4TH ANNUAL WOMEN'S DAY CELEBRATION AT THE HOTEL CAFEOn a night that felt both passionately celebratory and quietly poignant, the Hotel Café hosted its Fourth Annual Women’s Day Celebration, bringing together a beautifully diverse lineup of female singer-songwriters whose music reflected the spirit of International Women’s Day: creativity, resilience, vulnerability and strength.

The evening also carried an undercurrent of nostalgia. With the recent news that the beloved Hollywood venue will soon close this location, many of the artists acknowledged the space’s importance in the Los Angeles singer-songwriter community. For decades, the Hotel Café has been a place where artists share songs in their most intimate form—voice, guitar or piano, and a roomful of listeners ready to lean in.

That reality lent the evening additional emotional weight. The celebration became not only a tribute to women in music, but also a reminder of the vital role the Hotel Café has played in nurturing emerging artists and songwriting culture in Los Angeles.

That sense of shared musical purpose was palpable throughout the night. Performers lingered to watch each other’s sets, harmonized together onstage, and cheered each other on from the wings. It felt less like a conventional showcase and more like a gathering of artists united by the simple joy of making music.

Presented in conjunction with International Women’s Day, the annual showcase highlights female singer-songwriters from across the Los Angeles music community and beyond. The evening featured a stylistically diverse lineup spanning acoustic folk, blues, indie pop and alternative sounds, each sharing original material in the intimate listening-room environment the Hotel Café is known for.

As the lights softened and the room gradually settled into attentive silence, the evening’s celebration of women’s voices began. One by one, the performers took the stage, each introduced by emcee Lex Aguilar with a brief, colorful bio that offered a glimpse into the stories behind the songs.

The evening began on a lighter note with comedian Nthenya, whose quick wit and relaxed stage presence immediately put the room at ease. Her humor felt conversational rather than performative, like a friend sharing sharp observations with the audience. The ripples of laughter helped break the ice and set a welcoming tone for the night’s deeper musical expressions—reminding everyone that community, connection and a little levity are all part of what makes nights like this special.

The opening performer, Juliet, made an immediate impact, as if to signal that the evening would be both emotional and provocative. She brought her husky, impassioned vocal style and bold sonic palette to songs including the feminist anthem “Love or Die,” which pulsed with urgency and conviction, and “Liberté,” a confident declaration of independence propelled by a thumping groove and fuzzy guitar textures.

Next, Lucy Clearwater’s soothing voice and gentle acoustic style set a more reflective tone. Her song “Love a Friend” unfolded with soulful calm that drew the audience inward, while a preview of her upcoming folk tune “One of Those Things” showcased her gift for intimate storytelling. Another standout, “Liar,” explored the emotional fallout of a relationship with a narcissist, adding a deeply introspective dimension to her set.

Singer-songwriter Mary Scholz offered a slightly gentler but no less powerful presence. With her warm acoustic approach and emotionally direct lyrics, she recalled the storytelling intimacy of artists like Ed Sheeran. During one reflective moment, she observed that the word woman can sometimes feel complicated—but only because people choose to make it so. She also debuted one of the evening’s most visceral moments, a raw and emotionally charged song responding to the recent deaths of 165 Iranian schoolgirls following U.S. and Israeli bombings.

With swagger and attitude to spare—and backed by a delirious swirl of funky pre-recorded retro techno rhythms—husky-voiced teen powerhouse Ava James brought an immediate stylistic contrast to the evening’s largely acoustic flow. Her set demonstrated the wide stylistic range of the lineup, and she clearly relished the moment, duetting on a defiant “FU” jam with her friend, the equally gifted singer Layne Olivia.

After a playful interlude by Nthenya, a special highlight of the night was the appearance of Maisy Owen, who had been flown in for the event. With a gentle swaying stage presence and an angelic vocal tone, Owen captivated the room with “All For You,” a tender acoustic piece that showcased her delicate phrasing. She followed with the soon-to-be-released “On My Way Down,” maintaining a soft, emotionally sensitive atmosphere that perfectly suited the intimate setting.

