Celebrate Mardi Gras with The Swing Tones @ The Velvet Martini Lounge. A NOLA celebration wouldn’t be complete w/o Big Brass, golden jazz sounds of the Big Easy
We’re tipping our hats to celebrate to the birthplace of modern jazz with our vocal jazz sound into a full-on New Orleans brass parade. It’s vibrant, it’s joyful, it’s The Swing Tones!”
— Aaron Jacobs
LOS ANGELES, CA, UNITED STATES, January 27, 2026 /EINPresswire.com/ — Celebrate Mardi Gras with Aaron Jacobs and The Swing Tones at The Velvet Martini Lounge. A New Orleans-inspired celebration would not be complete without their Big Brass, highlighting the golden jazz sounds of the Big Easy. The candle-lit martini lounge sets the stage for a true night out, as the Swing Tones bring high-energy entertainment and a Mardi Gras–inspired celebration that channels the spirit of Bourbon Street.
Aaron Jacobs & The Swing Tones New Orleans Mardi Gras Party Date: Wednesday, February 18, 2026 Seating: 6:30PM Showtime: 7:00PM Venue: Velvet Martini Lounge 4349 Tujunga Ave. Studio City, CA 91604
“This set is pure celebration,” said Aaron Jacobs, bandleader. “We’re tipping our hats to the birthplace of modern jazz while transforming our vocal jazz sound into a full-on New Orleans brass parade. It’s vibrant, it’s joyful, and it’s designed to get the whole room moving. From Louis Armstrong to Billie Holiday, Ain’t Misbehavin’ to When the Saints Go Marching In, this is our high-energy, heart-forward nod to the roots of jazz and swing—and by the end of the night, no one’s sitting still.”
The Swing Tones are a musical powerhouse, celebrated for their authentic interpretations of classics from the 1920s and 1930s to modern “swingafied” tunes. This special performance will feature:
Band Members Names: Vocalists: Aaron Jacobs, Tiah Gina, Lauren Leland and Fil Swan Pianists & Musical Director: James Morgan Drummer: Satoshi Kirisawa Saxophonist / Clarinetist: Nick Maluf Trumpetist: Didier Reyes Trombonist: Matteo Rivera
MORE ABOUT THE SWING TONES: The Swing Tones are the premiere 13-piece Vocal Jazz Big Band of Los Angeles. Helmed by KPFK Radio Host Aaron Jacobs, The Swing Tones honors the styles of the Great American Songbook while adding their own signature swingafied vocal jazz sound to current hits. “If the Andrews Sisters married The Manhattan Transfer,” said Aaron, “and birthed Postmodern Jukebox with a touch of Pentatonix, you would have The Swing Tones.”
MORE ABOUT THE VELVET MARTINI LOUNGE: Step back in time and experience the glamour of old Hollywood with our new Rat Pack-inspired cocktail lounge, featuring live music, delicious food, and classic cocktails…with a twist. Immerse yourself in the ambiance of a bygone era. Whether you’re looking for a romantic escape or a fun night on the town with friends, The Velvet Martini Lounge is the perfect destination. Dress to impress and join us for an unforgettable experience.
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Two-time GRAMMY-nominated, Platinum-selling rock icons Papa Roach continue their mantra “Rise of the Roach” with their powerful new single “Wake Up Calling,” out now via New Noize Records / ADA – Listen HERE. The track, following in the footsteps of Certified-hit rock ballads from the band’s catalogue such as “Scars” and “Leave A Light On (Talk Away The Dark)” showcases the melodic, emotionally vulnerable side of their songwriting, while retaining the intensity and honesty that have defined their career for over two decades.
“Wake Up Calling”, which was debuted at an unannounced performance in Nashville to audience of artists and industry-folk at the acclaimed Whiskey Jam on Broadway last week, was produced by Colin Brittain (Linkin Park, All Time Low, A Day To Remember) and explores themes of connection, self-reckoning, and emotional dependence, delivered through soaring choruses to an impassioned crescendo breaking point.
Frontman Jacoby Shaddix shares:
“Wake Up Calling” is a song about standing on the edge of disaster – being pulled back from the brink, and ultimately choosing love over self-destruction.” describes Shaddix. “It’s one of the most raw, emotional songs we’ve written in this new era.”
The audio release is accompanied by a lyric video (WATCH HERE), and continues in a line of chart-topping successes from 2025 with “Even If It Kills Me” and “BRAINDEAD” (feat. Toby Morse), as well as career–best touring results, performing to over One Million fans in 2025. “The Rise of the Roach” is both a moniker for the band and more telling of its future.
