Photo courtesy of Gbohunmi

For Julia Vos, storytelling was an integral part of her childhood. Not so much in the fairytale sense, but the stories told through music. The Carter and Cash families were a staple in the Vos home. Bluegrass was a favorite among the six Vos children. Dolly Parton, in particular, was Julia’s idol.

Vos was a child with really big feelings. Early on she learned to channel those feelings into music by making up songs on guitar while sitting on her front porch. When she was older she paired it with musical theater, even attending university to study it.

Since storytelling from her perspective was something she excelled at, she wanted to challenge herself by making music that told the story of others. For example, her 2023 single, “Jude”, was inspired by the loss of her nephew and her family’s first holiday season without him. All of her siblings decided to write letters to Jude, and she recalls inspiration striking as she took a bubble bath after a long work day. Within 20 minutes the song seemed to have written itself.

“It’s a real experience that someone else is feeling,” she said. “You can connect to it in a certain way because you have an emotional attachment to it as well. Whether it’s something you read in the news or hear about a relative or a friend you care about, there’s a story from every perspective.”

The goal of every artist is creating human connection through music. With her single, “Jesus Drank Whiskey”, Vos wanted to open a dialogue about faith and its alignment with the current state of the world. Her own relationship with religion has changed throughout the course of her adulthood, moving from anger to reflection to understanding.

A few conversations around faith stuck out with her and served as some of the creativity behind the song. One was with her mother, where Vos asked, “What if there is no religion?” Her mother responded, “That’s the beauty in life. We don’t get to know what’s after.” The other was from her grandfather, who had been asked what he would do if Jesus walked into his house that very day. He’d probably pour him a drink, he said.

She had the chorus written for about a year before the rest of it came to her. Truth be told, it wasn’t difficult for her to finish it when there were so many current events causing a divide among people. The day the song came together, Vos remembered a saying that was passed down from her grandparents: if you’re drunk enough that late the night before, you can put your ass in church the next day. It became the perfect first verse.

The bridge is where Vos drives home why she wanted to sing about religion in the first place. There are too many instances where people do not practice what they preach, or use religion to justify their unjust actions. Those reasons are why she questioned her own faith and had to find her own answers.

“I look at it more as a spiritual journey now,” she said. I just pick and choose the things that make me feel comfortable in life, and that makes me feel like a good person.”

When she isn’t using her storytelling skills for music, she finds a way to incorporate it into her daily life. Over the holidays, an unfortunate incident resulted in the loss of her front tooth. In a moment of vulnerability, she turned to social media to introduce the character “Toothless Judy” because what else are you supposed to do? Cry about it? (She did for two days. You would too if you found out you couldn’t eat solid food during the holidays.)

Posting “Toothless Judy” videos has brought her more joy than she anticipated. The comment section is a mix of people who also lost teeth as adults or those who just really needed a laugh that day. There are also countless comments asking how it happened, but for storytelling purposes, that will remain a mystery. Some people say she was run over by a horse. Some say she got hit in the mouth with a hockey puck. Others say a chicken flew over the nest and took her out. I heard it was a ploy to receive a visit from the Tooth Fairy. I guess we’ll never know.

Julia Vos is looking to create music that sparks a conversation. With a song exploring how a present-day interaction with Jesus intersects with a broader examination of faith, “Jesus Drank Whiskey” is not about offending one’s religion or keeping one another divided. It’s about the bond that humanity will always have.

Also, in her defense, Jesus did turn water into wine. Whiskey may not be too far off.

Photo courtesy of Liam Maxwell

Multi-award-winning BRIT School grad and lyrical storyteller Natalie Shay usually creates extended plays as a bookend of an era of her life, and her latest EP, ATMOSPHERE, is no different.

The eight tracks explore the emotional pull of love, self-awareness and the messy space in between. It started as releasing singles, intimately sharing two years of her life that taught her the power of feeling loved and chosen. As she was releasing them, the track list formed naturally. She found that she was continuing the story of her previous EP, CHAMPANGE; six tracks of life lessons from friendships and relationships over a two-year period.