A personal favorite of the night was multi-talented singer, songwriter and virtuosic guitar picker Abby Posner, who immediately owned the stage sporting an effortlessly cool alt-Americana look—wide-brim hat, casual jacket and acoustic guitar slung comfortably across her shoulder. Delivering one of the evening’s most dynamic and socially engaged sets, her blues-tinged tune “Night Train” carried a lively rhythmic pulse, while “Till We Heal” addressed the slow, often frustrating process of social progress. Reflecting on her work supporting California’s Proposition 8 marriage equality campaign, Posner noted that change can sometimes feel like “five steps forward and three steps back.” Her hopeful anthem “I Do Believe in Love” transformed that sentiment into an uplifting audience clap-along moment, while her closing song “Darkest Hours” featured rich harmonies shared with Scholz and her harmony singer Paula Fong.

Kate Grahn followed with a soulfully grounded yet energetic set suggesting a young Sara Bareilles in the making. Her song “Scot Free” blended melodic charm with lyrical wit, delivered with a confident vocal presence. Perhaps the most atmospheric voice of the evening belonged to closing performer Sofia Gomez, whose airy tone and emotional phrasing evoked the moody intimacy of Billie Eilish. At moments her voice rose into a soaring register, giving her performance a cinematic sense of emotional release that brought the evening to a graceful close.

Throughout the night, what stood out most was the unmistakable camaraderie among the performers. These were not artists competing for attention, but musicians celebrating each other’s voices and stories. In honoring International Women’s Day, the showcase became a reminder that music remains one of the most powerful ways to share experiences, amplify voices and build community.

As the final notes faded, the night felt like a fitting tribute not only to the women who took the stage but also to the venue itself—a space where countless artists have found their voice over the years. For one evening at least, the Hotel Café once again lived up to its reputation as one of Los Angeles’ most cherished listening rooms, filled with songs, stories and the unmistakable feeling of artists supporting artists.The post 4TH ANNUAL WOMEN'S DAY CELEBRATION AT THE HOTEL CAFE first appeared on Music Connection Magazine.

Spotify launches SongDNA in beta for Premium subscribers, tracing how songs connect through shared producers, samples and coversSongDNA lets subscribers trace how one song connects to another through shared producers, samples and covers.
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The Violent Femmes' Gordon Gano Discusses Misunderstood Songs and Unexpected InfluencesFrontman Gordon Gano spoke with AllMusic about the Violent Femmes' ongoing anniversary shows, the surprising ways fans interpret his lyrics, and why some of the group's darkest songs receive the biggest reactions live.

Signing Stories: BlackstreetDate Signed: November 2025Label: XOXO Entertainment Corp.Band Members: Chauncey “Black” Hannibal, Levi Little, Mark Middleton, Eric WilliamsType of Music: R&BManagement: XOXO Entertainment Corp, info@xoxoent.comBooking: Paquin EntertainmentLegal: Sander ShalinskyPublicity: Allie Gruensfelder - The Syndicate, allie@thesyn.comA&R: Adam H. Hurstfield, Jackie SonegraWeb: blackstreetofficial.com

It’s been three decades since their song “No Diggity” spent four weeks atop the Billboard Hot 100, but the GRAMMY-winning R&B group has never stopped grinding. Besides independently recording a fresh album during the pandemic, the quartet tours to this day. They were performing an abbreviated, half-hour version of their set in Canada last September when one of their security guards said someone wanted to talk.

That person, multi-platinum producer Adam H. Hurstfield, is the CEO of XOXO Entertainment. The executive expressed how much he adored the show. “That’s nothing,” replied original member Chauncey “Black” Hannibal. “That’s just 30 percent of our capabilities.” They exchanged numbers, and Hannibal soon received a long text explaining what XOXO could do for them.

Being that the group has been around the block, they were unwilling to compromise. Instead of signing a traditional deal, the group became partners with the next-gen global entertainment company. The arrangement includes full-on management, plus complete creative control and ownership of their masters. “He gave us everything we wanted and more,” raves Hannibal. “This type of deal doesn’t get done in 2026.” The contract was signed right before Christmas.

