Tag Archives: Single Review

Single Review: Nathalie Miller – “You’re in My Bed”

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photo by Ana Watterson; creative direction by Palmer Wells; photo courtesy of Knyvet

Single Review of Nathalie Miller: “you’re in my bed”

Nathalie Miller specializes a brand of dreamy alt-pop that often borders on shoegaze. And, while that’s not all-encompassing when you listen to a broader collection of Nathalie’s work, it’s certainly an apt description of “you’re in my bed.” Indeed, the word “borders” is doing a lot of the heavy lifting in that description. There’s also an almost Taylor Swift-like picture-painting lyrical pattern, quite stylistically and engagingly drawing the listener in with intriguing lyrics, even as the enjoyable bouncing sway of the music distracts the listener from the lyrics, drawing the focus to the song’s ever-growing tuneful instrumental cacophony.

image courtesy of Knyvet

In many ways, “you’re in my bed” reminds me of my favorite songs from Nathalie’s Like You Used To EP, “Kansas,” which contains a similarly distracting tuneful soft-pop sway. However, whereas “Kansas” was about a friendship breakup, “you’re in my bed” speaks to a romantic relationship split. Yet, I’ve gotta say, the pleasant sway of “you’re in my bed”… well, it’s almost worth a painful breakup if it results in a song like this, isn’t it? You know, hypothetically speaking. The song begins in a state of soft melancholy, but as the orchestral soundbed builds, so does the vocals’ soft power, and I’d defy you not to get increasingly sucked into the musical vortex by the time the background vocals kick in with an “ooh ooh ooh” late in the song. Then, just as that power builds, the song ends all too soon. Like a disappearing lover, I suppose. Fortunately, as a listener, if you want a little more, you can just start the song over again. Oh, and you will.

photo by Ana Watterson; creative direction by Palmer Wells; photo courtesy of Knyvet

The song is so engaging, in part, because of its honesty, as it drew from real life. As Nathalie is quoted in the press material, “‘you’re in my bed’ is about being haunted by someone everywhere you go, even though they’re not actually there. Like ‘you’re in my bed’ even when you’re not. When this relationship I was writing about ended, literally everything reminded me of her, even things that had nothing to do with her.”

So I’ll return to what I wrote earlier, that it’s almost worth a painful breakup if it results in a song like this, isn’t it? I guess only Nathalie can answer that. But hey, we can enjoy this cool song that sprang from that pain. And if you like soft alt-pop at all, I bet you will.

Single Review: Def Leppard – “Heroes (2026 Mix)”

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by Luca DePalo, Contributing Blogger

Single Review of Def Leppard: “Heroes (2026 Mix)”

Decades after David Bowie released the iconic single and album “Heroes” in 1977, one of the world’s best-selling rock groups of our generation, Def Leppard, has released a fresh new cover of the track from their upcoming Volume 4 box set.

Unlike my usual posts involving writing articles about local shows, this will be my first of many music reviews on the site, and I couldn’t think of a better group to have it be about than these guys. Still led by founding members Joe Elliott (lead vocals) and Rick Savage (bass), Leppard’s lineup has remained the same since 1992, with Rick Allen (drums), Phil Collen (lead guitar) and Vivian Campbell (rhythm guitar).

The note-perfect rendition of Bowie’s timeless classic brings a fresh perspective to a track which I consider one of the most recognizable songs in rock history. While it still remains faithful to the original’s emotional foundation, Def Leppard put its own signature touch on the track, showcasing the band’s arena-rock sound and the unmistakable vocal delivery from Joe Elliott.

Interestingly enough, this isn’t an entirely new recording for longtime fans of the band. Last year I had seen them live in Connecticut at the Mohegan Sun Arena, where the cover was played over the PA speakers before kicking off the show (and also even performed as a snippet during an extended version of their hit “Hysteria”). I didn’t think much of it, but upon researching it, they’ve actually been playing the song at shows like that since 2022!

Looking ahead to 2027, the band will be hitting the road across North America for a massive 45-date tour, (oddly) co-headlining with the Goo Goo Dolls, alongside special guests The Struts. Kicking off in March, the tour will visit New England for a show in Boston and one in Uncasville, where I had previously seen the band.

Overall, it’s a fine tribute to Bowie, one of rock and roll’s most influential artists, while also demonstrating the group’s appreciation – especially from Joe Elliott – for Bowie‘s musical catalog, which they have covered many times in the past, like their versions of “Ziggy Stardust” and “Space Oddity.”

