MAR/APR 2026
Discussing Talking 2 Strangers with Coyote Theory
Reuniting their spark, The Academy Is... Almost There little image reclaim their sound and self on KILL THE GHOST
After nearly 20 years together,
finds Joy Next Door in their green era
C N T E N T S
VENUE HIGHLIGHT:
THE VAN BUREN - 7
Anchoring Phoenix’s live music scene, The Van Buren blends historic charm with modern energy in the heart of Roosevelt Row.
ON YOUR RADAR - 8
5 artists that you should know. No, really.
LITTLE IMAGE - 10
Confronting identity, conflict, and connection, little image reclaim their sound and self on their sophomore album, KILL THE GHOST
COYOTE THEORY - 16
Following a viral resurgence and debut album success, Coyote Theory embraces change and momentum on Talking 2 Strangers
THE MAINE - 22
Entering their “green era,” The Maine finds Joy Next Door on their tenth studio album while proving that nearly two decades in still feels like just the beginning.
THE ACADEMY IS... - 30
Reuniting their spark, the band returns with a long-awaited new chapter honoring their past. The Academy Is… prove their story is Almost There
BUSINESS BEATS:
DERYCK WHIBLEY - 38
Following the end of Sum 41, Deryck Whibley builds a brand rooted in the same self-expression that defined his decades-long musical career.
UPCOMING TOURS - 40
These 10 upcoming tours are tours you need to clear your calendar for.
MAR/APR 2026 ISSUE 021
DESIGN + EDITOR-IN-CHIEF
Victoria Goodwin
COVER PHOTO
Lupe Bustos @_lupe
ASSISTANT EDITOR
Avery Heeringa
ASSISTANT DESIGNER
Ashlyn Siples
Ayanna Fata
FIND US melodicmag.com @melodicmag
THANK YOU
A million thanks to The Maine, The Academy Is..., little image, and Coyote Theory for taking time out of their busy schedules to chat with Melodic Magazine for our newest issue.
We also wanted to thank those behind the scenes who contributed to the issue: Acacia Evans, Ann Korwan, Audrey van Schagen, Big Hassle, Bobby Cochran, Caroline Brodt, Christine Sloman, Clare Gehlich, Derek Perlman, Disney, Erick Frost, Hannah Elizabeth, Jonathan Weber, Justice Petersen, Lupe Bustos, Nettwerk Music Group, Sara Cross, Sawyer Skipper, Scarlet Page, Silken Weinberg, The Muses PR
THE VAN BUREN
PHOENIX, AZ
Located in the Roosevelt Row district, also known as RoRo, The Van Buren has established itself as one of downtown Phoenix’s premier live music venues.
Known for its historic and industrial charm with a central location, The Van Buren opened in August 2017 inside a converted 1930s-era car dealership. Owned by Live Nation Entertainment, it has quickly become a top-tier venue in the city for live music, providing easy access to local dining and transport.
The space is defined by its two massive chandeliers, bold statement floor tiles, and grand windows that overlook West Van Buren Street. Original brickwork and steel trusses contribute to its signature cool, historic atmosphere, while the layout ensures great views of the stage from nearly anywhere on the floor.
Initially, the venue opened with a sold-out show featuring Joywave and Cold War Kids and has since hosted a diverse lineup
@thevanburenphx
of rock, R&B, pop, and alternative artists, including Billie Eilish, Nick Jonas, Lord Huron, and St. Vincent.
The venue is also a key site for citywide events such as Viva PHX, hosting festival artists and special ticketed headline shows. In April, it will host the featured headlining show from American rock band, Interpol. In previous years, it has also welcomed artists from the festival’s lineup, such as Coco & Clair Clair and Cannons.
Beyond concerts, The Van Buren maintains a rotating calendar of themed dance and tribute nights, including R&B Only, Club 90s, Cumbiatron, and On A Sunday Afternoon.
Its open floor plan and balcony sightlines make the space adaptable for both highprofile touring artists and themed dance nights without losing its intimate feel.
As a result, The Van Buren plays a key role in shaping downtown Phoenix’s modern live music identity while maintaining the creative energy of the Roosevelt Row Arts District.
VENUE HIGHLIGHT
The Van Buren anchors Phoenix’s live music scene
When it comes to pop music’s modern “sad girl music” movement, English singer-songwriter Holly Humberstone stands tall as one of the genre’s most prominent trailblazers. After making waves in the indie pop scene with her 2023 debut album Paint My Bedroom Black, Humberstone now prepares for the release of her sophomore follow-up Cruel World, out April 10 via Polydor Records. Known for her deeply personal songwriting, Humberstone’s star power is amplified through her catchy pop hooks and unapologetic honesty. Her upcoming studio album portrays a heightened musical maturity from the singer, with singles like “Cruel World” and “To Love Somebody” showing Humberstone exploring pain, heartbreak, and love through a romantic yet bittersweet artistic lens. Currently playing a run of shows across the U.K.—with several dates sold out—Humberstone will then perform at Coachella this April before embarking on a North American tour this summer.
