"Middle of Nowhere" by Kacey MusgravesLost Highway RecordsProducers: Kacey Musgraves, Daniel Tashian, Ian Fitchuk

Kacey Musgraves pays homage to her Texan roots with her seventh studio album Middle of Nowhere. The album does a good job at showcasing ​​Musgraves’ magnetic personality through her witty humor and tongue-in-cheek songwriting, especially on tracks like “Dry Spell” and “Mexico Honey.” The album also has its somber moments as it follows Musgraves’ experiences of solitude and the complexities of maturing as seen in “Loneliest Girl.” The album features Texan artists like Willie Nelson and Miranda Lambert with references to western swing, bluegrass, and traditional Mexican influences. Who knew country could be so fun!The post "Middle of Nowhere" by Kacey Musgraves first appeared on Music Connection Magazine.

From UMG’s €1B bond sale to Warner Music’s Sureel AI acquisition… it’s MBW’s Weekly Round-upThe biggest headlines from the past few days...
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Olivia Rodrigo's Deep Love Affair With 90s Alternative Rock and the Album She Calls Her "Perfect 10"From Hole and The Breeders to The Cure, Olivia Rodrigo's musical roots run deep into '90s alternative rock — including one 1995 album she calls "the most human record" ever made.

Family Stereo Signs With Bella UnionDate signed: April 2026Label: Bella UnionType of Music: Singer-songwriterManagement: Northern Lights ManagementBooking: Free Trade AgencyPublicity: Charm School MediaA&R: Simon RaymondeWeb: familystereo.net

The end of July will see Family Stereo, AKA singer-songwriter Blake Watt, release his debut album The Thread, a fact that was announced recently by the label which is his new home, Bella Union. “An album of folk-tinged and brush-stroked reflections on distance and connection, The Thread is both dynamic and subtly cinematic, its artfully crafted precision the work of a fast-maturing talent,” a statement by the label reads.

There is, therefore, a lot to celebrate for Family Stereo in 2026. But this is no overnight success story. Watt has worked hard to get to this point."

“I’ve been writing and releasing music as Family Stereo since I was about 17 years old,” he says. “I went off to university and studied drama, and then when I got back decided that I wanted to pursue music properly. I wouldn’t say it got ‘serious’ until we signed with Bella and started working on the first LP.”

The Family Stereo sound was initially centered around fast-paced indie pop. “I grew up listening to Joy Division and The Smiths, so I was just trying to replicate the energy of Joy Division, and the poetic writing and singing style of Morrissey,” Watt says. “I basically learnt to sing by listening to him. But then I got much more into American indie-folk singer-songwriters at university, people like Elliott Smith and Adrianne Lenker, and they turned my head completely, and I haven’t really looked back since.”

Watt’s deal with Bella Union came when Simon Raymonde (label founder and member of the Cocteau Twins) heard the Family Stereo song “Matter” from the first EP.

“We started emailing back and forth,” he says. “He liked the track but was a bit tied up at the time with other stuff. I kept pestering him though, and after about a year we met up and he offered me a deal for the first LP.”

According to a statement, “The Thread arrives in the aftermath of a string of singles from the 25-year-old Blake, son of Everything But The Girl’s Tracey Thorn and Ben Watt.” 

“I recorded it with my bandmate and producer Sam Hodder-Williams at his studio in North London,” Watt adds. “We started recording in September 2024 and finished in July 2025.”

As Family Stereo gets prepared for the release of The Thread, Watt is also steadying himself for a busy 2026. 

“We’re working on the follow up currently, and I’m just trying to keep writing as much as I can,” he says. “I’ve written about five songs I really like. I’m also going off on tour with someone for a few dates next week, so it’ll be nice to play some of the songs off the upcoming record. We’re going back into the studio over summer so that’ll be a good incentive to write some more stuff.”The post Family Stereo Signs With Bella Union first appeared on Music Connection Magazine.

