Blood Quantum, directed by Jeff Barnaby, is a standout Indigenous horror film that combines gore with social commentary. It addresses themes of identity and resilience amidst a zombie outbreak. Let’s dive into this Canadian Zombie Flick. Blood Quantum emerges as a seminal entry in the horror genre, offering an exploration of Indigenous identity and resilience amidst a zombie apocalypse. Directed by the late Jeff Barnaby, the film presents a visceral and politically charged narrative that deftly intertwines gore, symbolism, and social commentary. Set against the backdrop of a small First Nations reserve in Canada,Blood Quantum challenges traditional genre tropes while shedding light on the enduring impact of colonialism on Indigenous communities. Jeff Barnaby was a Mi’kmaq filmmaker whose untimely passing left a void in the world of cinema. He crafted a filmography that defied expectations and boldly addressed societal issues. With works like Rhymes for Young Ghouls and The Colony, Barnaby established himself as a trailblazer in Indigenous filmmaking, pushing boundaries and sparking conversations with his distinctive storytelling style. Blood Quantum, his final cinematic offering, is a testament to his visionary approach and enduring legacy. Blood Quantum captivates audiences with its striking visual imagery and immersive cinematography. The film’s raw visual style effectively captures the desolation of the post-apocalyptic setting while also showcasing the rich cultural heritage of the First Nations people. The practical effects, including realistic zombie makeup and impactful gore effects, intensify the outbreak, immersing viewers in a world filled with horror and hopelessness. The performances in Blood Quantum are equally impressive, with the cast delivering nuanced portrayals that breathe life into their characters. Michael Greyeyes, Elle-Máijá Tailfeathers, and Forrest Goodluck shine in their respective roles, bringing depth and authenticity to the film’s diverse ensemble. Their emotional performances anchor the narrative, adding complexity to the story’s identity, community, and survival exploration. The film’s graphic content may unsettle some viewers, but its technical merits are undeniable. Blood Quantum distinguishes itself from traditional horror with meticulously crafted set designs and seamless practical and visual effects integration. Director Jeff Barnaby demonstrates a keen eye for detail, infusing each frame with symbolism and subtext. Despite its focus on zombies, Blood Quantum has transcended the confines of the horror genre, earning recognition and acclaim at awards ceremonies. The film won multiple categories at the Canadian Screen Awards, including Best Actor for Michael Greyeyes. The film won more accolades for Best Art Direction/Production Design, Best Costume Design, Best Editing, Best Makeup, Best Visual Effects, and Best Stunt Coordination. Jeff Barnaby’s nomination for Best Original Screenplay further underscores the film’s impact and the director’s storytelling skill. The Prix Iris Awards also honoured Blood Quantum with nominations for Best Art Direction, Best Costume Design, Best Hair, and Best Visual Effects. Notably, the film clinched the award for Best Makeup, highlighting the exceptional talent and craftsmanship of the creative team behind the film’s undead horrors. Additionally, Blood Quantum made its mark at the Vancouver International Film Festival, earning recognition as the Runner-up for Best Canadian Film. Blood Quantum transcends its genre trappings to offer a poignant commentary on identity, sovereignty, and historical trauma. Through allegorical storytelling and rich symbolism, the film confronts viewers with colonialism’s enduring impact on Indigenous communities. It uses the zombie apocalypse as a metaphor for the horrors of displacement and cultural erasure. By placing Indigenous perspectives at the forefront of the narrative, Blood Quantum challenges traditional genre tropes. Thus, the film offers a fresh and compelling take on the zombie genre. The title carries weighty historical and contemporary significance, reflecting the complex dynamics of Indigenous identity and tribal citizenship. Stemming from federal government policies aimed at controlling and limiting tribal citizenship, the concept of blood quantum has sparked contentious debates that persist today. Blood Quantum confronts these issues head-on. The film offers a chilling exploration of the themes surrounding the film and its implications for Indigenous communities. Moreover, this horror film is rich with symbolism that reflects Indigenous culture and history. Throughout the film, elements such as braids, languages, cultural styles, teachings, and music are woven into the narrative. These elements serve as powerful reminders of the resilience and heritage of Indigenous peoples. By exploring these themes, Blood Quantum offers a poignant commentary on the ongoing struggles faced by Indigenous communities and the resilience required to confront them. In conclusion, this film is a landmark achievement in horror cinema. It offers more than just scares with its robust social commentary and compelling characters. The late Jeff Barnaby’s film “Blood Quantum” transcends its genre to deliver a thought-provoking exploration of Indigenous identity and resilience during a zombie apocalypse. With its blend of gore, symbolism, and social commentary, the movie is essential viewing for fans of the genre and those interested in thought-provoking cinema. The audiences grapple with the legacy of colonialism and the ongoing struggles Indigenous communities face. “Blood Quantum” serves as a timely reminder of the enduring power of storytelling to provoke reflection and inspire change.

Ska metal, a vibrant fusion of ska and metal, is an exhilarating genre that deserves more attention. While it may not dominate the mainstream music scene, its unique sound captivates those who discover it. This genre combines the upbeat, horn-driven rhythms of ska from the early '90s with the raw energy and aggression of metal. It often overlaps with ska-punk or funk-metal, creating a rich tapestry of sound that is both infectious and powerful. The Essence of Ska Metal Ska metal is a celebration of musical diversity. It invites listeners to experience the joy of ska while embracing the intensity of metal. The horns, the fast-paced rhythms, and the heavy guitar riffs all come together to create a sound that is truly special. This genre is not just about music; it's about an experience that resonates with the heart and soul. A Brief History of Ska Metal The roots of ska can be traced back to Jamaica in the late 1950s. It evolved into various sub-genres, including ska-punk and ska-core, which laid the groundwork for ska metal. In the early '90s, bands began to experiment with blending the upbeat sounds of ska with the heavier elements of metal. This innovative approach gave birth to a genre that is both unique and exhilarating. Ska Metal Playlist Suggestions Here’s a curated starter playlist showcasing the variety of ska metal and ska-core fusion. "The Boy Who Destroyed The World" by AFI "Punk Rock Girl" by The Dead Milkmen "Perfect World" by Guttermouth "Shoot the Moon" by Voodoo Glow Skulls "Would You Be Impressed" by Streetlight Manifesto "All My Best Friends Are Metalheads" by Less Than Jake "Kiss Me Thru The Phone" by Skatune Network, and Boy Jr. "Point/Counterpoint" by Streetlight Manifesto "Insubordination" by Voodoo Glow Skulls Happy Listening!! This playlist captures ska’s upbeat DNA while pushing into heavier, more chaotic territory. Perfect for parties, workouts, or turning your commute into a ska-pit. Ska metal is loud, weird, and joyful. It's exactly what we need in an era where genre lines are blurring. You might find yourself grinning through a breakdown, trumpet in one hand and devil horns raised with the other. The Impact of Ska Metal on Music Culture The emergence of ska metal has influenced various artists and genres. It has encouraged musicians to experiment and blend different styles, creating a more inclusive musical landscape. This genre embodies the spirit of creativity and the joy of musical exploration. Why You Should Embrace Ska Metal If you haven't yet explored ska metal, now is the perfect time. This genre offers a refreshing escape from the ordinary. It invites listeners to dance, sing, and celebrate life through music. Ska metal is more than just a sound; it’s a feeling, a movement, and a community. In conclusion, ska metal is a vibrant and energetic genre that deserves a place in the hearts of music lovers everywhere. Its unique blend of sounds and styles creates an experience that is both exhilarating and joyful. So, turn up the volume, let the horns blast, and immerse yourself in the world of ska metal.