HOLLY HUMBERSTONE
FFO: Maisie Peters, Gracie Abrams, Lizzy McApline
LISTEN: “Falling Asleep At The Wheel,” “Deep End,” “Scarlett”
No artist is keeping outlaw country alive quite like Charley Crockett. Frequently outspoken about social issues in political spheres and in the country music industry, Crockett’s bold use of his artistic voice is an undeniable reflection of the true meaning of country music. Since 2015, he has released 16 studio albums, and will soon release his seventeenth—Age of the Ram—on April 3 via Lone Star Rider through Island Records. The album will serve as the final installment in his Sagebrush Trilogy, following previous albums Lonesome Drifter and a Day, both released in 2025. Following the release of Age of the Ram, Crockett will kick off his North American tour on April 24 in New Orleans. For the next several months, he’ll make his way across the U.S. with a number of supporting acts—including but not limited to Twin Temple, Kashus Culpepper and Sierra Hull—before wrapping up the tour on October 2 in Asbury Park, New Jersey.
CHARLEY CROCKETT
FFO: Orville Peck, Sierra Ferrell, Colter Wall
LISTEN: “I Am Not Afraid,” “Welcome to Hard Times,” “Jamestown Ferry”
While Brigitte Calls Me Baby frontman Wes Leavins is often compared to the likes of Roy Orbison or Chris Isaak when it comes to his iconic vocal prowess, the band’s musicality is one that may be defined as timeless. The Chicago natives are celebrating the recent release of their sophomore record Irreversible, which arrived March 13 through ATO Records. After the release of their 2024 debut LP, The Future Is Our Way Out, the band proceeded to have a whirlwind couple of years. After the album’s release, they took the stage at Lollapalooza just days later. That year also found the band touring alongside Fontaines D.C. before opening for Morrissey in Europe several months after. After these thrilling couple of years, the band poured their energy and artistic growth into Irreversible. Now, the band continues to make a name for themselves as a standout outfit in the modern rock world. Brigitte Calls Me Baby are currently touring Europe, and will embark on a North American tour this spring.
BRIGITTE CALLS ME BABY
DEATH LENS
FFO: FIDLAR, Teen Mortgage, White Reaper LISTEN: “Bombshell,” “She Makes Me,” “Moontower”
Initially getting their start as a heavy surf rock outfit, SoCal natives Death Lens have spent the last few years establishing themselves as one of the most exciting acts in post-hardcore. With the release of their seminal 2024 album Cold World, Death Lens became synonymous with a hard-hitting artistry fueled by political rage and personal strength. Now, the band is gearing up for the release of their new record What’s Left Now?, out April 24 through Epitaph Records. After the release of Cold World, the group spent several months extensively touring, which led to both success and turmoil for Death Lens, resulting in the departure of two members and an uneasy future for the band going forward. What’s Left Now? is an unapologetic exploration of the last two years for Death Lens, as the band conveys their journey through struggle and loss both as individuals and as a unit. Currently on tour with White Reaper and Drug Church this spring, Death Lens will bring their new studio album across the globe as they play across Europe and the U.K. this summer.
FFO: The Strokes, The Killers, Inhaler LISTEN: “Impressively Average,” “Eddie My Love”
LOLA BATES
Deeply intentional and darkly mysterious, Lola Bates is an artist who transcends conventional musical boundaries. A Laurel Canyon native, Bates pulls inspiration from folk, rock and pop to carve her own mystical artistry. A master of her craft, Bates is not just a songwriter. As a classically trained musician, composer, multiinstrumentalist and producer, she interweaves vast sonic influences with her own aesthetic visions to exude a musicality that truly refuses to be defined. On March 6, Bates shared “Girls, Girl,” her inaugural single, which arrived ahead of her upcoming debut album Love And Power, set to arrive this spring through Gravel and Echo Recordings, distributed by Virgin Music Group. Blending smoky vocals with a pulsing drum beat and gritty electric guitars, “Girls, Girl” is a magnetic track that explores a complex romantic relationship. With the upcoming release of her debut full-length album, Bates will soon make herself known as one of rock’s most exciting new talents for this year.
FFO: PJ Harvey, Tori Amos, Fiona Apple LISTEN: “Girl’s Girl”
keeps their momentum alive by finding strength within each other and their passion for creating
Article: Audrey van Schagen
Photos: Sawyer Skipper, Acacia Evans, Erick Frost
A rabbit—the overarching character and face of little image’s newest album KILL THE GHOST—represents a guiding force that pushes and inspires the band as artists. It embodies the kind of magic we all chase in pursuit of meaning, Jackson Simmons, vocalist and guitarist of little image, says in a chat with Melodic Magazine in March.
While chasing their own rabbit, little image took it in their own power to document an introspective journey filled with all of life’s contrasts—the good and the bad, easy and hard, connection and disconnect. KILL THE GHOST, little image’s Hollywood Records sophomore release, sees the magic—represented by the rabbit—as a reason to keep going. This inspired the band to seek the one thing we all crave: understanding.
Behind the 14-track album is a world of resilience and passion, where three band members, vocalist Jackson Simmons, drummer Troy Bruner, and bassist Brandon Walters, rediscovered themselves and took pride in their artistry. “I don’t think we’ve collectively been this proud of something together,” Simmons says. “It’s just we went through a lot of stuff together in the process of making this album. I think you can hear it a little bit, just in terms of like we really fought for it.”
It’s been a long time coming for little image, as they now have another album to add to their growing discography that includes their synth-driven, alt-pop, SELF TITLED, released in 2023. “It feels pretty surreal though that we’ve been sitting on this album for it feels like two years at this point,” Simmons says. “So to finally be able to get it out is just exciting and feels like turning over the page a little bit to the next chapter.”
