song’s title is no accident. “Take It Easy” drips with absurdity, wielding its platitudinous phrase as a sardonic weapon against the chaos. As the world burns, Total Fucking Darkness stands at the edge, grinning.

Written in real-time, “Take It Easy” was born from pure spite. Torquil Campbell (a man who once played a badger in a cartoon) wrote the lyrics while listening to the track for the first time—a feat that continues to baffle even his bandmates, Stephen Ramsay (tall and just on this side of handsome) and Tom McFall (English studio genius and synthesist whose engineering credits include the likes of REM, Bloc Party, Twin Shadow, Regina Spektor). And then, of course, there are the sheep.

There are sheep involved in the track. It’s not the first song I’ve heard with sheep in it this year. If you think about it, songs with sheep in them are an incredibly good sign, because there’s never been a bad song that mentions, or actually features, sheep. Think about it. – Stephen Ramsay