Live Review of CY&ICat’s Cradle Carrbora, NC

Contact: cysteelecobb@gmail.comWeb: instagram.com/cy_and_i_bandPlayers: Max McMichaels, guitar, vocals; Cy Steele-Cobb, keys; Gus O’Brien, drums; Aidan Gillette, bass

The CY&I Christmas Show at the Cat’s Cradle Back Room quietly but convincingly made the case that a modestly talented, traditional four-piece rock band can still leave a meaningful impression—and walk offstage feeling pretty damn good about their night, their young ensemble, and their delightfully wacky, left-of-center songs.

In an era bloated with overproduction, algorithm-tested sameness, and an endless stream of carefully calculated “content,” it’s easy for genuinely human bands to dissolve into the noise. Everything filters into the background haze—until suddenly, WHAMO!—out from the shadows steps a band that’s fun, uncomplicated, and refreshingly unconcerned with impressing anyone other than themselves and the room in front of them. CY&I doesn’t arrive with a manifesto or a rigid aesthetic. They simply plug in, lock eyes, and play.

There’s a developed raison d’être here—something you feel more than analyze. It’s sometimes hard to put your finger on exactly what it is, and that’s part of the charm. CY&I sounds like a band still discovering itself in real time, and that sense of discovery gives the music its pulse. Most importantly, this young four-piece is clearly having as much fun onstage as the audience is having watching and listening.

One of the most distinctive elements of CY&I’s sound is their unique instrumentation and how effectively it fills the room. While technically a four-piece, the band often feels larger than that, thanks to clever arrangements and a thoughtful use of sonic space. The interplay between guitars leans more toward texture and rhythm than showmanship, allowing songs to breathe while still sounding complete. Even in quieter moments, there’s an intentional density to the sound that keeps things grounded and engaging.

“Highway Life” kicked off the set with a Byrdsian jangle and Petty-esque twang that immediately established the band’s melodic instincts. That shimmering guitar tone—equal parts chiming and earthy—set the template for much of the night. From there, CY&I rolled seamlessly into a tight run of originals including “Tell Me Why,” “What Christmas Means to Me,” and the wonderfully off-kilter “I Try (Choo Choo).” Each song felt like another small chapter in the band’s developing narrative, quirky but never careless.

Perhaps most impressive is that despite having just one primary vocalist—the guitarist handling all lead vocals—the band never sounds thin. There’s no scramble to fill gaps or disguise limitations. Instead, the instrumental arrangements do the heavy lifting, wrapping around the vocal melodies in a way that feels natural and unforced. The rhythm section plays a crucial role here, providing a sturdy, often subtly inventive foundation that keeps the songs moving forward. The result is a sound that feels full, cohesive, and confident.

That fullness carried through “I Hate My Friends,” a sharp-edged crowd favorite that balanced humor with a hint of self-awareness, before the band barreled into “Tonight, It’ll Be Christmas Day,” closing the first stretch of the set with momentum and a room-wide grin. At no point did the energy dip; CY&I understands pacing, and they know when to lean in and when to let a groove settle.

As the set progressed, the band continued to coalesce right before the audience’s eyes. What stood out most was what wasn’t happening—no jaw-dropping, face-melting solos, no attempts at instrumental dominance. This is a band committed to supporting one another, trading small musical artifacts and arpeggios across the stage, and serving the songs above all else.The post Live Review of CY&I first appeared on Music Connection Magazine.

Signing Stories: Elanor MossDate Signed: October 2025Label: Merge RecordsType of Music: FolkManagement: Alex Zinovieff - Always ManagementBooking: Angie Rance - Earth AgencyLegal: Paul Spraggon - SSBPublicity: Patrick Tilley, Jacob Daneman - Pitch Perfect PR; patrick@pitchperfectpr.com, jacob@pitchperfectpr.comA&R: Mac McCaughanWeb: elanormoss.com

London’s Elanor Moss is an artist’s artist. As such, she independently released a pair of introductory EPs. That self-reliant attitude remained strong when putting together her debut full-length. Knowing she had limited financial resources, her collaborators helped fund the project. In an effort to make recording as affordable as possible, the album was completed in just two or three days. 