The writing and recording process of a new album is the part where Shay shines. Two years of collaboration and late-night solo sessions gave her songs that she couldn’t wait to perform live. The build up to the release, however, is the most challenging for her. She can get overwhelmed by the decision making process, or even overthink her choices. It is reassuring to know that those decisions lead to massive headlining shows and support by major radio stations.

Her three other EPs all share a commonality of being titled one word in capital letters. She wanted to continue the tradition, and seeing as that “atmosphere” was the first song she wrote, it was a natural fit. The more songs she wrote, the more she realized the overall theme was best summed up through “atmosphere”.

Since these songs share a time in her life since her last EP, each one reflects a different chapter, tracing the experiences and lessons that have shaped her. Many of those experiences taught her a lot about expressing her feelings and how her perspective has shifted.

“I’ve learned about my attachment style and I’ve learned about avoidant men,” she said. “I’ve learned to accept myself and love all of myself. I’m excited to take all of these new feelings into the next era of my life as I write the next era of music with my perspective as a 27-year-old Natalie Shay.”

By introducing ATMOSPHERE to the world, she hopes that her audience finds each song relatable. It can be songs that make the listener feel seen, with lyrics that are both oddly specific and eerily parallel to one’s own life. It can also be songs that educate the listener on its performer. These songs are about who Natalie Shay is, and the way Natalie Shay loves.

2026 has been a bustling year for Erica Lindbeck. Between gearing up for a new season of Helluva Boss, stepping back into the role of Felicia Hardy/Black Cat and starring as Kit Bodegea in the new web series, Gameoverse, it is no surprise that there are a lot of topics to cover.

Marvel Rivals is a hero shooter video game that introduces Black Cat in season 7.5 as a high-agility Duelist who uses "Fortune" to power her abilities. Lindbeck first voiced Black Cat in the 2018 Insomniac Games version of Spider-Man. Although Marvel Rivals was not her first time reprising the role, there was a bit of a different approach to this version. She did have to audition for the role, knowing that it would be a reasonable decision if they chose someone else. However, the team loved what she originally brought to the character and requested that she have as much fun as possible while playing her again.

“I am but the steward of these huge characters for a moment,” she said. “Sometimes you pass the torch and that’s ok.”

She said that Insomniac’s longer form narratives gave her the opportunity to make Black Cat more of a cinematic performance. This time around, the nature of the game shows a more irreverent adaptation with snappier dialogue. It is a character of a certain comfort level for her, which allows her to explore Black Cat in new and exciting ways.

The same goes for Loona, the bisexual, irritable, sarcastic, hellhound from the animated web series Helluva Boss. Fans are eagerly awaiting the premiere of season three, set to release in two parts starting later this year. Lindbeck teased that Loona will finally have her first major song in the upcoming season, saying that it is very important to not only her character development but the storyline as a whole.

“The songs can’t just happen out of nowhere,” she said. “They have to make sense for the story. I think that’s why it’s happening at exactly the right time.”

Recording the song was an intimidating process, partly because her mother got to join her in the studio the day of recording. She is Lindbeck’s biggest cheerleader and a huge fan of Helluva Boss, but can also be her daughter’s toughest critic, so she was overjoyed to walk out of the booth and hear her mother say that she crushed it.

She practiced in the weeks leading up to the day of recording, and was thankful to have the direction of composer Sam Haft during the process. Lindbeck felt more comfortable singing in more of a musical theater range but knew that would not best represent how Loona should sing. Having Haft by her side during the session to answer any questions made the performance less nerve wracking.

“It was not a super easy song to sing, at least for me,” she said. “I wanted it to have a certain type of sound. I wanted to make sure that it was very true to Loona.”

While she can’t spoil what’s to come in season three, she can say that the storyline between Loona and Octavia has been so rewarding that she looks forward to exploring more of them in the coming season. She was recently able to meet Barrett Wilbert Weed, who plays Octavia, and they got along so well it felt as though they had known each other forever. It parallels their character’s relationship beautifully.