REPUBLIC Collective strikes joint venture with ZIZA Inc. focused on breaking South Asian artists globallyThe joint venture will prioritize signing and developing artists from the South Asian diaspora
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The Rush Albums Every New Fan Should Hear FirstFor newcomers, few rock catalogs are as rewarding – or admittedly, as intimidating – as Rush's. Across five decades, the Canadian trio evolved from a hard-rock band influenced by Led Zeppelin into progressive-rock pioneers, synth-era innovators, and one of the most respected acts in rock history. With 19 studio albums spanning multiple musical eras, deciding where to begin can be a challenge.

Jai’Len Josey Signs With Def Jam RecordingsDate Signed: March 2026 Label: Def Jam RecordingsType of Music: R&B, Soul-PopManagement: Taryn Anchrum - Top Ten Management; Al Branch - The Blueprint Group; Anastasia Wright - Imperial Marketing GroupBooking: Michelle Martinez, Josh Sanchez - WMELegal: Dorna TaylorPublicity: Bryan Pierce, Humbert Luna, Becky McElrath - 1964 AgencyA&R: Drew Corria - Def Jam; Laurne Munroe - Sony Music Publishing; Taryn Anchrum - Top Ten Management LLCWeb: jailenjosey.com

Jai’Len Josey is a force to be reckoned with. Being a triple threat —songwriter, singer, and actress—made her a desirable asset. Cynthia Erivo became aware of the Broadway star while producing a stage show in which Josey was performing. Erivo subsequently became a mentor. Josey knew about Erivo getting into music, so she voiced her desire to make similar waves. 

As luck would have it, Erivo was friends with screenwriter Lena Waithe. The creator of Showtime’s The Chi had a label with Def Jam, Hillman Grad Records, a perfect fit for the diva in the making. Josey signed with them in June 2021.

Two years later, the label dissolved. “Long story short, they took me straight under Def Jam,” says the R&B powerhouse hailing from Atlanta. While signed to Hillman Grad, she went on tour with recent MC cover artist Ari Lennox. That stint allowed Josey to prove her mettle, thus instilling faith in Def Jam that she has what it takes. “I was proving myself,” Josey proclaims, “to where they had no other choice but to believe what others were saying.” A songwriting deal with Sony Music Publishing, plus a management deal with WME, also came to fruition.

Before all this, a producer she felt close to did her dirty. Josey was therefore cautious when it came to signing anything. Fortunately, her mother has a music industry background, so she always had someone with insider experience to help guide her through the process. 

Josey remains content that things took longer than expected to fall into place. She’d rather shine bright for years than merely come and go like a shooting star. “I don’t want to be microwavable,” she cheekily suggests. “I want to be a pot roast. And I want to be a pot roast that tastes really good.”

Serial Romantic, Josey’s major label debut executive produced by Tricky Stewart, made its initial splash in April. The post Jai’Len Josey Signs With Def Jam Recordings first appeared on Music Connection Magazine.

It’s time independent music retail found its VOICEThe following MBW op/ed comes from Stephen Godfroy, Co-Owner of independent music retailer Rough Trade
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Cole Berliner Signs With Drag CityDate Signed: October 2025Label: Drag CityType of Music: Folk, Jazz, ClassicalManagement: Self-managedBooking: Black Rice Booking (Europe)Publicity: Drag CityWeb: coleberliner.com

After making his name as a member of the bands Kamikaze Palm Tree and Sharpie Smile, Cole Berliner has gone solo and The Black Door is his debut solo full-lengther. It also marks his debut for the Drag City Label, though it’s been a long time coming.

“I have been performing since I was a kid, through after school music programs and also through school,” Berliner says. “My first ever band performance that I can remember was in 2nd grade at my school talent show. We were called The Out of Control Fireball Psychics. Fast-forward, I began writing and playing in bands with friends as a high school teenager, and it was around this time that I started experimenting and recording songs and guitar pieces of my own. Around this time/post high school I actually had self-released a couple albums on Bandcamp under the moniker Tongue Splitter.”

The artist says that his sound is based on taking lots of different things and bringing them together. “My sound is kind of a result of this, an amalgamation of everything I’ve been a part of musically or listened to over the course of my life, trying to give each one it’s place in the music while still following the inner light of self-identity,” Berliner says.

“I think it’s also safe to say that I have always liked things with a bit of edge,” he continues. “Even if it’s meant to be soft and beautiful, there has to be some sort of hardness, imperfectness, or sadness.”