The gentlemen knew they’d made the right choice when Hurstfield provided an analysis of their streaming data. He calculates Blackstreet has racked up 4.6 billion plays across all platforms, worth millions of dollars they’ve yet to see. Hurstfield promises to get them the money they deserve.

“They make us feel like we’re part of a family,” says Levi Little, who’s also been with the showmen since the early days. “We like that atmosphere.” The brevity of their contract reflects a mutual respect. The day they signed, they had a Zoom meeting to put the wheels in motion.

For Mark Middleton, who first joined in ‘96, the key to success is a matter of patience. “Hone your skills. Master yourself. Be disciplined. You can’t just jump at anything,” he imparts. “But keep God first. Have a strong relationship with God, because this is a faith walk.”

Expect new material from Blackstreet, including new versions of their greatest hits, to arrive this year. The post Signing Stories: Blackstreet first appeared on Music Connection Magazine.

Live Nation invests in Romania’s Emagic and Slovakia’s Vivien as it expands Central and Eastern European footprintLive Nation says it is 'strengthening the foundations' of live music in the region.
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Signing Stories: The 69 EyesDate Signed: January 2026Label: BLKIIBLKBand Members: Jyrki 69, vocals; Bazie, guitar; Timo-Timo, guitar; Archzie, bass; Jussi 69, drumsType of Music: Glam, GothManagement: Pasi Moilanen, management@69eyes.comBooking: TKO Booking Agency, dandevita@tkoco.com (North America); Bottom Row - The Music Agency, nikolas.krofta@bottomrow.com (rest of the world)Publicity: Freeman PromotionsA&R: Aldo LonobileWeb: 69eyes.com

Not only have Finnish dark glam rockers The 69 Eyes been at it since the late ‘80s, they’ve also managed to keep the same lineup in place since 1992 which, let’s face it, it practically unheard of. They have an armful of awesome albums to their name, but it was time for a change so they recently signed with BLKIIBLK, the metal imprint of the hard rock-associated Frontiers Label Group.

It’s just the latest chapter in what has been a fascinating story up to this point. It’s refreshing, in a genre associated with chaos and unpredictability, that The 69 Eyes have retained a level of consistency, with the lineup, the quality and the sound.

“It’s ‘80s glam rock with ‘90s goth keyboards and ‘50s swagger,” says vocalist Jyrki 69. 

BLKIIBLK is a recent initiative from Frontiers, and they quickly made the wise choice of appointing industry veteran Mike Gitter as global head of A&R. That they’ve signed The 69 Eyes, alongside Forbidden, Cro-Mags, Unto Others, and the gloriously named Nunslaughter, points to a big future for the imprint.

“This part is dreamy,” says Jyrki 69. “I realized I was on the phone talking about G.G. Allin with A&R metal legend Mike Gitter, as he was telling me about their new label BLKIIBLK, and I was thinking that it would be very cool to be on that. Later on, I found out that, actually, that was the reason I had a chance to talk with him. We were to be on the label! Now Mike labels The 69 Eyes like ‘Elvis-meets-GG.’ Something like that. Nevertheless, legendary.”

The band has kicked off its new life with BLKIIBLK with the single “I Survive,” which sees guitarist Steve Stevens (Billy Idol) guesting.

“I had been recording with Steve Stevens on my solo album American Vampire, on Cleopatra Records, some years ago,” says Jyrki 69. “I asked if he had any suitable tracks for The 69 Eyes, and he sent me the demo of ‘I Survive.’ I immediately wrote the lyrics for it, and now a couple of years later we finally have it released. Steve’s such a legend in our books that the whole process was pretty surreal. When it comes to guitarists, I love Link Wray, Johnny Thunders, Cheetah Chrome, Ron Asheton, James Williamson, and Steve Stevens. The 69 Eyes has recorded a Dead Boys cover, ‘Sonic Reducer,’ with Cheetah quite recently, so recording with Steve Stevens is on the line of my rock ‘n’ roll fantasy. L.A.-based Barry Pointer mixed the track to be THE Sound of Glam in 2026! It’s an anthem for us all!”