SELF TITLED was created out of little image’s desire to experiment with synthesizers and find the next sonic direction they wanted to go in. During this time, Simmons says they were trying to figure out the logistics of the band, asking themselves questions about the band’s future, like if it was sustainable for a living, what their sound is, and what their intentions and purpose are.
“I don’t think we’ve collectively been this proud of something together.“
When the act of creating KILL THE GHOST came around, the band decided they wanted to reconnect with an interest that they had shifted away from in SELF TITLED. “Coming into this record, I think we just always loved guitars from the day we’ve started little image. We’ve just always loved playing guitars and we kind of got away from that on SELF TITLED a little bit,” Simmons says. “So I think that’s a big difference coming into this next record. We just wanted more guitar-driven music again, we wanted to kind of go back to our roots just a little bit.”
As the record started coming to life, the band prioritized keeping things sounding raw, scaling back on adding anything extra to the tracks. Keeping this type of sound captured a signature band-like feel. “I think that was the biggest thing, we just wanted to sound like a band again. Not that we didn’t sound like a band on SELF TITLED, but
there were a lot of tracks and a lot of electronic stuff happening and I think we were just like ‘Dude, we’re a band.’ We just want to be a band again, so I think that was the biggest shift mindset wise going from the last record to this new one,” Simmons says.
“KILL THE GHOST,” the album’s introduction and title track, was chosen to begin the album because of its energy and how it sets a precedent for the record. As soon as listeners hit the play button, they are met with a charged riff accompanied seconds later by an intriguing drum beat. The rest of the song takes an adventurous route, pushing and pulling, taking and giving, to craft an addictive, boundless experience. “I think we had tried to make an intro to the album, like we all sat down and really tried to just create together, and it just never came to a point where we were like, ‘Yeah, this feels like the start to the album,’” Simmons says. “So we just were like, ‘Let’s just start it with “KILL THE GHOST.” It’s a banger, it’s a rippin’ song and it’s exciting.’”
Although the record contains 14 tracks, upwards of 30 songs were written. Taking a different route from how they’ve made an album before, the band decided to avoid limiting themselves to writing a certain amount of songs and instead allowed themselves the freedom to write however many and then pick the ones that felt best like the album from there. “We just kind of wanted to challenge ourselves with that. It’s easy to kind of just be like, ‘All right, we’re writing 10 songs. Here’s the album,’” Simmons says. “But that’s why it has 14 songs, because we were like man, we can’t really pick, we’re gonna just have to add. I feel like a standard album is like 12 songs these days and we’re like, ‘we gotta do two more.’”
For a handful of the tracks off of KILL THE GHOST, little image decided to accompany them with a visual element, tapping into the music video part of their creative vision. These elaborate, story-like music videos were made with their best friend and “fourth member” Sawyer Skipper as well as Brandon Waddell, who have been a part of their visual world since day one. As a band, along with Sawyer, their goal with these music videos was to tell “some crazy stories” and “make them sick and as cool as [they] could possibly make them.” Simmons credits his bandmate Troy for coming up with the crazy ideas and Sawyer for executing them. “I think for this [album], we were like, ‘These are our favorite songs we’ve ever written. These are the most meaningful songs we’ve ever written,’ and we needed to be able to tell the story visually,” Simmons says.
Overall, KILL THE GHOST, explores personal, introspective themes that come about by looking inward and unearthing those deeper, buried feelings and perceptions, a writing style that is familiar to little image. “I think that’s kind of just the natural way we write music, to be honest” Simmons says. “We’re always very introspective and try to dig a little bit deeper than just the surface level thought that we have.”
One component that stands out in their songwriting in KILL THE GHOST is the introduction of characters that weren’t particularly in their minds when they were writing, but were identified in the songs later on in the process. “Once we had the collection of songs, we started to just be like, ‘Oh, well that’s a character that we have within ourselves, or within myself,’” Simmons says.
“Anyone is welcome here.”
These characters, who appear in the lyrics as well as the music videos, were pieced together by the band and found their own symbolic place in the meaning of the songs. The characters, including Mr. Cynical (faceless monster in “THE PRESSURE” music video), the ghost (glowing figure in the “KILL THE GHOST” music video), and The Reaper, represent the different versions everybody has of themselves. The Reaper, in particular, is a hardhitting character for Simmons, representing “the part of yourself that’s kind of hard to love and kind of hard to forgive,” he says.
With each character created from a space of self-reflection, Simmons says it felt meaningful to write about something so introspective in a time where people seem to have lost themselves a little bit. “I think everyone has some cynicism to them. I think everybody has the tendency to get in their own way of doing something great or pursuing the thing that they know they should be pursuing,” Simmons says. “We live in such a weird time where
we kind of forget that, just because we start to see how everyone else’s path is laying itself out. I mean, even like just coming into this release, we’ve all been struggling with comparison and hoping that the album is going to do really well. But I think through the process of this, really, we just love this. This is what we love, and this is what we’ve dedicated our lives to.”
Before creating KILL THE GHOST, little image made the decision to go to therapy together as a band, something that Simmons says they needed to do in order to maintain their relationship as best friends and bandmates. “Being in a band is like a really hard marriage cause you’re basically married to multiple different people that have different ideas and visions of what the band’s going to look like or where the direction we’re going to take things is and it’s really hard,” Simmons says.