ABOUT PAPA ROACH
Papa Roach, the two-time GRAMMY-nominated, Platinum-selling pioneers of Alternative Hard Rock, are celebrating the 25th Anniversary of their groundbreaking album INFEST in 2025. Known for their candid approach to mental health, the band has long used their platform to raise awareness and support suicide prevention—beginning with their iconic hit “Last Resort” and continuing through their recent collaboration with Carrie Underwood on “Leave A Light On (Talk Away The Dark),” which raised over $500,000 for the American Foundation for Suicide Prevention (AFSP). The ever-evolving band has released eleven studio albums to date, including their most recent release, Ego Trip, via their own label, New Noize Records. Papa Roach’s catalog has amassed over 1 billion global streams, with Ego Trip delivering four #1 singles and contributing to an impressive career total of 28 Top 10 hits and 14 #1s across Rock, Alternative, and Hot AC charts. Following sold-out arena tours across the UK, Europe, and North America, Papa Roach will take their electrifying live show to Asia and Australia this spring. Their new single “WAKE UP CALLING” is available everywhere January 28. The band is nominated for 2 iHeartRadio Music Awards in 2026 for Rock Artist of The Year and Rock Song Of The Year for “Even If it Kills Me”
TOUR DATES:
March 29, 2026 – KUALA LUMPUR, MALAYSIA – IDEA LIVE ARENA
March 31, 2026 – SINGAPORE, SING – ARENA at EXPO
April 4, 2026 – PERTH, AUS – RAC Arena
April 6, 2026 – ADELAIDE, AUS – AEC Arena
April 8, 2026 – MELBOURNE, AUS – Rod Laver Arena
April 10, 2026 – SYDNEY, AUS – Qudos Bank Arena
April 12, 2026- BRISBANE, AUS – Brisbane Entertainment Centre
April 15, 2026 – AUCKLAND, NZ – Spark Arena
May 22, 2026 – BOTTLEROCK – NAPA, CA
June 3, 2026 – BIGGESEE OPEN AIR – Olpe, Germany
June 5, 2026 – ROCK AM RING – Nürburg, GER
June 7, 2026 – ROCK IM PARK – Nürnberg, GER
June 9, 2026 – BUDAPEST, HUNGARY (HEADLINER)
June 11, 2026 – ROCK FOR PEOPLE – Hradek Kralove, CZE
June 11-June 13, 2026 – GREENFIELD – Interlaken, SWI
June 14, 2026 – NOVAROCK – Nicklesdorf, AUS
June 16, 2026 – LOST GENERATION – Krakow, POL
June 18, 2026 – HELLFEST – Clisson France
June 20, 2026 – HURRICANE FESTIVAL – Scheeßel, Germany
June 21, 2026 – SOUTHSIDE FESTIVAL – Neuhausen ob Eck, Germany
June 23, 2026 – DRESDEN, GERMANY (HEADLINER)
June 25, 2026 – COPENHELL – Copenhagen, Denmark
June 27, 2026 – JERA ON AIR – Ysselstyn, Netherlands
June 28, 2026 – ROCK WERTCHER PARKLIFE – Werchter, Belgium
July 17, 2026 – INKARCERATION FESTIVAL – Mansfield, Ohio
July 18, 2026 – UPHEAVAL FESTIVAL – Grand Rapids, Michigan
paul christensen
PAL PUBLIC RELATIONS
+1 949-379-0844 email us here
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The initiative aims to support emerging artists through creative development while highlighting local talent from Camden, NJ.
The goal is to support creative development by providing artists with structured opportunities to collaborate and build practical experience.”
— Edward Graham Jr.
CAMDEN, NJ, UNITED STATES, January 27, 2026 /EINPresswire.com/ — TRAPSTAR ENT., an independent music and creative label headquartered in Camden, New Jersey, announced the launch of a new community-focused creative initiative intended to support emerging artists and contribute to the development of the local independent music ecosystem.
The initiative is designed to provide structured creative support for artists working outside of traditional major-label systems. According to the organization, the program will emphasize artistic development, collaboration, and practical exposure to music production and distribution processes. The effort reflects a growing trend within the music industry toward localized, independent creative operations that prioritize sustainability and community engagement.
Camden, New Jersey, has long been recognized for its cultural influence while also facing persistent economic and infrastructural challenges. Limited access to creative resources has historically created barriers for artists seeking professional development opportunities. In recent years, independent labels and grassroots creative organizations have increasingly taken on a role in addressing these gaps by establishing alternative platforms for artistic growth.
Industry analysts note that independent music has experienced steady expansion over the past decade, driven by digital distribution, social media platforms, and evolving audience consumption habits. As a result, artists are no longer solely reliant on traditional label structures to reach audiences. However, the absence of institutional support can still pose challenges related to production quality, business literacy, and long-term career sustainability.
TRAPSTAR ENT. stated that the newly announced initiative will focus on addressing these challenges by offering a framework that supports both creative and professional development. Planned components include collaborative production opportunities, access to creative guidance, and educational resources related to the music business. The organization emphasized that the initiative is intended to function as an ongoing effort rather than a short-term project.
The initiative also seeks to encourage collaboration among local artists by creating shared creative spaces and opportunities for collective work. Observers within the independent music sector have highlighted collaboration as a key factor in sustaining creative communities, particularly in regions where resources may be limited.
In addition to supporting individual artists, the program aims to contribute to broader community engagement by highlighting Camden’s creative output within a wider regional and national context. Independent labels have increasingly played a role in showcasing local talent while preserving regional identity in an industry that is often dominated by globalized trends.
