Tip Jar: Brian Kehew Brings Classic Music Techniques, Equipment, and Mindsets to the Modern WorldMusic historians are driven by a passion for the art that goes beyond lyrics and melody. It’s about the inspiration behind the sound and for the technically-minded, that means every detail that goes into music creation, from the equipment to the boards to the room to the various players themselves. 

Best known as an engineer and producer, Brian Kehew has an impressive list of credits, from Fiona Apple and Aimee Mann to Beck and Eels. But it’s his deep knowledge and understanding of era-specific sonic construction and craft that make him an authority, especially when it comes to classic rock and the best music ever made. 

His ability to identify and recreate aural effects and evocative vibe on record has made him the industry go-to man when it comes to mixing music that evokes the past.

“My main work for the last 25 years has been mixing projects of classic bands and artists who are putting out box sets and unreleased things like concerts,” Kehew explains. “I studied music and recording history, so I can make a 1958 record sound correct. I can make a Madonna record from the '80s sound correct. Whether it’s early Black Sabbath or a jazz record from the '60s, I know the different styles and techniques.”

If you bought or downloaded a re-release or special collection from the likes of Aretha Franklin, Talking Heads, or Fleetwood Mac recently, and enjoyed the package’s extras (from a live concert track to a never before heard alternate version of your favorite hit) chances are Kehew mixed it, bringing clarity and quality to the old material, but also an audiophilic authenticity that makes the whole recording flow seamlessly.

He’s known for this kind of work with countless artists including Ramones, The Pretenders, Morrissey, Alice Cooper, The Faces, The Stooges, MC5, Yes, Elvis Costello, Van Halen, and so many more.

“My studio is full of old tape machines so playing music from the past—like from the '60s and '70s for example—is no problem,” he explains. “My job is to go through the archive with the producer—a specific album or it could be a whole career—and see what’s not been heard before. Then I get to mix it to fit. That is my favorite job and just my favorite thing to do.” 

These types of older recordings would lose their magic in the hands of a less-schooled, less informed mixer. As Kehew explains, “you can fix vocals, drums, line things up, and ‘modernize it’ or make it cleaner or tighter, which modern music values, but I’m also trying to keep a '70s record sounding and feeling like the '70s.”

A lot of Kehew’s mixing jobs happen to be for legendary artists who led him down his professional path to begin with. Born and raised in San Bernardino, he learned engineering and recording at Cal State Dominguez Hills, took piano and guitar lessons as a kid, and later formed an electro duo with Jellyfish’s Roger Manning called The Moog Cookbook, doing inventive covers of alt-rock and classic rock gems. 

Working as a musician has never been Kehew’s focus, but he did just get one of the coolest gigs ever. As a regular crew member for The Who, he played a slew of fill-in dates for their keyboardist on the final tour, including the Hollywood Bowl. He also just shared the stage with Pete Townshend during a surprise GRAMMY party jam.

Kehew’s work with the biggest bands on the planet doesn’t stop there. 

He serves as lead engineer on the Grateful Dead’s Angels Share series, featuring hours of unreleased alternate takes, experimentation, and even studio chatter. “What I like about these is there’s almost no overdubs,” he says. “There’s no trickery. They haven’t finished the record yet, so you get to hear them as they were.”

Studying an artist’s records, knowing the traditions of recording from the past and the equipment used all factor into conjuring their nostalgic feel, and beyond mixing and producing, Kehew has channeled his nerdom for all of it into other game changing endeavors, including books. 

His extensive survey of the Beatles gear and processes (with co-author Kevin Ryan) called Recording The Beatles: The Studio Equipment and Techniques Used To Create Their Classic Albums became a collectable best-seller. He followed it up by publishing two more Beatles books—Kaleidoscope Eyes and Places I Remember—with photographer Harry Grossman. 

His next Beatles tome is a massive project exploring the work of master producer/arranger George Martin, which he dubs “the number one project in my life because I’ve worked on it for over 10 years now.” The three volume George Martin: The Scores is finally due out this month on Kehew’s Curve Bender Publishing.

While researching the first book he became interested in the Sound Techniques mixer used on records by everyone from David Bowie to Elton John, as well as Queen, The Stones, and yes, the Fab Four too, all in the U.K. After connecting with its designer, he also had a hand in helping it get remanufactured and placed at major studios across the country. 

