GRAMMY® nominated Vermont singer & songwriter Noah Kahan has exploded from his New England roots into the global mainstream. At the core of his music are vulnerable lyrics and an unfiltered yet relatable honesty, as the critically acclaimed artist pens songs straight from the heart and cracks jokes with his signature, self-deprecating sense of humor. Throughout his career, Kahan has become globally renowned for his singular mix of Folk, Americana, and Rock, landing more than seven billion streams and a 4x Platinum Certification for his hit single "Stick Season." His widely adored Double Platinum-Certified album Stick Season and its breakthrough single are inspired by his hometown of Strafford, Vermont and earliest musical inspirations and songwriting heroes—from Paul Simon to Yusuf Islam (Cat Stevens)—conveying a vivid representation of what he loves, fears, and struggles with most passionately. He followed up the album's massive global success with his sold-out "Stick Season Tour" and two extended versions of the record—Stick Season (We’ll All Be Here Forever) and Stick Season (Forever), which both surpassed sales of the original and featured new singles “Dial Drunk” and “Forever,” as well as collaborations with the likes of Post Malone, Kacey Musgraves, Brandi Carlile, Hozier, Gregory Alan Isakov, Gracie Abrams, Sam Fender, and Lizzy McAlpine. Kahan’s latest “We’ll All Be Here Forever World Tour” saw him performing in sold-out stadiums and arenas around the globe, including two sold-out nights at Boston's iconic Fenway Park. The shows were livestreamed to benefit his mental health initiative The Busyhead Project, which has raised over $2.5 million dollars to date to expand access to mental healthcare and fight the stigma around mental health. His live album, Live From Fenway Park, was released following the career-defining shows as the final installment of the Stick Season chapter.

The Marías are the Grammy-nominated psychedelic-soul lovechild of Puerto Rican-bred, Atlanta-raised María Zardoya and Los Angeles native, Josh Conway. The two are joined by their closest friends, Jesse Perlman on guitar and Edward James on keys. Their undeniably intuitive musical chemistry can be heard in the band’s smooth rendezvous of jazz percussion, hypnotic guitar riffs, smoke-velvet vocals and nostalgic horn solos. There’s something undeniably sensual in their dreamlike fusion of jazz, psychedelia, funk and lounge. Since the release of their debut album, Cinema, The Marías have earned the reputation behind their impressive upward trajectory, including two Grammy nominations, a Billboard chart-topper and collaborations with some of the biggest names in Latin music, including Bad Bunny and Tainy. Now comes the next phase of their journey, the release of their sophomore album: Submarine. Stepping back into the psychedelic indie rock roots that defined their breakout EP, Superclean, Submarine delivers on a feeling of nostalgia, a sense that you’ve been here before but the geography has evolved. Lead single from the project, “Run Your Mouth,” introduces fans and audiences alike to this new immersive world, garnering over one million streams in its first week of release. The cinematic swells of their debut record have been traded for a sonically matured return to form for the album that Josh calls the “bookend to their trilogy,” María’s trance-inducing vocals transporting you to a place of solitude and exploration. In the live show, The Marías are joined by Gabe Steiner on trumpet and Doron Zounes on bass. The detail that has defined their cinematic style off-stage is brought to life during their live performance as the group delivers striking visuals that beautifully compliment their dreamlike songs, creating an indisputably unique and seemingly transportive experience.

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction. - Lol Tolhurst

The Beaches are doing everything their way. After more than a decade together as a band, sisters Jordan Miller (lead vocals, bass) and Kylie Miller (guitar), plus closest friends Leandra Earl (guitar and keys) and Eliza Enman-McDaniel (drums), are entering a new era. On the new album "Blame My Ex," the 4x Juno Award-winning Toronto band channels heartbreak into self-discovery through 10 exuberant songs that revel in pain and redemption. The lead single, “Blame Brett,” an acerbic pop-rock knockout Jordan calls “a song for all the hot messes out there,” has racked up over 70 million streams on Spotify and over 10 million views on TikTok. The track peaked at #2 on Spotify’s US Viral chart, #20 at Alternative Radio in the US and #1 at Alt Radio in Canada for 13 consecutive weeks, making it the biggest alternative radio hit of the year. Mark Hoppus (blink182), Nelly Furtado, and Demi Lovato are all fans of the track. Since the success of Blame Brett, The Beaches sold out their worldwide Blame My Ex tour, including Toronto’s Budweiser Stage (16000 tickets) three months ahead of their show, Vancouver’s Orpheum (2750 tickets), Brooklyn’s Williamsburg Music Hall x2 (1300 tickets), Los Angeles’s Troubador x2 (1000 tickets) & London, UK’s O2 Forum Kentish Town (2250 tickets). They sold over 70,000 tickets on their worldwide tour, includingn selling out Toronto’s Bud Stage (16,000 capacity) three months in advance.