The announcement comes at a time when independent music production continues to account for a growing share of industry output. According to recent industry reports, independent labels and self-released artists collectively represent a significant portion of new music releases across digital platforms. This shift has prompted renewed interest in localized creative initiatives that provide artists with both autonomy and structured support.
Organizers noted that the initiative aligns with broader discussions within the creative industries regarding access, equity, and community-based development. By focusing on emerging artists and local collaboration, the program aims to contribute to a more inclusive creative environment while supporting sustainable artistic practices.
While the initiative is rooted in Camden, the organization indicated that its framework may serve as a model for similar community-based creative efforts in other regions. Independent music experts have suggested that locally grounded initiatives can play an important role in strengthening the overall resilience of the independent music sector.
The organization also highlighted the importance of adapting to changing industry conditions, including shifts in digital distribution, audience engagement, and artist branding. As independent artists increasingly manage multiple aspects of their careers, access to structured development resources has become a critical factor in long-term success.
Details regarding participation guidelines, timelines, and future program updates are expected to be released incrementally. The organization stated that additional information will be made available as the initiative progresses.
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The new Chicago festival celebrates the classics and the future of R&B and House Music across three stages at Union Park
CHICAGO, IL, UNITED STATES, January 27, 2026 /EINPresswire.com/ — Forever Mine Music Festival is a first-year festival in Chicago built around the sounds that raised us. The lineup features icons who defined the early 2000s sound and continue to shape the future of R&B and House music. Forever Mine takes over Union Park on May 23 and 24 for an unforgettable weekend of music and culture.
Forever Mine Music Festival will feature three stages, each with its own distinct vibe:
Main Stage showcases top-charting artists behind generation-defining anthems. On Saturday, May 23, performers include Keyshia Cole, Kelly Rowland, Juvenile and The 400 Degreez Band, JoJo, Lloyd, Bobby V, Baby Bash, Freddy Phatz, and Ca$h Era. On Sunday, May 24, the stage will feature Kaytranada, Monica, Shaggy, Mario, Mýa, Chingy, Nina Sky, M-Dok, and Sean Mac. Power 92’s DJ Pharris will keep the energy high as the official host all weekend.
Warehouse Stage honors iconic pioneers of dance and club culture. On Saturday, May 23, the lineup includes Terry Hunter, Lady D, DJ Slugo, John Simmons, Celeste Alexander, Rika B., and Twan. On Sunday, May 24, performers include Joe Kay, Lou Phelps, Kitty Ca$h, Hillery Banks, Syko, King Inesse, and ALL2GTHR.
Silent Disco Stage highlights artists shaping Chicago’s music scene. Attendees can check out wireless headphones and tune into multiple channels featuring live performances from Francesca Eva, Kid Clay, Evie The Cool, Jukie Tha Kidd, and more.
“Chicago gave the world house music, and this city has always been where house and R&B intersect. That’s why we’re bringing them together at Forever Mine,” said co-owners Fernando Nieto and Miguel Torres. “We want to see a crowd of all ages singing the anthems that defined the early 2000s and are now finding new life with the next generation.”
Attendees can keep the energy going between sets with interactive branded activations, live art installations from Chicago artists, Y2K-inspired photobooths, local merch vendors, and more throughout the weekend. The festival will also feature multiple bars, Chicago food vendors, hydration stations, and cooling areas to stay refreshed between sets. Guests can upgrade to VIP for elevated perks like premium bars, express entry, and upgraded viewing areas.
Forever Mine Music Festival will take place in Union Park (1501 W Randolph St, Chicago, IL 60606) on Saturday, May 23 and Sunday, May 24 from 12 p.m. to 10 p.m. The event is open to all ages with free entry for children 5 and under. Tickets go on general sale Friday, January 30 at 12 p.m. CT. For more information about Forever Mine, visit ForeverMineFest.com and follow @ForeverMineFest on TikTok and Instagram.
About Windy City Events Management
Windy City Events Management is a Chicago-based independent event production company behind leading festivals and 5K runs, including Michelada Fest, Chicago House Run, and more. Powered by a passion for live music and large-scale events, WCEM creates inclusive, high-energy experiences that celebrate music, culture, and community.
Luis Castelló
Windy City Events Management
press@wcem.live
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A new way of interacting with ambient processing arrives, allowing powerful tone shaping and deep control of the reverb’s core
Developing the plugin UI from scratch allowed the deepest functions to be far easier to see, understand and manipulate, significantly enhancing the experience of creating music with NightSky.”
— Dave Fruehling
WESTLAKE VILLAGE, CA, UNITED STATES, January 27, 2026 /EINPresswire.com/ — Strymon Engineering (www.strymon.net), the Los Angeles-based manufacturer of premium products for the guitar, plugin and Eurorack markets, announced the release of the NightSky experimental reverb workstation plugin today.