Spring is a season of renewal, growth, and fresh energy. It marks a significant transition from the cold, harsh winter months to a period of warmth and vibrancy. As nature awakens from its slumber, we witness the blossoming of flowers, the budding of trees, and the return of lively wildlife. All of these elements contribute to an atmosphere of rejuvenation and hope. What better way to celebrate this uplifting time than with music that captures the spirit of spring? From gentle melodies that mimic the soft rustling of leaves in the breeze to upbeat rhythms that echo the lively chatter of birds returning to their nests, the sounds of spring can inspire and uplift us. Music has a unique ability to reflect the beauty of nature and the joy of new beginnings. Spring-inspired Cover Songs SongSuggestions Playlist Here are some spring and fresh cover songs that can add a refreshing vibe to your playlist and brighten your days. Enjoy the following Spring-Inspired Cover Songs. "You'll Be In My Heart" by Niki, Originally by Phil Collins "Iris" by Chloe Adams, Originally by The Goo Goo Dolls "Time After Time" by Iron & Wine, Originally by Cyndi Lauper "Hallelujah" by Shawn Mendes, Originally by Leonard Cohen "What a Wonderful World" by Sofi Tukker, Originally by Louis Armstrong "Crush" by Meiko, Originally by Jennifer Paige "Dancing Queen" by Elliot, Originally by Abba "Nothing's Gonna Hurt You Baby" by Donna Missal, Originally by Cigarettes After Sex "Take on Me" by Lia Rose, Originally by A-ha "Love You Like a Love Song" by Cats on Trees, Originally by Selena Gomez & The Scene "Seven Nation Army" by Scott Bradlee's Postmodern Jukebox and Haley Reinhart, Originally by The White Stripes Happy SpringInspiredCoverSongs Listening!

Spring cleaning can feel like a chore, but the right music can transform it into a refreshing and enjoyable experience. As National Cleaning Week approaches on Sunday, March 22nd, why not shake up your usual playlist? This week, from March 22 to 28, 2026, is dedicated to cleaning. National Cleaning Week, taking place during the fourth week of March (March 22–28, 2026), coincides with International Cleaning Week. This annual event celebrates the importance of cleanliness. It honors frontline cleaning professionals and encourages spring cleaning. Organized by ISSA, the global cleaning industry association, the event promotes health, safety, and hygiene in homes, offices, and public spaces. The Power of Music in Cleaning A good deep clean needs a really good playlist. Instead of the same popular hits, consider a collection of lesser-known cover songs. These tracks can bring fresh energy and unexpected twists to familiar tunes. Underrated covers offer unique sounds and moods that can keep you motivated while you tidy up your home. National Cleaning Week Playlist Here’s a carefully curated list of 10 covers that deserve a spot on your National Cleaning Week Playlist. Each track offers something different, from soulful renditions to indie interpretations, perfect for keeping your energy up without overwhelming your focus. "Girls Just Wanna Have Some Fun" by Chromatics, originally by Cyndi Lauper. "Livin' on a Prayer" by Deep Delic and Raphael Siquerira, originally by Bon Jovi "Another One Bites the Dust" by Paul Jockey and Dannie Mercury, originally by Queen "Set Fire to the Rain" (remix) by GAETANO, originally by Adele "Titanium" by Jodok Cello, originally by David Guetta "Don't Stop Me Now" by McFly, originally by Queen "When Doves Cry" by The Be Meg Birch, originally by Prince "Sweet Caroline" by Tufts Beelzebubs, originally by Neil Diamond "Dancing Queen" by Rio Branco, originally by ABBA "Dancing on My Own" by Arkells, originally by Calum Scott These underrated covers offer a mix of moods and styles that can keep your National Cleaning Week Playlist fresh and exciting. By choosing songs that are familiar yet reimagined, you can enjoy the comfort of known melodies with the thrill of new sounds. This approach helps maintain your energy and focus, making spring cleaning less of a task and more of an experience. Embracing the Joy of Cleaning Try adding these tracks to your playlist and notice how they change the rhythm of your cleaning routine. Music can transform even the most mundane tasks into moments of enjoyment. The right playlist can elevate your spirits and make the act of cleaning feel like a celebration rather than a chore. Celebrate National Cleaning Week with a Playlist That Surprises and Motivates You As you embark on your spring cleaning journey, let these songs inspire you. Embrace the joy of cleaning and the refreshing feeling that comes with a tidy space. With the right music, you can turn a routine task into a delightful experience, making your home a brighter and more inviting place.