Therapy has allowed them to open up to each other and have those conversations that they would otherwise avoid in order to not stir things up. “I think the experience has been very grounding for us, in the sense of like we can talk about things that used to feel off limits, just to kind of not rock the boat,” Simmons says. “We just have been growing more comfortable acknowledging issues and also being kind to each other and not letting things get to a point where you’re just being unkind to each other.”
With little image’s brand being built around being kind to people and fostering a welcoming, inclusive community, the band has made it a priority to maintain a healthy, peaceful space, starting with the three of them. “We just love to have a very welcoming community with arms open and anyone is welcome here,” Simmons says. “It’s kind of hard to do that when you can’t even welcome each other into your own space and your own conversations.”
Simmons recommends therapy to all bands, as it has been nothing short of a transformative experience for them. “Therapy is such a journey, especially when it’s group therapy like in a band,” Simmons says, “but it’s been a total game changer for us and I think it’ll keep us rocking for a long time.”
little image’s momentum seems to be unstoppable with the strengthening of their bond and prioritization of their passion. While on their artistic journey, the band will continue to keep their eye on that little bit of magic in everything they do because without it, the meaning and fulfillment of it all would be lost. Although finding that magic can pose a challenge at times, it is always worth it to keep searching.
“In what we’re doing, it gets really easy to get carried away with just the way the industry works and something making a difference or something not happening the way you want it to,” Simmons says. “I think ultimately, like all we ever want as artists is just to find that little magic that lives within what we do and chase that as far as we can.”
“Therapy is such a journey—especially when it’s group therapy like in a band— but it’s been a total game changer for us.”
coyote theory
discuss their new EP Talking 2 Strangers, new member Kyle Talbot, and how their debut album motivated them to keep going
Article: Christine Sloman
Photos: Hannah Elizabeth, Sara Cross
Within the past year, alt-indie trio Coyote Theory has evolved as a group—and as professional music-making Coyotes. They released their debut album, Still, after “This Side of Paradise” from their 2011 EP Color randomly went viral on TikTok. The track reeled in over 714M Spotify streams and even bumped Cardi B’s “WAP” out of the number one spot on the Billboard Top Viral Songs Chart.
“These four songs really represent the possibilities of future records by us Coyotes.”
Following the success of the track, Coyote Theory unleashed their debut album and received rave reviews from fans and critics. This praise confirmed that Coyote Theory’s resurgence wasn’t just a fluke, and it ensured that the world would be ready for whatever the trio did next. With that, they began to work on their current release, a four-track EP called Talking 2 Strangers.
Between the releases, the band also said goodbye to their lead vocalist Colby Carpinelli and inducted a new member into their pack, Kyle Talbot. Together, Kyle, Jayson Lynn (drums, percussion), and Grayson Hendren (bass, guitar) are now ready to boldly step into their new era. Melodic Magazine caught up with the band to discuss this era, touching on Talking 2 Strangers, how Kyle fits in, and how Still motivated them to get right into making more music.
How has Coyote Theory been since the release of Still last year?
We’ve been pretty busy! We went right from releasing the debut album to recalibrating on what would become this new EP, Talking 2 Strangers. Somewhere in between, we also got to collaborate with the amazing Arrows in Action [on a remix of “Taking Over the World”].
What’s the consensus been from the fans on Talking 2 Strangers ?
The consensus always feels like, ‘more music please.’ The music industry is in such an environment where music isn’t ruminated on, but instead, seen more as a topical affair. No judgement or critique in saying that, but it illustrates the importance we felt in not lingering on the last album, but instead, pushing right into new songs.
What kind of vibes does Kyle bring to the songwriting process? Also, side note, it would have been amazing if his name also ended in an ‘ayson.’ Kyle has actually offered to go by ‘Kayson,’ so you may be onto something here. *laughs*
Kyle is such a skilled songwriter, and it’s been such a great experience welcoming him into the Coyote process.
For Still, you all had to record separately because of coronavirus, how was the process different this time around?
It was different. We flew out to LA over the summer to record with Neil Wogensen for a week. The process felt much more traditional in that respect.
With Still, Jayson mentioned that some old songs were reworked to be on the album. Are all of the songs on Talking 2 Strangers new songs or have some been around for a while?
All of these songs are brand new. Not a single one was fully recorded before. We wanted to take ideas and fully flesh them out together this time.
Does each member have a different favorite song on it or do you all have love for the same song?
I’m not sure if we’ve actually talked about our individual favorites. We’re all really proud of all four of them, so I don’t think we could choose.
Did these songs all come from one place or did the inspiration come from various things?
The inspiration varied. The goal we set out with was to create a few songs that could act as tentpoles for how we wanted future releases to sound. These four songs really represent the possibilities of future records by us Coyotes.
What do you hope that your fans take away from Talking 2 Strangers ?
New favorite songs by this little niche group!
What does the rest of 2026 hold for Coyote Theory?
We’re figuring that out now, but a portion of the year will definitely be dedicated to compiling our next album.
Article: Christine Sloman
Photos: Lupe Bustos
enter their Green Era and head to Joy Next Door
Green can hold many meanings, but for The Maine, it represents their tenth studio album, Joy Next Door. After nearly twenty years together, the alt-rock band has tapped into a good place—a green place, if you will—and only find new ways to keep it going.
