Rooted in Southern soul and shaped by years of touring, collaborating and creating from the heart, Molly Thomas has carved a distinct path as a songwriter, musician and storyteller.
With a voice that carries both grit and grace, Molly’s music brings together an authentic honesty and depth – qualities that shine through in her latest single “Even The Strong” and self-made video.
Following a transformative season of healing and reflection, Thomas brings us a visual companion to a song that speaks to resilience, vulnerability and the quiet strength it takes to lean on others when life demands more than we can carry alone.
In this Exclusive Interview, we talk with Molly about the story behind the song, the creative process behind the video, and how a spontaneous trip to Spain – and a crash course in video editing – helped bring it all to life!
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
This song is about the idea that even in strength, we all need someone to lean on. Old habits can creep back in, but finding grace, truth and sometimes a shoulder to lean on can help one rise above. I decided to visualize the song in black and white because I wasn’t sure how to allude to the overall feeling any other way. I found a way to add color and added it at the pinnacle moment of the song to heighten the level of visuals to match the song.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
The song was written in the summer of 2023, just before my car accident.
Ironically, the test of strength was thrown my way and the message of resilience and hope proved to be just what I needed to get through it. A little over a year after the car accident, my husband and I took a celebratory trip from time healing and we went to Spain.
We were both inspired and took lots of video footage in hope to create a video at some point. I wasn’t sure which song the footage would be for, but it presented itself when I started. This song is the first single, to be released May 16, 2025. The footage that we gathered seemed to tell the story I was looking for and so I just went for it.
3. What was the process of making the video?
The process was a bit tedious, considering I was/am fresh at learning Premiere Pro.
In fact, I just got it 3 days ago and have SO much to learn. I initially created the video in imovie. I sent it to my friend, who is a professional filmmaker, and she set me straight, in a loving manner. It took me 2 days to make it once I sat down and loaded all of the footage into my project. I guess because I have experience in imovie and also Pro-tools, the learning curve came a little bit easier.
Thanks to Youtube University (HA), all of my questions were answered as I went along. I’m sure I could have kept going with perfecting it, but decided to let it go, especially because there is a deadline. Also, the realization that I’m a musician just trying to get my song out to the world. I am not a professional videographer. It’s similar to producing and recording a song. At some point along the way, there comes a time when nothing more can be done with the tools at hand, and you have to let it fly.
In a world overwhelmed by environmental catastrophe, humanitarian crises and collective heartbreak, Madame Z emerges with a brand new single that’s as musically gripping as it is emotionally necessary.
Called “Save the World,” the single was released intentionally on Earth Day, 20th April, and it’s a powerful, aching anthem that channels personal grief into a global plea for unity, compassion and action.
Listen here:
It opens with a haunting and sparse arrangement that immediately places the listener in a contemplative space.
There’s a steady, pulsing undercurrent, like a a heartbeat, that anchors the track from the start, a subtle metaphor for the planet’s own fragile rhythm. Madame Z’s voice enters with clarity and conviction, rich with emotional texture. And it’s the vocals that elevate everything – a soulful delivery, blending vulnerability and strength into each line. This is not performative pain, but a lived experience transformed into melody.
Written during a time of profound personal overwhelm, the song grapples with the heavy realities of genocide, war, famine, ecological collapse and the slow poisoning of the earth’s most basic life sources: air, water and soil.
But rather than becoming mired in despair, Madame Z creates something rare. It’s a protest song that is simultaneously a mantra for survival. “Save the World” is steeped in sorrow, yes, but it is also a vessel for change.
The song strikes a good balance between introspection and uplift – its layered instrumentation with guitar, atmospheric keys and percussion has a tribal feel and builds gradually, creating a sense of momentum. By the time the chorus fully blooms, the listener is immersed.
But “Save the World” is not just a general statement. It is also intimate. Madame Z is able to make something deeply political feel personal. It’s as if you are listening in on a whispered conversation between her and the earth, or between her and her own soul.
For those who know Madame Z’s earlier work, particularly her debut album ”Down the Rabbit Hole”, this track continues her signature style – unflinching emotional honesty, poetic lyrics and a commitment to turning lived experience into a form of healing.
Her background as a fierce advocate for women’s stories, especially through deeply personal tracks like “Unwanted”, is present here as well reminding us that caring for the earth and caring for each other are deeply connected acts.
In an intense political and cultural moment filled, “Save the World” is a song that cuts through the noise.
