Born and raised in Toronto, Victoria Staff was always an “anxious child.” The string that connected much of her young life was using music to communicate with family, friends, teachers, and even therapists. Over time, this coping mechanism developed into a passion for music that would lead to her career as an indie-pop artist. Staff continues to use the written word to communicate with her audience. Her debut EP, Records & Honesty, was released in 2023 under the guidance of Canadian music producer Dan Hosh.
Sophomore EP, I Wake Up Smiling 😦, continues her narrative, as she begins to build the world around her. The record follows her journey through love, life, and mental health, as she navigates this next chapter of her life. “Happiness is super elusive. It can feel like your chasing it down, but it’s often faster than I am,” says Staff, “it’s just about trying to find it, whether or not you actually get there is beside the point sometimes.”
I Wake Up Smiling 😦 features highlighted single, “My Whole Life Long.” Instead of being a cathartic outlet, “My Whole Life Long” finds Staff communicating through a new lens, one where her storytelling is centered around a place of joy. Her public autobiography this time tells the story about love found, not love lost. So many relationships are one sided, but “My Whole Life Long” tells a story where both people were in it together as equals.
‘Records & Honesty’ was about where I was last year, and in contrast, this is all about where I am now. I got to work with some incredible musicians: Will Crann, John Karkar, Luke Fair, and Dan Hosh. I also built‘I Wake Up Smiling 😦’with my sister. She is and always will be my favourite collaborator. Her voice is all over the songs. She makes me a better musician. – Victoria Staff
Born to a French/Vietnamese mother and a German father, Toronto-based singer-songwriter Nathalie King’s music is noted for its cinematic electro-pop and trip hop style, while her sound expresses deeply rooted themes like mental health and emotional life experiences. She is known for her sultry smooth low voice, reminiscent of the true artists of the vintage jazz era.
King is now releasing her new six track EP, PTSD, which is a healing journey throughout her childhood trauma. “I’ve been writing songs as a therapeutic means to overcome childhood trauma and depression throughout my life,” says King. “Working in the studio together in Toronto, PTSD has a more electronic and UK sound to it, thanks to the contributions of Bristol born producer Joseph Snook.”
“Within a Dream” is about the many nights I spent in my bed as a child, sweating and being scared and feeling a ton of anxiety because my parents were fighting or I just got a beating and got screamed at for nothing important in particular. This song revisits the tremendous anxiety I felt in my stomach and sorrow as I cried myself to sleep countless times. It’s about the dark memories of my childhood that stored the trauma in my cells and the beginning of generational trauma. – Nathalie King
“Hell’s Kitchen at Christmas Time” is a vivid and vibrant musical journey that celebrates the spirit of a New York neighborhood steeped in history and transformation.
Co-written by Sarah Pillow and Marc Wagnon, the track marries Pillow’s evocative, rich and genre defying vocals with Wagnon’s rhythms and textures, creating a holiday song that perfectly captures the magic of Hell’s Kitchen during this busy season.
Listen in here:
Sarah Pillow’s voice is the star of the song here. She offers a stunning blend of jazz sophistication, classical finesse and rich warmth. Her vocal delivery feels more like a conversation and draws the listener into her world that she paints with her words.
Pillow’s decades long connection to Hell’s Kitchen, where she has lived for nearly 30 years, imbues this song with an authentic edge. Her nuanced performance speaks of a deep love for the neighbourhood with each lyric having a personal touch.
Marc Wagnon’s arrangement brings this love letter to life with a rich, layered instrumental palette: the vibraphone glistens like freshly fallen snow, while his percussion adds a dynamic pulse that reflects the neighborhood’s ever-moving rhythm.
The brass section featuring Summer Camargo (trumpet), Coby Petricone-Berg (alto sax), and Cole Palensky (tenor sax) really infuses the song with warmth and vibrancy, echoing the bustling energy of Manhattan’s streets.
Eliane Amherd’s guitar provides a melodic anchor and balances the richness of the brass with a steady, grounding groove, while Jonathan Price’s bass ties it all together with depth.
The song’s lyrics are as much about Hell’s Kitchen as they are about the essence of the holidays. They capture the duality of the neighborhood: the electric buzz of midtown Manhattan softened by the quieter charm of brownstones adorned with festive lights and local cafes humming with life. It’s a place where the pulse of New York City merges with the heart of a close-knit community.
Lines like “in it all, but off to the side” speak to the unique identity of Hell’s Kitchen – a neighborhood that is part of the city’s relentless energy that retains its own quiet magic.
But where “Hell’s Kitchen at Christmas Time” transcends the typical holiday song is by offering a deeper narrative. It’s not just about twinkling lights or festive cheer – it’s about the people, the stories, and the ambience that make a neighborhood feel like home. The song reflects on the enduring spirit of Hell’s Kitchen, a place that has weathered decades of change while holding onto its identity.