Bringing you relatable feelings and anxiety is Royal and the Serpent. Switching styles is reviewing the song “Overwhelmed”. Introducing The Overwhelming Topic To get started here is the original song by royal and the serpent. If you haven’t watched the music video, you certainly should! This is such a wonderful song. It’s not just that this song is popular on Tik Tok. And it’s not about its eleven million views on YouTube. It’s not just that the music video was artistically shot on Kodiak’s 16 mm film. All of those are damn impressive elements but the aspect that stood out to me is the feeling of the song. Don’t mind me getting personal with my readers. With someone with anxiety, ADHD and depression, the highs, and lows of the song itself are very reminiscent of when all the mental illnesses combined. There’s a lot of high energy and repetition, and then it’s quiet for a little bit. This is what goes on inside my head. Royal and the serpent nail it. “All I wanted really to do with ‘“Overwhelmed” ’ was to give it to people to hopefully make them feel better,” Says Royal In An Interview With Marni Zipper Of Audacy. What Do I Do If I Relate To “Overwhelmed” By Royal and The Serpent”? The first step would be to take a deep breath. Talk to someone you trust. Ideally, this would be a doctor but sometimes that’s not very possible with timing, schedules, finances, jobs, and school. Some of the things that are making you anxious, upset, or even plain unsettled. In the short, it’s valid to relate to music. Heck, it’s encouraged. With mental illness, it helps to talk about it and to relate to others that know how you’re feeling. Because you’re not alone. Not in the slightest. What Even Is Mental Health? Mental health is someone’s emotional, mental, and sometimes spiritual wellbeing. It’s important for a list of varied reasons; better coping strategies, improved relationships, a feeling of purpose and potential, increased productivity, and better physical health. Did you know that mental disorders and mental illness can raise your risk for physical health concerns including ulcers, migraines stroke, type 2 diabetes, and heart disease? What Do I Do If I Think I Have Anxiety Like in The Song? If you think that you have concerns about mental health, a call to your doctor is a great first step. If you find yourself struggling with mental health, there’s never a right time to get help. Don’t wait for the right time. Reach out for help when you need it. There’s also no right way to get help. Talk to your friends and family. Get a therapy appointment. Discuss your feelings with your doctor. Download CBT workbooks. Try mindfulness meditation. There are so many different options that work better for different people. Find what works for you to be the best version of yourself. Cover Songs to Bring You a Smile Here’s what the readers are here for, to be encouraged and given some amazing music. Now the question is, can other artists make the same impact with the song? There’s an almost overwhelming amount of amazing cover artists out there. (Pun intended, I’m not sorry). Here are some covers of the song “Overwhelmed.” “Overwhelmed” Covered By Emma Hamel “Overwhelmed” ” Covered By Living in Fiction “Overwhelmed” Covered By【 Slow Tea 】 “Overwhelmed” Covered by Zizoucorn Ft Robert Grace and Luxcity “Overwhelmed” Covered By Rubychan’s Nightcore Let us know in the comments below which ones of these hit the mark! Don’t forget! You’ve got this.

Research from the Canadian Mental Health Association (CMHA) shows that in any given year, 1 in 5 people in Canada are living with a mental illness. That means in a retail team of 10 people, chances are 2 of them are struggling. In a friend group of 15 people, 3 of your friends are struggling with a mental illness. You may be one of those 5 people, and that's okay. It means you aren't alone, and that there are resources to help you. Music often serves as a powerful tool to soothe the mind and lift the spirit. Many people turn to their favourite songs or melodies to cope with stress, anxiety, or sadness. Yet, there are times when music alone cannot address deeper mental health challenges. Recognizing when to seek additional support is crucial for well-being. When to Reach Out Music can provide comfort, but it is not a substitute for community, peer, or professional help when mental health struggles become overwhelming. You should consider reaching out if you notice any of the following signs: Persistent feelings of sadness, hopelessness, or emptiness lasting more than 2 weeks Difficulty performing daily tasks or maintaining relationships Thoughts of self-harm or suicide Increased anxiety or panic attacks interfering with daily life Withdrawal from social activities or loved ones Sudden changes in sleep patterns or appetite Substance use to cope with emotions These signs indicate that music and self-care strategies may not be enough. Seeking support from trained professionals can provide the tools and guidance needed to manage these challenges effectively. Canadian Resources for Mental Health Support Canada offers a range of mental health services tailored to different needs, from crisis intervention to ongoing support. Here are some trusted resources available to Canadians: 9-8-8 Suicide Crisis Helpline - (https://988.ca/) The 9-8-8 Suicide Crisis Helpline provides immediate, free, and confidential support to anyone in Canada experiencing suicidal thoughts or emotional distress. It is available 24/7 and staffed by trained responders who offer compassionate, trauma-informed, and culturally appropriate care. Call or text: 9-8-8 (available 24/7) Talk Suicide Canada (talksuicide.ca) Talk Suicide Canada is a national network of crisis centres focused on suicide prevention. It connects individuals with trained responders who listen without judgment and provide support, guidance, and referrals to local services. Call 1-833-456-4566 (available 24/7) or Text 45645 (4 p.m. to midnight ET). Kids Help Phone - (kidshelpphone.ca) Kids Help Phone offers 24/7 mental health support for children, youth, and young adults across Canada, including 2SLGBTQIA+ youth. Support is confidential and available for any issue. Call 1-800-668-6868 or Text CONNECT to 686868; or live chat availabel 24/7 211 Canada - (211.ca) 211 is a nationwide directory connecting Canadians to local government, health, and community-based services, including mental health supports and social services. Call: 2-1-1 Hope for Wellness Help Line - (hopeforwellness.ca) The Hope for Wellness Help Line provides culturally appropriate mental health support for First Nations, Inuit, and Métis peoples across Canada. Call: 1-855-242-3310 (24/7): Online chat available National Indian Residential School Crisis Line This crisis line supports former residential school students and their families with trauma-informed care. Call: 1-866-925-4419 (24/7) Missing and Murdered Indigenous Women and Girls Crisis Line Provides crisis support to individuals impacted by violence against Indigenous women, girls, and 2SLGBTQQIA+ people. Call: 1-844-413-6649 (24/7) Crisis vs Ongoing Support Understanding the difference between crisis support and ongoing mental health care is important when seeking help. Crisis Support is immediate assistance for urgent situations where safety is at risk. Services like Talk Suicide Canada provide a rapid response to prevent harm and stabilize the situation. Ongoing support involves regular care to address mental health conditions over time. This can include therapy, counselling, medication management, and peer support groups. Both types of support are essential. Crisis services ensure safety during critical moments, while ongoing care helps maintain mental health and prevent future crises. Taking the Next Step If music no longer feels like enough, reaching out for help can open the door to recovery and resilience. Start by recognizing your needs and exploring the resources available in your community. Whether you contact a crisis line or sign up for ongoing counselling, taking action is the most important step. Mental health challenges affect many people, and support is available. You do