Yet the singer/songwriter knew how helpful it could be to have a label providing support, so she began networking. Moss sent the freshly minted LP to a friend in the Dublin music scene who recommended she pass it along to Basin Rock Records. She wisely took his advice. “They’ve put out some amazing records,” Moss enthuses regarding the outsider folk label based in Ireland. “A few months later, I got a message from Merge Records.” Basin Rock had passed it along without her knowledge. Moss felt immediate excitement, as she’s a longtime fan of Merge, home to one of her “all-time favorites,” The Magnetic Fields. 

Additionally, she found the label’s artist-led history and attitude appealing. Indeed, Merge didn’t demand any changes to the finished recording. “I just wanted to work with people who were enthusiastic about my music, love it, and understand it,” she discloses. 

Committing to Merge nonetheless depended on the offer. Since the literary artist wanted to make simultaneous inroads in both America and the U.K., tour financing remained a salient factor. “I’m thrilled to be with Merge,” the lucky signee purrs. “It feels like such a good fit, and an exciting, new start.” 

Moss points out that she focused on creating great music before seeking a label, a tactic she suggests others follow. “I was very much living by my own intuition, creatively, and then hoping it would resonate with the right home. The post Signing Stories: Elanor Moss first appeared on Music Connection Magazine.

From UMG’s approved Downtown deal to Spotify’s AI ambitions… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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When we started creating PublMe I was thinking quite a lot about Spotify's success and the main message from Daniel too. The #MusicIndustry economy and #Technology already changed and for #artists now the key is sustainability, otherwise, it is just a hobby. #AI is cool and some people use the tool for profit, but what's next and what an asset is?

ASCAP Launches New Telehealth Benefit For MembersNews broke this week that The American Society of Composers, Authors and Publishers (ASCAP) has announced that it has launched "a new virtual care offering as part of its ASCAP Wellness Program, which includes a broad range of health and well-being benefits provided exclusively to its members. Through a collaboration with MD Live by Evernorth, a leading provider of virtual health care services in the U.S., ASCAP members and their eligible dependents can engage in virtual visits with board-certified MD Live clinicians for mental health, dermatology, or 24/7 urgent care—all at discounted pricing."

“We know that health and wellness are foundational to creative work and longevity in our industry, but many music creators struggle to access and afford health insurance,” said ASCAP Chief Strategy and Digital Officer Nick Lehman (pictured). “That is why it’s important for us to launch this service for our members, providing easy access to high-quality care at very reasonable costs – regardless if they have insurance or not.  As the only truly creator-first PRO in the US, our commitment to our members is to support them with the resources they need to be at their creative best.”

"We understand that the work and life of a music creator is uniquely challenging right now. Creators face stress from many angles, demanding schedules, rejection, isolation and uncertainty in their creative and business lives," Lehman told MC. "That is why it’s important for us to launch this service for our members, providing easy access to high-quality care at very reasonable costs."

According to a company statement, "MD Live has a national network of board-certified doctors, pediatricians, dermatologists, psychiatrists and therapists who provide personalized care for medical and mental health needs. ASCAP members can sign up for access to MD Live virtual care services through the ASCAP Member Access portal."

“Virtual care is a huge benefit for people with busy lives who want to stay on top of their health,” said Vontrelle Roundtree, MD, MPT, Associate Chief Medical Officer, MD Live. “By connecting with doctors via phone or video calls, we can empower ASCAP members to take control of their health without sacrificing convenience.”

ASCAP announced the new virtual care benefit at its February 12 annual Membership Meeting held at Skirball Cultural Center in Los Angeles.The post ASCAP Launches New Telehealth Benefit For Members first appeared on Music Connection Magazine.

The Empire Strikes Back: The majors and Merlin gained (a bit) of market share on Spotify last year.Spotify's new annual report updates a crucial yearly stat – with a surprise new number
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Live Review of RIIZEPeacock Theater Los Angeles, CA

Web: shop-us.riizeofficial.comPlayers: Anton, Eunseok, Shotaro, Sohee, Sungchan, Wonbin, all vocals.