You can almost see the snow-dusted streets, hear the muffled conversations in cozy cafés, and feel the unique warmth of a neighborhood that welcomes everyone.
“Hell’s Kitchen at Christmas Time” is a celebration of place, and a reminder of what makes the holidays special: community, tradition, and the ability to find wonder even in the most familiar corners.
About Sarah Pillow
Sarah Pillow is a vocalist celebrated for her extraordinary versatility, blending jazz, classical, and early music influences into a style uniquely her own.
A graduate of Oberlin College’s prestigious music program, Sarah began her career as a jazz singer and quickly expanded her repertoire, performing as a solo artist and collaborating with renowned ensembles across the United States and Canada. Her projects include a jazz quartet, the crossover ensemble Nuove Musiche, and the early music group Galileo’s Daughters.
Her distinctive voice – rich and vivid, praised by The Washington Post as “genuinely genre-busting” – has graced the stages of legendary venues like the Lincoln Center and Carnegie Hall. Whether delivering an operatic aria or interpreting a jazz standard, she captivates audiences with her emotional depth and technical brilliance.
For nearly 30 years, Sarah has called Hell’s Kitchen home. This iconic New York City neighborhood is steeped in history and creativity and has been a profound source of inspiration for her work. From its roots as a gritty, working-class enclave to its evolution into a vibrant cultural hub, Hell’s Kitchen embodies the energy that Sarah channels into her music.
Sarah Pillow continues to redefine what it means to be an artist. Her work is a celebration of connection – between past and present, tradition and innovation, and the universal language of music.
Julie Haven’s latest single, “Running Man,” is a surprising, upbeat shift from the more introspective ballads that have established her as one of Metro Detroit’s most soulful and evocative singer-songwriters.
Known for her honest reflections on heartbreak and life’s tougher lessons, Julie’s music has always been an outlet for the heavier and more complex emotions that resonate with listeners.
But with “Running Man”, a cheeky, piano-powered pop-rock anthem, Julie lets her lighter, wittier side take center stage. Inspired by an emotionally elusive partner with a “dismissive avoidant attachment style,” the song is a burst of energy and personality aimed squarely at a man who “runs at the first sign of struggle or closeness.” The music video, however, takes things a step further, and captures the humor and absurdity of this dynamic with over-the-top silliness.
With a cast of hilariously exaggerated characters and laugh-out-loud moments, the video features Julie’s friends dressed up in zany roles. From the elusive Running Man himself to a wig-wearing “mother” crying over her daughter’s love life.
Filmed in her old Florida home and local parks, the video transforms familiar settings into a stage for playful scenes that poke fun at her own heartbreak.
Here, Julie shares what inspired “Running Man,” how the video came together, and why this song is such a departure for her musically and emotionally.
1. Tell us the story of this song; why did you choose to visualize this song specifically in this way?
The song itself was written as a sort of follow up to “See Me Cry”, where I was already in a state of frustration from feeling like I was being toyed with by an emotionally unavailable partner, (who now I realize many years later, was man with a dismissive avoidant attachment style), and the constant hot and cold dynamic led to an even angrier version of myself when I wrote “Running Man”. Which essentially, is about a man who constantly runs at the first sign of struggle or closeness in a relationship.
I wanted this video to be just super over the top, ridiculous and silly. Most of my songs are very serious and about heartbreak or the constant lessons of life that I’m trying to interpret and learn. I released “Kill Me”, which is a pretty dark song about being lied to and about infidelity, which had a very creepy animated video along with it, then followed that up with the emotionally heavy, “Between the Lies”, about domestic abuse, and I wanted this video to be the total opposite of that and just be stupid, really. I have a bunch of different sides of me, and the people who know me very well, know that as dark and depressed I can be, I can also be really silly and have no problem making fun of myself. So I wanted that to come through in this video.
So with the video, I wanted to take the lyrics and over exaggerate them with a very tongue and cheek tone. We have Benjamin Card, (a super talented songwriter under the name “Breezy Tempest”) the Running Man himself, and he’s in this bright yellow outfit and basically running the whole time. My friend Glenn Baker (Glenn Baker Band) plays my mother, and he’s wearing a bright red wig with a full beard. And the basic story is I give him my heart, which in the video is an actual heart shaped totem, he runs away with it, but keeps coming back while I keep giving him chances. Eventually I run after him and get my heart back once and for all.
2. What inspired this video (visuals, storyline, etc.)?
When I thought about making this video, I just kept picturing the most ridiculous scenes and this guy just running away from the simplest things like milk spilling onto the floor, being intimate and bolting, taking off when I’m crying watching a movie (“Kill Me” easter egg moment), actually biting me and running away (a line in the song). And it just kind of morphed into what we have. I added the idea of my mother crying every time this guy runs away and breaks her little girl’s heart, and it hit me one day “What if Glenn dresses in a wig and a tight dress?! It would be hilarious!” Then my disapproving father (who has never approved of any man in my life) is smoking a bubble pipe with a drawn on beard (Ironically enough played by my now ex). It’s just over the top silly. And just for fun I added my friend Michelle Johnson in there for no reason other than being the “BANG!” girl who is a random character who pulls a trigger on a prob gun that says “BANG!” and cheering for everything cause she loves everyone. She cracks me up.