While The Black Door is Berliner’s solo debut for Drag City, he’s been working with the label since his band Sharpie Smile signed with them back in 2020.

“My bandmate Dylan and I had met Dan Koretzky in L.A. because we happened to be playing some west coast shows when he was in town,” he says. “Dylan and I both played in White Fence for a while, and I think Tim Presley was the one who connected the dots with us and Dan—Dan ended up coming to a pretty random but awesome show at a strip mall in Santa Ana, and we started talking after that.”

Berliner has had the songs from The Black Door kicking around for a while, but they came to life when he re-started playing them acoustically.

“Somehow, the steel string guitar shifted my perspective back to its original feeling from when I first started writing,” he says. “It was ‘winter’ in L.A., it was foggy and mysterious, lush-green and beautiful.”The post Cole Berliner Signs With Drag City first appeared on Music Connection Magazine.

Pedro Winter appointed Global Head of Creation and Co-Managing Director of Because Music FranceThe founder of Ed Banger Records, launched in 2003, and former manager of Daft Punk is joining Because Music in Paris.
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In the Studio with Charles FaunaArtist: Charles FaunaProducer and Arranger: Charles FaunaCo-Production and Additional Instrumentation: Jaguar SunAdditional Bass Production:  Ronnie LanzilottaMixing Engineer: Andy D. ParkMastering Engineer: Ariel Loh

The Origin: Absorbing a world where sound, vision, and feeling overlap, Charles Fauna — the moniker of the LA/NY-based producer and multi-instrumentalist Charlie Mischer—has developed a synesthetic field where emotion, atmosphere, and imagery continuously feed into one another, crystallizing into song. Within this cross-wired framework, auditory signals, visual cues, and sonic impressions lie buried deep in the subconscious. Fauna likens his creative process to excavation: a patient unearthing of these hidden melodies.Through this sensory lens, his musical evolution unfolded in clear phases — bridging early bedroom production with the exploratory work of his first musical project, Paideia, before arriving at the fully realized identity of Charles Fauna.As Fauna, that multi-sensory perception became his compositional spine. He approached each release as a series of self-contained sonic and thematic worlds. From the grief-torn symbolism of Eulogy and the isolated sci-fi transcendence of Yonder, to the rebuilding impulse of Renewal and the synth-soaked neo-purgatory of L I M B O, Fauna’s catalog evolved into distinct themes.Yet even the most expansive musical lifecycles eventually reach a tipping point. For Fauna, “Moon Dog,” the first single from his forthcoming full-length album, signals that inflection point. Driven most notably by profound personal experiences, the track reflects a subtle shift in the way he composes music.

The Production: “Moon Dog” entered his mind in the way Fauna says much of his strongest work does — as if it had already been forming just out of reach, arriving fully intact when it was ready to be heard. Sitting in a Nashville airport terminal, a sudden creative spark emerged from the surrounding ambient noise.“The ‘ooo’ melody for the chorus was the first thing I wrote,” Fauna recalls. To the listener, it plays like a vocalized ache, echoing forever. In hindsight, he connects that moment to the broader gravity surrounding the song: his father’s declining health and later loss. “That image of yearning, howling, desperately reaching out into the universe only to be met with silence, felt so devastating and powerful. It felt true.”That fragmented scribble in the airport foreshadowed a distinct heaviness. As his father’s health later declined, the idea Fauna had already drawn from his subconscious became the outlet. This spurred a creative push, fusing that  melancholic feeling with a specific key and color profile.“I always think in visual terms when I’m writing,” he explains. “I have synesthesia, so different musical keys have very strong color associations for me.” For Fauna, B minor is a key associated with a deep, nocturnal blue. Guided by this vivid sensory palette, the track settled into a vision of wide-open fields bathed in the stillness of the night. This imagery aligned with broader themes of expansiveness and freedom across the forthcoming album— a feeling he describes as “running without resistance.” 