A direct port of their award-winning hardware, the NightSky plugin is an experimental reverberant synthesis workstation that can create vast soundscapes from just a few notes. Users can manipulate not only the processing rate and length of the reverb’s core, but also the pitch, which can be quantized to a number of different musical scales and modes. Three different reverb engines are available, and a Shimmer function shifts the harmonic structure by musical intervals, while the Glimmer section enhances the harmonic spectrum. A full modulation section with multiple waveshapes gives movement to the reverb tails, and the Drive function adds saturation, from subtle brushes to bombastic distortion. Finally, a synth-like variable resonance low pass filter allows for powerful tone shaping.
“We’re excited to bring the NightSky experience to the DAW”, said Dave Fruehling, Strymon co-founder and chief firmware guru. “Developing the plugin UI from scratch allowed the deepest functions to be far easier to see, understand and manipulate, significantly enhancing the experience of creating music with NightSky.”
Strymon co-founder and CEO Gregg Stock added, “The immense power that NightSky offers for sound design is now much easier to work with and control with the launch of the plugin version, and you can use multiple instances in your sessions. There isn’t anything else anywhere that can transform your tracks in the same way.”
The NightSky plugin is now available directly from Strymon and from dealers worldwide for $99 US.
Videos covering the launch can be found at https://www.strymon.net/product/nightsky-plugin and on Strymon’s YouTube channel. For additional information please visit the Strymon website at https://www.strymon.net, and contact Jack Heine at marketing@strymon.net for all media or press inquiries.
About Strymon:
Based in Westlake Village, CA, Strymon Engineering manufactures an award-winning line of guitar effects pedals, Eurorack modules, processing plugins, MIDI interfaces and hyper-robust power supplies. Their products are mainstays in the rigs of top recording and touring professional musicians worldwide, helping players craft their own signature sounds with creative, powerful and road-worthy gear that sounds like nothing else.
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NEW YORK, NY, UNITED STATES, January 27, 2026 /EINPresswire.com/ — MYSTIC STORY’s girl group, Billlie, has released a pre-release single, cloud palace ~ false awakening kicking off their 2026 promotions. This single serves as the conclusion of the group’s original storytelling through their “palace” trilogy, following their second and third mini albums, the collective soul and unconscious: chapter one and the Billage of perception: chapter two.
The new track, “cloud palace,” is dedicated to their fandom, Belllie’ve, and built around the themes of “false awakening.” The music presents a mysterious soundscape combined with the members’ delicate vocal textures to make their listeners feel as if they are floating within a dream. This pre-release single also includes two remixes: “cloud palace (Before moonset mix)” and “cloud palace (Before moonrise mix).”
“Since this pre-release single is the album that opens 2026, we wanted to convey Billlie’s music universe that has become even deeper. More than anything, we wanted to share our heartfelt message to our fandom, Belllie’ve, who has always been waiting for us.” – MOON SUA, Member of Billlie
All three tracks were composed by 밍지션 (minGtion) and R&B artist JUNNY. 밍지션 (minGtion) is known not only for her work on Billlie’s beloved songs, including “$UN palace (Stroop effect)” and “M◐◑N palace,” but also for collaborating with Billlie’s labelmates ARrC and other artists such as members of EXO, NCT, TAEMIN, and more. cloud palace ~ false awakening is a pre-release single; therefore, their fans, Bellie’ve, and future listeners alike can anticipate news of Billlie’s upcoming promotions in the near future.
“With this pre-release single, Billlie’s new chapter will unfold in 2026. We hope to share our extended music and story through future albums and activities.” – TSUKI, Member of Billlie
Ahead of their 2026 promotions, Billlie performed at the international showcase event, Korea Spotlight 2025 in Barcelona, a K-pop global promotion program hosted by the Ministry of Culture, Sports and Tourism of Korea and organized by the Korea Creative Content Agency (KOCCA). They were active both domestically and internationally, having participated in major international events such as Kansai Collection 2025 A/W, Otakon 2025 in Washington, D.C., and K-EXPO UAE. Billlie also appeared on Apple TV+’s KPOPPED and performed with Patti LaBelle and Megan Thee Stallion in September 2025.
ABOUT Billlie
Billlie is a seven-member K-pop girl group under MYSTIC STORY. The members include SIYOON, SHEON, TSUKI, MOON SUA, HARAM, SUHYEON, and HARUNA. Billlie’s group name holds the meaning of “expressing our B-side, or inner identity, that everyone holds and can relate to.” Billlie debuted on November 10, 2021, with their first mini-album, the Billage of perception : chapter one. Its title track, “RING X RING,” was created by hitmaker duo Lee Minsu and Kim Eana, and announced the beginning of Billlie’s unique lore based on a mysterious event that happened in a village.
In 2022, the group released two mini-albums, the collective soul and unconscious: chapter one and the Billage of perception: chapter two, to expand on their uniquely creative storytelling. Their fourth mini-album which was released in March 2023, the Billage of perception: chapter three, was also nominated for the Best K-pop Album at the 21st Korean Music Awards. In February 2024, Billlie debuted in Japan with their first Japanese mini-album, Knock-on Effect.
In October 2024, Billlie released their fifth mini-album, appendix: Of All We Have Lost, with the title track “remembrance candy,” for which a veteran artist, IU, wrote the lyrics, and completed the group’s genre with a more dynamic sound.
