Table Of Contents
EDITOR IN CHIEF: HEATHER KOEPP
LAYOUT DESIGN: ELISE COATES
WHEN WE WERE YOUNG FESTIVAL REVIEW
Review and Photos: Heather Koepp
YOUR NEIGHBORS
Interview and Photography: Heather Koepp
Men’s Grooming: Mx. Monroe James
NATALIE JANE
Interview and Photography: Heather Koepp
Wardrobe Styling and Creative Direction: Oththan Burnside
Hair Stylist: Bryan Christopher
Makeup Artist: Mx. Monroe James
LEROY SANCHEZ
Interview and Photography: Heather Koepp
Wardrobe Styling: Claudia Avila
Wardrobe Assistant: Aditya
Men’s Grooming: Mx. Monroe James
BADFLOWER CONCERT REIVEW
Photos: Heather Koepp
KATE PEYTAVIN
Interview and Photography: Heather Koepp
Wardrobe Styling: Claudia Avila
Hair and Makeup: Shelby Ingham
BORNS
Interview and Photography: Heather Koepp
Men’s Grooming: Mx. Monroe James
RIDING WITH KILLERS
Interview and Photos: Elise Coates
WHEN WE WERE YOUNG
Arriving in Las Vegas for the third annual When We Were Young Festival felt like stepping into a living, breathing shrine to emo culture. The entire city seemed transformed, buzzing with excitement and packed with fans dressed in black tees emblazoned with band logos, studded belts, ripped jeans, and Converse sneakers that had seen countless mosh pits. Walking down the Strip, I could feel the energy radiating from every corner, with groups of fans laughing, singing, and snapping photos. You couldn’t go far without hearing snippets of someone’s favorite song or spotting a tattoo commemorating an album or a lyric that had meant everything to them.
The Las Vegas Festival Grounds were alive with the hum of thousands of fans who, despite coming from all walks of life, felt united by this music. The festival organizers had gone above and beyond to make it feel like an emo wonderland with themed installations and iconic album artwork everywhere. Massive banners showcased each band performing their full album, and every corner of the grounds was decorated with imagery reminiscent of the early 2000s — from graffiti-style murals to neon signs that illuminated as the sun set, casting the whole festival in an atmospheric glow.
As I moved from stage to stage, I noticed little details that made the atmosphere feel electric. There were giant inflatable hands making rock-and-roll signs, photo booths with props straight out of our high school yearbooks, and even a life-size replica of an old-school emo bedroom, complete with posters,
band tees on the floor, and journals left open to lyrics we’d all written in our own rooms once upon a time.
The vendors selling merch were practically mobbed, fans eagerly grabbing limited-edition tees, hats, and hoodies that would serve as treasured mementos.
One of the quirkiest and most unexpected details at this year’s When We Were Young Festival was the merch stand — not for the designs themselves, which were full of nostalgic references, but for the hilariously misspelled band names including, “We Are In The Crowd”, “New and Glory”, “Amor for Sleep” to name a few on some of the shirts and posters. Fans who flocked to the merch booths quickly noticed oddities in the lineup listings printed on the backs of shirts and hoodies as they ran to social media sharing photos of the “exclusive” misprinted merch making it that much more collectible.
As with every year the sense of unity was palpable, as if we are all part of a huge, extended family. People high-fived strangers, swapped stories about the first time they heard their favorite band, and bonded over the albums that shaped their lives. It was impossible not to get swept up in the enthusiasm — the thrill of being surrounded by thousands of people who felt just as strongly about this music as you did.
The festival’s setup was a pop-punk and emo fan’s dream come true, with more than 50 bands playing across multiple stages and an atmosphere buzzing with pure nostalgia.
REVIEW & PHOTOS: Heather Koepp
This year was special: most bands were performing full-length albums in their entirety, and the idea of hearing these records — which had soundtracked so many of my own memories — from start to finish was exhilarating. I wasn’t alone in my excitement; the grounds were packed with people who were just as thrilled to relive these iconic albums that defined our youth.
MY CHEMICAL ROMANCE: THE BLACK PARADE IN FULL Headliners
My Chemical Romance gave an unforgettable performance of The Black Parade in its entirety, a show that felt almost like a theatrical experience, pulling us through a roller coaster of emotions. From the opening notes of “The End.,”chills ran down my spine, and it seemed like the entire crowd felt it too. The intensity was electric; Gerard Way appeared on stage with his iconic presence, instantly transforming the atmosphere into something almost sacred. As the band moved into “Dead!” and “This Is How I Disappear,” everyone around me was screaming along, hands raised, totally immersed.
When “Welcome to the Black Parade” started, it felt like time stopped. Thousands of voices joined together to sing every word, and for a few minutes, it felt like the entire world was singing our anthem. Gerard’s voice carried an incredible emotional weight, and it felt as if he was singing directly to each one of us, acknowledging our memories, our hardships, and our resilience. As the set continued, violinist Kayleigh Goldsworthy joined them for “Cancer” and “Mama.” Hearing these songs with a live violin added an eerie, almost haunting quality that hit me hard, especially during “Cancer” — there was a raw, vulnerable beauty in the performance that made it impossible not to get emotional.
By the time they reached “Famous Last Words,” the energy was both triumphant and bittersweet, as if we were all bracing ourselves for the inevitable end of this epic journey. Everyone sang the final line — “I am not
afraid to keep on living” — like it was a battle cry, a reminder of why this music had gotten us through so many of our own struggles. Seeing The Black Parade performed live as a seamless story, each song flowing into the next, reminded me of why this album defined a generation and why it continues to resonate with such intensity. It was more than just a performance; it was a collective experience, a chance to relive the memories and emotions this album had created, and a night I’ll never forget.
MY CHEMICAL ROMANCE
FALL OUT BOY’S EXPLOSIVE SET
Fall Out Boy didn’t just perform — they put on an absolute spectacle. From the start, it was clear they were here to leave a lasting impression, and they pulled out all the stops, treating fans to a massive 23-song set that spanned the full arc of their career. The energy was electric as they moved through an incredible mix of past and present hits, each song met with wild cheers and collective sing-alongs from the crowd.
When they launched into “My Songs Know What You Did in the Dark (Light Em Up),” the stage practically exploded. Fire shot up with each beat, casting an intense orange glow across the entire crowd. It felt like the flames were fueling our excitement, as everyone jumped and screamed the lyrics. The pyrotechnics were perfectly timed to the song’s pounding rhythm, making the performance feel larger than life.