“The fact that I’m still able to do this with my buds is pretty wild,” says The Maine’s bass player Garrett Nickelsen. “It wasn’t a goal, ‘cause I didn’t think it was possible, but I guess at the same time it was.” Melodic Magazine caught up with him on an early Wednesday afternoon in March to chat about the new album and how far the band has come, during which Nickelsen said that despite the band’s twodecade tenure, he’s humbled by the fact that The Maine is still kicking it. “It was the only thing I ever wanted to do and try to do,” he says. “It’s incredible. I feel so lucky.”
So, what about Joy Next Door lends itself to the color green?
“The first song on the record is called ‘Green.’ Maybe that was just a subconscious thing that helped push it there, but there was something about grass and suburbs and trees and stuff that we were all picturing when we were making the record,” Nickelsen says. “So, there was this nature aspect to it that maybe also helped. It just felt right, it was an idea Pat [Kirch, The Maine drummer] had early on that was kind of like, ‘That just feels right.’”
Joy Next Door contains eleven tracks that elaborate on this green concept, but don’t be fooled—this is “not a concept album,” Nickelsen says. “When we first started writing, we put a single out called ‘Touch,’ and that was its own thing—we were definitely in that sweaty, New York, early 2000s thing—and we were like, ‘Oh, that’s probably going to be the feeling of the next record.’ But then John started writing some more and he was adding piano and acoustic, and then it was more fitting pieces together of the plot. It’s not a concept album, but there is a theme that is happening that each song has its part as to why it’s there.”
“We’re just so happy that people keep coming and want to be a part of this weird thing that we’ve done”
Storytelling has always been at the forefront for The Maine, with fans drawn to the cinematic, coming-of-age quality of their music and its unmistakable sincerity. “We’re pretty hard on ourselves when we’re actually in the studio [and] want to put something out that feels special for the moment and hopefully has legs and can carry on for a while,” Nickelsen says.
With an expansive past, it’s easy for any band in The Maine’s position to try to outdo themselves and up the ante with each project. There’s a fanbase to entertain, a label to please, and an inner desire to
make music that they can be proud of later on. “I guess the pressure comes from wanting to do good work and make something that matters to us, and hopefully people like it,” Nickelsen says.
To better preserve this sound and the storytelling on Joy Next Door, the band did something a little different for the recording process. Instead of recording the songs out of order, they recorded the songs in the very order in which they are presented on the album. “It was crazy. We talked a lot about arcs of records, and we were referencing a lot of movie arcs as blueprints,” he says.
“On Lovely Little Lonely, the whole thing was, ‘How do we make it connect? How does every song go into each other?’ This was more of, ‘How does a feeling get you through a record?’”
The Maine’s favorite indie films served as inspiration for their structures that “can go from this thing
“I hope it’s a record that… when you’re in that mood to go to that weird nostalgic happy-sad place, you would want to put that record on.”
“It feels like us—but there’s new elements that make it feel like a step forward in a new direction”
that happens early on that sets up the story, then do a big arc, kind of chills out, and then there’s a big climactic moment near the end.”
Joy Next Door follows this structure from start to finish. “The last song is what we call the ‘end credits’ kind of vibe,” he says. “Instead of this big, emotional thing that happens in the very last song, it happens before. So at the end, you can kind of sit in it and think about what life is about, why you feel these things.”
The story told on the album was introduced to fans in February, when The Maine released Joy Next Door ’s first single, “Die To Fall.” The track has a ravenous tension to it that builds and builds right up until the very end, when the energy finally slows down. Here, the band fully leans into the expansive and nostalgic tones heard throughout, as if setting us up to free-fall right there beside vocalist John O’Callaghan as he sings, “I’d die to fall with you.”
“It feels like us,” Nickelsen says of the track. “But there’s new elements that make it feel like a step forward in a new direction. The part at the end switches time signatures, and it felt like our version of how The Maine would do a breakdown.
It just feels really uplifting and cool, and it felt like something we hadn’t touched on before.”
“I hope [Joy Next Door is] a record that, when you’re in that mood to go to that weird nostalgic happy-sad place, you would want to put that record on”
As cool as “Die to Fall” sounds, there are a few other songs on the album that Nickelsen can’t wait for fans to check out. “I think my two favorites are ‘Joy Next Door’ and the last song, ‘And Then,’” he says.“The demos were just…they gave that feeling that you get in your gut of like, ‘Oh shit, this almost hurts, but it’s awesome!’ I’m really happy with both those songs.”
The Maine recently set out on the U.S. leg of their headline tour: I Love You...But I Chose The Maine, which will run until May with support from Nightly and Grayscale on all dates and Franklin Jonas,
Friday Pilots Club, Broadside, and Moody Joody on select dates. After that, the tour will head to the U.K. and Europe in September. This is the band’s biggest tour to date, and it’s one that has been a couple of years in the making. After performing at major festivals these past few years, such as Warped Tour, Boston Calling, and When We Were Young Festival, The Maine is ready to do their own thing, while also giving their fans a show that they could never expect.
“We’re kind of going ambitious a little bit,” says Nickelsen. “Normally, everyone sticks to their instrument, [but on this tour] Jared [Monaco, guitar] is going to piano for a little bit, Ken [Brock, guitar] has this whole crazy set up of a tape machine getting affected by this thing called ‘The Chaos Pad,’ I’m playing some synth stuff, Pat’s going to run over and play this little drum thing, and John’s playing acoustic… We’re still going to play stuff that people want to hear. There’s a lot going into it, I’m excited.”