The 69 Eyes will spend 2026 doing as much touring as possible, so look out for dates as well as news of a new EP soon.The post Signing Stories: The 69 Eyes first appeared on Music Connection Magazine.

From WMG’s Netflix deal to BMG’s Anthropic lawsuit… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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Streaming fraud man who pocketed $8m using hundreds of thousands of AI songs streamed billions of times by bots pleads guiltySmith is scheduled to be sentenced on July 29
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A Song That Changed My Life: Sparks the Rescue on Fugazi and Old 97'sA Song (or two) That Changed My Life: Sparks The Rescue’s — Marty McMorrow: Fugazi’s “Waiting Room” and Toby McAllister: Old 97’s “Timebomb.”

The Band Members: Alex Roy, vocals; Marty McMorrow, vocals, keyboards; Toby McAllister, guitar, vocals; Patrick O’Connell, guitar; Ben Briggs, bass; Nathan Spencer, drums.

The Storytellers: Marty McMorrow and Toby McAllister

The Songs: The instantly recognizable, heavily dissected, bassline-driven opening of Fugazi’s “Waiting Room” — punctuated by a brief drop to silence at the 22-second mark — unsealed a sonic fault line, releasing a reverberation where hardcore punk and precise musicianship fused into a singular soundscape. The moment served as a tectonic shift, establishing a benchmark for how musicians could remain fiercely independent and DIY while achieving global influence, a feat few have matched.

Conversely, the frenetic, full-speed intro to Old 97’s “Timebomb” — propelled by a breakneck, train-beat rhythm — landed as a seismic sonic tremor, where Western musical textures collided with an unfiltered independent spirit and propulsive alt-rock. The song carved out a unique space, showing how Americana and punk melodics intertwine, the lyrics capturing a mind teetering on the edge of detonation, creating a distinctive sonic signature.

Both tracks, though sonically distinct, are propelled by an unmistakable sense of momentum — internal and external — capturing a unique urgency that refuses to sit still.  For McMorrow, “Waiting Room” embodies the inner pressure to act, grow, and claim a personal life path. For McAllister, “Timebomb” reflects the external, anticipatory tension of knowing something is imminent —a mental fuse counting down. In different ways, each song channels the restless energy of time pressing forward, mirroring the impulses that turn thought into action and creativity.

The Background: Emerging from Portland, Maine’s all-ages punk rock scene in the mid-2000s, Sparks The Rescue built their musical foundation on a blend of high-energy punk sound with hints of hard-edged melodics, and an old-school DIY work ethic. A road-tested band shaped by relentless self-promotion — including booking many of their own tours — they steadily built a faithful following that eventually caught the attention of indie stalwarts, Fearless Records.

Over the years, the band expanded their reach from Maine to mainstream — including international festivals and runs on the Warped Tour — helping them grow a loyal fanbase well beyond the Pine Tree State.  As their sound evolved and members shifted, at the core, they remained the same, anchored in punk rock with a melodic, lyrical drive.

As Sparks The Rescue prepares to hit the road again with all six original members, Marty McMorrow and Toby McAllister reflect on the early moments that shaped their drive —  songs heard years ago from riding stow-and-go to shotgun that quietly laid the foundation for everything that followed: the architectural, quiet-loud defiance of Fugazi’s “Waiting Room” and the rockabilly, narrative search for a ‘no-way-out’ solution of Old 97’s “Timebomb.” 

The Story: Where Fugazi’s “Waiting Room” offers stated architectural boldness — using self-determination to battle stagnation — its outward urgency, absorbed in an enclosed, internal space; the Old 97’s “Timebomb” captures rowdy entropy — its internal tension, experienced outward in the open air. Though experienced differently — headphones versus car radio — both moments found common ground as personal awakenings, crossing physical and emotional boundaries in opposite directions, inversely fueling their creativity.