But the grand finale was the real showstopper. Wiz Khalifa joined them for a surprise rendition of “See You Again,” which felt like a true moment, bringing an unexpected and moving twist to the set. The band then closed with three powerhouse tracks: “G.I.N.A.S.F.S.,” “Centuries,” and finally, “Saturday.” With each song, the energy kept building, and just when I thought it couldn’t get more intense, the sky erupted in fireworks. The stage was glowing, the air was thick with confetti, and the crowd was left in total awe. It was visually stunning and musically unforgettable, the kind of performance that felt like it would go down as a legendary moment in festival history.
FALL OUT BOY
A DAY TO REMEMBER AND THEIR HIGHENERGY SET
A Day to Remember took the crowd on a journey with Homesick, an album that many of us had blasted on repeat during our angstier years. The moment they launched into “The Downfall of Us All,” inflatable balls were unleashed into the audience, and everyone joined in the chaotic fun of bouncing them around. Their performance of “All I Want” was met with confetti cannons that filled the air with swirling colors, adding to the party-like vibe. Hearing every track from Homesick brought a fresh energy to the day and showed just how timeless these songs are —their anthemic choruses and raw power had the whole crowd shouting along, lost in the moment.
JIMMY EAT WORLD’S EMOTIONAL PERFORMANCE
Jimmy Eat World delivered a somber, emotionally resonant performance by playing Bleed American in full. Opening with the title track, they set the tone for an intense and nostalgic experience. Jim Adkins’ vocals were heartfelt and powerful, particularly during “The Middle,” where the entire crowd joined in, singing along to the lyrics that had guided us through tough times. “Sweetness” and “Hear You Me” struck a chord with everyone, and by the end of the set, I felt as though I’d relived a defining era of my life. Their music has always had a raw emotional edge, and hearing it live from start to finish made it all the more meaningful.
PIERCE THE VEIL-COLLIDE WITH THE SKY
Watching Pierce the Veil at When We Were Young 2024 was nothing short of exhilarating. The band went all out, bringing Collide With the Sky to life on stage with a stunning set design inspired by the album cover, complete with dark, haunting visuals that matched the intensity of their music. They kicked things off with “Hell Above,” immediately igniting the crowd as everyone screamed along with every word. As they moved through the album, they pulled out all the stops, bringing out incredible surprise guests that had the crowd going wild. Jason Aalon Butler from Fever 333 joined for “Tangled in the Great Escape,” giving the song an extra layer of raw power and energy that electrified the whole crowd. Then, Jenna McDougall of Tonight Alive came out for “Hold on Till May,” and the chemistry between her and Vic Fuentes was so intense it felt like they were pouring their souls into every note.
But the highlight was when they brought out Kellin Quinn of Sleeping with Sirens for “King for a Day.” Hearing Kellin’s high notes blend with Vic’s gritty vocals live was absolutely surreal — the whole crowd lost it, and the energy in that moment was palpable. For a special treat, they even performed “One Hundred Sleepless Nights” live for the first time, which made the set feel even more unforgettable. Pierce the Veil truly delivered a set that celebrated both their legacy and their fans, creating a memory that felt like it would last a lifetime.
BOYS LIKE GIRLS AND THEIR EMOTIONAL CONNECTION
Boys Like Girls blended the best of their early hits with some fresh material that showed how much they’ve grown. They kicked things off with a quick snippet of “Dirty Little Secret,” which set the tone for what would be a high-energy set. As they moved into “Five Minutes to Midnight,” the crowd was singing every word, and the energy was contagious. Hearing “Thunder” live was a surreal experience; it’s one of those songs that takes you back to so many moments, and you could feel that nostalgia in the crowd. When they hit “Two Is Better Than One,” everyone swayed together, singing the lyrics as if it were a shared anthem. They closed with a medley of “The Great Escape” and “Love Drunk,” and by that point, the entire audience was jumping and singing along, creating this electric atmosphere that left me buzzing. This set was the perfect balance of old favorites and new sounds, making it clear that Boys Like Girls still know exactly how to capture a crowd.
HEY MONDAY
Hey Monday’s set at When We Were Young Festival 2024 was an exhilarating trip back to the pop-punk scene of the late 2000s. From the moment they took the stage, the crowd’s excitement was undeniable, as fans prepared to relive the energy of their youth. The setlist was a perfect selection of favorites from Hold On Tight, along with some deeper cuts that had fans singing along to every word. They kicked things off with “Hold On Tight,” setting the tone for a highenergy performance. A highlight was “Homecoming,” which featured surprise appearances by Jenna McDougall, Taylor Jardine, and Daisy Grenade, making the classic track feel fresh and exciting. The set also included some rare live tracks, like “Obvious” and “Hurricane Streets,” which hadn’t been performed live in over a decade, adding an extra layer of nostalgia for longtime fans. Cassadee Pope’s vocals were as powerful as ever, bringing every song to life and reminding everyone why Hey Monday was such a staple of the genre. By the time they closed with “How You Love Me Now,” the crowd was fully immersed, and the band’s infectious energy made their set one of the highlights of the festival.
STORY OF THE YEAR’S HIGH-ENERGY SET
Watching Story of the Year perform at When We Were Young 2024 was like reliving the best parts of my teenage years in one powerful set. They played Page Avenue from start to finish, and as soon as they launched into “And the Hero Will Drown,” the crowd exploded with energy. The pit opened up immediately, and it was clear that everyone was there to release some pent-up adrenaline and nostalgia. When they hit “Until the Day I Die,” the entire crowd was shouting every word, fists in the air, and I felt that rare thrill of being part of something bigger, a moment that felt like it mattered.
Each track brought back memories, from the anthemic “Anthem of Our Dying Day” to the haunting “Swallow the Knife.” Dan Marsala’s vocals were raw and intense, bringing out the motion in every lyric, while the band’s tight instrumentals hit just as hard as they did years ago. “Sidewalks” was a standout — everyone was swaying and singing, and you could see the emotion in people’s faces as we all got swept up in the song. They ended with “Falling Down,” closing the set with an intensity that left the crowd buzzing. Story of the Year reminded us of why Page Avenue has stood the test of time, and watching them play it in full was like a gift, a chance to relive those songs that had once been the soundtrack to so much of our lives.
COBRA STARSHIP: A NEON PARTY COME TO LIFE
Cobra Starship’s set was one big party, filled with the vibrant energy that only they can deliver.
Performing ¡Viva La Cobra! in full, they brought back the quirky, neon-soaked vibe of the late 2000s. Gabe Saporta was all charisma, dancing across the stage and keeping the crowd hyped with hits like “Guilty Pleasure” and “The City is at War.” They even threw in “Snakes on a Plane (Bring It),” which had everyone bouncing and singing along. The set felt like a blast from the past, complete with confetti and flashing lights, reminding us why their unique blend of pop-punk and electronic music was so beloved.