3. What was the process of making this video?
Lance Goodman was the videographer, director and editor. He is the same guy who filmed “Between the Lies”, and I loved working with him the first time, so I decided to do it again. One of the cool things is that we filmed both videos in the same locations; the house where I used to live with my ex in Florida, and the park where we used to run. I thought it was neat to have the dark and the light in the same places.
We filmed this in one day. So the day of the shoot everyone showed up at the house and I had my ideas written down as certain scenes I wanted to try and we tried it all. We then went to the park and finished the running scenes, which was very funny because there were random people walking around and watching us as we acted out this ridiculous video. A scene we added last minute was Ben dropping my keyboard and breaking it and then taking off, leaving me to clean up the mess. I would never condone destroying a piece of perfectly good equipment, however, two days prior to filming this video, I was rear ended and my car was totaled along with my keyboard while I was driving to a gig. I wanted to add a car scene in the video but the car was undrivable. So I decided to add the keyboard scene in since it was already destroyed. Very “Rock ‘n Roll” lol.
I also gave Ben full reign to do whatever he wanted with the character, and he was perfect for that role. I could not stop laughing. I kept breaking character because he would surprise me with the faces he would make or moves he would just randomly do. We all had a lot of fun making this. Great memories for sure.
“Running Man” is a track from “Dramatic Departures”, Julie’s first full-length album, crafted from an intimate collection of songs she’s kept close over the years.
Her discography already includes an album, four EPs, and a live record, capturing a journey that has seen her perform across the U.S., from small coffeehouses to major festivals.
Julie has been a recurring artist at Michigan’s celebrated Arts, Beats and Eats Festival, where her music resonates with audiences year after year. With the upcoming worldwide release of “Dramatic Departures“, Julie invites listeners to connect with her most personal work to date.
Through honest writing of individual personal memoirs, Stonehocker crafts songs that explore and express the pain and joys of life. In a society where mental health issues have become even more prevalent, his goal is to be open, honest and inspire people to have the courage for self-discovery. The musical journey began in a small northern Alberta town and can be traced through the lyrics of the four full-length albums that have been released. Today, the music finds life through Stonehocker’ssparse Calgary home studio that has slowly come to be.
Latest offering, “Take Everything,” is a purposefully sparse song that allows the emotional vocals and lyrics to take focus. It continues the songwriter’s vein of self discovery and acceptance of what you find. “When I wrote those words, ‘Take Everything,’ it’s like a weight being lifted,” Stonehocker explains. “My burdens broke me. It was inevitable, yet I’m still here to sing this song; because I surrendered.”
This song is about surrender. It begins with the recognition of struggle and turmoil; it acknowledges the lack of control over one’s life. Yet, it leads to surrender, giving over control, allowing for help. I think a lot of people are carrying a weight around, loads of guilt or bitterness or angst. We’re walking alone, despite being surrounded by people, bearing our burdens. – Stonehocker
New Brunswick-based singer-songwriter Kylie Fox released her sophomore studio album, Sequoia, this past September; 11 songs that fuse vintage elements folk storytelling, jazz and alternative rock while serving as reflections on gratitude in relation to the women in Fox’s life, her environment, her relationships, and herself. Guided by renowned producer Daniel Ledwell (Jenn Grant, Fortunate Ones, The Good Lovelies), Fox has crafted a body of work that not only showcases her remarkable vocal range and songwriting skills but also reaches deeper into themes of self-discovery, love, and empowerment.
Fox started writing the album’s third track, “Flush,” during the first summer of dating her now-fiancé and drummer Ryan Barrie. While getting to know each other, Fox noticed how rosy his cheeks get when he’s having drinks. That led to the catchy first verse, which grew into a song that lists quirky things about him, like his sleepy habits, or his tough-guy-teddy bear aesthetic. “Flush” is a love song about honoring “the best and all the rest” in your partner.
While recording, Ledwell commented on how the song was evocative of 70s Sesame Street music. Embracing this eccentric comparison, they leaned into the reference for the making of the music video, teaming up with filmmaker Jillian Acreman. They made a puppet to look just like Barrie, and created a really playful and colourful world to support the song, with nods to Cookie Monster and Ernie.
There’s so much love in this song. It’s fun to perform because there’s such a great bop to it and Kelly (Waterhouse)’s flute playing is show stopping. The song makes me feel grateful for how much Ryan and I have both grown together since I wrote it. I wrote it during our first summer together, and we have been together now for five years, own a house, and we are planning our wedding. The song is a timestamp of a whirlwind-era where we were going to a lot of parties and experiencing a new romance. – Kylie Fox
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