McMorrow’s memory of “Waiting Room” was planted at 12 or 13 years old, sitting in the back of his family’s Astro Van after a trip to the city. Borrowing his brother’s old-school Walkman, he pressed play on track one from Fugazi’s seminal 13 Songs, and the effect was immediate. Enclosed in the van, with headphones on, Fugazi’s music became private yet powerful. 

“Being 13, feeling all these very intense emotions and having big thoughts, and for the first time hearing the music that made you feel like that was okay…. I felt excited… like there was this ember burning inside of my heart that was about to burst aflame,” McMorrow recalls.

At the same time, the song’s  lyrics struck just as hard, cutting through the dynamic, angular soundscapes as a fixed point within the moving memory:

“’Waiting Room’ evoked this feeling of impatience and unhappiness, with a desire and need for change,” he says tapping into the song’s underlying tension between waiting and action. “’I’m gonna fight for what I want to be’ — that line stands out.” 

From that plugged-in moment, Fugazi became a guiding light, showing McMorrow how to express himself through music — writing songs, performing, or staying true to his ideals.

“Fugazi wasn’t just a band; it was an entrance into the world of true artistry, raw emotion, and following your heart. That moment has inspired every move since I first heard the song… Every step of the way, Fugazi was the key that unlocked the door to the rest of my life.” In McMorrow’s words: "Magic is experienced, not explained. Listen to it.”

While McMorrow’s experience was introspective and contained, seeking ways to channel internal discoveries into the external world, McAllister’s was expansive and outward. Hearing “Timebomb” in the open air, while absorbing its inward-looking narrative of resolving conflict; both profoundly transformative, yet each in its own distinct way. McAllister first heard “Timebomb” around age 14, as a passenger in his father’s doorless Jeep on a summer evening.

“I vividly remember the doors and roof were off, and it was a summer evening. The soaring chorus and melody hooked me. The energy of the song is undeniable,” he recalls. “It was a new sound to me. I was getting heavily into bands like Blink-182 and The Offspring, discovering my love for punk music. Old 97's presented punk music with a country twang that I had never heard before.”

“Timebomb” also opened a door to storytelling and songwriting. “Frontman Rhett Miller has a particular way with words that has always inspired me. The lyrics are dark and humorous all at the same time. I’m forever a fan of sad songs that sound happy.” McAllister adds, “It showed me that songs could tell a story by painting a picture with words” Case in point: “My favorite lyric. ‘she's gonna kill me, and I don't mean softly.’" 

Ultimately, these two distinct moments of creative autonomy — one found in the wired-in sanctuary of a Walkman and the other in the open-air rush of a summer evening —converged into a singular professional path. Whether it was McMorrow finding the spirit in what it means to "fight for what I want to be" or Toby discovering the sublime nature of sardonic storytelling, both musicians used these tracks to navigate their sonic experimentation and step out of the passenger seat and drive their musical visions.The post A Song That Changed My Life: Sparks the Rescue on Fugazi and Old 97's first appeared on Music Connection Magazine.

More Ways to Stream and Sample on AllMusicWe've recently launched more ways to discover new sounds on AllMusic: Embedded Bandcamp album players and Apple Music players on artist pages. Find out how you can help us grow this library of links.

BMG sues Anthropic for infringement, alleging AI firm’s $380B valuation was built on ‘stolen copyrighted works’BMG Rights Management has filed a copyright infringement lawsuit against Anthropic, the AI giant behind the Claude AI chatbot.
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Ghost at the Honda Center in Anaheim, CAGhost played the second to last show of their Skeletour World Tour at the Honda Center in Anaheim, CA on Saturday, February 21. This tour is in support of their latest album release Skeletá which came out last year. The 21-song setlist began with “Peacefield,” and included “Cirice,” “Satanized,” and “Rats.” The first song of the encore was “Mary On Cross"—their most streamed Spotify song with 900,000,000 plays and counting—followed by “Dance Macabre” and “Square Hammer.”