not have to face these struggles alone. Using trusted Canadian resources can provide the guidance and care needed to move forward. Further Digital Mental Health Supports and Resources Guide to Dealing With Disabilities in Canada This resource offers practical guidance for Canadians navigating life with a mental or physical disability, including information on workplace rights, benefits, legal protections, and support systems available across the country. National Association of Friendship Centres The National Association of Friendship Centres supports Indigenous people living in urban areas through community-based programs and services. Its work focuses on culturally relevant support and connection. Native Youth Sexual Health Network The Native Youth Sexual Health Network is a youth-led organization focused on Indigenous health, rights, and justice across Canada and the U.S. It works on culturally safe sexuality, reproductive health, and community advocacy. Multicultural Mental Health Resource Centre The Multicultural Mental Health Resource Centre provides culturally appropriate mental health information for newcomers and diverse communities in Canada. It is a helpful source for understanding mental health across different cultural backgrounds. Trans Lifeline Trans Lifeline is a peer support service run by and for trans people. It offers emotional support and connection to resources for trans and gender-diverse communities. It Gets Better Canada It Gets Better Canada uplifts and empowers 2SLGBTQIA+ youth through storytelling and community-building initiatives. Its content is designed to provide hope, visibility, and encouragement. Camp FYrefly FYrefly is a leadership retreat for queer and trans youth focused on resilience, leadership, and community. It provides a supportive space for personal growth and connection. Peer Support Canada Peer Support Canada promotes peer-led mental health support and helps increase access to these services across the country. It is a useful resource for people looking for shared-experience support. MyGrief.ca MyGrief.ca offers online tools and resources to help people understand and cope with grief. It is useful for individuals dealing with loss who want self-guided support. KidsGrief.ca KidsGrief.ca provides resources to help children and families navigate grief and loss. It offers age-appropriate guidance for supporting young people through bereavement. YouthGrief.ca YouthGrief.ca is designed by and for grieving youth. It provides peer-informed resources and support for young people dealing with loss. Guarding Minds at Work Guarding Minds at Work is a free resource that helps employers assess and improve psychological health and safety in the workplace. It is especially useful for organizations developing mental health policies. Workplace Strategies for Mental Health Strategies for Mental Health provides tools and resources to support workplace mental health and psychological safety. It is a practical resource for both employers and employees. Elephant in the Room Elephant in the Room is an anti-stigma campaign from the Mood Disorders Society of Canada. It aims to reduce stigma around mental illness and encourage open conversation. The BlueDot Project The BlueDot Project focuses on maternal mental health and postpartum depression awareness. It is a helpful resource for people seeking information and support around perinatal mental health. Wellness Together Canada Wellness Together Canada is a free mental health portal funded by the Government of Canada. It offers self-guided tools, peer support, and professional counselling in English and French, and it remains free for people in Canada. Canadian Mental Health Association (CMHA) CMHA is a nationwide organization that promotes mental health and supports people recovering from mental illness. It also has hundreds of local community locations across Canada. Mental Health Commission of Canada (MHCC) The Mental Health Commission of Canada leads national efforts to improve mental health systems, reduce stigma, and raise awareness. It plays a major role in shaping mental health policy and education in Canada. Centre for Addiction and Mental Health (CAMH) The CAMH is one of Canada’s leading mental health and addiction teaching hospitals. It offers clinical care, research, education, and a range of trusted online resources. Canadian Centre on Substance Use and Addiction (CCSA) The Canadian Centre on Substance Use and Addiction provides national leadership on substance use and addiction through research, education, and policy guidance. eMentalHealth.ca This mental health platform helps Canadians find local mental health services, including therapists, crisis supports, and community programs. It is especially useful for locating services by region. Psychology Today Canada Psychology Today offers a searchable directory of licensed therapists across Canada. Users can filter by specialty, location, and insurance to find a provider that fits their needs.

For internationally renowned Canadian classical guitarist, singer and author, Liona Boyd, music is the greatest expression of emotions and experiences. Recognized around the globe as “The First Lady of the Guitar”, she has composed, interpreted, recorded and performed some of the most beautiful and beloved music in the world throughout a storied 50-year career. On Boyd’s latest album, “This Thing Called Love”, the five-time Juno Award winner and recent inductee to Canada’s Walk of Fame expertly blends folk, pop, and world influences, and her signature classical guitar sound, into her most personal and poignant collection of songs yet. “These songs cover the full range of emotions I’ve personally experienced in life - the passion of love and joy, balanced by the sadness of yearning and loss,” explains Boyd. A Journey Through Fifty Years of Music Liona Boyd’s career spans more than 50 years, a rare achievement in the music industry. Throughout this time, she has built a reputation as a classical guitarist. This Thing Called Love reflects her evolution as an artist, showcasing her ability to connect with listeners on a personal level. Over the past 50 years, Boyd has built an impressive, varied career that highlights her talent and artistry, resulting in more than 100 million streams across her 30-plus albums, eight of which have achieved gold or platinum status. Alongside her five Juno Awards, Boyd's cultural contributions have been recognized with five Honorary Doctorates, the Order of Ontario, and the Diamond Jubilee Medal; she also holds the title of Officer of the Order of Canada. She has also been named the best classical guitarist five times in the Guitar Player Magazine poll and was inducted into their “Gallery of Greats.” In 2019, she received a Lifetime Achievement Award from the National Guitar Museum in the USA. Exploring Love and Life in the Album, "This Thing Called Love" Love is a universal theme, but Boyd approaches it with a nuanced perspective shaped by her experiences. Each track tells a story, inviting the listener to explore the complexities of love, loss, and joy. The album’s title, This Thing Called Love, captures the essence of her exploration—love as a powerful, sometimes mysterious force that influences every aspect of life. Listeners will find songs that express the tenderness of new love, the comfort of long-lasting relationships, and the bittersweet memories of love lost. Boyd’s guitar playing conveys these emotions with subtlety and grace, making the music feel intimate and sincere. Listen to her album, “This Thing Called Love" available now! With her new musical release, Liona Boyd has pulled back the curtain on her emotional life and invited listeners into a diverse, lush, and lyrical world of delights. “This Thing Called Love” is available now! Find the album here: Stream “This Thing Called Love” Purchase an exclusive signed CD Jamaica Farewell (Lyric video) Liona Boyd Website Liona Boyd Facebook Liona Boyd Instagram Final Thoughts on Liona Boyd’s Latest Work This Thing Called Love is more than just an album; it is a milestone that honours Liona Boyd’s remarkable career and her ongoing passion for music.