FINAL REFLECTIONS
When We Were Young Festival 2024 was a unique experience, one that brought fans together to relive the music and memories that shaped us. Hearing so many bands perform full albums made the festival feel like more than just a lineup of performances; it felt like a celebration of an era, of a shared history. As I left the festival grounds, hoarse from singing and tired from hours of dancing, I felt a renewed connection to the music that had carried me through so many stages of life. This year’s festival was more than just a throwback — it was a reminder of the community, the resilience, and the passion that make emo and alternative rock so much more than just music.
As When We Were Young Festival 2024 wrapped up, fans were already buzzing about what next year would bring. With the recent news of Vans Warped Tour’s heavy promotion around Vegas, some wondered if WWWYF might face competition or perhaps even collaborate with the iconic tour. However, if this year’s turnout and enthusiasm were any indication, When We Were Young is here to stay, promising yet another unforgettable year of nostalgia, music, and community. Fans are already counting down the days, knowing that 2025 is bound to raise the bar even higher.
YOUR NEIGH BORS
EMBRACING CHAOS, EVOLUTION, AND GENRE-BENDING SOUNDSCAPES
INTERVIEW AND PHOTOGRAPHY: Heather Koepp
MEN’S GROOMING: Mx. Monroe James
In today’s rapidly shifting music landscape, genres are blending more than ever, and in that chaotic space, Your Neighbors have found their home. This eclectic band, spearheaded by frontman Walker Robinson, has carved out a unique niche by refusing to be pigeonholed into any single genre. Their music takes listeners on a wild ride through various influences, ranging from rock, metal, and alternative to trippy indie soundscapes and electronic beats.
During a candid conversation with Rival Magazine, Walker opened up about the band’s journey, the challenges and joys of making music, and what fans can expect from their upcoming album, American Hedonism. For Your Neighbors, music isn’t just a creative outlet—it’s a means of pushing boundaries, asking difficult questions, and connecting with listeners on a deeper level. Listening to a Your Neighbors track can be a dizzying, exhilarating experience. One minute, you’re caught in a whirlwind of 90s rock riffs; the next, you’re propelled into an alternative wave of indie-mixed sounds. This genre-blending approach stems from a lifelong love of diverse music for Walker.
“I listen to so much different stuff,” Walker explains. “Growing up, my influences were all over the place. My dad introduced me to classic rock, so I grew up with Guns N’ Roses, Ozzy Osbourne, and Def Leppard. Then I found rap through artists like 50 Cent, and at one point, I got really into heavy metal bands like Metallica. Each phase left a mark on me.” The result? A sound that’s as varied as the artist’s influences, pulling from multiple genres to create something entirely their own.
Walker admits that while he listens to aggressive metal music most of the time, Your Neighbors’ sound leans more toward indie and experimental rock. But even that label feels too narrow. “The new album isn’t indie music by any means,” he notes. “There are moments on there where we’ve got some Skrillex worship and heavy EDM influences. It’s full of surprises, just like my musical tastes.”
In a world driven by singles and playlists, Your Neighbors are taking a bold step with their upcoming album, American Hedonism. Due for release on February 7, 2025, the album dives deep into existential themes, societal critique, and personal struggles. Walker describes it as a concept album designed to be listened to. “The album is about exploring existentialism, the idea of questioning everything you were taught to believe, and the struggle to find meaning,” he shares.
With singles like “Dogma,” which challenges traditional religious beliefs, the album is sure to spark conversations. “I grew up in a somewhat Christian environment,” Walker explains. “But as I got older, I started questioning everything I was told. Dogma is about that journey of turning your back on old beliefs, not because you’re angry but because you’re searching for something deeper.”
Unlike many albums today that are designed for easy playlist integration, American Hedonism is crafted as a cohesive experience. “Every song connects; there’s a theme running throughout,” Walker emphasizes. “The first song sets up the questions, and the rest of the album explores possible answers—or more questions.” It’s a project that reflects the band’s commitment to creating music that’s more than just background noise. “I want listeners to go on a journey with us. At least for the first listen, I hope they’ll play it from start to finish.”
Creating an album of this depth and complexity wasn’t easy, especially for a band that thrives on the freedom of experimentation. However, for Walker, it was crucial to stay true to their vision, even if it meant not adhering to the traditional structures of the music industry. “We don’t want to be boxed into any one genre,” he says. “I think that’s what keeps our music exciting. You don’t know what’s coming next.”
Your Neighbors’ willingness to push boundaries extends beyond their sound. The album’s title, American Hedonism, is a nod to the band’s critique of modern society. “We live in a world where everything is about instant gratification,” Walker notes. “I wanted to explore what that does to our psyche, our relationships, and our overall happiness. The album’s themes are dark, but there’s also an undercurrent of hope.”
Creating American Hedonism was no small feat. The project took months of intense writing, recording, and refining.
“Perfection is an illusion,” Walker admits. “You can keep tweaking and changing things forever, but at some point, you have to let go and release it into the world.”
One area where Your Neighbors excel is live performances. The band is known for their highenergy shows, which have garnered them a loyal fanbase across the country. “Some of our best shows have been in places like Salt Lake City and Denver,” Walker says. “There’s something special about connecting with fans face-to-face.”
Their upcoming spring tour is set to kick off shortly after the album release, covering the East Coast, Midwest, and West Coast. “We’re hitting all the major cities we’ve played before, but this time it’s going to be bigger and better,” Walker promises. “This tour will be an opportunity to bring American Hedonism to life on stage.”
While Your Neighbors are steadily building a name for themselves, Walker is mindful of the balance between staying true to their music and navigating the commercial pressures of the industry. “It’s easy to get caught up in chasing numbers and streams, but that’s not why we do this,” he insists. “At the end of the day, I want our music to connect with people on a deeper level.”
Despite their rising popularity, Walker remains humble and focused on the journey rather than the destination. “I’m grateful for where we are, but I know there’s still a long way to go,” he says. “Whether we blow up or not, I’m committed to making authentic music. It’s about the process, the art, and the fans who connect with it.”
With American Hedonism on the horizon, a nationwide tour in the works, and a growing fanbase eager for more, the future looks bright for Your Neighbors. But for Walker, it’s not just about what’s next—it’s about enjoying the ride. “I’ve learned that you can’t predict where this journey will take you,” he reflects. “All you can do is stay true to yourself, keep pushing boundaries, and hope that the world is ready for what you have to offer.”
