Kenzy Kyx has never been afraid to bare her soul, but with “I’m So Glad” she proves that empowerment can be just as powerful as vulnerability.
Where her earlier work leaned into more melancholy, this new single bursts with cheeky confidence. It’s a glitter coated reminder that joy can be the sweetest revenge.
Listen here:
From the first shimmering notes, “I’m So Glad” struts in like the soundtrack to your best post breakup night out. The production, which is helmed by Kyle Delfatti and Max Bunster at Wildwood Sound, sparkles with playful details. It has tight rhythms, buoyant melodies and flourishes that keep the song light on its feet. You can feel the late night studio energy baked into every bar, a mix of laughter, creativity and a shared obsession with pop done right.
At the center of it all is Kenzy’s voice. Sultry yet soaring, carrying both the relief and the sass of the lyrics. There’s a interesting blend of influences here. Sabrina Carpenter’s wink, Gwen Stefani’s bite, and just a hint of Stevie Nicks’s timeless edge. But Kenzy is completely unique with her vocals. She is in control, playful and unafraid to poke fun at a chapter that once felt heavy.
What makes the track stick, though, is its universality.
“I’m So Glad” captures that euphoric moment when the weight finally lifts and you realize you’re free. It’s not about heartbreak – it’s about release. And in a pop landscape that sometimes takes itself too seriously, Kenzy’s tongue in cheek liberation song feels like a breath of fresh air.
With cover art shot by Athena Khalifeh, the single looks like freedom too. Together, the visuals and the music form a bold statement. Kenzy Kyx isn’t just moving forward, she’s dancing forward and is inviting the rest of us to join her.
With its bittersweet lyricism and warm Americana tone, George Collins’s “By the Time” has already earned praise as one of his most evocative tracks to date.
Now, the newly released music video gives the song a cinematic heartbeat, placing Collins in a dimly lit Prague steakhouse as he strums, sings and pens a final farewell letter to a soon-to-be ex.
Directed by Thomas Cruz and Jarda Malina, and featuring a cameo by Max Munson – the real-life owner of Max’s Steakhouse – this video is full of intimate details. From the half-finished whiskey glass to the knowing glances of a friendly bartender.
Look closer, and you’ll even spot a Dave Matthews Band poster tucked into the scenery, a nod to one of Collins’s lifelong inspirations, and hear his previous single Open Up drifting faintly in the background.
In this conversation, Collins opens up about the song’s origins, the creative choices behind the video and why capturing its acoustic, roots-driven soul on screen was just as important as getting every chord change right.
Watch the Official Music Video here:
Tell us the story of this song, why did you choose to visualize this song specifically in this way?
I came up with the riff while I was noodling around on my acoustic guitar many years ago, and it immediately struck me as extremely catchy.
The opening line, “By the time you’ll be getting ’round to reading this,” popped into my head at the same time, as those lyrics seemed to fit the riff very well in rhythmic terms.
I filed it away for a long time and started writing the song in earnest last year.
The chord changes are quite interesting, full of unresolved tension by deliberately moving outside the key and employing lots of seventh chords, to match the troubled tone of the lyrics.
From the outset, I was hearing the influence of Tom Petty on this tune, and when I started working with my producer to bring the song to life in the studio, I specifically suggested we aim for a similar Americana vibe as Tom Petty’s “Wildflowers,” which was produced by the legendary Rick Rubin, who is an absolute genius and one of my favorite producers.
As we developed the track, the influence of other great songwriters such as Chris Stapleton, Steve Earle, Johnny Cash, George Strait, Ray Davies (one of the finest storytellers in all of music) and Jimmy Buffett (ditto) also became apparent.
Although I have written almost all my songs on my acoustic guitar, this is the first fully produced acoustic track that I have released. In the past, we took my acoustic demos and fleshed them out with a band in the studio, and I have recorded stripped-down acoustic versions of my previous singles, but this is the first time I deliberately kept the track close to its acoustic roots, to better capture the Americana/Outlaw Country vibe of the song. So you’ll hear many influences in this song, but I also hope that “By the Time” is recognizably me.
What was the inspiration behind this new video (visuals, storyline, etc.)?
In my mind’s eye I imagined a scene like that of the cover art for Led Zeppelin’s last studio album, “In Through the Out Door,” in which a man is sitting on a stool in a dingy dive bar burning a “Dear John” letter.
With the phrase “By the time you’ll be getting ’round to reading this” in my head, I realized that the narrator of my song would not be reading or burning a “Dear John” letter, but rather writing one to his soon-to-be-Ex.
In a bar, of course.Once I imagined the scenario, the lyrics flowed quite naturally — fortunately, and unlike most of my other songs, this one has no autobiographical connotations whatsoever!
What was the process of making the video?
One of my closest friends in Prague, Max Munson, owns Max’s Steakhouse, a classic steakhouse modeled on those from his native Chicago.
He runs a lot of great ads for his establishment, which are created in conjunction with Thomas Cruz of Thomas Cruz Studio and Jarda Malina of Moneyshot Studio in Prague.