Ghost formed in Sweden in 2006 with frontman Tobias Forge and the current band has been together since 2018. To experience a Ghost show is to experience a grand, theatrical spectacle—an immersive, one-of-a-kind production fueled by explosive pyro and stunning visual effects.

Ghost has won an AMA, six Bandit Awards, four Grammis awards, a GRAMMY, an iHeart Music Award, three Loudwire awards, and Metal Hammer Golden God Award.

Photos by Alex KluftThe post Ghost at the Honda Center in Anaheim, CA first appeared on Music Connection Magazine.

Tencent Music now has 20M+ ‘Super VIP’ subscribers. Here’s what that means for China’s largest music streamer.Tencent Music Entertainment's (TME) 'Super VIP' tier has just hit a major new milestone.
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Geoff Downes on Asia's New Live Album, John Wetton's Legacy, and His Career from the Buggles to YesIn a conversation with AllMusic, Geoff Downes discusses the origins of the new live album, the evolution of Asia's lineup, memories of working with Wetton, and reflections on pivotal moments in his career – from the early days of MTV to his time in Yes and the Buggles.

Fists Pump for Vince DiCola and Stan Bush at the WhiskyWay back in 1986, before all of the Michael Bay live action stuff, there was the animated The Transformers: The Movie. To this day, many if not most hardcore fans of the franchise will claim that the '86 film is still the best Transformers movie. They'll die on that hill, much like [SPOILER ALERT] Optimus Prime died in the flick.

One of the big reasons that the film remains firmly in the heart of fans is the killer soundtrack. Scored by synth virtuoso Vince DiCola and with a couple of big rock anthems by AOR hero Stan Bush (plus gems by metal band N.R.G. and, amazingly enough, Weird Al), it really is a tremendous piece of work. Yes, it's as cheesy as almighty fuck in that glorious '80s way, but it's unapologetically so and it stands tall today.

On a warm Saturday night in March, DiCola and Bush came together at the Whisky A Go-Go on the Sunset Strip to, in turn, play a bunch of those Transformers tunes and more. The atmosphere in the iconic venue was one of joy. Transformers tees and even a couple of costumes betrayed the affection with which the toy-turned-cartoon-turned-movie franchise is still held, by adults as well as children.

DiCola's set was incredible. As well as his work on the movie, the man has scored a couple of Transformers video games including the odd coming together of Angry Birds Transformers. He played a quirky ditty off of that, plus some stuff from other games that he's worked on, including Saturday Morning RPG.

Most of the fans in attendance were there for the Transformers music. To be honest though, we were there to hear DiCola's Rocky IV work. His "Training Montage" and "War" pieces from that score have, since this writer was a child, made us feel like we could take on Ivan Drago. Bill Conti may have composed the most famous Rocky themes, but DiCola's work compares favorably when it comes to motivational, hair-raising, instrumental sports score. At the Whisky, backed by a great band, those pieces sounded great. The cherry on top was a rendition of "Hearts on Fire" from the same movie. Originally sung by John Cafferty with synth by DiCola, one of the band took up vocal duties here and did the song proud. A great set, all told.

After a short break, it was time for Stan Bush to break out some hard rock anthems. Like DiCola, Bush also had songs on famous fight movies. In Bush's case, he is well known for his inclusions on the Kickboxer and Bloodsport soundtracks (both Jean-Claude Van Damme flicks). At the Whisky, he busted out a wild "Never Surrender" from Kickboxer.

Bush also wrote the power ballad "Love Don't Lie," later a minor MTV hit for House of Lords. Picking up an acoustic guitar, he lovingly ran through the sweet track in Hollywood.

But again, the crowd was there for the Transformers stuff, and the cheers were deafening for main theme "The Touch." Better still, DiCola joined Bush on stage for the song that they both performed on the Transformers soundtrack -- "Dare." An '80s rock belter, "Dare" is one of the best tunes that either man has put their name to.

With that, it was over and the crowd spilled out onto the Strip, stunned by how great these two musicians still are. More than meets the eye, some might say.The post Fists Pump for Vince DiCola and Stan Bush at the Whisky first appeared on Music Connection Magazine.