Amanda Abizaid has always been an artist unbound by borders, whether cultural, linguistic or musical.
Her latest release “Hold On My Heart (Bilingual Remix)” has taken on many forms, evolving across languages and styles. Originally written as a pop folk ballad in English through Sundown Sessions in Los Angeles, the song which was co-written with Lindsay Gillis, has since blossomed into a bilingual marvel.
Winning Best Folk and World Music Song awards from the Indie Music Channel, this track further cemented Abizaid’s place as a global artist. Now, with a fresh remix produced by Dave D’Addario, “Hold On My Heart (Blilingual Remix)” shows Abizaid’s talent for fusing world music with neo-soul and cinematic electronica into a mesmerizing, emotionally charged experience.
With lyrics that seamlessly transition between English and Arabic, this song re-invents the wheel of remixes and transforms it into a re-awakening of passion and purpose.
Abizaid’s ethereal vocals pull you into a dreamy landscape where Middle Eastern melodies intertwine with lush electronic beats.
Producer Dave D’Addario expertly amplifies the song’s intensity, layering hypnotic rhythms with a pulsing and danceable energy that builds towards a climactic release. This is certainly a song that lingers with the listener long after listening with its gorgeous fusion of nostalgia and modernity.
Abizaid, a Lebanese-American singer-songwriter, is no stranger to crafting music that resonates across cultures. Best known for her Emmy-winning theme song A Place in Time from The 4400, she has collaborated with legends like Stephen Stills and performed alongside Herbie Hancock and Wayne Shorter. Her music, which is often a vehicle for storytelling and activism, has found its way into film, television as well as and international humanitarian efforts, where she has used her platform to promote peace and cross-cultural understanding.
“My multicultural upbringing has enabled me to adapt to different types of people. I’ve always had different kinds of friends, inviting them all to my shows and discussions which I love because it creates an international fanbase and audience allowing for a diverse dialog.”
“My hope is to open our minds to accepting our differences by having positive experiences together and to have my fans have an opportunity to experience my native Country Lebanon in a different light than what they might typically hear on the News. After all, don’t we all want to be happy and enjoy the time we have?”
With “Hold On My Heart (Bilingual Remix)”, Abizaid takes another step in that mission, using music as a universal language. This remix breathes new life into an already memorable song, and offers a fresh take where heartbeats of different worlds come together in harmony.
“Box of Rain” has always been a song that carries an emotional weight, deeply intertwined with themes of love, loss, and the healing power of music.
Originally written by Grateful Dead bassist Phil Lesh as a poignant farewell to his father, it has since become one of the band’s most cherished and resonant tracks.
When Phil Lesh passed away in October of 2024, MASSEY found himself reflecting on the profound connection he has with this song. In collaboration with Vince Herman of Leftover Salmon, he has created a new, rock-infused version of “Box of Rain” that pays tribute to Lesh’s legacy while breathing new life into the timeless classic.
Released today, this re-imagined rendition is much more than a cover. This is a wonderful tribute to one of MASSEY’s all-time favorite songs and a celebration of the enduring spirit of the Grateful Dead.
Working alongside an exceptional group of musicians including Charlie Wooton, Daniel Groover, Peter Oravetz, Michael Lemmler, and Doug Belote, MASSEY brought his vision to life at Dockside Studio, with the track being elevated by the mastery of JoeBaby Michaels and Abbey Road Studios.
But the journey didn’t end with the recording. The release is accompanied by a vibrant music video that allows listeners to experience “Box of Rain” in a new visual context. Directed by Jim Mimna, the video complements the song’s messages of connection and healing while also inviting a new generation of fans to discover the beauty in this timeless piece.
In this interview, MASSEY opens up about the inspiration behind reinterpreting “Box of Rain”, the collaborative process with Vince Herman and the emotional journey of revisiting a song so deeply connected to both personal and wider themes:
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
This is a cover of the Grateful Dead song Box of Rain. It is one of the few Dead songs written by bass player Phil Lesh, who passed away a couple months ago, just as we were preparing to record all the tracks for the upcoming MASSEY debut album: Reason For Being. JoeBaby Michaels, the founder and head of my label, Bent River Records, who is also my producer, had instructed that it would be a good idea to include a cover.
When Phil passed I immediately thought of Box of Rain. It is just about my very favorite Grateful Dead song. It has always struck me in a deeply profound and emotional way. And with Phil’s passing, I thought it was very appropriate. We did agree it should be a more edgy rock version, one of my natural styles, which I feel we accomplished, while still totally respecting and paying homage to the original, and Phil.