What does she want to tell the fans that are eagerly awaiting the new season?

“Buckle up! I promise you the wait will be worth it. Everyone has been so hard at work. It’s such a labor of love and I think they’re really going to be happy with what they get. There’s a lot of Loona, so your cries have been heard.”

In the meantime, fans can meet her latest character, Kit Bodega, in the web series Gameoverse. The cat-like heroine of a destroyed video game world works as an agent of the Farcade, aiding villains from other worlds to prevent their destruction. She joked that she is now contractually obligated to only voice animals or characters with animal in the name, but in all seriousness is thrilled to introduce this new show to her audience.

Marvel Rivals is free to play. The first two seasons of Helluva Boss are available to stream on Amazon, with season three premiering Fall of 2026. The first episode of Gamoverse is available on YouTube.

Photo courtesy of Curtis Perry

It has been said before that you don’t choose music, but that music chooses you. For me, that choice became undeniable during my childhood in London, Ontario - a city so deeply rooted in melody that it became Canada’s first United Nations Educational, Scientific and Cultural Organization (UNESCO) City of Music. Maybe it was the magic waters of the Thames River (!), or more likely the contagious passion of the local musicians who surrounded me.

My musical journey actually began at the piano, sitting for lessons with the wonderful Diane Edwards. It was during those early hours of practice at home that I first discovered the joy of creation; I would fall upon what I considered interesting chord progressions, and a melody would just pop into my head, asking to be written.

This foundational love for keys opened the door to the choral community, where I sang with the Amabile singers. This incredible family of choirs exposed me to world-class artistry early on. Performing alongside Denise Pelley, whose heart-filled jazz and R&B vocals permanently imprinted on my soul as a young girl, showed me the sheer power of human connection through voice. A definitive turning point arrived during a joint performance with the Antler River Project. Watching Stephen Holowitz, co-composer of the musical ensemble, at the keyboard, navigating intricate chord progressions and effortlessly improvising, made me feel alive in a way I hadn’t before. In that exact moment, my early piano roots and my choral experience fused together. Music shifted from something I merely practiced to something I actively felt, and a spark was lit.

This calling was nurtured beautifully at my high school, where a fabulous music program made it completely cool to be a self-proclaimed "music nerd". My music teacher, Linda Wharton, possessed a brilliant sense of humour and boundless support that helped shape my identity as a musician and artist. I threw myself into every opportunity, playing flute in the band, violin in the orchestra and serving on the Music Council.

Years later, that inner creative spark fully caught fire when I established myself in the Ottawa music scene as an independent singer-songwriter. Transitioning from those early classical roots into a vibrant blend of heartfelt indie pop, rock and storytelling, Ottawa became the canvas for my growth. Following my 2022 debut album, Starry Skies, I began to trust my creative instincts more deeply, writing anthems of empowerment like "Cloak of Fear".

Photo courtesy of Camille Lenain

Sari Jordan has an inside joke with a friend that a debut album cover should always be the most attractive photo ever taken of an artist. That is exactly what they did for their EP, Sing to the Moon - an intensely intimate photo of themselves that they feel as though they are still coming back from giving their face away like that. For their full-length album, PERFECT BE THE ENEMY, they wanted art that could represent every theme sprinkled into the music.

Eli Pillaert had the exact art style that Jordan was looking for, and together they created a series of designs that best represent the themes. Five symbols chase each other on the album cover the same way they chase each other throughout the songs. The symbols would also get an individual moment to shine with each single released prior to the album.

Jordan released four singles - “FREAK”, “TABLE OF ANGELS”, “FANCY” and “GROW APART” - with the intention of introducing this body of work as their biggest challenge yet. The first two singles were meant to bridge a gap between their debut EP and debut LP. “FANCY” was released to test the audience and gauge their reaction to a song that was considerably different from their previous releases. “GROW APART” was described as the center of the messaging behind the album.