Charlotte Sands shared a brand-new track titled "One Eye Open," giving fans a first taste of what to expect from the upcoming album. This release marks a significant moment in Sands’ career, showcasing her evolving sound and artistic growth. What to Expect from One Eye Open The new single "One Eye Open" offers a glimpse into Satellite, an album she's releasing in March 2026. “‘one eye open’ is about learning that love isn’t supposed to feel like survival,” she shares. “It’s the realization you’ve been mistaking control for care and the breaking point that forces you to remove yourself from their grip and remember who you were before they made you doubt it. This song is about taking your power back and choosing your own peace over their chaos. I hope it gives you the strength to put yourself first and serves as a reminder of just how capable you really are.” In its lyrics, "One Eye Open" delves into themes of resilience and self-awareness. The song urges listeners to remain vigilant and authentic, even in the face of difficulties. This message is consistent with Sands’ overall artistic vision, making it an excellent choice for the album's lead single. The Sound of "One Eye Open" The track includes powerful guitar riffs, dynamic vocals, and a memorable chorus that lingers with listeners. It exudes a sense of urgency and determination, reflecting Sands’ knack for crafting music that deeply connects with her audience. The instrumentation complements her heartfelt lyrics, creating an immersive experience that resonates on multiple levels. Listen To The Single Final Thoughts on Charlotte Sands’ One Eye Open With her bright blue hair, Y2K-inspired style, and magnetic presence, the LA-based artist has cemented herself as an alt-pop it girl. But behind the bold aesthetic is a fiercely hands-on artist. She designs all her own merch, creates her signature makeup looks, and creatively directs all her visuals. Fearlessly herself in every detail, Charlotte Sands is a one-of-a-kind artist who continues to defy expectations. Charlotte Sands’ announcement of Satellite and the release of "One Eye Open" mark an important moment for fans and the music community. The album promises to deliver a powerful mix of energy, emotion, and authenticity. The release also highlights the growing presence of female artists in alternative music, contributing to a more diverse and inclusive scene. Sands’ voice adds an important perspective, inspiring others to express themselves boldly. The Impact of "One Eye Open" As "One Eye Open" gains traction, it serves as a beacon of empowerment. The song's themes resonate deeply, reminding listeners that they are not alone in their struggles. It encourages them to reclaim their narratives and embrace their true selves. This message is vital in today's world, where many feel lost or overwhelmed. Charlotte Sands continues to evolve as an artist, offering music that speaks to real experiences with a compelling sound. Her journey is a testament to the power of self-discovery and the importance of artistic expression. Follow Charlotte Sands: Website Instagram TikTok X Facebook Spotify Apple Music YouTube As I reflect on Charlotte Sands' journey, I am filled with anticipation for what lies ahead. Her music not only entertains but also inspires. It invites listeners to embrace their individuality and to find strength in vulnerability.

Country cover songs have a unique way of bringing new life to popular tracks, blending the heartfelt storytelling of country music with familiar melodies. The storytelling aspect of country music is particularly significant, as it often emphasizes themes of love, loss, and resilience. Then comes the twang of country music's favorite instrumentals. The instrumentation commonly associated with country music, such as acoustic guitars, fiddles, and steel guitars, adds a distinct flavor to these covers. The warm, twangy sounds of these instruments can evoke a sense of nostalgia, enhancing the emotional experience of the song. The result is often a fresh take that retains the familiar melody while offering a new perspective on the lyrics. Here are some notable country cover songs that showcase this genre's versatility: "Running Up That Hill", by Josiah and the BonneVilles, Originally by Kate Bush "Country Girls", by Mackenzie Carpenter, Originally by Cyndi Lauper "Slow Dancing in a Burning Room", by Lindsay Eli, Originally by John Mayer "3 AM", by Casey Donahew, Originally by Matchbox 20 "Billie Jean", by Tyler Rich, Originally by Micheal Jackson "Happier", by Keith Urban, Originally by Dan Smith, Marshmello, and Steve Mac "In The Air Tonight", by David Nail, Originally by Phil Collins "Tiny Dancer", by Tim McGraw, Originally by Elton John, Bernie Taupin "Have You Ever Seen the Rain?" by Willie Nelson and Paula Nelson, Originally by Creedence Clearwater Revival "Wicked Game", by Midland, Originally by Chris Isaak Country cover songs often bring a fresh perspective to well-known tunes, allowing listeners to experience familiar lyrics through a different lens. The emotional depth and storytelling inherent in country music make these covers particularly resonant. Conclusion Country music has long been a genre that embraces storytelling with a combination of charm and melody. Its roots are a celebration of the unexpected, the humorous, and the heartfelt - all wrapped up in a few carefully chosen words. These country cover songs breathe new life into popular tracks by merging heartfelt storytelling with familiar melodies, transforming the original works into emotionally rich narratives.

You’ve been handed the AUX cord. You are in control. You can choose to play the originals, but that’s not why you’re reading Switching Styles. You can choose one close to the original, like Philip Serino, or even Game Boy Jones. You want more, and weirder. That’s why you’re here, to weird out your family once and for all. It’s time for some confusingly weird tunes. Let’s get it out of the way. These are the weird of the obscure covers of well-known songs. These are the oddities of the oddities, the complexities of YouTube brought to you by Switching Styles. If you wanted something less odd, I would suggest Mike Masse, or Koto Covers, or Tarzan. Now that you’ve been warned, let’s begin with some of the oddest covers to weird out your family. "Candyman" by Primus, Originally by Sammy Davis The top of our list is “Candyman,” originally by Sammy Davis and covered by Primus. I would highly suggest listening to the original song as it’s been covered quite a few times since the 70’s, including The Sloppy Seconds (1989). It was made popular by the film Charlie and the Chocolate Factory (1971). Primus brings that classic into a whole new realm. At the start of the music, you aren’t quite sure if they are doing a cover of “Candyman”. Then come in the horror movie sound effects and the sound of cows mooing, and you’re even more confused. The vocals, if you’ve never heard a Primus song, are rather eerie. But if you take into account their style and the instrumental, it mixes in perfectly! With a music video that looks like something out of a Katy Perry acid trip directed by Tim Burton, the weird cover song is complete. "House of the Rising Sun" Cover by Asaf Avidan and the Mojos, Originally by The Animals Following the theme of weird music videos and creative acid-inspired creatures, here is Red Band with Asaf Avidan and the Mojos. Covering “House of the Rising Sun”, they provide an amazingly quirky cover. Together, they bring a whole new sound to The Animals’ classic. Red Band are the fluffy muppet rockstars that are taking Sesame Street style to the stage. Asaf Avidan is a singer-songwriter and a part of Asaf Avidan and the Mojos until they sadly disbanded in 2011. Back to the topic at hand, cover songs! What makes this cover unique is, funny enough, not the puppets but the vocals. Combining the deepset vocals of the Mojos’ backup vocalists and Red Band’s