It’s important to note that this is a duet with Vince Herman, a founding member of Leftover Salmon. A long time friend of JoeBaby’s, they had never worked together, and they agreed this would be a perfect, heartfelt song for them, and me, to collaborate. Vince is one of the nicest, sweetest, rockstars you’ll ever meet. And I believe our work together on this song shines the light.
2. What inspired this video (visuals, storyline, etc.)?
The song was written by Phil as his dad was dying. I believe it’s a metaphor of love, loss, and the personal peace and healing that’s available to all of us. It’s very beautiful. And I was always emotionally affected by it, as with much of the music I deeply love, from the actual music first, even more than the words.
3. What was the process of making this video?
The video is so excellently done by our videographer Jim Mimna. He combined the studio footage of me and Vince, as well as the amazing players in our band: Charlie Wooton on bass, Peter Oravetz on lead guitar, Daniel Groover on guitar, Michael Lemmler on keys, and Doug Belote on drums; Paired with very effusive illustrated images that, like the song lyrics, suggest deep emotional meaning but allow for interpretation by the viewer.
There’s something quietly powerful about Brooks John Martin’s new single “Clear Blue Waters“. It doesn’t beg for attention or push too hard. It just is, like the tide rolling in.
Brooks John Martin has always had a way of making music that feels lived-in. Songs that sound like they’ve been with you forever. This one is no different.
There is an openness to it and a sense of movement. You can feel the road stretching ahead, and you can feel the ocean right there beside you. It makes sense, then, that the video to accompany the song was filmed along the Pacific Coast Highway.
That winding stretch of California coastline where land meets sea, where the road feels endless, is the perfect companion to a song about clarity, renewal and the pull of something familiar. But with the devastation of the recent wildfires, those images carry more weight. Beauty and loss, destruction and rebirth. This is all wrapped up in the song’s quiet insistence that we keep moving forward.
Brooks doesn’t overcomplicate things. The lyrics are simple but that’s what makes them carry more emotional weight: “I come from clear, blue waters. Come back to the clear blue water with me.” There is no forced nostalgia here, no pretense.
And then there is Brooks’s voice. It’s not flashy or trying to prove something, but on the contrary is like someone who has been through enough to know what really matters. The arrangement mirrors that same restraint – lush but not overdone, layered but never heavy.
“Clear Blue Waters” is the kind of song that sticks with you and makes you want to get in the car, roll down the windows and just go.
About Brooks J Martin
Brooks J Martin is a singer-songwriter from Cedar Falls, Iowa, and is known for his introspective folk music, evocative lyricism, and lush, cinematic arrangements.
Over the years he has recorded under various monikers including Toast, The Blue Danes, and Frank Hansen. But his latest self-titled release marks a turning point – an unfiltered, deeply personal artistic statement.
Taking inspiration from legends like Woody Guthrie, Neil Young, and Leonard Cohen, Martin writes songs that favor mood over strict narrative, allowing listeners to find their own meaning within his impressionistic storytelling.
Ben Killen’s debut solo track “Singing River Blues” is an evocative blend of acoustic blues and Americana, rooted in personal loss and the timeless emotions found in music.
The song, written during a turbulent time in 2012, channels grief, hope, and connection, drawing on Killen’s own experiences with profound family losses. The deeply personal lyrics and haunting steel guitar create a narrative that resonates universally, offering a tribute to the legacies of loved ones while bringing in the influence of blues pioneer W.C. Handy.
Bringing this emotional masterpiece to life visually was a new frontier for Killen, who took on the roles of director, producer, editor, and star in the music video for “Singing River Blues.”
The project became an ambitious labor of love, combining intimate moments of Killen lip-syncing his studio performance with carefully curated stock footage and choreography provided by strategic partners, including the lloolk agency and BDKMG. The result is a dynamic and deeply symbolic visual journey that enhances the song’s narrative layers.
The steamboat featured prominently in the video, for example, is not just an image – it is a metaphor for the enduring currents of musical heritage that flow through generations, tying together contemporary artistry back to the roots of the blues.
Killen’s own on-screen presence, filmed in his Brooklyn apartment in front of a glass IKEA wardrobe assembled with his mother, adds a raw moment, underscoring the deeply personal nature of the project.
