Collin Derrick, the wildly uncool (his words), middle-aged indie pop maestro with a knack for turning life’s quirks into sonic joy, has struck gold with his latest single, “Holiday Hallelujah.”
This track, a centerpiece of his newly released EP Christmas, Vol. 2, is a jubilant celebration of all things festive, bringing classic holiday nostalgia together with Derrick’s signature modern indie pop sound.
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From the first notes, “Holiday Hallelujah” grabs your attention with its vibrant mix of jangly guitars, upright bass grooves, and shimmering sleigh bells. It’s a track that radiates the kitschy charm of Christmas Vacation and the timeless coziness of Burl Ives. The infectious hook, “Holiday Hallelujah,” is impossible to resist, daring you to sing along as the song builds to an exuberant finish.
Derrick wrote, recorded, produced, mixed, and even mastered the track himself, showing his talent as both artist and producer. Notably, Derrick picked up an upright bass for the first time and revisited his long-neglected drum skills to bring this song to life.
Beyond his holiday releases, Derrick has been carving out a unique space in the indie pop world.
He first gained attention with the quirky track “LaCroix LaCroix,” co-written with Grant Michaels (who has worked with Sia, SZA, and Weezer), and followed it up with the synth-laden single “You’re Magic.”
A former member of the prog piano trio The Fire Tonight, he toured the Southeast for 10 years, releasing three full-length albums and three EPs with the band. As a mix engineer, Collin has worked with Grammy-winners Jeff Coffin and Nir Felder as well as prominent artists like Offset, 2KBABY, and Quando Rondo. His production and co-writing credits include collaborations with Allyn Aston (Atlanta), Anne Reburn (Los Angeles), and Ivy Ash (London).
But Derrick’s holiday music holds a special place in his discography – and his heart. Inspired by his wife’s admittedly high standards for Christmas gifts, Derrick began writing her original holiday songs, a tradition that ultimately led to the Christmas series.
With Christmas, Vol. 2, he expands on the themes of joy and nostalgia, delivering a collection that resonates with listeners while still keeping it lighthearted and fun.
In “Holiday Hallelujah,” Derrick captures the essence of what makes the best holiday songs endure – nonsensical yet unforgettable lyrics, unrelenting cheer, and a sense of warmth that can melt even the coldest winter day.
It’s the perfect addition to a seasonal playlist, bringing a dose of indie charm to your holiday celebrations.
“Holiday Hallelujah” and the full EP, Christmas, Vol. 2, are available now on all major streaming platforms.
“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.
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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.
In a world where music often feels crafted to fit industry molds, chasing trends or filling a commercial void, Laura Baron’s new album Beauty in the Broken stands out for its authenticity and artistic intuition.
Her songs don’t follow any pre-set formulas or calculated gimmicks but, instead, they flow with a natural grace, shaped by genuine emotion and life’s unpredictability.
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Guided by the rhythms of experience, each track feels like a reflection of a specific moment.
From the uplifting energy of “Walking on Water” to the quiet introspection of the title track, Baron lets the music lead her and allows for an organic exploration of joy, heartbreak, and healing.
It’s this sense of freedom – this refusal to cater to anything but the soul of the song – that makes Beauty in the Broken such a compelling listen. Baron’s warm and dynamic vocals have the ability to glide over the upbeat instrumentation.
In the title track, “Beauty In The Broken”, the song marries delicate acoustic guitar and tender strings, creating an atmosphere that is both intimate and expansive. The poeticism in the lyrics conveying a profound sense of healing and acceptance, reminding us of the grace that can emerge from even the most challenging experiences.
Then there’s “Misfits and Renegades,” a celebratory track that pulses with energy and infectious optimism. Blending folk and blues, the song’s vibrant piano lines and vocal harmonies create an empowering narrative about embracing individuality and defying expectations.
Baron also brings a touch of romance and intimacy with “Enchanté,” a lush and atmospheric track that blends folk and jazz in a way that recalls the emotional complexity of early Nick Drake. The song’s soft, tender melodies underscored by rich guitar work and a dreamy vibe that transports you into the world of quiet longing and connection.
Perhaps most surprising is her re-imagining of the 1931 classic “Dream a Little Dream.” With its gentle, stripped-down arrangement, Baron gives the song a new life, elevating it with intricate guitar work and lush vocal harmonies. It’s a beautiful moment on the album, showing an ability to take something familiar and turn it into something completely her own.
Produced with precision by Marco Delmar, the sound is lush and inticate without being over produced.
With the title to guide us, we are swept up in the flow of the album. The great thing about music like this is that the listener can allow the music to conjure our own thoughts, allowing enough space to take its own unique message and arrive at its own conclusions about life.
As an artist, Laura Baron has always been known for her ability to connect deeply with her audience, and Beauty in the Broken is no exception.
A longtime fixture of the DMV music scene, Baron has earned accolades for her work, including multiple Wammie Awards for her previous album, Heart of the Great Unknown.
But wiith Beauty in the Broken, she builds on this legacy even more and delivers a collection of songs that feel timeless in their emotional honesty and artistic integrity.
