Mary Laura Philpott’s new memoir, Bomb Shelter, grapples with life’s curveballs in these uncertain times and, as she discusses here, that’s something to which we can all relate.
In 2022, most fans seek from Avril Lavigne what they sought in 2002: a place to air their angst and grievances, no longer teenagers but likely now disillusioned millennials.
Harry Styles demonstrates his genuine affinity for modern pop with Harry’s House, as he stands out amidst a collection of pandemic-influenced bedroom offerings.
Alias actors Carl Lumbly and Michael Vartan recall their work with J.J. Abrams, Jennifer Garner, and others on the spy/sci-fi action thriller, now airing on Disney+.
Creating their most conceptual, theatrical work, Florence + the Machine air out their lockdown grievances and ugly feelings by reminding us all to dance it out.
By letting her existential anxieties take center stage, Hatchie embraces alt-pop sensibilities on Giving the World Away to process life and loss in all its messy glory.
LÉON creates a synth-heavy work on Circles whose ambient sound conjures the feeling of calm after the storm, even if that calm might still be emotionally fraught.
Capitalizing on early 2000s pop-punk nostalgia, Love Sux is an algorithm-appeasing record that feels like the most impersonal Avril Lavigne has ever been.
Twelve years since her last album, Canadian pop-rock singer Fefe Dobson talks about her new music and speaks frankly about growing up in a music industry that wasn’t always on her side.