It was a night of celebration for K-pop group RIIZE as they concluded their first-ever North American tour, RIIZING LOUD, with an impressive performance in Los Angeles. The show began with a dramatic VCR showcasing each of the six members: Anton, Eunseok, Shotaro, Sohee, Sungchan, and Wonbin. The fans (endearinglynicknamed BRIIZE) shrieked in loud excitement when their favorite appeared onscreen. Soon after RIIZE walked onstage in matching white and black outfits and kicked things off with the fiery track “Ember to Solar,” showing off their impressive, synchronized dance moves. Focusing all their energy on hyping up the fans, the group followed up with the obnoxiously fun “Siren” and the euphoric track “Odyssey.” The group finished the first segment of their set with “Combo,” a fan-favorite due to its highly catchy chorus that had everyone screaming, “I’m such a loser, she such a weirdo.” 

What makes RIIZE stand out from amongst the rest of the emerging K-pop boy groups are their high-energy pop tracks, fun wordplay and enjoyable harmonies. They’re a group that oozes with youthful charisma. The group knows where their strength lies and do a good job of showcasing their talents on stage. Wonbin and Sohee are the strongest vocalists, as their versatile delivery and impressive high notes could be heard loud and clear throughout the night. Anton’s husky vocals fit perfectly for the lower tempo moments in their songs, while Shungchan, Shotaro, and Eunseok rounded things out with their impressive rapping and vocal delivery. The group used minimal backtracking, letting us hear their raw vocals shine. 

Their set also featured memorable moments showcasing their impressive dance moves. During the melodic R&B song “Honestly,” each member took turns performing dance solos and as duos. The electronic track “Impossible” featured intense choreography with lots of fast leg moves and impressive kicks. While “Bag Bad Back” incorporated fun hip-hop choreography that had everyone dancing along. 

The fun transitions and interesting visuals kept things interesting and lively. One of the most memorable moments was before “Get A Guitar,” when Wonbin and Anton appeared on stage holding a bass and an electric guitar. Channeling their inner rock star, they performed an instrumental duet, which earned loud cheers and screams. 

In between songs, the group would take breaks to engage with fans and keep the energy up. They egged everyone to be as loud as possible, even challenging us to be louder than their previous show in San Francisco. Anton acted as the leader for the night as he hails from New Jersey and is fluent in English. As RIIZE’s North American tour leg came to an end, the group was humming with triumphant energy. Each member took time to thank fans for all the support and reminisced on their tour journey—sharing that they initially had fears and worries of crossing into the North American market. But thanks to all the love and support from fans, the tour turned out to be a grand success in their eyes. The post Live Review of RIIZE first appeared on Music Connection Magazine.

Olivier Chastan’s Iconoclast in sale talks at price tag of around $500 millionMultiple sources tell MBW that Iconoclast is in talks with approximately 10 different parties
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The Bassline That Blew My Mind: Nukem in a RushDon Lauder, bassist with San Diego thrash metal titans Nukem, told us about his Geddy Lee "YYZ" love...

Don Lauder: The first time I think I actually noticed bass guitar was when I first heard Rush’s song "YYZ" back in 1981. My brother’s best friend was/is a huge Rush fan and so when Moving Pictures came out he played it for us. When "YYZ" played, I was confused because I had never heard a musical pattern like that. I was only 8 but still I recognized that something was way different and in a very cool way.

When it got to the part where Geddy plays his killer lead licks, I initially thought it was Alex on guitar doing that until I was corrected. I was even further confused because I couldn’t wrap my head around the idea of bass playing anything other than holding down the rhythm. From that moment on, my idea of what bass guitar was and could be was forever changed. Music in general became much bigger for me and that lead me in a new direction that got me to where I am today.

Nukem's "Tactics of Terror" single is out now. The album The Grave Remains drops in April.

The post The Bassline That Blew My Mind: Nukem in a Rush first appeared on Music Connection Magazine.