Once I decided that I wanted a live music video for “By the Time” (rather than the animated lyric videos for my other tracks to date), and that I wanted it to be shot in a bar, I knew that Max’s Steakhouse would be the perfect location, and that Thomas and Jarda, with their previous experience of filming in the Steakhouse, would be perfect for creating this video.
I met with Thomas several times to discuss the song and exchange ideas for the video, and I invited Max to make a cameo appearance as the friendly bartender. We agreed early on that there would be two major features of the video: Me singing the song with my guitar, and me writing the letter at the bar.
I arrived early at the Steakhouse early on a Saturday morning, when the restaurant was closed. Thomas and Jarda were already setting up lights in the main dining room, and I helped move tables and chairs away to clear a space for my solo performance. I’d brought several of my guitars and a variety of shirts, which Thomas tested under the lights before choosing a creamy color that would match the warm hues of the room.
With Jarda handling the lights, I sat on a barstool and sang “By the Time” over and over as Thomas filmed me from a variety of angles – I probably played the song fifty times before Thomas was satisfied that he had enough to work with.
Then we moved into the barroom. Max and I chose a bottle of Elijah Craig as a prop – I actually drank apple juice during the filming, though Max did have to pour several glasses of whiskey so we could show the bottle getting progressively emptier. I enjoyed those glasses, however, only after the filming was completed.
I had written several versions of the lyrics on parchment, each showing the “letter” in various stages of completion. Again, with Jarda manning the lights, Thomas filmed me from numerous angles as I sat and sipped and wrote and pondered: Close-ups of my hand moving across the page, close-ups of me stroking my chin and staring off into space, long shots of Max carrying a rack of glasses from the kitchen to the bar before offering me a refill of my bourbon.
Overall, we must have filmed for eight hours for what was eventually edited into a video that clocks in under four minutes.
In the editing process, Thomas had the brilliant idea to have my previous single, “Open Up,” playing in the background as I’m sitting at the bar. That song, about remaining vulnerable and open to love in spite of disappointments, is the perfect setup for “By the Time,” which is ultimately about liberation and moving hopefully into the future.
I am grateful to Thomas, Jarda and Max for capturing this vibe and helping me bring my song to life so beautifully.
“Comeback Morning” doesn’t beg for your attention. It doesn’t try to dazzle with clever production tricks or polished perfection. It feels more like that quiet, electric moment of survival.
MASSEY is not your typical frontman. He is more of a conjurer, someone who pulls whole arrangements out of thin air with nothing but his voice.
Listen here:
And the stellar line up of musicians on this one is no joke. Charlie Wooton’s bassline has weight, Oravetz and Groover on guitar keep it lean and expressive, and Doug Belote’s drums give the whole track its steady heartbeat. Then there is Lemmler’s Hammond organ – warm, wide and grounding and the 504 Horns who elevate it even further.
But more than any single performance, what sticks is the overall vibe.
“Comeback Morning” very much sounds like it was built on real trust between players, and on MASSEY’s belief in second chances. That message that “The comeback is always sweeter,” a phrase borrowed from his father, is the kind of line you believe because you can hear that MASSEY does.
It’s a big hearted, soul driven reminder that even after the darkest nights, the light still shows up and sometimes its in a song.
About MASSEY
MASSEY showed up like a spark — fully formed, voice first — when producer JoeBaby Michaels caught wind of something wild, soulful and unmistakably original.
At the center of it all is MASSEY who sings, hums, whistles and scats every idea into being. Think James Brown if he built the bones of the song from the air.
There’s something visceral about the way MASSEY approaches music. Songs begin as voice memos — grooves and hooks born of walks, dreams, gut feelings — and get fleshed out by a tight circle of trusted collaborators, especially his guitarist and writing partner Peter Oravetz. The result is music that feels lived in but alive, rooted in New Orleans funk and soul, laced with rock grit and retro R&B swing.
In just a handful of releases, MASSEY has already made noise. His first few singles have racked up over 600,000 views collectively, with each new track carving out more of his singular identity.
With his debut album Reason For Being dropping soon and a slate of live performances kicking off with NOLA JazzFest, MASSEY is stepping fully into the spotlight.
With brand new single “Explode,” Saint Tone delivers a ballad that digs deep into the emotional trenches, conveying a message of healing and release.
Saint Tone is known for his positive and uplifting songs, but the Sarasota based artist slows things down on this more introspective track. The emotional impact is just as hard hitting.
Listen in here:
Built around warm acoustic guitar, gentle piano and subtle atmospheric textures, “Explode” draws listeners into an intimate space of vulnerability. The lyrics are raw and reflective, with lines like “I am here to expose all the bitterness that soils my soul”, striking a chord for anyone burdened by the trials of life and any unresolved pain.
As the song unfolds, it becomes clear that this isn’t just about sadness. It is more about transformation. Saint Tone invites us to confront the darkest corners of ourselves, not to dwell there, but to finally let go.
The repetition of the chorus – “If I don’t let it go, I will explode” – is both a warning and a revelation. The result is a song that is much like a musical exhale, making way for light again after a rough period.
For fans of Sting, Damien Rice or Ben Harper’s more meditative work, “Explode” will feel like home.