Kehew also owns his own studio, called Round and Wound in North Hollywood, specializing in tape and media transfers done by the best ears in the business. It’s his HQ for mixing and a place to connect with musicians of all ilks beyond the biggies. In these unstable and erratic times for the music industry it provides an old school, human touch that is much needed as A.I. and social media threaten what we love about music. With this in mind, he offers this advice for would-be producers, mixers, and music makers in general: 

Follow your passion—“It should be more than a hobby. It should be who you are. If all the record stores closed, I would still be making music. I would be arranging songs and working with friends.”

Show off your skills—“I’ve always felt that work will find you if you put it out there. And my best, like my Warner Brothers studio work, found me because I was doing what I do. Do it all the time, for everybody, maybe for free. People will find you.” 

Figure out ‘your thing’ that’s different from everybody else—“There are five, six people on my block in North Hollywood that do what I do. But what I do that’s different comes from studying music history. So do what only you can do!”The post Tip Jar: Brian Kehew Brings Classic Music Techniques, Equipment, and Mindsets to the Modern World first appeared on Music Connection Magazine.

New Music Critique: Kendra ChanaeContact: kendrachanaemusic@aaron-freiwalWeb: kendrachanaemusic.comSeeking: A&R, labelStyle: R&B/Indie Pop

Kendra Chanae possesses a technical toolkit that most vocalists would envy, yet her original material often feels like a Ferrari stuck in a school zone. Her range is undeniable, but it’s currently wrapped in a layer of restraint that dampens the emotional impact. Ironically, her cover of “Feeling Good” serves as a roadmap for what she’s truly capable of—a soaring, passionate display of power. The missing ingredient isn’t talent; it’s the willingness to let her own songs explode with that same uninhibited fire. Technique and transcendence aren’t always the same thing.The post New Music Critique: Kendra Chanae first appeared on Music Connection Magazine.

From the Supreme Court’s Cox ruling to Primary Wave’s Kobalt deal… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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Signing Stories: Alex LambertDate Signed: January 2026Label: Big Loud TexasType of Music: Soul-CountryManagement: Cabell Moskal, cabell@makewake.net; Blake Ferguson, blake@makewake.net; Dylan Wright, dylan@deeprootsmgmt.comBooking: Chris Burrus, chris.burrus@caa.com; Jacob Lapidus, jacob.lapidus@caa.comPublicity: Corey Brewer, corey@bigloud.com; Rachel Heatherly,rachel@bigloud.com - Big LoudA&R: Jon Randall, Sara KnabeWeb: alex-lambert.com

Getting signed isn’t always about making strategic moves. Sometimes, it’s a random twist of fate that makes the difference. For Alex Lambert, having a famous last name was key. He’d been releasing music independently when Miranda Lambert’s assistant stumbled across his song “Cryin’ In the Rain.” She sent it to the country superstar and inquired whether the two were related. “We could be cousins, because she’s from Lindale, TX,” muses the other Lambert, who grew up in Fort Worth. “All my family is from within 30 to 45 minutes of there.”

Regardless of their blood connection, the more famous Lambert loved what she heard. As one of the architects behind Big Loud Texas, a new imprint of Nashville-based Big Loud, she was on the hunt for promising acts. Both Lamberts and the rest of the label’s squad, including fellow artist and Big Loud Texas co-founder Jon Randall, decided to meet up. “I played them a couple songs, and we were off to the races,” tells the singer.

Big Loud was one of approximately 10 labels that courted the soul country performer. Industry attention began in ’22, when Lambert had a viral moment on TikTok. But Big Loud Texas stood out, in part, because other musicians run it. After a career in flipping houses, he’d gone to L.A. to pursue music and eventually began doing whatever his team wanted. “I wasn’t staying true to myself as an artist,” he confesses. “I got burned out.” Now living in Music City, he’s determined to pursue the sounds he loves.

Also, Chris Kappy, founder of his management team Make Wake Artists, stressed that Big Loud was the best choice imaginable. “It was just obvious,” Lambert recalls. “It didn’t feel like we were making a decision. It felt like it was made for us.”

Alex Lambert’s Big Loud Texas debut comes out this year. By way of selecting which songs to put on the record, he hung out and drank tequila with Randall and Miranda Lambert at her home studio. “They knew all my demos,” remarks the crooner. Their deep familiarity with his material reassured him that he’d found the right home. The post Signing Stories: Alex Lambert first appeared on Music Connection Magazine.