Of course, fans of The Maine—from the OGs to the new wave—will feel represented on this tour. The relationship that The Maine has with their 8123 Family, as the fanbase is affectionately referred to, is something that will never break. From giving free meet-and-greets to surprising fans with advanced listens of Joy Next Door, The Maine have so much love and gratitude. In a way, the fans are the reason that the band is still out here. The fans are a key
part of The Maine’s longevity, but as much as the band wants to reciprocate the support, the universe has other plans.
“The shows have gotten bigger, there’s more people coming out, and you pinpoint a few [fans] you’ve talked to for fifteen years, but there’s some dude up in the corner that I’ve never had a conversation with but could be a bigger fan than someone else,” he says. “It’s just a really awesome thing to see new groups of people come along. Some of our fans have kids now, and it’s so crazy to see the whole thing happen. We’re just so happy that people keep coming and want to be a part of this weird thing that we’ve done.”
While The Maine is soaking up being the headlining act, turning down opportunities to play bigger shows in front of newer audiences with some of the band’s favorites sounds just as exciting, “If we could play a show with Wilco, I would die,” says Nickelsen. “We all like different stuff, but if someone was like, ‘What’s the band you guys love the most?’ it would be Wilco, for sure… we would be crying on side-stage.” If we have learned anything about The Maine at this point, anything can happen.
As for what Nickelsen hopes listeners take away from Joy Next Door, the answer is simple.
“I feel like everyone has a favorite road they like to drive down or walk down,” Nickelsen starts. “I hope [Joy Next Door is] a record that, when you’re in that mood to go to that weird nostalgic happysad place, you would want to put that record on.” For Nickelsen, Death Cab for Cutie’s Plans was that album, where in high school he would dream of a career in music. “There’s these feelings in those records that just hit a different way. I hope Joy Next Door gives them that unattainable feeling that you can’t put into words… Hopefully, it makes them want to feel something.”
reunites their spark and prove their story is far from over
Article: Audrey van Schagen
Photos: Jonathan Weber
Picture this: it’s 2005, The Academy Is… has just released their debut album Almost Here, making a splash in the emo and pop-punk scene while growing their own loyal fan base. Life is good.
After the release of Santi (2007) and Fast Times At Miracle High (2008), the band would ultimately call it splits in 2011, leaving their discography and the success of the band in the mid-2000s to go their own separate ways.
Between their inception in 2003 and 2026, The Academy Is… would go through a two-decade long journey of breaks and reunions, playing an occasional festival here and there, but never releasing a full project. Following their breakup, things remained quiet until their first reunion at Riot Fest (2015) for their 10-year anniversary celebration of Almost Here. Afterwards, the band stood idle once again. Since 2022, the group has played a slew of festival gigs and opening slots, which left fans uncertain which direction the band was heading in—or even if they had a future.
With an emo resurgence underway in recent years, the band celebrated the 20th anniversary of Almost Here last winter. This 14-date tour was a success, selling out several shows and exciting their audiences with a couple new tracks included on the setlist. The band had some tricks up their sleeve, and it wasn’t just more shows.
It wasn’t until this year that they would truly reunite their spark. The band’s newest album,
Almost There, produced by Snow Ellet, marked their first album released in 18 years— and for lead singer William Beckett, being on stage again for the first time in years with the band reignited the spark. “A lot of times, [reunion performances] can feel forced,” Beckett says on a video chat with Melodic Magazine in mid-March. “And if it did feel forced, I wouldn’t want to go ahead and make an album together.”
“I draw strength from our fans, I draw strength from this community.”
Getting a taste of the life that once consumed him for so many years reopened the door to a reunion and the possibility of creating new music together. Beckett, who described his time in the band as “fleeting memory that kind of follows you around,” says that his passion for music and the memories
“This isn’t an album for a scene. It’s not an album for a niche or a certain demographic.
This is an album for people.”
from his days with The Academy Is… never truly faded or went away.
Nearly 18 years in the making, the magic of Almost There’s creation process truly started when guitarist Mike Carden came to Beckett with a few ideas for new material which he says “opened up the floodgates” for his creativity.
“Everything just came pouring back from a songwriting standpoint,” Beckett says. Ideas were traded back and forth between the two and Carden flew to Chicago where they started making music together.
However, there were some mental blocks Beckett had to overcome while diving into this process
after all those years in between albums. “In many ways, for us and for me, it took me a minute to kind of unlock my confidence box again,” Beckett says. “When you step away from it, you’re just not sure. I’m always writing ideas and things like that, but as far as actualizing with Mike again, it had been so long.”
As Beckett and Carden got deeper into the collaboration process, it started to feel like it did when they wrote Almost Here back in the early aughts. “Everything just clicked and we were communicating on a level that allowed us to create something as special as Almost Here,” Beckett says. “So in that kind of headspace, it was just like ‘okay, now we can go in guns blazing.’”
“For us, this is a new chapter, but we’re not burning the book. We are continuing the book.”
Around the time Beckett and Carden wrote their third song together, they thought about the possibility of these songs going beyond the space they created them in. They both realized that the quality of the songs were too good to just keep to themselves. It all was coming together—the band sounded better than ever live and positive energy was brewing between each other. “[At that time] it just really all came together,” Beckett says.
“2005,” Almost There’s leading single released in January, was one of the early results that Beckett and Carden put their faith in.“From there, I think that was kind of the catalyst for the whole rest of the writing process, kind of the springboard for us creatively,” Beckett says.