Roslyn Pineda appointed President, Asia for Sony Music Publishing, as Carol Ng retiresPineda succeeds longtime SMP Asia President, Carol Ng, who will remain with the company until her planned retirement at the end of March this year.
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AllMusic's Anticipated 2026 AlbumsAs the year progresses, we look to the future to guess at the upcoming releases from our favorite artists and pontificate as to what their new sounds will reveal. Here is a non-exhaustive list of albums that our editors have been anticipating in the first half of 2026.

20 Years of Music Education in Los Angeles With ETM-LAEducation Through Music Los Angeles (ETMLA) 20th anniversary gala at the Skirball Cultural Center on Tuesday, January 27, 2026 in Los Angeles, California. Photo by Danny Moloshok/Moloshok Photography, Inc.

A passionate gathering of educators, facilitators and supporters joined to celebrate twenty years of Education Through Music-Los Angeles (ETM-LA) at their annual Gala. Raising over $500,000 to help the organization provide future music programming in under-resourced schools, the evening took time to celebrate the positive impact of four of the organization’s musical champions.

A Shining Star Artist Award was presented to the incomparable Diane Warren (17-time Oscar nominee, GRAMMY, Emmy, and two-time Golden Globe Award winning songwriter), with the ETM-LA Student Choir Ensemble (Cantara St. Elementary Choir and Castelar Elementary Rock Band) performing an arrangement of Warren’s Oscar-nominated “Dear Me” (from Grammy-nominated documentary, Diane Warren: Relentless). The ETM-LA Faculty Choir—along with soloists Eden Kontesz, Prez Blackmon (and ETM-LA Alumni Bettina Diaz and Krista Sims, and Zanaida Stewart-Robles and Lydia Lee)—also performed Warren’s “The Journey,” while the ETM-LA Rhythm Ensemble played “I’m Standing With You.”

Education Through Music Los Angeles (ETMLA) 20th anniversary gala at the Skirball Cultural Center on Tuesday, January 27, 2026 in Los Angeles, California. Photo by Danny Moloshok/Moloshok Photography, Inc. Moloshok Photography, Inc. danny@molophoto.com www.molophoto.com-----

Warren’s publishing company, Realsongs is a major corporate sponsor of the foundation. “There is no better way of reaching young hearts and minds than music. What ETM-LA is doing is making that happen for so many who might never get the chance to experience the beauty and power of music,” said Warren. Penning nine #1 and 33 top 10 hits on the Billboard Hot 100, Warren entered the Songwriters Hall of Fame in 2001, was presented the Johnny Mercer Songwriter Award in 2024, and is tied with Lionel Ritchie (an Honorary Chairperson on the ETM-LA Board) for the most No. 1 hits written solely by one person. In addition to charting success, Warren’s songs have been featured in over 150 films.

Emmy-winning Composer Christopher Lennertz and co-Founder Tim Wynn of Sonic Fuel Studios received a Shining Store Corporate Award, recognizing their support of ETM-LA through their donations of studio time and space for student recordings. Their boutique, state-of-the-art, eco-friendly tracking and mixing facility specializes in film and television, and interactive media music, providing full-service recording and production for albums, film and television, and the Sonic Fuel team have experience ranging from rock, pop, jazz and Hip-hop, to musical theater. Lennertz and Wynn shared, “The mission of ensuring every child has access to quality music education at an early age is so vitally important.”

Recognized with the Shining Star Award, Ryan Gonzalez first began as a volunteer before becoming the Band and Orchestra Director at James Monroe High School in Los Angeles, supporting a concert band, orchestra, jazz band, marching band, and serving as Music Department Chair. Co-founding the James Monroe High School Visual and Performing Arts Academy (JMHS VAPA) and Monroe Community of Schools Fine Arts Conservatory (MCOS FAC), the organizations serve over 1,200 students annually. Gonzales’ tireless commitment to his students and community are undeniable, and he has received multiple awards and grants for his department during his tenure (including bursaries from The Milagro, Mr. Holland’s Opus Foundation, and Arts and Healing Justice Network). In addition to steering the JMHS music department, Gonzales works as guest conductor to the CSUN Wind Symphony and Wind Ensembles, and serves as a middle and high school clinician throughout Southern California.