Billlie successfully completed their first world tour, Our FLOWERLD (Belllie’ve You), in March 2025, captivating audiences across 31 cities throughout Europe, the Americas, Asia, and Oceania. Also, Billlie appeared on Apple TV+’s KPOPPED, collaborating with legendary artist Patti LaBelle for “Lady Marmalade,” and with iconic artist Megan Thee Stallion for “Savage.”
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article. If you have any complaints or copyright issues related to this article, kindly contact the author above.
MusicWire / Feb. 11, 2026 — Moroccan-born, Canadian-raised cultural disruptor El Mehdi makes a bold entrance into the global pop conversation with “SALAM,” his landmark debut EP released January 30 via RENAISSANCE/AWAL, accompanied by “EL FILM,” a self-directed musical short film premiering today. The genre-defying project marks a historic debut for an openly queer Arab artist, expanding music into a cultural statement.
They say no one is a prophet in their own land. With “SALAM,” El Mehdi breaks the adage — and with it, silence, shame, and the glass ceiling.
The project unfolds with art-pop precision, bridging regional identity with global pop resonance. A leap of faith in a landscape that still polices who gets to exist freely, “SALAM” asserts presence without compromise. Ceremonial and defiant, El Mehdi’s sound fuses modern pop with North African and Middle Eastern influences, pairing rich vocals and cinematic strings with dance-driven energy, sensual urgency, and multilingual song writing in English, French, and Arabic. The result is an incandescent world that feels ancestral yet radically future-facing. El Mehdi doesn’t dilute identity to reach wider audiences — he expands pop itself to hold it.
This is pop that remembers where it comes from — but refuses to apologize for where it’s going.
Across five tracks, including the manifesto-like title track “SALAM” (meaning both “hello” and “peace” in Arabic) — El Mehdi transforms vulnerability into power. Written and creative directed by El Mehdi, and produced by El Mehdi and Sūn Jùn (LayLow, AntsLive, Dior), with mixing by Grammy-winner Wez Clarke (Zara Larsson, MARINA, Sam Smith) and string performances by Grammy-nominated Drew Jurecka (Dua Lipa), “SALAM” was created across continents — a global pop record born from emancipation, vision, and reclamation.
“I needed to create a space where we can exist without hiding. And beyond that, a place where we can celebrate ourselves” El Mehdi says. “SALAM is that place.”
Premiering today, “EL FILM” extends this declaration into cinema. Directed, choreographed, edited, and costumed by El Mehdi, the musical short film reflects his multidisciplinary approach, weaving music with dance, fashion, image, and storytelling. Set inside a Moroccan riad, the film unfolds as a passage from darkness into light, centered around a traditional mint tea ceremony. Beneath the anonymous male gaze, ritual chants and El Mehdi — an iconoclastic figure with an androgynous presence — fracture normative masculinity, allowing a fluid, liberated force to emerge. Traditionally associated with the sacred, these elements are reimagined — not as provocation, but as transformation.
“They wanted me in Hell. Baby, I went there. I came back. I only warmed up my tea.”
El Mehdi, “El Film” (Official Video):
https://ffm.link/elfilm.OPR
Disruptive to some and inspiring to others, “SALAM” opens a dialogue many were waiting for and others feared. More than a debut, “SALAM” is a cultural statement.
A new voice has arrived — and it’s coming in peace.
Moroccan-Canadian artist El Mehdi first emerged with his debut single “ELKASS HLOU,” which sparked rapid traction across platforms, amassing hundreds of thousands of streams and views and breaking into Anghami’s Top 50 across the Middle East and North Africa (MENA) — the leading streaming platform of the Arab world.
He crafts a magnetic, genre-defying pop sound shaped by his North African heritage, shimmering across English, French, and Arabic. A former spokesperson for Amnesty International Canada, El Mehdi has established himself as a distinctive voice within the global MENA diaspora.
With his follow-up “ENCORE” and its self-directed music video created in partnership with the Yves Saint Laurent Museum, Marrakech, El Mehdi affirmed a crystalline and uncompromising vision. He has been hailed as “a rising young phenomenon” (CBC) and “emblematic of a generation” (L’Orient Today), while ICON MENA described his work as “a quiet revolution, far from clichés.” Flaunt praised El Mehdi for challenging social and cultural expectations, The New Arab highlighted a stage presence that is both “elegant and subversive,” and Vogue Arabia noted his ability to move “with grace and intention.”
Previously artist-in-residence at the Cité internationale des arts in Paris, El Mehdi has presented his work at TIFF, the BAFTA-qualifying Aesthetica ShortFilm Festival, and Amsterdam Dance Event, and has performed to capacity crowds across Canada (Nuit Blanche, Canadian Music Week, Montreal Pride).
In 2025, he made his big-screen debut as a leading actor in “L’Héritier des secrets” (dir. Mohamed Nadif), which premiered at theMontreal Museum of Fine Arts as part of Cinémania. Set for theatrical release in 2026, the film is the first Moroccan feature to address trans identity and co-stars Nisrin Erradi, who also appears in “Everybody Loves Touda” (dir. Nabil Ayouch), Morocco’s official submission for Best International Feature Film at the 97th Academy Awards.