Single Review: Emily Grogan – “Tell Your Friends”

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photo by Carol Fondé; photo courtesy of Knyvet

Single Review of Emily Grogan: “Tell Your Friends”

Emily Grogan is a highly-regarded Boston-area pop-rocker whose upcoming 2027 album is greatly anticipated. In advance of it, we’re treated to this summer’s single, “Tell Your Friends,” and it’s a helluva strong teaser for what’s to come. A power-pop number with an edgy alt-rock vibe, it’s an engaging listen.

The press material actually refers to this song as “empower-pop,” playfully crafting an apt description for a song whose lyrics are an almost desperate attempt to look forward in troubled times. Grogan explains, “‘Tell Your Friends’ came from feeling overwhelmed by the amount of chaos, division, and fear happening around us. I found myself pulling more inward this year, and in those moments when I step back into the world, I see the external chaos from a different perspective. So much of what surrounds us seems built around fear; fear that divides people, fuels greed, and creates suffering.”

artwork by Lily Grogan; image courtesy of Knyvet

It’s a song about a heavy topic, and the song’s measured pace and structured arrangement help give it the requisite gravitas. However, there’s a pleasantness and understanding in Grogan’s vocal delivery that breeds hope and creates and atmosphere of camaraderie that allows the lyrics to hit differently, enjoyably. The song opens with just piano and vocals before slowly amping up, joined by light strumming about 45 seconds in before bursting forth with a full-on alt-rock boom about a minute and a half in. The noisy part doesn’t last long, though, and doesn’t return again ’til closer to the song’s end. Mostly, “Tell Your Friends” has an open, light instrumentation for most of its length, but its couple of plodding-yet-bangin’ alt-rock sections create the illusion that they’re more prominent than they are. I suppose, that means they are prominent, doesn’t it? But the densely-instrumented, raucous alt-rock part doesn’t comprise much of the song’s length.

In the end, “Tell Your Friends” is an enjoyable listen. The lyrics and the music are well-composed, as one might expect from a highly-regarded local artist like Grogan. You’ll enjoy listening to the song with its cool arrangement and performance, and also both because of and in spite of the lyrics, thoughtful but heavy. It’s a cool teaser for next year’s full album, one that would have been greatly anticipated even without a pre-release single but is now oh, so much moreso!

Miscellany

Unsurprisingly, Grogan had a strong band supporting her on this song. In additional to Grogan herself (vocals, backup vocals, piano, synths, acoustic guitar), the Emily Grogan Band features Larry Dersch (drums), Michele Cavallari (keyboards, synths), Chad Raleigh (electric guitar), and Eric Donahue (bass, Moog).

Grogan received a New England Music Awards nomination in the “Song of the Year” category for her April 2026 release “Day Off.” NEMA winners will be announced at a ceremony on November 15th.

Single Review: Billy Idol – “Cradle of Love (R3HAB Remix)”

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image courtesy of UMe

Review of Billy Idol: “Cradle of Love (R3HAB Remix)” (UMe)

36 years after the release of Billy Idol‘s “Cradle of Love,” R3HAB has taken a stab at a remix, adding a fresh new flavor to Idol’s classic hit.

The remix is a cool companion to the 1990 original. Whereas Idol’s original version is smooth and flows a bit, R3HAB modernizes the song most obviously by making the sound a bit rawer. The beat is, of course, prominent, and the vocals sit more on top, raising the importance and awareness of vocal tone and raising the profile of the lyrics themselves. Also, Idol’s occasional trademark rockin’ vocal snarl is more evident. And the song gets to the point without dawdling, clocking in at about two and a half minutes, roughly half the length of the original.

The remix overall comes across as a rock-based dance number, done adeptly by R3HAB so that it doesn’t soften the song’s punk rock edge; in fact, since the original was one of Idol’s smoother hits, in the case of “Cradle of Love,” the remix is perhaps simultaneously more punk and more danceclub-friendly.

In any case, fans of Billy Idol with broad musical tastes are really going to enjoy this “Cradle of Love” remix from R3HAB, who has also remixed artists like Rihanna, Drake, Taylor Swift, and Calvin Harris. (I’ll admit, I snagged those from the press release, since I’ve not previously listened to R3HAB’s stuff.) You know, even if you don’t think this will be your cup of tea, I think all of Idol’s fandom should at least give this a listen. This song might, too, be a gateway mix for those whose tastes don’t typically extend to Billy Idol.