Blonde & Grey’s latest album release “Drifting Through The Universe” is a thoughtful, immersive dive into classic rock-inspired melodies layered with a contemporary edge.
Kathy Olsen and Neil Friend have created something special here – this is a record that feels as though it’s been lovingly pieced together from the past while gazing firmly toward the future.
The lead single, “All The Time,” is the perfect opener, with Olsen’s soulful vocals and Friend’s effortlessly smooth guitar work creating a sound that is comforting and fresh. It’s a song that sticks with you, warm and melodic, like it’s been waiting on your favorite playlist.
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Friend says about the song:
“I started looping a beat and then record 20-30 seconds of some music on top of that and then toss on some lyrics without spending time worrying about what was coming out – just record it! I took 10 of these and asked the Blonde & Grey community which they like best and this one won.
I used the initial lyrics as the chorus – “All the Time Wondering how it’s gonna be…” I later added verses and a bridge.
I suppose the thinking is we are always wondering what’s to happen next, based on what/who we’re following, decisions we make, where we’ve gone. And it’s an endless process.“
The rest of the album unfolds like a story as it moves through tender reflections and lighter, playful moments.
“Since I Got You” has a breezy sweetness, while “Let’s Jangle” lives up to its name, full of charm and bright energy. Olsen’s flute dances through the arrangements, adding a magical, almost whimsical quality to the songs. It’s a touch that sets them apart and reminds you of the days when rock was unafraid to experiment.
This album feels like a leap forward from their previous release, Face the Music. There’s a stronger sense of identity here, as though Blonde & Grey have really leaned into what makes them unique.
Tracks like “Mud Mills Road” and “Gracie’s Grace” from their earlier work hinted at their potential, but Drifting Through The Universe delivers on it, with a sound that is both cohesive and diverse.
Blonde & Grey have always been about connection, and you can feel that here. Not just in the songs, but in the spirit of the album. They’ve built a reputation as incredible live performers, whether that is in small, cozy venues or online streams, and that authenticity translates beautifully into this record.
About Blonde & Grey
Blonde & Grey, the dynamic duo of Neil Friend and Kathy Olsen, are a true example of the enduring power of music to bridge time, generations, and genres.
Based in Danbury, Connecticut, the duo bring together their unique musical backgrounds into a sound that’s as heartfelt as it is versatile.
Neil Friend, singer-songwriter and guitarist, brings decades of experience from playing in New York’s iconic CBGB scene to crafting songs that traverse decades. His partner, Kathy Olsen, adds a touch of elegance with her virtuosic flute playing and radiant harmonies and draws on her classical training and years as a music educator.
Together, they have cultivated a style that is equal parts folk, rock, and modern pop, infused with nostalgia and innovation in equal measure.
If you’re a fan of Fleetwood Mac, The Moody Blues, or just music that feels honest and deeply human, then their new album “Drifting Through The Universe” deserves your time.
Keep up to date with Blonde & Grey on their Website.
Jason Sinay is a name that carries weight in the music world, not just for his collaborations with icons like Keith Richards, Neil Young, and Lucinda Williams, but for his long-standing role as a member of Heartbreaker Mike Campbell’s band, the Dirty Knobs.
Now, stepping into the spotlight with his solo career, Sinay is carving a new path defined by raw masterful and original songwriting, and a deep connection to his musical roots.
At the heart of this next chapter is “High Plains Drifter,” the lead single from his upcoming double album, “The Mountain“ due to be released at the beginning of 2025.
Inspired by Clint Eastwood’s iconic Western of the same name, the song blends cosmic country-rock with introspective storytelling, painting a vivid picture of self-reckoning. Its jangly guitars and atmospheric grooves capture the timeless spirit of the Old West while reflecting Sinay’s personal journey of confronting inner demons and embracing the complexity of human nature.
In this exclusive interview, Sinay opens up about the inspiration behind the official music video to “High Plains Drifter”:
1. Tell us the story of this song. Why did you choose to visualize this song specifically in this way?
“High Plains Drifter” centers on an ominous character — “Born to be a liar/ Born to be a liar/ Like me” — who turns out to be the man in the mirror.
The song is about coming to terms with my own sense of good and evil within myself. I never wanted to look at evil in my life. I always was like, That doesn’t exist. That can’t be true. People aren’t that bad.
And then I realized, Well, sometimes, I’m not that bad.
The song is named after Clint Eastwood’s 1973 Western High Plains Drifter — one of my favorite films ever made!
2. What was the inspiration behind this video (visuals, storyline, etc.)?
We approached legendary music video director Woody Ford, who brings fun and compelling imagery to his work. We all are fans of the silent Western/Comedy films of the early 1900’s and thought those masterpiece’s could be a great resource to tell the story of the onimous characters of the old West, outlined in the song. I am thrilled with the results.
3. What was the process of making this video?
Woody and his team spent over 40 hours viewing classic silent films, most over 100 years old, that he could repurpose to bring the storyline to life. I was blown away with the wealth of great footage they uncovered.
It was amazing how Woody used the lyrics, throughout the video, and kept the integrity of these classic films by making the video in the style of a silent film. He did use some modern AI technology, to incorporate me as one of the characters in the video … see if you can locate my cameo?
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