Primary Wave makes strategic investment in Vietnam’s POPS Music – with plans to ramp up catalog deals in Southeast AsiaPOPS claims to be 'home to the largest catalog of Vietnamese and Indonesian music'
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BTS comeback concert drew 18.4M global viewers says Netflix, as attendance figures spark debateThe group's first live performance since 2022 was streamed from Seoul's Gwanghwamun Square.
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Live Review: Trueblood and Prestyn Smith at The Observatory North Park, San Diego, CAToday's rising artists Trueblood and Prestyn Smith closed out their tour with two shows at The Observatory North Park San Diego, CA (3/20) and the Troubadour in West Hollywood, CA (3/22). This short run of six dates began at Brighton Music Hall in Boston, MA last month and followed with the Bowery Ballroom in N.Y.C., The Foundry in Philadelphia, PA, and the Songbyrd Music House in Washington D.C. All shows instantly sold out. These artists are a perfect pairing and had played shows together last year including a sold-out Ventura Music Hall show. Observatory North Park was the biggest show for both artists' careers with the exception of Trueblood playing Wango Tango last year. This sure was a historic night. The fans are very dedicated, with many having traveled from other states and parts of the world. The crowd, delighted as they were, threw homemade bracelets and other items onstage during the show. There was also a Meet and Greet following the Observatory show that lasted over an hour. This Sunday, Trueblood’s “Make It Out,” and Prestyn’s “Yellow Lights” are part of KROQ’s Locals Only playlist.

Seal Beach native Prestyn Smith, one of the greatest voices of this generation and the next big pop star, has been rising across TikTok and Instagram, hitting over 1,000,000 TikTok followers, over 620,000 Instagram followers (almost 700 posts), 547,000 Facebook followers, and 51,000 YouTube subscribers with her acoustic covers and videos playing guitar while riding a skateboard. Over the last few months, her Instagram followers have gone up by around 100,000. Top 10 Spotify plays adding to nearly 850,000. There has also been airplay on legendary L.A. radio stations Alt 98.7 and KROQ 106.7 and the band includes Hermosa and O.C. locals Cash Lane (bass), Ashwin Desai (guitar), and Jackson Daw (drums). Like Red Hot Chili Peppers, the band kicked off with a jam which led into Prestyn running onstage to a bunch of screaming fans. It was an incredible experience to witness. This nine-song set included all originals with the exception of Sabrina Carpenter’s “Because I Like A Boy." The opening song was  “Fell In Love,” which has a Jack Johnson vibe to it, with Prestyn plays acoustic guitar on it. It was the perfect song to open with and it was followed by her second biggest song “Can’t Lie” (105,710 plays). Next was one of her earlier singles (2024) “Angel On My Shoulder,” then “Because I Like A Boy," “I Meant It” (Released January 2025), and second to last was her biggest hit “Can’t Lie,” released this past November and has already accrued 223,074 plays and includes audience interaction clapping during the chorus. The closing song was her latest single “Yellow Light’s” (87,798 plays) which No Doubt’s Adrian Young recorded the drums on. This is an artist truly bound for greatness.

One of the quickest rising bands, San Diego Natives Trueblood consists of teenage brothers Mason (lead vocals/guitar), Dylan (lead guitar), Ethan (bass), and Cameron (drums). Their ages range from as young as 13 to 18 and they have been playing instruments for half their lives. Since November 2024, they've already accomplished hitting 3,000,000+ Instagram followers, 540,000+ YouTube subscribers, and over 15,000,000 top 10 combined Spotify plays. They have amassed a very dedicated fan base and have been bringing songs from artists before their time to the next generation which can be seen when the house music plays before their set—with much of the audience singing along with those songs. During the East Coast run, fans were lined up early in the afternoon in under 40 degree weather—the line stretched nearly a mile long line by the time doors opened. Their setlist kicked off with “Never Let You Down,” and included originals “Flood My Brain,” “Enemy” (performed acoustic), “21 Cents,” “Stuck,” “Paint A Picture,” and “Morning Shade.” For covers they performed Red Hot Chili Peppers’ “Can’t Stop,” an acoustic version of Laufey’s “From the Start,” The Weeknd’s “Sweater Weather” (also acoustic), Franz  Ferdinand’s “Take Me Out,” and George Michael’s “Careless Whisper”—which was the final song.

Before the tour, Trueblood performed intimate local shows in Oceanside, San Diego, as well as Anaheim and Los Angeles (plus larger performances at Wango Tango and Soma Sidestage). The next generation of great rock bands is here.

Photos by Alex KluftThe post Live Review: Trueblood and Prestyn Smith at The Observatory North Park, San Diego, CA first appeared on Music Connection Magazine.

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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