Single Review: R-NØT – “Marmalade”

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photo by Anna Hamlett; photo courtesy of Hardline Booking

Single Review of R-NØT: “Marmalade”

R-NØT follows up its March 2026 release of Gaslighter // Part 1 on Solly Ink Records with this infectious, one-big-ass-groove single “Marmalade.” If you asked a band to play grunge but make it energetic punk, you’d have no idea what that might sound like until you heard R-NØT’s “Marmalade,” and then you’d say “Good god, that’s it!” Or “Great Caesar’s ghost, that’s it!” Or “Holy f**k, that’s it!” Really, any exclamation would work because that’s not the important part of the phrase.

image courtesy of Hardline Booking

Now, punk-flavored grunge really is an overly simplistic description. That’s not all I hear. I hear a bit of Dirtbag Republic in some of the vocals. There’s virtually any crunchy hard rock band in the riffs, though they do lean toward grunge. The song itself – the key to its extreme catchiness – is that it’s one big, long, brain-addicting groove. The tone gets heavier, then brighter, then heavier again, rotating throughout the song to keep it interesting. Additionally, the speed and energy the band exhibits in “Marmalade” are relentless, so much so that by the end of the first listen, it will be imprinted on your subconscious. If you listen to it a few times in a row, it’ll be stuck there permanently, but I doubt you’ll complain.

So, if you’re into any flavor of heavy rock, give “Marmalade” a listen. If you like infectious grooves, give the song a listen. In fact, if you like harder rock that finds its way into mainstream music because it’s catchy, you should hear this song. I mean, damn it’s catchy!

More Recently

Earlier this month, R-NØT released another single, “Lucia.” I haven’t heard it yet, in part because I can stop listening to “Marmalade.” But at some point, I’ll check it out.

Single Review: Rena Angel – “Labyrinth”

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photo courtesy of Elefant.Music

Single Review of Rena Angel: “Labyrinth”

Rena Angel‘s performance of “Labyrinth” is a hit-caliber modern ethereal pop song, as her voice hits some nifty high notes while also falling to a whisper at the end of many of the lines, resulting in an aural environment that draws the listener in close. It’s a very effective device, if you have the voice to pull it off, which Rena absolutely does.

The song begins with simple strumming and vocals that fall into a steady tempo, but rather than falling into a rut, as might often be the case with such a vocal choice, Rena’s delivery builds tension, as if leading somewhere, and indeed, that’s the case. The tension builds to a release, a tempo change payoff in the chorus, ending “So I’m happy here, just me. Yes, I′m happy here just me.” The second verse and chorus repeat the pattern, followed by some variety in the pattern to end the song, leaning more heavily into the more emotive elements of the song, highlighting the sweeter side of Rena’s vocals, soaring more to bring the song to its conclusion.

image courtesy of Elefant.Music

As a showcase for Rena’s vocal talent, this song gets an A-plus. It’s an appealing listen, one that will convince you to give it enough spins for the song to sufficiently grow on you.

Curious about whether or not this is Rena only singing style, I skimmed some of her older songs on Spotify, and she does, indeed, have a broader range than shown on “Labyrinth,” booming to power on “Beauty When I Bleed” and serving up a richer pop sound on “Portobello Road.” Although she leans into her unique ethereal vocal capabilities on “Labyrinth” and several other of her prior singles, and that’s impressive, the variety in her portfolio bodes well for a more broadly successful career with the capability to reach an even bigger audience. Indeed, with “Labyrinth” as a starting point, pop vocal music fans are gonna really dig Rena Angel’s music.

Single Review: Shea Rafferty – “Livin'”

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image courtesy of AFC Management & Publicity

Single Review of Shea Rafferty: “Livin'”

You ready to get a lump in your throat? Oh, yeah, Shea Rafferty serves it up! Fast-rising UK Americana artist Rafferty serves up a reminiscent, throwback number that straddles the line between Americana and country music. Nah, it’s firmly in both camps, though for me, I think it leans country, and not judge because of the slide guitar wafting through the number from time to time but also because Rafferty’s voice is convincingly deep and quivers a little like good country singers’ often do when emotions well up. And yet it is flush with references to pop, rock, and country musical touchstones (“It was Springsteen, Madonna, Petty or Nirvana. It’s was old country songs, we all could sing along…”), as it harkens back to simpler times before constant digital connectivity. Rafferty is so rich, his voice so sincere, and the lyrics so convincing. Nostalgia is a powerful emotional drug, and the way Rafferty’s voice soars during the climactic line “It was livin’!”, there’s no doubt this is a surefire hit anywhere it gets a little airplay. Regardless, it’s a song we all need on our playlists.