Beyond the visual mechanics of his synesthesia, this concept of boundlessness translates directly into tangible production choices. Upending his usual digital routine, Fauna swapped programmed electronic patterns for live drums to give the rhythmic foundation a more physical, human feel. Leaning into this live instrumentation was a deliberate return to his musical background.“The drums are actually my first instrument, and the only one for which I received any kind of formal training,” he notes. That foundational background shaped how he balanced the rhythm section for “Moon Dog,” ensuring the low-end retained a deep, driving beat while maintaining high-end clarity. Ultimately, Fauna engineered this balance to evoke a specific physical environment: “a song meant for the car, for long meditative drives…”Texturally, this live rhythmic spirit allowed Fauna to layer contrasting musical elements and build a vivid, sensory ecosystem. He explicitly wanted the track to feel kaleidoscopic, juxtaposing a prickly acoustic guitar — which he notes “felt like rain drops down your neck” — against vast, open space.To achieve this fluid spaciousness without relying on electronic patches, Fauna studied intricate fingerpicking styles. “I was really inspired by classical guitar playing — how notes create these cascading waterfalls that seem to bounce downward — like a marble falling down a staircase," he explains. "Gravity dictates a unique rhythm. In this case, I wanted to fill this song with [similar] acoustic guitar textures. That ended up being a sonic throughline for the entire album.”

Translating that physical performance, however, presented a challenge. “It is a dance between creating that lush, transportive ambience while resisting the impulse to fill every empty moment with a sound,” Fauna says. “It’s very easy to start filling up the negative space in a track to the point where it becomes overwhelming to listen to.” Ultimately, the track rejects rigid, pre-constructed digital environments in favor of something more lived-in. This transition toward more tactile textures mirrors a personal evolution. “I wanted the production to reflect a version of me that was a little more mature, more assured, and more relaxed. Where before I might have produced an EDM drum beat and used synth bass, this time I knew it had to all be live. I wanted more of a band feeling with this album.”As one of the first songs to fully realize this new approach, “Moon Dog” signals a broader recalibration in his creative process.  Whether it marks the closing of a chapter or the beginning of something new remains unresolved, but whatever is on the horizon, Fauna is listening through his familiar synesthetic language while remaining open to how it might evolve.“It’s a perfect snapshot of me in my 30s,” Fauna reflects on the song. “Still doing this whole artist thing solely out of passion and personal fulfillment rather than some need to be seen. I’ll always love it for that reason.”

Photo Courtesy of Big Picture MediaThe post In the Studio with Charles Fauna first appeared on Music Connection Magazine.

Universal Music Greater China acquires Carrier Creative catalog, home to ‘golden-era’ Mandopop recordings by Little Tigers and Johnny ChiangThe deal was announced on Monday (June 8) at UMGC's inaugural China Summit in Beijing.
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Sheila Landis & Rick Matle at Ro Cham Beau Detroit, MIWeb: sheilalandis.com Contact: shelandis@gmail.com Players: Sheila Landis, vocals, percussion, kazoo; Rick Matle, 7-string guitar; John Hill, drums

One of Detroit's newest live jazz music rooms is the sleek and acoustically perfect Ro Cham Beau. The veteran duo of Sheila Landis and Rick Matle recently made their maiden voyage there, one for the books. They were joined by trusty sideman John Hill who embraced their swinging groove like a hand in glove. 

The evening’s theme was a journey through the decades, taking pages from the Great American Songbook through standard blues and pop. But you quickly realize that nothing by this ensemble is by rote. Each song is meticulously crafted where the ensemble stays faithful to the music’s essence while taking liberties at the same time. 

First popularized by Eddie Cantor during the heyday of vaudeville, Landis immediately captivates the crowd with the perennial “Makin’ Whoopee.” From the outset, she engaged the audience in joining her on the chorus as she dramatically “talk-sang” the lightly provocative and coquettish lyrics. Matle’s seamless blend of melody and walking bass establishes a comfortable rapport with Hill’s delicate drumming. “It Don’t Mean a Thing (If It Ain’t Got That Swing)” was a popular quote and classic from Duke Ellington. It came to life here via Landis’ outrageous kazoo soloing, bongo playing and Hill’s cue to step out. Landis kept a friendly rapport going with the crowd and dedicated the standard “Fly Me to the Moon” to the Artemis II astronauts. With a breathy Billie Holiday quality to her voice the lead chanteuse soared wistfully over a silky Latin rhythm. “The Lady is a Tramp” was appropriately swinging and edgy which transitioned to the sweet and seductive “Besame Mucho.” Hill and Landis provided dense percussion as Matle subtly blended looping chords and deftly placed lead lines. The first set concluded with the perennial upbeat “When You’re Smiling.” Landis’ spirited kazoo honks and Hill’s call and response drumming were a highlight.