lead singer with Avidan’s amazing range and pitch, it’s intriguing. Red Band’s lead singer, Red, comments in the music video that “[Avidan’s] voice is penetrating my very soul”. That couldn’t be truer. "Thunderstruck" Cover by Steve’n’Seagulls, Originally by AC/DC Prepare to be ThunderStruck. Prepare for quite a few references. Steve’n’Seagulls. Yes, that is a nod to Steven Seagal, an American actor, producer, screenwriter, martial artist, and musician. Seagal is known for his action films in the 90’s and for playing the antagonist in the 2010 Machete film. Dramatic, I know. Thunderstruck is a dramatic song before the addition of the anvil. The lead singer plays a mean anvil. And honestly, it fits right in with the overall style of the music and the musicians' aesthetic. If you aren’t sure about how much the anvil adds to the cover, listen to it again. Another listen-through means you’ll catch more of the banjo player shredding those notes! "I Got You Babe" by Tiny Tim, Originally by Sonny and Cher Remember Insidious? Remember Tiny Tim? Remember the terror of the song, “Tiptoe through the Tulips “? It was creepy. We can all agree that it was a creepy song. This may be because the modern popularization of this song stemmed from Insidious (2010). Others argue that it was a creepy song from the moment Tiny Tim performed it. Well, Tiny Tim has a cover of “I Got You Babe” by Sonny and Cher. The first note of the Ukulele is always allowed to get prepared. This is not the duet cover you expected, but it’s exactly what you’d expect of a cover performed by Tiny Tim. There is no sense of disappointment with this cover. Singing both parts for Sonny and Cher, he managed to sing the high and low parts while maintaining his signature vocal style and tone. "Clint Eastwood" by 8Bit Universe Originally by Gorillaz If you’re a fan of old-school video games, then this is the style for you. 8-bit games may have turned from retro to nostalgic to hip and back within the past several years. One thing remains true: it’s nostalgic as all heck. Bringing you back to the past is 8-Bit covers. Their covers sound as if they are straight out of a video game. Overall, this is fantastic. More specifically, this Gorillaz cover takes a chill song to a nostalgic place. “Clint Eastwood” started as a chill and rather mesmerizing song, only to be enhanced, thrusting the audience into a retro groove. Please do share your family’s reactions on Twitter @StyleSwitching!

Mike Massé is a classic rock cover musician known around the world for his musical talents with passionate reviews by his audience and artists alike. Toto, Rush, Sarah McLachlan, Asia, and Toad the Wet Sprocket have all expressed their love of his cover songs and sound in general. Here’s an interview with the Mike Massé and Dylanna Fisher of Switching Styles. How Did You Get Started in Music? Mike Massé: I learned we had a piano in my house when I was a kid. My older sisters were all taking lessons. I was too young, but I was more interested in the piano than they were. I used to sit at it and pick out songs by ear, and my mom quickly realized that I was probably the one who should be taking lessons. My sisters all kind of grew out of it and never really pursued it, but we still have the piano in my house. It was my mom’s. I think it used to belong to her mom. It was in the family. I started taking piano lessons when I was a kid. Then when I was a little bit older, I got my first electric guitar probably when I was around, I don’t know, 10 or 12 or something. It was just a cheap thing from the Sear’s catalogue or something. I got a cheap amp, and used to figure out power chords, how to strum along to some of the songs I liked. It didn’t really click for me ‘til I was more like in high school, actually junior high, I should say. We moved from Florida to Boulder, Colorado when I was in eighth grade. When I moved to Colorado, I met two of my lifelong best friends. I auditioned for their band actually, and one of them was a bass player and the other was a guitarist, my friends Scott and Ken. They both make appearances on my YouTube channel actually. Scott and Ken and I were in a band together with a friend of ours named Larry who played guitar. I was actually the keyboard player in the band. That was in junior high, and my dad bought me my first synthesizer. It was a Yamaha DX7. It was on backorder when it came out, but it was the best synthesizer of all time. We had it on pre-order and the store actually let me borrow theirs. I bought one, and they didn’t have one for me. We played, and our first gig was a ninth grade going away party. We picked a bunch of songs. It was like in the gym, the acoustics were horrible, but we did stuff like Rush and U2. A couple of the guys had been in choir, but I had never really sung in my life, and all of us divvied up songs. For some reason, I ended up with the hardest ones and I sang them all. I sang them all in falsetto and sounded pretty horrible, but it was kind of my first gig. From there, we were a band through high school and started writing some originals and such. Eventually, I got my first acoustic guitar when I was in high school. I was in another band, and I borrowed that guitarist’s 12-string and that was actually my first acoustic. I borrowed his 12-string for a while, and then that inspired me to get my own 6-string. Then I taught myself how to play it a lot from just listening to the Beatles’ songs. I had a couple of Beatles’ songbooks and taught myself things like “Blackbird” and “Yesterday” to learn how to single pick. I strummed the other ones, still learning Beatles songs on piano. Then in high school, I went on to be in some choirs. I was still in the band, and, played guitar a little more and started coming up with some of my own arrangements of things. When I got to college, I started collecting songs I had learned and arranged, and I auditioned at my first restaurant, got that gig and then that blossomed into me meeting Sterling Cottam in college in choir. We had a little acoustic duo where I taught him a couple songs that I had learned. Then we learned some more together, and we used to sing as a duo. I met a bass player in college, Jeff Hall, and then it became a trio. Then met a drummer and it became a full band called Twice Daily, and it was just basically a cover band. It was like acoustic because for a while we didn’t have a lead guitarist or an electric guitarist. We just did acoustic stuff. But we were still a full band. We found a friend from Canada, named Jared Spice, who was a music major and joined us on lead guitar and that was the last one. We got some gigs on campus. Then we played at the Spring Fling, and in front of a few thousand people that were just there, playing the stuff that was popular at the time and now its classic rock. I still do a lot of the same songs that we learned in college because it’s still the stuff I love, and what grabs you over time. I tried to document as many of those as I could for my YouTube channel. A lot of them are sort of unchanged since the way I originally learned them in college including the same style. She’s coming to my gig in New York on Friday with Sterling and Jeff and Scott Fleisher. A lot of my old friends are going to be there for a few shows and stuff. I mean, it’s cool that I’m still playing with the friends I made in college. No, It’s All Good. That’s Perfect. You Made a Lot of Friends Through Music, And Quite A Few Of Them Are Still Kind of Present in Your Life. How Do You Think That Is Important, For You Personally and For Your Music Career? Mike Massé: It was always important for me for it to be a joyful experience to play music. I wouldn’t be comfortable doing it with people that I didn’t enjoy being around or working with. It’s interesting because I recently put together a band. I’m not just looking for future bandmates; I’m looking for future friends hopefully, and like, the personalities have to