INTERVIEW: Heather Koepp
PHOTOS: James Coffman
Your Neighbors are more than just a band—they’re a testament to the power of creative exploration, selfdiscovery, and refusing to conform. As they prepare to release one of their most ambitious projects yet, one thing is certain: they’re here to challenge the status quo, one genre-blending, thought-provoking track at a time.
Follow Your Neighbors on Instagram and stay tuned for the release of American Hedonism on February 7, 2025.
Natalie Jane
In the ever-evolving world of pop music, Natalie Jane has emerged as a remarkable force. With her authentic connection to fans, dynamic performances, and heartfelt songwriting, Natalie is crafting a personal and universal narrative. Rival Magazine recently had the opportunity to explore her creative process, career milestones, and what lies ahead for this rising artist.
In today’s music industry, social media often acts as a launchpad for stardom. Natalie Jane’s meteoric rise on TikTok, where she landed at number two on the platform’s 2023 Hitmakers List, underscores the importance of authenticity in an era of curated content.
“My content is very personable,” she explained. Whether she’s singing her heart out in her car or connecting with fans in casual attire, Natalie exudes a relatable charm. She prioritizes authentic moments over excessive production, often conveying the same excitement and vulnerability her fans experience while listening to her music.
“When I’m excited about my songs, it’s obvious— and that’s contagious,” she added. It’s this genuine approach that has made her music resonate so powerfully. When asked about the moments that have had the greatest significance for her, she quickly identified two: her “Where Am I Again” tour and the inclusion of her song “The Top” in Netflix’s adaptation of Uglies.
The tour marked a pivotal time in Natalie’s career, allowing her to explore different countries and cultures while connecting with her fans on a personal
level. “I had the incredible opportunity to travel the world and connect with fans I didn’t know existed,” she said. In an era when many artists interact primarily through screens, this connection served as a powerful reminder of the deep emotional ties that her music creates.
Regarding her song “The Top” being featured in Uglies, a film adaptation of a book she cherished as a child, she described it as equally meaningful. “It felt like a full-circle moment,” she shared. “Having something that shaped my childhood, including my music, was surreal.”
With her newest EP, Sick to My Stomach, now available, she delves into the emotional complexities of love. Each track offers a unique narrative, ranging from the playful self-awareness of “Yucky” to the heartache conveyed in “Somebody to Someone.”
“Everyone has felt that deep anxiety at least once in their life, where it’s so intense you feel physically sick,” she explained when discussing the EP’s title track. “Or if you’re in love, those butterflies are so overwhelming, they hit you in the pit of your stomach.” It’s a relatable theme that captures both the euphoria and the discomfort of raw emotion.
With its upbeat tempo and cheeky lyrics, “Yucky” stands out as a sonic experiment. Natalie admits that “Yucky” came before the song “Sick to My Stomach” and inspired the EP’s title.
“We were just in a recording session, and I wanted to create something a little more fun and different from what I had done before. I think “Yucky” has a unique sound compared to the rest of the songs; it’s a bit happier and more upbeat. The lyrics express, “I hate who I become when I fall in love. You got me feeling yucky, yucky, yucky.” This reflects my frustration with the version of myself that emerges when I’m in love, making me feel yucky. After working on this song, I thought, “Maybe we should call the project ‘Sick to My Stomach.’”
Conversely, “Somebody to Someone” delves into the universal longing for love, especially during the holiday season. “It’s about those moments when you see couples holding hands and think, ‘I want that,’” she shared. It’s a song that beautifully captures the bittersweet nature of yearning.
Speaking of the holidays, Natalie has embarked on an exciting new venture into the world of Christmas music. Her recently released song, “Christmas Ain’t Got Nothing on You,” showcases her talent for innovation while respecting tradition.
“I wanted the verses to be playful and sexy while the chorus stayed joyous and festive,” she explained. The result is a song that balances modern cheekiness with timeless holiday warmth. By deliberately alternating between major and minor keys, Natalie creates a dynamic listening experience that feels fresh yet familiar. Could this track join the pantheon of beloved holiday classics? Natalie is hopeful. “Seasonal music has this unique ability to stay fresh because you only hear it for a few months each year,” she said.
As the new year approaches, Natalie is set to embark on her next world tour, and this time, she’s bringing more than just her music—she’s creating an experience. For the first time, she will include live instrumentation in her European shows, marking a significant enhancement in her performances. Her excitement extends beyond the music to her tour merchandise.
A self-professed fashion enthusiast, Natalie has poured her energy into creating pieces that feel more like a clothing line than traditional merch. “It’s the closest I can get to having my own clothing brand right now,” she said.
This hands-on approach is symbolic of her artistry. From the design of her merch to the structure of her setlists, Natalie’s involvement ensures that every aspect of her tour reflects her vision.
As Natalie embarks on a new chapter in her career with the upcoming tour, she is also working on her first full-length album. Unlike her previous projects, which often centered around individual singles, this album is being developed with a cohesive sonic and visual identity.
“Every song I write now is created with the larger project in mind,” she said. This intentionality marks a significant evolution in her artistry as she strives to create a body of work that feels interconnected and deeply personal.
For Natalie, her fans are the foundation of everything she does. She expressed immense gratitude for those who have supported her from the beginning, acknowledging the challenges of being an early fan of a smaller artist. “You don’t have that big community yet, so it’s just you and your love for the music,” she said.
To her newer fans, she extended a warm welcome. “Thank you for getting on this rollercoaster with me. It’s going to be an exciting ride, and I hope to meet you along the way.”
Natalie Jane’s journey is a testament to the power of authenticity, hard work, and creative risk-taking. Whether she’s sharing personal anecdotes in her music, experimenting with new sounds, or connecting with fans across the globe, Natalie is carving out a space for herself in the industry—one that feels entirely her own.
Her story is still unfolding, but one thing is clear: Natalie Jane is a name we’ll be hearing for years to come.
INTERVIEW & PHOTOGRAPHY: Heather Koepp
WARDROBE STYLING & CREATIVE DIRECTION: Oththan Burnside
HAIR STYLIST: Bryan Christopher
MAKEUP ARTIST: Mx. Monroe James
Leroy Sanchez
Suit Jacket And Pant: Ioedle Shirt: Vintage Van Heusen
Chain: Atra Nova By Sheila B Boots: Dsquared2 Hat: Deus Ex Machina
After a much-needed hiatus, singer-songwriter Leroy Sanchez is back, and he’s not just dipping his toes in the water—he’s diving in headfirst. His explosive single “Nuclear” signals a bold comeback, marking the start of a new chapter in his already impressive musical journey. In an intimate conversation with Rival, Sanchez opened up about his creative rebirth, the inspirations behind his latest tracks, and what the future holds for him as an artist.