Beckett says the decision to release “2005” as their lead single was partly because of what it’s saying thematically. For them, it felt like “paying homage to [our] history and paying respect to the journey, while also being focused on the now,” Beckett says. “For the first song we shared with everyone, it made a lot of sense for ‘2005’ to take that spot, just as a reintroduction to the band because there are some more experimental landscapes that we take on this record that I think are extraordinarily exciting. I think it’s going to challenge some listeners in a really good way.”
The intention behind releasing their next single, “Miracle,” in February was rooted in the desire to follow up “2005” with a high energy song. The track stays true to their original sonic exploration on Almost Here, with it being a more “in your face and straightforward” single. However, their third single, “L Train,” released in March, is almost a total vibe shift. “‘L Train’ probably seems like the biggest departure for us,” Beckett says. “I’ve seen a lot of chatter out there on this song, but for some it’s pretty surprising because it doesn’t sound like a lot of our previous work, but I mean, it’s very clearly us.”
This album is indicative of the band’s growth, something that’s been important to Beckett for as long as they’ve created albums. “For me, I think [this album] is an absolute growth.” Beckett goes on, “I don’t know if I would consider it breaking any crazy barriers, but for The Academy Is…, yeah it does. It actually does break a lot of barriers for us and that glass ceiling that I think a lot of bands put on themselves.”
“We always really prided ourselves as a band that did have diversity and growth within our albums,” says Beckett. “If any readers are fans of the band, [they] know that our second record, Santi, is much different from our first record Almost Here, and Fast Times [At Miracle
High] was another departure. Like a truck stop, if you will, not so much like an absolute departure.”
Change seems to be an inevitable part of life the band has experienced amongst their time together and a part. “Then time passed. A lot of time. I think so much has changed. Being a human being in 2026 is so different than it was in 2007,” Beckett says. However, some things do stay the same, no matter the amount of time passed. “Not everything does change and in those moments, that’s where the album lives and I’m just really excited for people to hear the growth of the band and to enjoy how this record sounds.”
The Academy Is… wanted Almost There to be a companion piece to Almost Here, which Beckett describes as a “sequel that comes out 20 years later but doesn’t suck.” Finding a balance between celebrating Almost Here and the release of Almost
There, while giving it its own distinct charm, was a key factor in how they approached this new era. “For us, it was important for us to focus on both [albums] at the same time and to steer that ship,” Beckett says. “I think that was a surprise to a lot of people, that it wasn’t just a nostalgia play. It wasn’t just coming back to kind of phone it in to celebrate this thing or we have some sort of cash grab. For us, this is a new chapter, but we’re not burning the book. We are continuing the book.”
To celebrate this monumental companion of an album, The Academy Is… will be heading out on a second leg of their Almost Here 20th Anniversary tour in April. Following their own tour, the band is scheduled to play at Summerfest in Milwaukee, as well as this year’s Vans Warped Tour in Washington D.C. and Long Beach. “One of the biggest things that I’m excited about for the second leg is that now we can sprinkle in some more new
material on that tour while still celebrating Almost Here,” Beckett says.
But of course, on top of new material, Beckett says the diversity of their crowds during their first leg of the tour was unbelievable to him, seeing new and old fans: OG The Academy Is... fans at the barricade and a younger crowd full of people who weren’t even born when their debut album came out mixed in. “There’s a really incredible mix of people, which I’m just thrilled about,” Beckett says. “I think that this album is going to support that even further because this isn’t an album for a scene. It’s not an album for a niche or a certain demographic. This is an album for people.”
“I draw strength from our fans, I draw strength from this community,” Beckett says. “It helps fuel me to feel like I made the right decision to go after this again.”
of sum 41 and Walking Disaster
Both in and out of music, the throughline of Deryck Whibley’s artistry is resilience. Best known as the frontman of pop-punk outfit Sum 41, Whibley has become an alternative music icon, spending nearly the last three decades shaping and defining both a culture and a sound. After founding Sum 41 in 1996, Whibley served as the band’s vocalist, rhythm guitarist, and only constant member before the group officially retired last year. However, Whibley has not let up on the gas following the band’s conclusion.
In 2024, Whibley released his autobiography, Walking Disaster: My Life Through Heaven and Hell, which chronicled his life through fame, personal struggle, and triumph. Last year, he also debuted his next artistic endeavor: a streetwear clothing line aptly named Walking Disaster. Initially starting as a mere passion project, the company soon grew into something a lot more profound through its message of confidence and growth.
As both a musician and a business owner, Whibley conveys the ultimate message of healing and perseverance—all while refusing to dull your uniqueness. Whether it’s through timeless hits like “Fat Lip” and “Still Waiting,” or perhaps by offering your next favorite piece in your wardrobe, Whibley has become synonymous with a raw and gritty sense of honesty.
The Business Business Beats feat. Deryck Whibley
While Walking Disaster didn’t make its debut until 2025, selling out its first drop at Vans Warped Tour, the clothing line was a long time in the making. However, due to obligations with Sum 41, Whibley was never able to make his vision come to life.
“I had this idea to start Walking Disaster as a clothing company back in 2008,” Whibley says. “I actually incorporated the name, started the company, but because I’m so committed to what I do—I was 100% focused on Sum 41 and didn’t have the bandwidth or the time to put the effort in to do a great clothing line. Once Sum 41 was over, I decided now’s the time. I want to do something, it’s still creative, it’s really fun, it’s not the same as writing music, but I still get to be very creative, and all these ideas that are floating around in my head, I get to put them into clothing instead of music.”