gel. Sometimes it can be intense, and you need to be around people who are pretty mellow, who can ride through things without making it all about them or freaking out. I’m going to focus on Jeff Hall for a second. When I found Jeff, I was really lucky because he was really laid back and super talented, and he plays many instruments. He doesn’t just play bass, but he also plays keyboards really well, and he can play some drums. Everything you see about him in the videos in terms of how laid back he is, is just a fraction of how laid back he would be. He’s Mr. No Drama and it has always been good to work with him. I don’t remember a single time in my life in which we’ve ever raised our voices at each other. I don’t have that with a lot of people, but I have that with him. That made it easy, and he was always willing to go along with whatever ideas I had or songs to cover. I’ve actually ended up exposing him to a lot of music. I made him a Grateful Dead fan. He had never really heard the Dead and I got him into that and even the Beatles to a certain extent. I broadened his familiarity with the Beatles catalogue. My friends Scott and Ken since junior high, and we get along great too. Sterling and I get along really well too, and our voices blend well. We could fool people into thinking, if we looked anything alike, that we’re brothers by just the way we sound. He does a really good job of complementing anything that I attempt to do. He’s such a hard worker about it too. I really appreciate that about him. It’s fun to do gigs with him where he travels with me as a bass player now, and sometimes he plays guitar too. The big thing that we’ve done together is Simon and Garfunkel, that’s kind of our staple. It’s always fun to explore new things with him. I consider all of these guys my friends. When I made the leap to doing music full-time, they were also very generous with their time, in terms of making it economically possible for them to join me and not demanding huge paydays for gigs where they knew that I was. I was trying to get this small business off the ground, as a solo musician when I quit the day job. It’s been great doing that with them and travelling with them. For them, it’s a nice little break. They have day jobs. Once in a while, they get to go for a weekend or maybe longer and just play Rockstar for a little while and play in front of crowds of people who know who they are and who adore them. I think that’s probably really cool for them. I love that part of the job too. For them, it’s just something that’s a nice break from their routine. When You Go and Do Concerts, How Does It Make You Feel? Mike Massé: Let me start by saying this, I get really nice messages from people, from time to time, about how, how my music helped them or even how I inspired them to pick up the guitar again. I think that really gave a lot of people inspiration that, they could do the same, or like, “What’s stopping you?” I think because especially at the Pie, we’re playing at this super humble place, and we look like, we’re sometimes, we’re wearing shorts, or we’re wearing t-shirts and, at times, neither of us were in great shape. There was very little to look at in our early videos, but that wasn’t the point, and I think that showed people that, “Don’t let silly things like your appearance stop you. If you, if you have a sound to make, make it.” I had told people before “I sing because I love it. The fact that other people enjoy hearing it, that’s my side benefit, but that’s not why I do it. I just sing, I just do it.” And I think that helps. I know that it has helped people because they’ve told me. There’s the other side of it. We sang at this little fairy tale, romantic comedy ending scene wedding in the countryside in the UK which was beautiful. Beautiful setting, beautiful people, everything. It looked like a movie. We sang at this wedding a couple of years ago in the UK, because on their first date they both listened to “Africa” together. We’re a part of people like life stories, and they sent us this picture not long ago of their son. They’re like, “We wanted to name him Toto, but we didn’t.” You hear these stories. I’m a part of people’s lives and I don’t even realize it half the time. I try to do a little meet and greets after every show where I go around and take pictures with folks or sign things or whatever and shake their hands. There’s always like a little parade of those devotees who stick around and, and they get to talk to me in person. It’s heartwarming. I wish I had more time to talk to them individually. I had a guy come up to me in Australia who said that I saved his life. Because he was thinking about ending it, and he found my channel, and something changed him. It’s amazing! That Is Really Amazing. This Is Why I Do What I Do Because I Like Hearing All These Heartwarming Stories. Doing pop-up shows for me is a pain because I have to promote them. They don’t promote themselves. Usually, I choose cities where I think I fill a venue of my choice. The challenge is always getting the word out and just making people aware that it’s happening, and that’s something that we’re still dealing with. It’s just trying to get the word out for gigs. It’s worth it because that is the only time that I’m really greeted by full crowds of people who are there for me, and they love it. I give them my all every time, and I try to give them the show that I think that they would want. Sometimes I give them the show that they don’t realize that they want. I throw some surprises in there. The nice thing about doing classic rock is that it might be a new song to me but it’s not to them. They still know it. It’s like, oh they’ve never heard me do that before but, “Oh cool, he threw something new in there.” It’s like I love sprinkling the setlists with surprises and it is fun for me to keep it fresh. I’ll throw in a few for my channel that is maybe not quite the popular ones, but some people love them, and then maybe a couple that I want to do. There’s nothing like a public gig to get that kind of reaction. When I do corporate events, sometimes the person who booked me is a fan, but it doesn’t mean that everyone in the room is. I try to win them over, but it’s just a different vibe. I’m not there necessarily to be the centre of attention. I’m just kind of like, the ambient mood, but I still give it my all, but it’s just a different reaction. What Is the Process That You Go Through for Creating a Cover? Mike Massé: I hear it on the radio, or I hear it somewhere, and I’m like, “Oh, maybe I should try that. I think I could do that.” Or somebody will suggest it, and that was the case with “Hello”, a fan suggested it. I get suggestions all of the time, and I have to confess that about 80% of them I have never heard. The fact that I haven’t heard of it means it’s really, really unlikely that I’m going to cover it. There is music that I grew up with that I love that I want to get through, that I don’t spend time processing like, “Oh here’s a new song, do I want to cover that?” The other thing is basically anything if it’s in the 21st century, it is probably too new for me. There’s maybe a couple of exceptions from the early 2000’s that are songs that I like that I would consider covering. For the most part, give me a classic and by my definition. If somebody suggests a classic rock song that I already know and that I like, they’re on the right path of me actually selecting it. And with “Hello”, that was always a song that I loved. Admittedly, it’s a little bit cheesy with the orchestration and everything. Maybe an acoustic would sound even better in some ways to some people. There would be some people who didn’t really appreciate Lionel’s original version would like the acoustic version and be like, “Oh that sounds like it could be anybody.” but at the same time, the people who love Lionel Richie’s version, I want them to love my version too. It basically has to please both audiences