Can work and pleasure coexist? ‘Oh, Baby!’ traces the tension between two artists whose relationship is strained in a creative partnership, seeing cracks emerge when love and professionalism collide. Shorehaven shares the explosive single, complete with a vibrant music video, on Thursday, February 19.
Shorehaven are a Boorloo/Perth-based female-fronted indie pop-punk band, fusing the warmth of Australian indie rock with the punch and nostalgia of early 2000s pop punk. With a sound that captures youthful nostalgia while remaining modern and exciting, they’ve shared stages with Teenage Joans (Creamfest), Sly Withers (Leavers), Rum Jungle, Pacific Avenue (Pollen Fest), Dear Sunday, Drax Project, and more, earning a reputation for high-energy, fun live shows.
A song born out of a frustrating rehearsal, ‘Oh, Baby!’ marks a subtle shift in Shorehaven’s sonic direction. Produced by Matthew Templeman, it moves away from their earlier indie-rock leanings and embraces a more direct pop-punk palette, built on thick and juicy guitar tones, a tight rhythm section, and wry, tongue-in-cheek lyricism. The result is an upbeat, anthemic offering that feels immediate and assured, without losing the band’s melodic core. Hannah Gill (vocalist) explains:
“We really focused on not taking ourselves too seriously with this song, really leaning into the cliches [of pop rock and emo] and allowing the vision to develop with Matt’s guidance”. The release is accompanied by a colourful music video filmed over three consecutive days, featuring a lively cast of extras. Scenes move between a backyard wedding and a punk-rock performance, with a visual nod to Queen’s ‘I Want to Break Free’. The band describes the shoot as one of the most memorable experiences to date.
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Following years of writing, teaching, and performing music rooted in connection and self-reflection, London, Ontario–based singer-songwriter and multi-instrumentalist Marty Kolls shares "Drive," a hypnotic, consistent pop single that captures the quiet momentum of moving forward through uncertainty. Optimistic yet grounded, the track reflects on awareness, contemplation, and the importance of continuing on even when the road ahead isn’t fully visible.
Inspired by both time spent behind the wheel and her work as a songwriting instructor, "Drive" grew out of a lesson Marty taught her students. Beginning with a steady, driving rhythm, the song came together as she paired it with lyrics written during another class exercise. "I started with the driving rhythm, and it fit well with lyrics I had already written," she explains. "I put myself to the test of writing all of the assignments along with my students. It was a great source of inspiration to be presenting for them at the same time as they presented to me."
What sets "Drive" apart is its rhythmic foundation, where the piano line mirrors the physical sensation of a car in motion. The consistency of the arrangement reinforces the song's message, allowing space for reflection without ever losing forward momentum. "The rhythm of the piano feels like the movement of the car as it’s driving," Marty shares.
As the song unfolds, its final section becomes an invitation rather than a conclusion. Designed as a call-back moment, the outro encourages listeners to sing along, blurring the line between performer and audience. "I want the audience to sing along to the chorus so I can sing the extra lines over top," she says. "I want them to feel like they are a part of the song."
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| Photo - Selwynn Figg |
The Deslondes return with Don’t Let It Die Vol. 1 May 22, 2026 via New West Records. The 12-track set was recorded on analog tape and features renditions of songs by Swamp Dogg, Shelby Lynne, Johnny Cash, Clifton Chenier, and more. It was produced by the band’s John James Tourville and Ajaï Combelic (Sabine McCalla) at the band’s studio in New Orleans and follows their 2024 studio album Roll It Out which was met with wide critical acclaim.
The Deslondes didn’t want to simply exalt their heroes and catalog their influences while recording the new covers album. They wanted to also give their friends a boost as well. The poignant and powerful collection includes new interpretations of old songs by artists who’ve guided the band for years, alongside new songs by peers, tourmates, and collaborators including Nick Woods, Pat Reedy, and the Kernel. “We have so many friends who are songwriters, and we just love their music so much,” says Tourville. “Riley (Downing) and Dan (Cutler) are always kicking around awesome, inspiring old songs for us to do, but for this album we really wanted to play some friend's songs, too.” Downing says “These songs are very much a close part of our lives. They’re all part of our circle, this big organism that keeps influencing itself.”
“‘Lawdy Mama’ is a song by Edgar Blanchard who played lead guitar in bands all over New Orleans while leading his own band Gondoliers immediately after serving in World War II. He recorded it with a few of the members in 57/58 and it would be his only single recorded on the Chess record label and remain unreleased for over 20 years. I found it on a New Orleans R&B compilation of Chess singles I had picked up somewhere and it was waiting patiently to explode as the very last track with the most ripping one-note guitar solos I have ever heard. Back when the band used to tour without GPS or cell phones, I put it on a mix CD and it stayed in one of our many, many binders of CDs for years and that is how it became a Deslondes family favorite.”
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Piner - Odelia.
Canadian artist Piner announces the release of her new single, “Odelia,” a powerful pop/rock track rooted in folk storytelling that confronts gender inequality, inherited expectations, and the radical act of self-trust.
“Odelia” was inspired by Piner’s reflections on the rollback of gender equality, particularly in light of recent policies emerging from the United States. Rather than giving power to the person who causes “Odelia” harm, Piner turns inward, crafting a narrative that emphasizes self-worth and empowerment.
“This song doesn’t give power to the person who wronged Odelia,” says Piner. “It’s about putting that energy back into yourself, choosing to believe in your own value, and ultimately allowing yourself to walk away.”
Musically, “Odelia” blends folk-rooted lyricism with pop and rock sensibilities, “folk at the roots, rock and pop at the branches.” While the song contains moments of rage, hurt, and vengeance, particularly in its bridge, it ultimately prioritizes reflection over fear, offering clarity instead of collapse.
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