On stage and in the studio, El Mehdi challenges what it means to be an Arab man in the modern world, transforming pop into ritual. With his debut EP “SALAM,” he ushers in a new era — free, luminous, and indelible.
MusicWire / Feb. 11, 2026 — Moroccan-born, Canadian-raised cultural disruptor El Mehdi makes a bold entrance into the global pop conversation with “SALAM,” his landmark debut EP released January 30 via RENAISSANCE/AWAL, accompanied by “EL FILM,” a self-directed musical short film premiering today. The genre-defying project marks a historic debut for an openly queer Arab artist, expanding music into a cultural statement.
They say no one is a prophet in their own land. With “SALAM,” El Mehdi breaks the adage — and with it, silence, shame, and the glass ceiling.
The project unfolds with art-pop precision, bridging regional identity with global pop resonance. A leap of faith in a landscape that still polices who gets to exist freely, “SALAM” asserts presence without compromise. Ceremonial and defiant, El Mehdi’s sound fuses modern pop with North African and Middle Eastern influences, pairing rich vocals and cinematic strings with dance-driven energy, sensual urgency, and multilingual song writing in English, French, and Arabic. The result is an incandescent world that feels ancestral yet radically future-facing. El Mehdi doesn’t dilute identity to reach wider audiences — he expands pop itself to hold it.
This is pop that remembers where it comes from — but refuses to apologize for where it’s going.
Across five tracks, including the manifesto-like title track “SALAM” (meaning both “hello” and “peace” in Arabic) — El Mehdi transforms vulnerability into power. Written and creative directed by El Mehdi, and produced by El Mehdi and Sūn Jùn (LayLow, AntsLive, Dior), with mixing by Grammy-winner Wez Clarke (Zara Larsson, MARINA, Sam Smith) and string performances by Grammy-nominated Drew Jurecka (Dua Lipa), “SALAM” was created across continents — a global pop record born from emancipation, vision, and reclamation.
“I needed to create a space where we can exist without hiding. And beyond that, a place where we can celebrate ourselves” El Mehdi says. “SALAM is that place.”
Premiering today, “EL FILM” extends this declaration into cinema. Directed, choreographed, edited, and costumed by El Mehdi, the musical short film reflects his multidisciplinary approach, weaving music with dance, fashion, image, and storytelling. Set inside a Moroccan riad, the film unfolds as a passage from darkness into light, centered around a traditional mint tea ceremony. Beneath the anonymous male gaze, ritual chants and El Mehdi — an iconoclastic figure with an androgynous presence — fracture normative masculinity, allowing a fluid, liberated force to emerge. Traditionally associated with the sacred, these elements are reimagined — not as provocation, but as transformation.
“They wanted me in Hell. Baby, I went there. I came back. I only warmed up my tea.”
El Mehdi, “El Film” (Official Video):
https://ffm.link/elfilm.OPR
Disruptive to some and inspiring to others, “SALAM” opens a dialogue many were waiting for and others feared. More than a debut, “SALAM” is a cultural statement.
A new voice has arrived — and it’s coming in peace.
Moroccan-Canadian artist El Mehdi first emerged with his debut single “ELKASS HLOU,” which sparked rapid traction across platforms, amassing hundreds of thousands of streams and views and breaking into Anghami’s Top 50 across the Middle East and North Africa (MENA) — the leading streaming platform of the Arab world.
He crafts a magnetic, genre-defying pop sound shaped by his North African heritage, shimmering across English, French, and Arabic. A former spokesperson for Amnesty International Canada, El Mehdi has established himself as a distinctive voice within the global MENA diaspora.
With his follow-up “ENCORE” and its self-directed music video created in partnership with the Yves Saint Laurent Museum, Marrakech, El Mehdi affirmed a crystalline and uncompromising vision. He has been hailed as “a rising young phenomenon” (CBC) and “emblematic of a generation” (L’Orient Today), while ICON MENA described his work as “a quiet revolution, far from clichés.” Flaunt praised El Mehdi for challenging social and cultural expectations, The New Arab highlighted a stage presence that is both “elegant and subversive,” and Vogue Arabia noted his ability to move “with grace and intention.”
Previously artist-in-residence at the Cité internationale des arts in Paris, El Mehdi has presented his work at TIFF, the BAFTA-qualifying Aesthetica ShortFilm Festival, and Amsterdam Dance Event, and has performed to capacity crowds across Canada (Nuit Blanche, Canadian Music Week, Montreal Pride).
In 2025, he made his big-screen debut as a leading actor in “L’Héritier des secrets” (dir. Mohamed Nadif), which premiered at theMontreal Museum of Fine Arts as part of Cinémania. Set for theatrical release in 2026, the film is the first Moroccan feature to address trans identity and co-stars Nisrin Erradi, who also appears in “Everybody Loves Touda” (dir. Nabil Ayouch), Morocco’s official submission for Best International Feature Film at the 97th Academy Awards.