After releasing Sing to the Moon, they were immediately ready to move on to the next project. They wrote music consistently, with about a song a month being set aside for a full-length album. When they wrote “PERFECT BE THE ENEMY”, it was clear that would also be the name of the album. Jordan felt that the title was vague enough to cover a lot of ground and smart in a way that it was simple. Some of their favorite poetry involves taking a simple or recognizable concept and flipping it, and after hearing the phrase, “don’t let perfect be the enemy of good”, they knew it explained the theme of the album.

“What [the songs] all have in common is this thread of a point of view of optimism and of bravery and of facing a really hard truth,” they said. “But I’m looking at the truth from a lot of different angles and shrouding it in metaphor and trying to paint pictures of the truth so that it’s prettier to look at. The truth is imperfect; the truth is that growth is really messy and sometimes painful, but there’s also those moments of elation and joy. I think the record really just runs the gambit of that.”

The further removed Jordan became from the initial writing of these 11 songs, the more they realized that the emotions felt in that moment have begun to fade. The writing process was nearly three years ago, so now the songs have become more about how to best perform them.

“When I was writing them there was this strong sense of intoxication by my own spell that caused me to need to sit with the guitar and write until it’s done,” they said. “When I come back to them, I’m coming back to them sometimes from a place of those emotions but more often a very functional pragmatic place.”

They are also reconnecting with the songs themselves through their stories. Giving an audience a look into just how vulnerable they were in that moment of writing is giving over a piece of themselves.

This was their first time taking the reins as a producer. They have spent most of their time performing live, but this was their chance to better understand the recording process. Alongside Mack Major, mixing and editing the album was equal parts rewarding and taxing. Getting to the mixing stage meant they could hear all the hard work that had been done and finally see the form it had taken. Editing helped the songs feel more nuanced and dynamic.

Especially as they were gearing up for their album release show, Jordan could see just how much of an improvement they’ve made in their guitar playing. Learning how to be a studio guitar player was one of their biggest growth areas. They look back on their first live performance and can see how important it was to keep pushing themselves.

The sun was breaking through the clouds, the Cubs were playing the White Sox, and two Warped Tour alumni were gearing up for a show in what felt like the perfect spring day in Chicago. Just outside Wrigley Field sits a two-acre entertainment district complete with dining options and gathering space known as Gallagher Way, and their 2026 Budweiser Concert Series kicked off on May 17 with pop-rock bands Mayday Parade and The Summer Set.

The Summer Set’s setlist comprised mostly songs from their latest album, Meet Me At The Record Store, with tracks “I Don’t Wanna Party”, “Flowers”, “ADIDAS” and “Hit and Run”, as well as their cover of ABBA’s “Mamma Mia” that was released with the deluxe album.

“How metal do we want to go in Chicago?” lead vocalist Brian Logan Dales jokingly asked the crowd before the unmistakable notes of the marimba began.

Crowd favorites “Chelsea” and “Lightning In a Bottle” closed out their set, giving them one last chance to throw their hearts in the air with a legendary send-off.

Mayday Parade took the stage as the sun set behind the crowd, introducing them to their latest single, “Blame It on the Youth”. Released on May Day of this year, the song is a look back at their journey and what has defined them over the last two decades.

“Jake [Bundrick, drummer] came in with this amazing song that we were all drawn to,” guitarist Brooks Betts said in a press release. “We knew instantly it was important to get the track right but we really just had a solid chorus and loose verse melodies so the band quickly got to work constructing multiple versions of lyrics to finish the track. We worked together in a way that was truly collaborative and with the process feel we created something we are all super proud of.”

The single is just the beginning of the third installment of their album trilogy celebrating the band’s 20th anniversary. Sweet and Sad, both released in 2025, goes back to their DIY roots. The final track on Sweet, “Pretty Good To Feel Something”, was described by lead vocalist Derek Sanders as one of his favorite songs the band has written before performing it to the enthusiastic crowd.

In between songs, Sanders told a story about meeting a fan who had been to a significant number of Mayday Parade shows and said to him that their fans are the nicest, friendliest, most welcoming group of people. A crowd of Mayday Parade fans take care of each other, and Sanders said it was the best compliment in the world that he could ever receive.

