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.
Canadian pop singer Alex Porat ruminates on the current lack of Asian representation in pop music. “It still feels like there’s a long way to go.”
Why do men in the LGBTQ+ community often take comfort in the feminine pop music made by strong, angry women? We’ve also had to fight for our femininity.
Creating her best work with In the Meantime, Alessia Cara proves that any process of healing is never black or white and doesn’t exist on a straight line.
Even as Unbroken remains some of Demi Lovato’s best work, the artist would come to outgrow the sounds they experimented with on their third album.