On stage and in the studio, El Mehdi challenges what it means to be an Arab man in the modern world, transforming pop into ritual. With his debut EP “SALAM,” he ushers in a new era — free, luminous, and indelible.
Produced by Grammy-winning Drew Correa (Lil Wayne, Jay-Z); out now on major streaming platforms.
BOCA RATON, FL / MusicWire / Feb. 12, 2026 — Sol Centric, an 18-year-old singer, rapper, and songwriter based in Boca Raton, Florida, debuts with his first single and official music video, “Remember Me.” Released Jan. 23, the 3:15 track (Explicit) was produced by Grammy-winning producer Drew Correa (Lil Wayne, Jay-Z).
A song about love and breaking up, “Remember Me” pairs a catchy, string-led chorus with melancholy lyrics, crisp beats, and a melodic guitar riff that drives the mid-tempo track.
“I wanted to express the heartbreak and pain many of us experience during and after a breakup,” said Sol Centric. “It’s really about reaching out and connecting with others so they know they’re not alone.”
“I started dating at a young age—as many do today—and ‘Remember Me’ was inspired by a breakup I went through that hit me hard,” Sol Centric added. “The good news is we learn to move on and things do get better. It’s been meaningful to see people already connecting with the song. This track marks the beginning of what I hope will be a long, successful career, and I’m excited to release a lot of music this year—and for many years to come.”
“Remember Me” is available now on all major streaming platforms: Spotify, Apple Music, YouTube Music, Amazon Music, and more.
The official music video—Sol Centric’s first—was filmed in Miami, Florida, and directed by Grey Smoley. “This music video was the first one I’ve ever done, and I’m grateful for the team that helped bring it to life,” said Sol Centric. “We wanted to create a sad but optimistic vibe in and around Miami. As I continue making videos, I’m excited to grow visually and conceptually.”
The music video has also been added to Vevo’s “Incoming Pop” playlist on YouTube, a curated playlist featuring new and trending official pop music videos from emerging and established artists. An accompanying behind-the-scenes video is available now as well.
Sol Centric, born Luke Ryan Solomon, is an 18-year-old singer, rapper, and songwriter based in Boca Raton, Florida by way of New York City. The self-described Gringo-Latino was exposed to a wide range of musical influences from an early age, including hip-hop, heavy metal, classic rock, R&B, pop, and Latin music.
From an early age, Sol Centric gravitated toward drama, music, and performance discovering an early passion for creative expression. During high school, he performed in drama classes, spent endless hours discovering music, gaming and streaming, all while training for semi-professional tennis, though a tennis injury and other factors ultimately ended his athletic pursuit.
During a challenging period with mental health, he began journaling and writing lyrics, which became a turning point in his artistic development. As his confidence and vision matured, so did his sound. In the post-COVID years, he attended hundreds of live performances and festivals, further shaping his artistic vision.
In early 2025, he began producing music from his bedroom. Later, while recording vocals in a professional studio, he met Grammy-winning producer Drew Correa, who also served as a resident engineer at Cash Money Records. The two connected instantly and began collaborating. From this partnership, Sol Centric was officially born.
UK Music Publication Examines How Belfast Singer and Moxie Media CEO Are Empowering Independent Artists to Build Careers Outside Traditional Label Systems
I want artists to bet on themselves. Show up when no one’s watching. Keep writing even when the last song didn’t hit. That’s what builds fans – the journey.”
— Jolene Allison-Burns
LOS ANGELES, CA, UNITED STATES, February 1, 2026 /EINPresswire.com/ — Neon Music, a global voice in music and culture based out of the UK, has published an in-depth feature profiling Belfast singer-songwriter Jolene Allison-Burns and entrepreneur Kenneth W. Welch Jr. of Moxie Media Marketing. The piece examines how independent artists are building sustainable careers outside traditional label systems, with Allison-Burns’ recent trajectory serving as a case study for broader industry power shifts.
The publication opens with Allison-Burns reflecting on her career momentum coming out of TikTok LIVE Fest season. “It’s weird, because you work your whole life for momentum, right? And then momentum finally shows up, and it doesn’t knock politely. It just kicks the door in,” she states in the feature. Neon Music describes Allison-Burns’ journey from performing in Belfast venues night after night to establishing herself in “a new kind of music economy where ‘going live’ can function like touring, radio, and fan club all at once.” The article notes her work is rooted in Belfast community experiences, with songs connected to documentary projects and lived experiences around her.
The profile details her partnership with Moxie Media Marketing and its CEO Kenneth W. Welch Jr., who Neon Music describes as positioning himself differently than traditional music executives. “That’s the part people don’t really talk about,” Welch states in the piece. “We love to romanticize ‘the grind.’ The hustle. But we don’t always admit that the game is uneven from the start. There are artists who show up to these competitions, these platforms, with full teams behind them—managers taking percentages, budgets, infrastructure. Most independent talent just doesn’t have that. They’re showing up alone.”
Allison-Burns confirms this assessment in the feature. “And that’s not shade. That’s just reality. It’s not a level playing field. Never has been,” she states. “But what I’m proud of is—I didn’t need to become someone else to compete. I didn’t need to fake a persona or wait for a label’s permission. I needed a plan. Consistency. And the right people around me.”