A surprise Champion Award was presented to The Milagro Foundation for their contribution to ETM-LA’s work. Launched by Carlos Santana, the Award was accepted by Santana’s son Salvador who shared that, ”if we want a brighter future, it starts with educating and investing in the youth, and what better way to do that than through music.”

As a non-profit organization with a mission to provide music to under-resourced schools to enhance academic achievement, creativity, and overall development, ETM-LA was founded in 2006, having since served over 190,000 students with musical education, and providing over 155,000 music classes in the Los Angeles area. The Foundation’s work has also provided over 60,000 hours of professional development for teaching staff.

Education Through Music Los Angeles (ETMLA) 20th anniversary gala at the Skirball Cultural Center on Tuesday, January 27, 2026 in Los Angeles, California. Photo by Danny Moloshok/Moloshok Photography, Inc.
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Executive Director Victoria Lanier expressed thanks to all of ETM-LA’s supporters. “We’re grateful for our incredible honorees and supporters who help further equity and access for all youth to receive comprehensive music and arts learning as part of a well-rounded education.”

Starting with just two schools and 800 students, ETM-LA now supports 43 schools and over 18,000 students annually, including the communities of Bellflower, Boyle Heights, Burbank, Compton, Chinatown, East LA, Inglewood, Pacoima, San Fernando Valley, and South Central.  Honorary Chairpersons include Randy Jackson, Rickey Minor, John Debney, Mike Knobloch, Lionel Richie, Nia Vardalos, Randy Speedlove, Paul Williams, and Renée Zellweger. Learn more at: www.etmla.org, or by calling 818-433-7600.The post 20 Years of Music Education in Los Angeles With ETM-LA first appeared on Music Connection Magazine.

Suno’s revenue opportunity, $1.65bn M&A spending power, and TikTok: 3 things worth knowing from WMG’s latest earnings callElsewhere on the call, WMG's leadership team discussed TikTok, DSP pricing, and more. Here are three things that stood out.
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Skid Row Seeks New Singer (Again)Hard rockers Skid Row have teamed up with online instrument retailer Sweetwater to find a new frontman.

The band has worked its way through a string of singers since forming in 1986, starting with Matt Fallon (also of an early Anthrax), who recorded some demos but didn't make it onto any official recordings.

Sebastian Bach was the singer for the band's most celebrated recordings, including the first three albums and songs like "Youth Gone Wild," "18 & Life," "Slave to the Grind," and "Monkey Business." Bach was in the band from 1987 to '96.

Johnny Solinger had an impressive 16 years with the mic, from 1999 to 2015, recording four albums. Tragically, Solinger died from liver failure in 2021 at the age of 55.

TNT singer Tony Harnell had a blink-and-you'll-miss-it spell in 2015, and he was followed by former DragonForce frontman ZP Theart, who was in the band from 2016 to 2022. Despite his six years in the ranks, Theart didn't record with Skid Row although he does have songwriting credits on four songs on the next album, The Gang's All Here.

That album featured Erik Grönwall (a former contestant on Swedish singing show Idol) behind the mic; Grönwall was in the band for two years until 2024. Bringing us right up to date, Halestorm singer Lzzy Hale filled in temporarily in 2025, helping Skid Row fulfill some summer dates.

So there we are. Seven singers (or six plus Hale) down the road, and Skid Row needs another one.

According to a statement, "The collaboration invites singers from around the world to audition for the opportunity to front one of rock’s most enduring and respected bands."

“This is not a contest or a gimmick,” the band says. “It’s a genuine search for the right voice, presence, and authenticity to carry Skid Row forward.”

“I first saw Skid Row play in New Jersey before they were signed, and they totally blew me away with the sheer quality of their songs, and the infectious high-energy of their performance,” said Sweetwater’s content creator Nick Bowcott. “We at Sweetwater are excited to partner with the group to host this once in a lifetime opportunity."

So there you go. If you fancy singing for Skid Row, find out more here.

The post Skid Row Seeks New Singer (Again) first appeared on Music Connection Magazine.

Gallery: Milk & Honey and Reservoir’s pre-GRAMMY ‘Award Season’ party 2026Held on the rooftop of the Petersen Automotive Museum, revellers included many high-flyers from the global music industry
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