It’s a powerful reminder that sometimes the most important journey is an inward one, and one where healing begins with honesty.
About Saint Tone
With over 7,000 performances to his name, Saint Tone delivers an uplifting fusion of pop, rock and country styles. He combines catchy hooks with spiritual affirmations and thought provoking lyrics.
Based in Sarasota, Florida, Tony Saint Tone writes music that is centered on themes of self empowerment, motivation and connectionl. His storytelling and high vibe energy together with empowering messages create a musical exoerience that is both fun and deeply meaningful.
Perfect for anthem seekers, dancers and old souls alike, Saint Tone’s music will make your feet move while also feeding your soul.
From the opening bars of George Collins’s “Open Up,” there is a sense that something deeper is at play. Not just another well crafted track from a thoughtful songwriter, but a deliberate reaching for something sacred.
And indeed, the song wears its Peter Gabriel influence proudly, especially the spectral fingerprints of Mercy Street , which was one of Gabriel’s most haunting and meditative works.
But Collins doesn’t merely mimic it. He reinterprets, he absorbs, and he builds his own quiet cathedral of sound.
At its core, “Open Up” is about vulnerability — that conscious, often exhausting decision to remain emotionally available as the years add both wisdom and weight.
The chorus is a mantra more than a hook, a repeated invitation inward and outward. It’s no coincidence that the track is driven by keyboards and layered vocals rather than Collins’ familiar guitar. This is definitely a songwriter stepping outside his comfort zone and embracing evolution.
That creative shift was made possible by the collaboration with award winning Canadian producer Rob Wells, who is known for work with some of the biggest names in pop.
And yet, instead of gloss, Wells helps shape the texture. Their work together feels cinematic but never overblown. Moody yes but also very much grounded in humanity.
George says about the song:
“Concerning the story behind “Open Up,” it was definitely intended to be a Peter Gabriel influenced track from the very beginning – he is one of my heroes.
For the new album, I also wanted to expand my songwriting beyond the guitar-based songs I’ve written all my life and tip my hat to other styles and genres that have influenced me over the years.
I had the title and the concept for the song, the chorus, as well as several guitar riffs kicking around in my head for years, but I knew I wanted “Open Up” to be a keyboard driven track with layered vocals, sonorous textures and exotic instrumentation, like Peter Gabriel’s “Mercy Street.”
As a guitarist with limited production skills, I knew I needed to collaborate on this song with an A-list keyboardist/producer to bring my incipient ideas to life.
I approached one of my Mentors, Rob Wells https://robwellsmusic.com/ an award-winning, multi-platinum selling Canadian songwriter and producer who has worked with Ariana Grande, Justin Bieber, Selena Gomez, and dozens of other notables – and who happens to be one of the nicest guys in the world.”
Exotic instrumentation winds through “Open Up” without calling attention to itself, and the vocals stack shimmer like late afternoon light through stained glass.
You can hear how hard Collins has worked on the vocal performance, singing through the song again and again over two days in a Prague studio with no shortcuts taken. What’s striking though is how much heart is in the details. The production is refined, but the soul of the song comes through in Collins’ voice.
He is offering an important message not to harden – don’t retreat, stay open! Something that many of us could listen to.
“Open Up” is indeed one of those late career songs that is reaching forward into a new phase of creativity, with courage and grace.
An emotional folk-pop reflection on the moment your life begins to shift.
Havilah Tower’s latest single Open Wide captures something elusive. That subtle turning point when you realize the life you’ve built no longer fits the shape of your heart.
Wrapped in a warm folk pop instrumentation, “Open Wide” is something of a softly unfolding meditation on self-honesty, transformation and the beauty of rediscovering what truly matters.
Built around a graceful acoustic guitar line and anchored by Havilah’s soulful and expressive vocals, the song opens like a journal entry. It’s private, deliberate and fully human. As she sings of a dream life slipping from her grasp, the listener is drawn into that universal threshold where illusion gives way to truth, not with drama, but with clarity. This is the sound of someone who is choosing alignment over image and heart over habit.
What takes “Open Wide” to the next level though is its arrangement – the cello swells, the ambient textures and the thoughtful percussion surrounds the lyrics without ever overwhelming them. Each instrumental choice seems to lean into the song’s emotional arc, and echoes the idea that shedding old narratives can work to make space for something more honest and grounded.
Lyrically, Havilah strikes a balance between a sense of vulnerability and control. Lines like “the dream that I had, it’s not what I thought” carry both disappointment and empowerment. There is maturity in her writing, as each verse is anchored in lived experience.
Listeners who are familiar with artist like Patty Griffin, Brandi Carlile or even the more introspective moments of Taylor Swift’s “Folklore” will feel at home here. But “Open Wide” is not derivative – it is distinctly Havilah.
What makes the track even more especially resonant is how it reframes letting go not as failure, but as a grace.
It’s a song for anyone who has ever paused in the middle of their own story and asked: “Is this still true for me?”
In that way, “Open Wide” becomes more than a single, but also an invitation. One that asks you to step into your life with your own eyes – and heart – fully open.
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