Acclaimed singer, songwriter and producer Joy Oladokun has been hailed by Rolling Stone as "Nashville’s most low-key musical revolutionary" and widely celebrated for her uniquely vulnerable voice. Since her breakthrough in 2020, Oladokun has released two highly acclaimed albums—2021’s in defense of my own happiness and 2023’s Proof of Life—both of which landed on numerous best-of-the-year lists. Currently, Oladokun is preparing to release her third studio album, which includes her latest single "DRUGS," and is embarking on an extensive tour that includes dates with Hozier and Tyler Childers. A proud queer Black artist and daughter of Nigerian immigrants, Oladokun has graced prestigious stages including “The Late Show with Stephen Colbert,” “The Tonight Show Starring Jimmy Fallon,” and “Jimmy Kimmel Live!,” “CBS Saturday Morning,” “TODAY,” PBS’ “Austin City Limits,” and NPR Music’s “Tiny Desk (Home) Concert.” Oladokun’s music has resonated across diverse platforms, from documentaries to popular TV series like “And Just Like That,” “CSI: Vegas” and “Grey’s Anatomy.” Her song "i see america" was a finalist for the Recording Academy’s Special Merit Award for Best Song for Social Change. Widely respected by her peers, Oladokun has collaborated with artists such as Chris Stapleton, Brandi Carlile, Maren Morris, Jason Isbell and Noah Kahan and has joined Morris, Isbell, Kahan, John Mayer, My Morning Jacket, Pink Sweat$, Leon Bridges and Manchester Orchestra on the road.

Sunday (1994) is a story of love. A love that turns lonely long-haul flights into emotional dramas, and bad apartments into settings. A love that starts with a meet-cute and never ends. A love that was born out of music, bonded by music, and now explored in music. Sunday (1994) is a soundtrack.

Directed by Sofia Coppola’s angst or John Hughes’ faith in the feeling, we open on a scene of Paige Turner and Lee Newell in their one bed on Kenmore Avenue in Koreatown. The year is 2020, police helicopters buzz overhead and their dog barks incessantly. It’s a Sunday, but a bittersweet one.

That was the day the band began, but it had been on the drawing board for nearly a decade. “When we met, I was like ‘Oh we’re going to have to spend forever together,’” Lee says to Paige, recalling their first meeting backstage at a show. Soon after that meeting, 10 years ago, he moved his life from Slough to Suburban California, into Paige’s busy Italian family home, which is a whole other film scene in itself. Despite having played in bands for years prior, this is where Lee found his musical soulmate, combining his British indie streak with her affliction for wistful pop and her family’s classic rock vinyl collection. Their relationship was always going to be musical, so they mark the day the band was born from that very first moment.

“I've learned everything I know about songwriting from being with you so much, and we write so much music together,” Paige tells Lee. “You're underselling yourself,” he cuts in. “She’s always had an amazing natural instinct for writing and singing. I’m a billion times better songwriter now than I was before we started working together.”

“It feels like this band has been 10 years in the making,” they said. Both have been in other bands and projects prior, Lee having been in Viva Brother as Paige explored alt-pop as Xylo, but Sunday (1994) feels like the band of their life.

“I feel like it knew what it was from the moment we started writing it. We didn't really have to question what it would sound like or feel like, or even what the artwork would look like. We already knew,” the pair explained.

From the second Paige played the progression of ‘Tired Boy’, made up of the first chords Lee taught her to play on guitar, the project was brought to life as a thorough and vibrant thing. It was always going to be Sunday, stylised with Paige’s birth year like a movie. It was always going to be wistful, poetic pop meeting indie and grunge. It was always going to be cinematic and vaster than anything they’d ever done before. And it was always going to be the two of them.

“It sounds so obvious to say, but when you enjoy making something, it tends to be quite good, because it comes from a real place. It's not a place of desperation or trying to make something work. It just works,” Lee explained of those days writing in Koreatown. Finally pulling together all of the ideas they’d shared throughout their 10 years together; their debut project came together quickly and effortlessly.

Having both squirrelled away precious lyrics and thoughts for years in waiting for this moment, Sunday (1994) is a montage of everything that had come before for the couple, both together and separately. On ‘Our Troubles’, Lee’s pen takes the band back to Slough and moments of personal struggle before having ever met Paige. Now sang through her voice, it’s a healing sound. Similarly, in ‘The Loneliness Of The Long Flight Home’, a reference to the Tony Richardson film, The Loneliness Of The Long Distance Runner, Paige’s voice is lent to a love song about leaving her, when they navigated long distance from opposite sides of an ocean. Not only is it beautiful, but it makes them better. “He'll bring out different sides to me or places that I wouldn't necessarily go to,” Paige says. “He'll play me something and be like, ‘Can you sing this?’ and it might be darker than what I would write, but there’s no apprehension.”

All coming to fruition and entering the world outside of their apartment like two characters walking onto the screen, Sunday (1994) are ready for their premiere. Along with their enigmatic, anonymous drummer, ‘x’, their sound is cinematic in the truest sense. It’s music you can imagine characters running through airports to, racing after love. They’re songs for bedroom floor tears or the first time two hands touch. It’s a release that captures a love story, and every love story that has ever and will ever happen, in all of its sweet, daydreaming and dramatic beauty.