When Neon Music asks what support actually looks like in practice, Allison-Burns describes the behind-the-scenes realities. “Moxie showed up in the unglamorous parts,” she explains. “The strategy calls. The scheduling. Figuring out how you pace a week so you don’t burn out by Thursday. How you build a show, not just a stream. They treated me like an artist with a future—not like a moment they were trying to capitalize on.”
The publication emphasizes this distinction throughout the feature: the difference between building sustainable artist development versus capturing temporary viral spikes. Neon Music highlights Allison-Burns’ newest release “Can’t Control Me” as embodying this intentional approach, dropped through her official channels as part of the Moxie Media ecosystem rollout.
“I wrote that song from a place of finally claiming my own voice,” she tells the publication. “And then it became bigger than just me. Because I think every independent artist has had that moment—where someone, an industry person, a gatekeeper, sometimes even a well-meaning friend—tries to tell you what you are. What you should sound like. What you should do to be ‘marketable.’” Making air quotes around the word, she continues: “And I just thought… no. You can’t control me. That’s it. That’s the song.”
Welch responds to her creative independence in the feature with clear appreciation. “That’s exactly why people connect with her,” he states. “You can’t manufacture that. It’s a real artist with something real to say. Audiences know the difference.”
Neon Music expands the conversation to examine Moxie Media’s broader thesis: that independent artists can build sustainable careers without waiting for traditional industry machinery to validate them. The article details Welch’s work developing the Global Talent Billboard Directory, which the publication describes as “an online visual platform designed to spotlight independent talent and connect artists into a wider discovery and promotion ecosystem.”
Allison-Burns discusses the platform with the publication not as a corporate product but as infrastructure she wishes had existed earlier in her career. “People need places where independent talent isn’t treated like a hobby,” she states in the feature. “Where you’re not just another name in someone’s DM inbox, hoping they’ll respond. The Global Talent Billboard Directory is the kind of thing that says, ‘No—this is real. This is organized. This is professional.’ It gives you a place to actually be an artist, not just hope someone notices you are one.”
The publication highlights what becomes the center of the entire conversation when Allison-Burns states: “I want artists to bet on themselves.”
Neon Music reports that she doesn’t mean this in vague motivational terms but in practical ways, listing the unglamorous realities: show up when no one’s watching, keep writing even when songs don’t hit, keep performing, learn how audiences actually behave rather than how you wish they did, protect your energy, find a team that doesn’t treat you like a line item.
“Trust is a skill,” she explains in the piece. “Trusting yourself when you’re not getting the outside validation yet—that’s a skill. And you don’t get it from affirmations. You build it by doing. By performing. By finishing songs even when you’re not sure about them. By putting the work somewhere people can actually find it.”
When the publication asks what she would tell artists who feel they’ve already missed the wave—who think TikTok, livestreaming, and the creator economy have already peaked—Allison-Burns doesn’t hesitate in her response. “I’d tell them to stop asking if it’s too late and start asking if they’re ready,” she states. “Seriously. Because the world doesn’t reward perfect. It rewards the person who keeps showing up—who shows up consistently enough that people actually get to fall in love with the journey. That’s what builds fans. Not one viral moment. The journey.”
Welch adds industry context in the feature. “And the industry sees that now. The platforms, the brands—even the old gatekeepers, the ones who used to decide who got a shot—they’re following the crowd now, not leading it. Artists who can build real community have actual power. That’s new. That wasn’t true ten years ago.”
Neon Music positions this observation as representing a fundamental change in how music careers develop. Where traditional systems required artists to wait for industry permission—label deals, radio airplay, playlist placement controlled by gatekeepers—the article notes that independent artists with direct audience relationships now hold leverage that wasn’t available in previous decades.
Allison-Burns reflects on her position with measured gratitude in the profile. “I’m grateful,” she states. “Not just for what happened this year, but for who showed up while it was happening. There’s so much incredible talent out there—some of them will never get the shot they deserve because the traditional system just can’t hold everyone. It’s not built for everyone. So if Moxie can open doors for real independent artists—people who aren’t waiting around for permission—then that’s something I want to be part of. That matters to me.”
The publication concludes the feature with Allison-Burns offering direct, practical encouragement. “If you’re an artist and you’re tired of waiting for someone to pick you—go build your own stage,” she states. “Go perform. Go live. Write the song that scares you a little. Look at what’s happening with the Global Talent Billboard Directory, because the whole point is giving artists a way forward that doesn’t require begging for access.”
She adds in the closing moments of the conversation: “And when you do it—don’t do it trying to be someone else. The only thing you can’t fake in this industry is heart. People feel it. They know. So give them something real.”
Jolene Allison-Burns’ music, including her latest release “Can’t Control Me,” is available on all major streaming platforms. More information about the Global Talent Billboard Directory and Moxie Media Marketing’s artist development programs can be found at www.moxiemediamarketing.inc.
Broc Foerster
Moxie Media Marketing
+1 949-409-4700 email us here
“Can’t Control Me” Original Song by Jolene Allison Burns
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