Creating the video was not without its challenges. Working within a limited budget and using a crop-frame DSLR, Killen pushed the boundaries of what was possible, spending countless hours perfecting the edit and overcoming technical hurdles, including rendering the final product in full 4K resolution. The process, which required his Mac Mini to run for 13 days straight, truly shows his determination and creative resourcefulness.
Yet, it was also a learning experience that opened doors to future possibilities.
“I think I did literally every piece,” Killen reflects with a mix of humor and pride. “It was a lot of work, but I learned so much, and now I know what’s possible.” The finished video, polished and professional, stands as a milestone in Killen’s artistic journey. It is stunning blend of visual storytelling and musical expression that honors the legacy of the blues while carving out a unique space for his voice.
In this behind-the-scenes exploration, Killen shares the story of how the music video for “Singing River Blues” came to life. From its symbolic depth to the creative triumphs and challenges faced along the way.
Watch the video to “Singing River Blues” here:
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
The song, the words at least, came about quickly. It was just a simple moment sitting on the couch in my East Harlem ‘El Barrio’ apartment, that place had a really beautiful skylight, and plenty of windows. But it was a bright afternoon in the days shortly after I had returned to NYC from home, Dad’s funeral, all the whirlwind as I call it. Mom just sent me a simple text, nothing too extraordinary but just mentioning that she wasn’t feeling all that good that day. Of course, the dutiful son that I am I sent out my sweetest emojis and most heartfelt sentiments but even that didn’t seem near enough in such a weighty moment.
So that’s when the song’s first line written came into being: “Operator call me, Mother’s on the phone. Got to get my message out to her that she’s not alone.” It’s not the first line of the song, as many have stated, but it was the first one written. I chose to visualize the song in this way because, TBH this is me working on a shoestring budget, but still wanting to produce an end product that is on par with that of my musical heroes, perhaps a bit earlier in their careers, if not now.
Of course the archival footage of my amazing dancers it not mine exclusively. Somebody else probably already has and well they should also use them in their own music video (I could even produce a “BTS” how-to tutorial, if there’s sufficient interest, but that’s another story for another video!) But I honestly was pretty happy with the results of the (admittedly uncharted) 1080 to 4K footage upscaling workflow I ended up using. If I’m honest, I think the process could be of benefit to other artists like me.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
I wanted the visuals to be as dynamic and engaging as possible. Also, I took great pains to ensure everything was cut in-time with the music. Not every cut is beat sync’d but the majority of them are. In my opinion, this is the best way to cut a music video that feels cohesive with the song. I mean, unless its a really slow ballad or something, I don’t think it would matter as much, but for a song like mine, where the beat is foundational, elemental.
I’d imagine it’s a bit generous to say my video has a true ‘storyline’ but more than anything, I wanted the visuals to reflect the words, content and meaning of the song, so every effort was made to choose footage specifically with that in mind, but also we were lucky to have access to the lloolk agency’s vast media resources enough to select footage that I feel confident is both of excellent quality but also correlates strongly to the meaning of the song and the lyrics. In prior interviews I had mentioned all the “Easter eggs” in the video, but I suppose there are more of those sonically in the music, than the video, but the video remains true to the music.
3. What was the process of making the video?
I guess I touched on this a little bit already, but I started with a bunch of really excellent quality stock footage, the scenes of the dancers and party scenes, but also a lot of the abstract shots, drone footage, and coverage for the heavier autobiographical “dozen” stuff, loss of loved ones, processing of loss, etc. I couldn’t have imagined the project without that excellent quality footage to start with, but the problem was, as excellent quality as it all was, it was only 1080, and of course nowadays 4K is basically the standard, so I knew I wanted to upscale, so not to get too far down into the weeds of the technicalities, but thankfully I’d discovered Topaz’s amazing Gigapixel video upscaling suite (or whatever they call it) and, despite the fact that it took my poor little Mac mini two weeks (13 days rendering, 24 hrs straight) but the eventual output was stellar!
Each of my clips lost a little length (primary in the “handles”) but knowing I already had to re-cut everything to get my cuts beat-sync’d, as I knew they had to be, I already knew everything was getting chopped up anyway, so I just worked around it. Some of the shots might seem unnecessarily short, I’m thinking the amazing shots we found of the horn sections and trumpet players, but ultimately, I’m really happy with the end result.
The irony is, in the end, I think the upscaled footage actually looks a little better than my talking-head style footage of me “singing” (lip sync’ing to my own studio vocals) which was actually shot natively in 4K. I used mid-level Mac hardware and DaVinci Resolve to cut everything together.
Modern Mystery 
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