For fans who have been eagerly waiting, Sanchez’s return couldn’t come soon enough. The release of “Nuclear” felt like a moment of renewal for him. “It was about time,” he admits with a laugh, clearly excited to be back in the spotlight. The decision to re-enter the music scene wasn’t taken lightly, but after a period of self-reflection and creative exploration, Sanchez knew he had found the right song to reintroduce himself. “‘Nuclear’ was the song that propelled the rest of the project forward. It had this powerful energy that resonated deeply with me,” he explained. “It felt like the perfect track to set the tone for everything else that’s coming.”
The music video for “Nuclear” is a visual feast that brings the song’s explosive energy to life. While Sanchez admits he’s not a dancer, he was highly involved in the creative process. He collaborated with Kyle Hanagami, a renowned choreographer known for his innovative vision. “Kyle had this concept that was both grandiose and intimate. He took the powerful theme of the song and brought it to life in a way that was both cinematic and relatable,” Sanchez shared. “We wanted to tell a story that could happen to anyone—two people meeting by chance in a grocery store and falling into a whirlwind romance. It’s about showing that anyone, not just movie stars, can experience a love that feels larger than life.”
Not long after the release of “Nuclear,” Sanchez surprised fans by dropping a “Fusion Remix.” This club-friendly version was inspired by a desire to keep the energy going during his release party. “I was planning a celebration with the whole team that worked on the song and the music video. When I thought about playing ‘Nuclear’ at the party, I realized I needed a more upbeat version to match the vibe,” he said. The remix was a hit among partygoers and opened the door for Sanchez to reach new audiences. “It’s amazing how a song can take on a new life with a remix. It allows more people to enjoy it in different settings,” he added. “Nuclear” showcases a noticeable shift in Sanchez’s sound, leaning more into the pop genre while maintaining the heartfelt lyrics he’s known for. Yet, for Sanchez,
this evolution feels natural. “To me, it doesn’t feel like a drastic change,” he noted. “I’ve always been a pop lover. Growing up in Spain, I was obsessed with American and English pop music. The radio introduced me to artists like JoJo, Maroon 5, and Rihanna—songs with huge, anthemic choruses and emotional weight. That’s the vibe I wanted to bring back with ‘Nuclear.’”
Transitioning from Spain to the United States was a culture shock in many ways, but it also provided Sanchez with a wealth of new influences. “Moving to the U.S. changed how I approached songwriting,” he revealed. “In Spanish music, the lyrics are often filled with metaphors and poetic language, while American pop tends to be more straightforward. I had to adapt and learn to express myself in a way that was both concise and impactful. It was a challenge, but it made me a better songwriter.”
Collaboration has always been a cornerstone of Sanchez’s creative process, especially early in his career when he was still mastering English. “Cowriting was essential for me when I first moved to the States because I didn’t fully understand the language,” he recalled. “Over the years, I’ve found my core group of collaborators—people who understand my vision and push me to be better. That sense of community is invaluable.”
One of his most exciting recent projects was a bilingual Christmas song titled “To Say Feliz Navidad.” The idea for the song came about in an unconventional setting—a creative workshop hosted by Apple.
INTERVIEW & PHOTOGRAPHY: Heather Koepp
WARDROBE STYLING: Claudia Avila
WARDROBE ASSISTANT: Aditya
MEN’S GROOMING: Mx. Monroe James
“We were given 30 minutes to create a Christmas song using their new iPad technology,” Sanchez said, still marveling at the experience. “I was teamed up with people from all over the world, and we just clicked. The song came together so effortlessly, and when we presented it to Zane Lowe, he was blown away. That’s when I knew we had something special.”
With “To Say Feliz Navidad,” he aimed to blend tradition with modern influences. “I wanted to create something that felt authentic to who I am,” he explained. The bilingual aspect of the song reflects my life—half of it in Spain and half in the U.S. It’s my way of celebrating Christmas with both my cultures.” The song carries the joyous spirit of the holidays while also offering a fresh twist on traditional Christmas music.
As the new year approaches, Sanchez is gearing up to release even more music. His next single, “Falling,” is set to drop in early 2025 and serves as the thematic counterpart to “Nuclear.” “If ‘Nuclear’ is about the passionate beginning of a relationship, then ‘Falling’ explores the messy, painful end,” he teased. “It’s like the other side of the coin. This song is a bit darker and rawer.”
Despite having all the songs ready for his upcoming album, Sanchez is still searching for the perfect title. “The songs are there, but the title is driving
me crazy,” he confessed with a smile. “I want it to encapsulate everything I’ve been working on—the journey, the emotions, the growth.”
When asked about the legacy he hopes to leave behind, Sanchez was reflective. “I don’t measure success by awards or numbers,” he said thoughtfully. “For me, it’s about making a genuine connection with people. If my music can help someone feel seen, understood, or less alone, then I’ve done my job.”
He admits that making a living from his passion is a dream come true. “I’ve been at this for a long time, and I’m so grateful to be able to do what I love,” he said. “I just want to keep creating, keep evolving, and keep making music that resonates with people.”
As he continues to push boundaries and explore new creative territories, Leroy Sanchez’s comeback is a testament to the power of passion, perseverance, and staying true to one’s roots. With his next single, “Falling,” on the horizon and a new album set to release soon, it’s clear that Sanchez is not just making a return—he’s here to redefine his place in the music world.
In a landscape that’s constantly shifting, Sanchez remains a steadfast force, driven by his love for music and his desire to connect with fans on a deeper level. And if “Nuclear” is any indication, the next chapter of his career is set to be explosive.
BADFLOWER
PHOTOS: Heather Koepp
KATE PEYTAVIN
INTERVIEW & PHOTOGRAPHY:
Heather Koepp
WARDROBE STYLING: Claudia Avila HAIR AND MAKEUP: Shelby Ingham
THE VOICE OF A NUMB GENERATION
Welcome to the world of rising singer-songwriter Kate Peytavin, whose evocative music delves deep into the shared anxieties and disconnections of her generation. Fresh off the release of her latest EP, generation numb, Kate joins us with her trademark blend of warmth and candor, ready to dissect the raw, intimate journey behind her latest project. In an industry overflowing with noise and fleeting trends, Kate’s authenticity stands out as a beacon for those searching for real human connection. She’s not just making music—she’s creating a space where her listeners can truly feel seen, heard, and understood.