“Please believe me when I say we are so grateful to be here today,” Sanders said to the crowd.

Mayday Parade and The Summer Set reunite again this July at Warped Tour in Long Beach, with a lineup of peers celebrating similar milestones. Both bands began in an era where a festival-turned-summer-camp introduced them to lifelong fans and friends, and cheering for each other decades later is just as memorable as the first time.

Spencer Grammer cannot believe how long she went without learning to play an instrument. It was more of an intermittent hobby, but mostly something she enjoyed watching other people do. When an injury caused lasting damage to her right hand, she was encouraged to play the guitar as a form of rehabilitation. Music became her outlet, and collaborating with multi-instrumentalist and songwriter Davis IL became a fully realized project.

Belle and Chain came out of the idea that Grammer was disenchanted by her own name and wanted a music endeavor that stood on its own. Although the project originally started with another collaborator, meeting Davis IL at a party brought forth an opportunity where he later invited her to a cover night to perform “Cry Like a Baby” by The Box Tops. In that performance was a chemistry neither were anticipating.

“She had a good, natural stage presence that a lot of rock and roll musicians don’t really have,” he said. “To be able to tell a story on stage is really important.”

Grammer is an expert in storytelling, from her acting work to her Master’s in Screenwriting. She said she always kept a journal and wrote poetry, which has helped her as a songwriter. She approaches songwriting from the same perspective, noticing how having that background has helped build her artistry.

She found herself along for the ride as Davis IL toured with Barns Courtney and The Struts, where she studied their performances. That tour bus is where they wrote their first song together, the upcoming single, “Laila”. Before they knew it, they were on their own stages as Belle and Chain.

They have spent the better part of the last year perfecting their live show. They’ve tried a glam rock aesthetic, brought an entire horn section on stage, and finally found they prefer a more California western vibe.

They have also learned a lot about themselves while touring the country. Grammer realized that she has been taking more risks in the last year than ever before. She wasn’t sure if anyone would like her music or if she would be any good at it, but she learned that she is more resilient than she gave herself credit for.

“I just really didn’t imagine I’d be on a stage playing music,” she said. “I love to perform; I didn’t know I had the courage to do it in front of people.”

Davis IL learned to be more in the present. He has felt that time has moved so quickly since Belle and Chain started performing, and really wanted to make sure that he was taking in every moment.

“It can be a blur sometimes,” he said. “I think connecting with the crowd helps. We [sell] our own merch after every show so we can connect with them after too. I think that’s good for them and for us; it makes us feel good.”

Even on the nights where they think they messed up every song, there’s an ease on stage between the two of them. Perhaps some of the softer notes don’t come as easily or holding a guitar pick isn’t possible, but they are finding their groove and, more importantly, having a great time.

Their current goal is to release more music. Their first single, “Don’t You Worry Babe”, was the first song Grammer ever wrote and felt like a catchy introduction to the soundscape of what she wanted the project to be. The second single, “Laila”, is what Davis IL calls a sister song to “Don’t You Worry Babe”. They were both recorded at the same time and share a special bond.

Something each song will share is their imagery. Although Grammer admits some skepticism, she first did a tarot reading in New Orleans and found it fascinating that the World card had been pulled. The card represents completion and new beginnings, which also represents “Don’t You Worry Babe”. A recent tarot reading before their show in the Chicagoland area pulled the Three of Swords, symbolizing heartbreak and betrayal - which just so happens to be the story behind “Laila”, and the card she was planning on using for the artwork.

“I think it’s just nice to explore, to ask questions of where you want your life to go,” Grammer said. “Whether you use cards or you use prayer, it’s a very similar act. We don’t take a lot of time to be mindful of what we want to be doing with our lives or if [what] we’re doing is the right path, especially when you’re embarking on a new journey.”

Music may be a new endeavor for Grammer, but she understands its importance. On a personal level, it is a crucial part of her recovery. On a broader scale, it is a connection that can’t be felt anywhere else.