Set two began with the Bacharach/David classic “I’ll Never Fall in Love Again.” It featured Landis on shakers as she supported a smooth samba-like vibe. Matle took some nice solos here as well. Another instrumental piece was the moody and noir-ish “Harlem Nocturne.”

A devotee of the late great jazz vocalist Betty Carter, Landis evokes that same spirit and charm into everything she does. And you could even include elements of Sarah Vaughan and Nina Simone into her vocal oeuvre as well. Her style blends the sublime with the slightly dramatic and absurd for a performance that is inviting, yet one of a kind. She fuses humor and reflection at the drop of a hat, with all the skill of a Broadway diva. Matle stands alone as one of the best 7-string guitarists on the scene. His ability to blend melody, chords and bass lines simultaneously is a joy to be had. And his encyclopedic trick bag of Wes Montgomery, Jim Hall, Barney Kessel, and Jimi Hendrix-type styles just adds to the versatile nature of their music. John Hill is equally comfortable laying down a solid pocket or adding subtle brush work. 

Whether they are doing classic cover material or a bevy of their well-crafted original songs, Landis and Matle always deliver and leave you wanting more. 

The post Sheila Landis & Rick Matle at Ro Cham Beau Detroit, MI first appeared on Music Connection Magazine.

Isaia Huron Signs With RCA Records/SlangDate Signed: December 2025Label: RCA Records/SlangType of Music: R&BManagement: Jaha Johnson, November YellowBooking: The Team (formerly Wasserman)Publicity: Amanda Zimmerman – RCA RecordsWeb: isaiahuron.com

The ink is barely dry on the contract, but Isaia Huron is already onto the next thing. In an industry that loves a long-winded origin story, the Greenville, SC native is refreshingly, almost surgically, brief. When asked when his musical journey actually got serious, he doesn’t cite a childhood dream or a viral moment. “It got serious around yesterday or so,” he quips.

That “yesterday” has actually been years in the making. From a childhood steeped in gospel—raised by a pastor and a choir leader—to teaching himself Ableton on a cruise ship in 2018, Huron has been quietly building a sonic architecture that defies easy categorization. It’s a blend of R&B, alternative soul, and indie textures that feels both intimate and expansive.

Now, Huron has officially leveled up, announcing his signing to RCA Records in conjunction with Slang. The partnership arrives alongside his latest single, “W.T.A.” (Way Too Attached), a self-produced, slow-burn track that serves as the first transmission from his upcoming era: Mr. Lovebomb.

While his debut album, CONCUBANIA, was a three-act play exploring the wreckage of heartbreak, Mr. Lovebomb promises to dive into the “messiness” of life. Despite the high-stakes backing of a major label, Huron’s process remains decidedly lo-fi and intensely personal. While most artists head to high-end studios in L.A. or London the moment they get a budget, Huron stayed close to home. “I recorded and produced those songs and the entire album right after we shot the visuals for CONCUBANIA, right outside on my parent’s back deck by myself. And yes, it’s conceptual, the album,” he says.

Following a breakout COLORS performance that continues to rack up views, he has found that the most rewarding part of the grind isn’t the contract, but the reception. “Watching people like it. Very strange, but wholesome feeling,” he says.

As for what the rest of 2026 holds under the RCA/Slang banner? His goals are as minimalist as his production: “Doing music” and “Tour.” For the aspiring musicians looking for a roadmap to follow in his footsteps, Huron offers no clichés or “10 steps to success” manifestos. “Not really, no,” he says when asked if he has any advice.The post Isaia Huron Signs With RCA Records/Slang first appeared on Music Connection Magazine.

From Suno’s $5.4B valuation to Bill Ackman’s exit from Universal Music… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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