The title of her EP, generation numb, is strikingly poignant. In a world where everyone seems hyper-connected yet profoundly isolated, the name captures the paradox of our times. Kate explains that the inspiration came from a line in her song, “i don’t feel anything.” She reflects, “When I wrote the pre-chorus, the phrase ‘generation numb’ just kind of clicked for me. I didn’t entirely understand it at first, but the more I sat with it, the more it felt like the perfect encapsulation of what I was trying to convey. We’re living in this era where everything is online. We have access to anything and everything, yet it can feel incredibly lonely.”
The conversation shifts to the overwhelming digital age that today’s youth navigate daily. Kate’s words resonate with the challenges of growing up in a hyperconnected world that often feels hollow. “There’s this constant bombardment of content—TikToks, Instagram posts, endless streams of information. It’s exhausting. I started wondering, ‘Is it just me feeling this way, or are others struggling with it too?’” she confides. This vulnerability, this willingness to question her reality, is what makes her music so compelling.
Though her music is deeply introspective, Kate shares that opening up in her songs doesn’t scare her. “For some reason, it’s not a fear of mine whenever it’s in song form,” she says thoughtfully. “When you put your feelings into a song, it’s almost like writing in a diary. It’s cathartic. And unlike a face-to-face conversation, there’s no immediate reaction required from anyone. You just put it out there for people to interpret on their own time.”
For Kate, writing and performing are deeply personal experiences. It’s not about garnering sympathy or seeking validation; it’s about putting her truth out into the world and allowing listeners to find their own meanings. “I’ve always found comfort in music, and I hope that my songs can provide that same solace to others. There’s something incredibly powerful about knowing that a stranger might be listening to your song at 2 AM, feeling less alone.”
While Kate’s sound is fresh and distinctly modern, there’s an undeniable nostalgic undercurrent running
through her music. She laughs when asked about her influences, admitting, “I’m obsessed with the 90s. I was born in 2005, but I feel like I was meant to live in that era. I just love everything about it—the movies, the fashion, the rawness of the music.”
Kate’s deep dive into 90s music led her to iconic bands like No Doubt, which have become a significant influence on her sound. “There’s something so raw and unfiltered about 90s rock and grunge. It was real. It wasn’t polished or perfect, and I think that’s why it resonates with me so much,” she explains. “I’ve always been drawn to things that aren’t overly refined. There’s beauty in imperfection.”
While she takes inspiration from legendary artists like David Bowie, Kate insists on maintaining her unique voice. “Bowie was a master of storytelling, and that’s something I aspire to,” she says. “His music is almost cinematic—it pulls you into a different world. I want my music to feel like that too. Like an escape, but also a mirror reflecting what you’re going through.”
Kate’s creative process is both solitary and collaborative. While she writes many of her lyrics herself, she loves the energy of working with other songwriters. “Collaboration is so important to me. It’s like therapy but with more chords,” she jokes. One of her most treasured partnerships was with songwriter Mozella, who co-wrote “i don’t feel anything” with her. “Mozella has this incredible ability to ask just the right questions. She pulls things out of me that I didn’t even know I was feeling.”
The synergy between Kate and her collaborators is palpable in her music. Another frequent collaborator, producer Mark Nilan Jr., helps her channel the 90s-inspired sounds she’s so passionate about. “Mark brings this cool, edgy vibe to the tracks. He understands my love for 90s grunge and helps me blend that with a modern twist,” she explains.
Beyond the music, Kate’s artistic vision extends to her visuals. The aesthetic for generation numb is firmly rooted in her love for 90s nostalgia. “I’m obsessed with camcorders,” she admits. “There’s something about that grainy, imperfect look that feels more authentic. I wanted the visuals to match the raw emotion of the music.”
Kate recently released a series of rooftop sessions and live performances of her EP tracks, filmed as a continuous story. “We filmed these sessions at sunset, chasing the light, and the set would change slightly with each song. It was chaotic but so much fun,” she smiles. For the EP’s visualizers, she opted for a DIY approach, using nothing but a camcorder to capture the mood of each track. “I didn’t want it to feel overly produced. There’s something magical about capturing moments in their rawest form.”
Jacket & Skirt: Kurriizmatic; Tank: Asos; Shoes: Jonak
Set : Kim Perets; Boots : jonak; Necklace: Adiba
As our conversation deepens, Kate opens up about the personal experiences behind her songs. One track, “hang a mirror on yourself,” was born out of frustration after a particularly difficult argument. “The song is about trying to get someone to self-reflect but feeling like you’re talking to a brick wall,” she says. “It’s infuriating, that feeling of being unheard.”
Another favorite, “all i do,” takes on a more positive tone, reminiscing about past relationships with fondness rather than bitterness. “It was fun to write something that wasn’t about heartbreak or existential dread for once,” she laughs. “It’s about appreciating the little moments, the sweetness in life.”
Trousers:
Necklace: Sheila B
Vest: Vegan Tiger
Adiba
Bracelet: Deidre English
Shoes: Jonak
The fan response has been overwhelmingly positive since the EP’s release on October 25th. Kate has been blown away by the messages from fans who deeply connect to her music. “The DMs mean the world to me,” she says. “People tell me how certain songs helped them through tough times or made them feel understood. That’s why I do this.”
Looking to the future, Kate hints at a new project already in the works. “Generation numb was me at my lowest point,” she reveals. “But now, I’m writing about the journey out of that darkness. There’s so much more to explore beyond the numbness. I want to show that there’s hope, that things can get better.”
Despite the heavy themes in her music, Kate is determined to end on a note of hope. “I didn’t want my entire project to be doom and gloom,” she explains. “Yes, I wrote about feeling numb and disconnected, but I also wanted to show that there’s
light at the end of the tunnel. Life is a spectrum. It’s not just darkness. There are sweet moments, too.”
Kate’s answer is simple yet profound when asked what message she hopes listeners will take away from her music: “I just want people to feel less alone. If my songs can be a companion for someone struggling, then I’ve done my job.”
As we wrap up the conversation, it’s clear that Kate Peytavin is not just a musician; she’s a storyteller, a voice for a generation that feels caught between connection and isolation. Her music is both a cry for help and a beacon of hope—a reminder that even in the darkest times, there’s always a glimmer of light waiting to be found.
Kate Peytavin’s generation numb is streaming now on all major platforms. To experience the full depth of her artistry, check out her series of rooftop sessions and visualizers on YouTube.
BORNS
REDISCOVERING THE ART OF VULNERABILITY: A CONVERSATION WITH BØRNS
In a fast-paced world where immediacy and surfacelevel interactions often dominate, the act of stepping back to genuinely reflect on one’s personal growth has become increasingly rare. For the artist BØRNS, taking a break from the relentless pace of the music industry offered a valuable opportunity not only to reset but also to gain a deeper insight into his intricate relationship with creativity.