Balancing an homage to DIY culture with quality craftsmanship, Walking Disaster embodies rebellious self-expression. With the mantra of “own your chaos,” the brand doesn’t just sell clothing—it provides symbols of identity and strength.
The BEATS
As the band leader of the punk rock group Sum 41, Whibley played a crucial role in establishing the band as one of the most prolific Canadian rock outfits. Defining the unforgettable essence of early 2000’s pop-punk, albums like All Killer, No Filler (2001) and Chuck (2004) cemented Sum 41 as one of the genre’s most sensational acts.
Rising from the mid-1990s alt-rock circuit, Sum 41 rose to prominence in the Canadian rock scene, recording new material, playing live shows, and eventually signing with Island Records before releasing their debut LP All Killer, No Filler in 2001. The band’s signature musicality, one fueled by punk, metal, and alternative influences, established them as prominent rising stars, and soon they
faced massive stardom with the release of their platinum-certified third album, Chuck, in 2004.
In the years that followed, lineup changes and health problems among band members led to some turbulence for the group, but their perseverance never wavered. Throughout their entire tenure, Sum 41 were known for their relentless touring schedule, and ended their career with a total of eight studio albums under their belt.
While the group disbanded in 2025, their legacy and influence in the punk rock world is everlasting. Known for their deeply intimate songwriting and insanely catchy pop-punk hooks, Sum 41’s impact and Whibley’s unforgettable artistry will continue to last.
UPCOMING TOURS
THE BROOK & THE BLUFF
Cassandra Coleman, Ethan Tasch
In support of their latest album, Werewolf, Alabama-founded rock band The Brook & The Bluff set out on their North American tour on March 20. Cassandra Coleman and Ethan Tasch will join the tour for select dates, bringing their highenergy rock sound along with them.
03/20 - 05/3
HAYLEY WILLIAMS
Water From Your Eyes, Snuggle
At long last, Hayley Williams is back on the road for her highly anticipated Hayley Williams at a Bachelorette Party Tour, benefiting the Ally Coalition. The tour, which sold out almost immediately, kicked off in Atlanta, GA with support from Water From Your Eyes before taking the show nationwide.
03/28 - 05/15
MARCH
03/24 - 05/02
THE MAINE
Nightly, Grayscale, Franklin Jonas, Friday Pilots Club, Broadside, Moody Joody
Forget FOMO
These upcoming tours are the ones you need to clear your calendar for.
With their album Joy Next Door on the way, The Maine has kicked off their I LOVE YOU BUT... I CHOSE THE MAINE TOUR on March 24. Nightly and Grayscale will join the entire tour, while Franklin Jonas, Friday Pilots Club, Broadside, and Moody Joody will join select dates.
3/27 - 9/17
BAILEY ZIMMERMAN
Hudson Westbrook, Blake Whiten
Bailey Zimmerman kicked off the Different Night, Same Rodeo tour on Feb. 4 in Phoenix, AZ and is continuing across the United States with Hudson Westbrook and Blake Whiten supporting through the end of June. The tour is in support of his album of the same title, which was released in August 2025.
THE NEIGHBOURHOOD
Neggy Gemmy, noise dept., Night Tapes
The return of The Neighbourhood has finally arrived with their Wourld Tour with support from Neggy Gemmy, noise dept., Night Tapes. Following the release of their highly acclaimed album (((((ultraSOUND)))))+, the tour kicked off on March 28 in Austin, TX at the Moody Center before it make stops across the globe.
3/28 - 4/14
04/08 - 05/20
FLORENCE + THE MACHINE
Rachel Chinouriri, Sofia Isella, CMAT, and Mannequin Pussy
Florence + The Machine will no doubt have Everybody Scream-ing on the North America leg of her Everybody Scream Tour. The tour will kick off on April 8 in Minneapolis, MN, with Rachel Chinouriri supporting. Sofia Isella, CMAT, and Mannequin Pussy will join on select dates.
BRUNO MARS
Anderson .Paak as DJ Pee .Wee, Leon Thomas, RAYE, Victoria Monet
Bruno Mars will take to the stage in April for two shows in Las Vegas, NV before continuing his tour across North America, the UK, and Europe. Supporting acts include Anderson .Paak as DJ Pee .Wee, Leon Thomas, RAYE, and Victoria Monét on select dates.
04/10 - 10/14
APRIL
ETHEL CAIN
9Million
Returning for the second leg of her Willoughby Tucker Forever Tour, Ethel Cain is slated to perform during the opening weekend of the Coachella Music Festival to kick off this run. 9Million will also return as support, setting the stage for fans to likely say goodbye to this era.
DEMI LOVATO
Adéla
After more than four years, Demi Lovato is returning to the stage for her It’s Not That Deep Tour. She will be joined by Slovak singersongwriter Adéla as support when the tour kicks off on April 13 in Orlando, FL at the Kia Center.
04/13 - 05/25
BILMURI
The Home Team, GANG!
Bilmuri will celebrate the release of his album Kinda Hard by kicking off his tour on April 17 in Denver, CO at the Fillmore. The metalcore star will be joined by The Home Team and GANG! as support throughout the tour and across the United States.