More Recently

A couple weeks after “Livin'” was released in September, the full album Livin’ dropped. If this single is any indication, that album is a must-hear!

Single Review: TT – “My Dear Woman”

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image courtesy of DRPR

Single Review of TT: “My Dear Woman”

TT is a singer with a timeless voice, providing “My Dear Woman” with a delivery that’s equally suited to a concert stage or an intimate listening session, has passed a half million spins on Spotify since its June release, so I’m clearly not the only person who thinks this song’s something special. Indeed, TT has the vocal talent to perhaps the next singer-songwriter/actor to succeed in those dual roles.

“My Dear Woman” feels like it would have been an adult contemporary hit back in VH1’s heyday. A danceclubby beat – though without the requisite tempo – combines with TT’s smooth vocals and a rich soundbed that’s mostly steady but at times also big and orchestral. I can picture Tom Jones having a hit with a song like this a few decades ago, perhaps without some of the more modern flourishes of TT’s performance.

The song’s topic, too, is likely to strike a chord with a lot of listeners, covering the emotions and guilt surrounding breakups.

“My Dear Woman” was the first single released in advance of TT’s anticipated fall album release. You can hear more recent singles – and soon the full album (if not already by the time I proofread and post this review) – on your favorite streaming service.

 

Single Review: Split Keys – “Lightning”

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photo by Samir Abya; photo courtesy of Inverse Records

Single Review of Split Keys: “Lightning”

Helsinki-based rockers Split Keys are Joona Mikkilä (vocals, guitar), Jyri Mikkilä (bass), Ville Keinonen (guitar), and Jussi Keinonen (drums). The foursome’s latest single is “Lightning,” a catchy, high-energy, broad-appeal rocker with some big-ass hooks.

image courtesy of Inverse Records

The song opens with drums and some playful instrumentation before jumping into its primary beat and style. The song features hints of Billy Idol’s sneer in the vocal delivery and has stylistic energy reminiscent of “Rock the Cradle” but with a modern rock veneer. That’s about the limit of the comparison, as the song structure is also a little more akin to radio-friendly album rock, with a classic rock-styled guitar solo. But it’s a catchy, danceable hard rock song with monster hooks, so I suppose that’s a little more in common.

Simply, Split Keys’ “Lightning” grabbed me early with hook after hook and has grown to be a highly-anticipated entry on my personal playlist. So if you like catchy rock songs, as I do, this will be right up your alley, a welcome addition to your music rotation.

Single Review: Atom Stone – “Isn’t Love”

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image courtesy of Glass Onyon PR

Single Review of Atom Stone: “Isn’t Love”

Atom Stone‘s “Isn’t Love” is a compelling heavy rock/new metal single with a blend of metal power and pop-friendly finesse that’ll grab the listeners attention and simply won’t let it go. Falling somewhere between Daughtry and Blog favorite Major Moment, “Isn’t Love” has a sound that can appeal to multiple decades of heavy rock fans.

photo courtesy of Glass Onyon PR

“Isn’t Love” was the second single released in advance of Stone’s upcoming album Bad Decisions, and it gives listeners plenty to get excited about. On this song, cowritten by Stone and Nick Sturms, Stone is joined in the studio by Nick Sturms, Jeff Sturms, and Conner Kearns.

Stone’s vocals start as a tunefully hushed near-whisper, then rise to an edgy slightly quivering power as the song builds, doing a great job of expressing an angry pain, delivering lines like “isn’t love supposed to feel like freedom, isn’t love supposed to come with trust” that lead to the conclusion “this isn’t love.” I guarantee this song is going to touch a nerve with a large subsegment of listeners.

At the same time, it rocks heavy. Crunchy guitars for emphasis. Distorted instrumentation to give that big, new-metal open-space airiness. And hushed, intimate moments, occasionally with just light keyboardwork, though more often accompanied by the song’s recurring crunchy guitar riff.

The song feels like it has a faster pace than it really does, and that’s due to the music’s power. Prog rockers are good at this, but it’s less common in a more mainstream act, which is why bands like Daughtry and Major Moment, which I compare Atom’s sound on “Isn’t Love” with, are so special. Harder rock ‘n rollers, this song is an absolute must-hear!