“Music and art have always been my faithful companions,” BØRNS reveals, his voice resonating with sincerity. “They’ve shown remarkable patience, consistently welcoming me with open arms. Through them, I’ve been able to delve into and understand the complexities of my own life. I feel an immense gratitude now more than ever for having this expressive outlet at my disposal.”
This newfound appreciation for his artistic journey shines through in his latest single, “Letting Myself Go.” The track is more than just a piece of music; it represents a cathartic release, a profound exploration of self, and ultimately a personal anthem for the artist.
“I wasn’t even aware that this song existed within me until it poured out during the writing process,”
he explains, the excitement evident in his tone. “Every time I perform it on the piano, it brings a wave of joy. The song is stripped down, honest, and raw—completely devoid of excessive production. It resonates deeply with me; it feels like the declaration of my personal journey.”
This evolution towards embracing a more profound vulnerability marks a significant shift from the exuberant, starry-eyed enthusiasm that characterized his earlier works.
“When I first ventured into music, my songs were infused with the excitement of relocating to LA—the vibrant landscape and the thrilling connections I formed there,” BØRNS reminisces, remembering those feelings fondly. “It felt liberating to capture that essence. However, as life unfolded with its myriad experiences and challenges, my writing began to take a more introspective turn. It’s a different approach, yet so much more essential to who I am now.”
This transformation not only reflects his growth as an artist but also speaks to the universal journey of discovering oneself through the power of creativity.
The evolution from extravagant, larger-than-life performances to a more personal and intimate style of storytelling marks a significant milestone in BØRNS’s independent music journey. This transition is not merely a reduction in scale; it embodies a thoughtful and intentional choice to embrace emotional depth and authenticity. With this newfound artistic freedom, BØRNS expresses a sense of both liberation and responsibility, as he aims to forge deeper connections with his audience. He perceives this as a golden opportunity to engage with his fans in a more genuine manner, creating a shared experience that transcends the usual concert setting.
“Expect the unexpected,” he asserts with enthusiasm, hinting at the innovative nature of his forthcoming live shows. “I’m drawn to that intimate vibe—where the songs can truly breathe, allowing their essence to shine without being overwhelmed by flashy production.” This commitment to simplicity evokes images of a cozy venue, where the energy of the crowd melds seamlessly with the heartfelt delivery of his music. As he embraces independence, BØRNS revels in the creative control it brings, granting him the liberty to explore uncharted territories in his songwriting and performance style. However, he is acutely aware that this autonomy also demands more work and dedication from him, necessitating a hands-on approach to each element of his artistic expression.
Yet, for BØRNS, the extra effort is a small price to pay for the chance to create truly special moments. His distinct sonic palette and innovative artistry stand out amid the current music scene, especially since he consciously distances himself from fleeting trends that often capture the spotlight. This unwavering commitment to genuine storytelling ensures his music resonates on a deep and personal level, promising his fans an immersive experience that lingers long after the final note is played.
“I don’t indulge in what’s considered cool because that doesn’t benefit me,” he explains. “Instead, I focus on pushing boundaries with production and technology. There’s so much we can do now; it feels like a mixed-media explosion, and I love experimenting with all these tools.”
This spirit of experimentation is evident in his upcoming EP, Honeybee, which builds upon his previous release, Suddenly. While Suddenly delves into themes of grief and introspection, Honeybee emerges as a celebration of renewal.
“It picks up where Suddenly left off,” he shares. “It’s about coming out of the grieving process, seeing colors again, and finding beauty in life and love—just in time for spring when everything feels alive again.”
For BØRNS, his creative journey is not just a process; it is a significant exploration of personal growth intertwined with a desire to uplift and inspire others.
“I hope my music encourages people to take bold leaps in their creativity,” he says, capturing the essence of his mission. “I want them to venture into trying things they never thought they were capable of. I’m always challenging myself to push boundaries, and I want others to feel that same sense of freedom.”
Whether he expresses himself through enchanting melodies, captivating visual art, or electrifying live performances, BØRNS places a strong emphasis on authenticity and genuine expression.
“Each record is like a detailed map, guiding me deeper into my heart and emotions,” he reflects thoughtfully. “I’m not interested in making the same kind of music I created while at a major label. For me, it’s all about embracing constant evolution—that’s what keeps everything interesting and fresh.”
As this exciting next chapter unfolds, BØRNS promises his audience much more than just music; he aims to deliver a profound experience that resonates deeply with listeners. With the release of Honeybee on the horizon, one thing is abundantly clear: this is an artist fully committed to personal growth, embracing vulnerability, and creating art that touches the soul in meaningful ways.
INTERVIEW & PHOTOGRAPHY: Heather Koepp
MEN’S GROOMING: Mx. Monroe James
RIDING WITH KILLERS
INTERVIEW AND PHOTOS: Elise Coates
Rival Magazine caught up with Taylor Roberts, frontman of Detroit-based band, Riding With Killers, to discuss the band’s origins, journey, and plans for the upcoming year.
CAN YOU TELL ME A LITTLE ABOUT WHERE THE IDEA FOR RIDING WITH KILLERS CAME FROM? I came up with the idea for Riding With Killers after leaving my home and band in 2018. I had the name, but I didn’t have band members or songs. I had a name and a logo, so I put it out there because I knew it would force me to follow through.
IT’S A GREAT NAME. WHAT’S THE STORY BEHIND IT? I ended up as an extra on the set of the Motley Crue Netflix movie “The Dirt” and I ended up befriending a guy on set named Shane. After realizing we shared a bunch of friends in the music scene in New Orleans, we exchanged numbers. After a series of conversations, he offered me a job wrapping houseboats. I had no idea what he was talking about, but he offered me two grand for the week with travel, food, and hotel paid for.
Naturally, I agreed, and leading up to the trip, he kept changing how we would get there. It started as a plane ride, then a company vehicle, then his personal vehicle, and finally having to borrow a vehicle. Unsurprisingly, my paranoia kicked in, and I contacted our mutual friend and was like, “yo, is Shane cool? Or am I gonna end up scattered across the highway in six trash bags?” My buddy laughed and said that was the funniest thing he had ever heard and that Shane was good people.