“I will play music whether I do it in front of people or not, but I will play forever,” she said. “It brings me so much peace and joy… I think you should always have music around, even if you’re not playing it. It’s part of our souls.”

When I was 3 years old, I saw a family friend play the violin and I instantly fell in love. I remember watching her thinking that her and her violin were made of magic. I asked my mom if I could take lessons and she said no because we already had a piano, so I could start playing that.

I started piano lessons at age 4 and loved it. Practicing was never a chore but always something I enjoyed. My dad would occasionally play accordion while I played piano and we would jam out songs by The Beatles and The Band.

From a young age I used poetry as a coping mechanism and solace from a pretty hectic childhood. I would spend hours sitting outside writing poems but I never thought to put my words together with music. When I was around 10, I saw a photo of Alanis Morissette sitting at home on her couch with her guitar and a notebook spread out in front of her and a pencil in hand and I thought to myself, ‘wow, I want to do exactly that.’

I started writing music by sitting on my swing outside and just singing songs to myself that I would write in my head. Eventually when I was around 14 I started to get bored of playing classical piano. I started to better understand chord structures and started putting lyrics and piano together.

Once I started writing my own music, it started taking up more and more of my life until it became just about the only thing that drove everything else. Suddenly in my mid 20s I was hit with a need to re-evaluate - did I even really like this thing that I centred my life around? Did I really want to make music, and if so, why? I spent the following few years exploring other art forms and avenues until I coincidentally landed a music teaching job that drew me back. It re- inspired me and I began to write my next album. Seeing kids experience music in the ways I felt as a 3-year-old watching the alchemy of that girl playing her violin brought me back to the core of my love.

All this to say - I am not sure I can place one moment that I knew I wanted to make music, but rather several, and I could ramble on with even more that have inspired and re-inspired me. I hope that perhaps my desire to make music will be a lifelong journey with many, many more moments to come.

 
For six decades, Eve Plumb has graced television screens and stages through commercials, sitcoms, made-for-TV movies, voiceover roles and much more. Her unique experience is chronicled through her recently released memoir, Happiness Included: Jan Brady and Beyond.

Recognized on a global scale as the middle child on the television sitcom The Brady Bunch, her work before, after and during the show is recollected in just over 300 pages. She shares the behind-the-scenes story of her colorful Hollywood career and her off-camera life along the way, complete with photos from her private archives.

Plumb’s storytelling is as visual as the art she creates. Turning a page is as descriptive as watching a home movie. The reader can walk through her childhood home, hear the waves crash near the family’s Malibu cottage and feel the love that her parents had for one another.

It was also heartwarming to read excerpts from letters and planners her parents wrote in and held onto. The meticulous detailing kept by her parents was clearly passed down to their daughter and assisted in her recounting of her childhood.

The attention to detail is, of course, deeply appreciated as she shares her memories of life as Jan Brady. The reader can visualize all six children crammed into a platform at the top of the iconic staircase that actually led to nowhere, or all nine castmates gathered around and learning to needlepoint. Plumb’s recollection of her time on the show is just as wholesome as the actual episodes.

Something that stands out greatly in each chapter is her gratitude. Her parents were the first to instill a sense of deeper understanding, which was further ingrained in her by her television parents. She would recognize the little things that people would do - like her mother giving holiday gifts to the crew or an actress being mindful of everyone’s time. The stories she shared were all valuable life lessons for her and how she wanted to leave a mark on the world.

Even at a young age, she recognized her interest in wanting to do something that could help people. As a child, she didn’t fully understand how sitcoms could make a difference. With only serious roles leading up to The Brady Bunch, it took her a bit to grasp the concept of bringing unserious storylines to people who needed an escape.

During her time on The Brady Bunch, her mother taught her another valuable lesson of saying no. Professionalism was already so deeply established as she had been raised around more adults than children, but standing up for herself and knowing what is best for her is just one of many reasons why her parents were so crucial to her career.