It turned into one of the coolest weeks of my life. I made a lifelong brother, and on the ride back we joked about me checking up on him and the idea of me being murdered, and the phrase “Riding with Killers” popped into my head. I liked the idea of the name and thought, I could have fun with this band name, with merch, and artwork. I could include classic cars, movie killers, serial killers if I wanted to be taboo. It just seemed like a name that could make me want to be creative. After I searched the internet, I realized no other music group had ever had that name and as you know, that’s kind of a rare occurrence. Thus, Riding with Killers was born!
WHAT HAS RIDING WITH KILLERS BEEN UP TO SINCE THEN? At the end of 2018, I started writing and recording with producer Matt LaPlant, and then enlisted Dave Coughlin on Drums and both Tim Krukowski and James Lascu on bass.
We kept recording songs and finally landed with all the tracks to create Full Circle, which was released December 13, 2023.
We played a handful of shows after Covid and although I didn’t have a concrete band I had a ton of friends willing to jump in live like Eli Clark (Ex I Prevail) Dave Coughlin (Sponge, former touring drummer of Taproot) James Lascu (now current Riding with Killers bassist), Damon Tate (Of Virtue, For The Fallen Dreams) Devin Attard (Session Drummer) Sean Doria (Session Drummer and renowned Touring drum Tech). We’ve played shows with Sevendust, Tremonti, 10 Years, Nonpoint, headlined the second stage at CPR Fest, with Seether, 3 Doors Down, Badflower, and more.
In the last few years I found permanent live members with Jed Thibeault (Drums) and Kris Kress (Guitar), and recently welcomed back James Lascu on Bass (Wilson, New Monarch). We’ve been fortunate to play quite a few sold out shows this year with Taproot and Nonpoint, sharing the stage
with Josey Scott (Saliva) playing Havoc Fest, and started to truly travel outside of Michigan.
SOUNDS LIKE YOU’VE BEEN BUSY, INCLUDING GETTING A LOT OF NEW STAGE TIME FOR RIDING WITH KILLERS, WHAT HAS THAT BEEN LIKE? It’s been absolutely incredible. When I started this band, I had to take time off from playing live music to write the songs, get artwork, create merchandise, develop my voice as a singer, and find the right members who A) had the time to be IN the band and B) wanted to be here.
It’s been a big learning curve and growing experience for me because in my previous band(s), even though I did most of the same things I am now, I wasn’t the lead vocalist. So it’s been fun to develop that side of myself, as it’s still somewhat new to me.
That being said, the opportunities we were presented just this year alone have been incredible, especially with organizations like Soaring Eagle Arts Beats and Eats, Detroit Harvest Festival (Thank you Jamie!), venues like The Machine Shop, District 142, Music Factory, WildWood Saloon, Denny O’s, and quite a few others. They’ve all put us in prime time slots, opening for bigger acts, and truly believe in what we have going.
We’ve played so many amazing shows this year and it’s gotten us hungry for more. Our good friends at Revo Media have also helped us produce incredible music videos and we are so proud of what we’ve been able to create together.
WHAT HAVE BEEN SOME OF YOUR FAVORITE SONGS TO PERFORM LIVE?
Of our songs, I really enjoy playing “Hostility”, “DNA,” “Novelty,” “World Apart,” and “Vultures.” I like playing the heavier, faster songs that get the blood pumping but being able to bring it down and play a slower, more heartfelt song is also fun.
We’re primarily an original band but we do like to throw a random cover into the mix on occasion. I always love the reaction when we pull out “No One Knows” by Queens of the Stone Age or “One Step Closer” by Linkin Park. I don’t think many people expect that out of us, so it’s always fun to hear the reaction and sing along together.
IT’S BEEN A YEAR SINCE THE RELEASE OF YOUR DEBUT ALBUM FULL CIRCLE. CAN YOU REFLECT ON THAT? I’m proud to celebrate the one-year anniversary. It feels surreal since we had so much time to work on the record during Covid, making it seem like these songs have been around forever. I often forget it’s still new to the public. The reception has been amazing, and it makes me incredibly happy to see its well-received.
Gothenburg, Sweden and Detroit. I’ve been able to spend a total of almost three months tracking which I’ve never gotten to do before. I did a month stint in Sweden and down in my home area of New Orleans and about three weeks scattered in Detroit.
I’m so insanely proud of this record and it’s gonna be a bit of a departure from what you’ve heard on Full Circle. I was very open, honest, and vulnerable on this record. I wrote about my father (or lack thereof), being brutally made fun of as a child for my left eye, being heavily medicated in my youth on Ritalin from ADHD, almost losing the love of my life to a car accident, and religion, among other topics, that have affected me throughout my life.
Even though we haven’t even begun to think about the release of the second record, we’re starting to write a follow up four-track EP at the end of next month with Jakob! I’m so excited for that, as my goal is to get heavier, faster, and more pissed off.
AS WE APPROACH THE NEW YEAR, WHAT DOES 2025 LOOK LIKE FOR RIDING WITH KILLERS? Definitely more out of state performances and festival appearances, which we are excited to be performing at Rock Lansing 2025 with Badflower, Crobot, and so many more. I hope for more headlining dates, recording new music, and shooting more music videos!
As I said earlier, this is my first record being a vocalist and my voice is still very much developing, but I feel like I’m on the right path and I’m excited to continue growing as a singer.
I need to extend a big thank you to our producer Matt LaPlant, to Mark Papow at Lansbury Lane Studios for providing a creative space, to Dave Coughlin, Tim Krukowski, and James Lascu for the amazing performances, creativity, and love they poured into the record with me.
ARE THERE ANY PLANS FOR A SECOND ALBUM? The second record is actually already completed. I’ve been working on that over the last two years with Swedish producer Jakob Herrmann (In Flames, Devin Townsend, Machine Head, Vola, Evergrey, Anthrax, etc). It’s pretty cool, actually: we’ve recorded on two continents, the music in Detroit and New Orleans, and the vocals in
IS THERE ANYTHING ELSE YOU’D LIKE TO HIGHLIGHT? I’d love to give a shoutout to my sponsors Gibson & Mesa Boogie (Thank you Trent!) Seymour Duncan (Thank you Matt!), Stringjoy (Thank you Jon!), Jim Dunlop (Thank you Thomas!), and Quantum Industries (Thank you Zack!)! These companies believe in me as an artist and they constantly show it and prove it. It means the world.
A huge shoutout to Bob Bradley at Bradley Public Relations & Marketing and to Timothy Binder at New Ocean Media for the media coverage, promotion and the push to rock radio! It’s been a great year and I’m excited for next year!
Our web-store will be up and running soon to grab shirts, CDs, and other merchandise! You can visit us at www.ridingwithkillers.com, Facebook, and Instagram!
All music is available now on all digital platforms including Apple Music and Spotify!