basically. The first thing I did was sat down with my guitar with the song. I’m like, “Is this something that I can play? Are there chords on the guitar that can do what he’s doing on the piano? And the simple way that I can play this and not have to be stressed out like about the guitar part is too hard.” It took me about five minutes to figure out, “I can do this, and this is kind of cool.” From there, it was just learning the song and practising it and bringing in my other bandmates, asking Bryce to learn the bass part and send me a recording of that. Then Brock came over, and he recorded the guitar part, and then we went and filmed it. It’s kind of funny. “Hello” is the first video that I recorded, since I’ve been in Colorado at least. I never recorded a song there, I recorded them at home, it just looks like we’re recording in the studio but it’s just a set. It’s just a video set but it has a cool vibe, and it feels. If anybody reads the liner notes, I reveal that we didn’t record it here. I literally say that, but I know I’m going to get comments that say, “Wow, I’m glad you went to a studio. It sounds much better!” just by the visual suggestion, they’re going to think. But anyway, I should wait for that comment, but it wouldn’t surprise me. That whole process, which was probably a few weeks. I’ve got a list on my phone, a playlist on my iTunes called ‘A List to Learn’. That is the list that I always listen to when I’m in my car. It’s just all the songs that I want to record next or that I want to do with my band or that I want to do live or whatever, or all of the above. I’m constantly like burning new songs into my brain just by repetition. That is a part when you talk about my process. That is a huge part of my process is listening. I listen over and over and over again, and every little phrase that is in the vocals. Not necessarily all the lyrics. Sometimes that takes a little longer to stick but every little vocal phrase, how he sings or how she sings. I want to know what they did before I make any changes. I feel like I have to earn that. If you change something because you didn’t know what they did, that’s lazy. That’s not changing it, that’s you substituting something else. I always want to know how they did it and what they did. Then if I make a choice to change it then it has to be a choice that I’ve earned. Because I’m choosing songs that I think are great, they’re relatively perfect and that’s why they don’t need to be changed. I get many people who tell me like, “Thank you for treating it respectively or like, thank you for like not ruining this song.” If the world lost power permanently, and we lost all recorded music, I could still be a resource for people to like, “Hey remember this song?” It would still sound the same. You could send me out into outer space, and I could be a record of music in space. No, I’m just kidding. But no, I’m sort of archiving this for a new generation in some ways because I have a lot of fans who are younger than ever heard the original. All The Gigs You’ve Done, Do You Have a Favourite? Mike Massé: I love them all, but I don’t want to like to make anybody feel bad because I don’t mention them in these cities. The first time I played in London was pretty unforgettable. We sold it out and we played the biggest crowd I’ve had for one of my public gigs. We had like 500 people come and it was sold out, and it was our first gig in Europe. It was me and Jeff, and people came from all over Europe because they had never had a chance to see me before. We had people coming from Austria and all the corners of Europe would come to London, it was amazing. They sang along and it was great. It still gives me chills, the beginning phase when you hear the crowd respond when you come out, it’s really cool. They were singing along to this and that. The other city where I’ve gotten a similar reaction is Detroit. There are some nice guys that have a podcast called the Detroit Cast that sort of picked up and supported me early on. They talk about me on the show. First show and they turned a lot of their listeners into fans. Every time I come down to Detroit, it is sold out and there is a group of people waiting on the outside who couldn’t get in. Detroit has also been an unexpected blind spot for me in terms of the crowds. I go to the Netherlands and have a disproportionate fan base in the Netherlands. When my son was sick with cancer, a video site based in the Netherlands posted my cover of “La Da Dee” that I put out as a fundraiser. My cover of Africa had been featured on their site like a month before and it had gone kind of viral in the Netherlands. I had all these new fans in the Netherlands who were very supportive of my son and his illness and our efforts to help him. But when I go to the Netherlands, they are a little more reserved in terms, if you will. Respectful, if you want to put a positive spin on it. During the music where they’re quiet but then, then they erupt after the song is over. It’s just great; It’s a great feeling. It’s been fun to travel the world. I don’t know what it is about classic rock, but especially maybe just the covers, but it just attracts just the nicest people. They’re all mellow and kind and giving I’ve had very few instances of any trouble or anything like that. I rarely need any kind of security or anything. People all get along and they’re all there for the same reason, and it’s just like they all sing along and have a good time. Originally Being a Public Defender and Becoming a Full-Time Musician, How Was That Transition? Mike Massé: It was something that we considered. My wife and I considered overtime where we kind of viewed it as a possibility. What ended up happening was basically in 2014 when my Africa cover had a little viral spurt because it got featured on some Facebook post by a DJ and suddenly like a bunch of people found me that hadn’t found me yet. When that happened, I got some interest from an actual manager from Nashville who was semi-retired but had taken an interest in me. And he ended up helping me put together some musicians. I made a CD in Nashville, recorded it through a [friend’s] studio and that was super fun. It was a CD of covers but with a full band, like with a few musicians. It was really cool but that guy, Richard showed me that the industry is a good fit for me at this point. Maybe there is enough interest and maybe I can make this work. My YouTube channel was taking off to the point where I was getting enough gig offers that I felt like it was something I could sustain. Probably, if I put full-time into it, I could hopefully reach a place where I could turn an income. That was sort of the plan. At the same time, we were interested in moving. We had been through this cancer scare with my youngest son, Noah, who was diagnosed with a brain tumour at 11 months old. He wasn’t supposed to make it. We had a year-long cancer battle with him. We were actually concerned about staying in Utah for a couple of reasons. One was the air quality, just really a lot of bad air days when they just, they’re in a valley and, they have these inversions where the pollution will just hover there for days until a snowstorm comes and blows it out. We decided to move, and eventually, we ended up in Colorado. Our first option seemed to be Seattle. A couple of years earlier, we talked about moving to Seattle because my brother lived there. After the cancer scare, we wanted to live near family. We tried to pick somewhere where I had a sibling, basically. My brother was in Seattle, and then my sister was in Denver. My mom was in Dallas, and my dad’s in Florida. I have another sister in Vegas, between those locations. It was either between Seattle or Denver that we were interested in. I was applying for jobs. I actually became a member of the Washington State Bar. Then I was looking for lawyer jobs because I was going to become a lawyer there. Then my brother took a job in LA, and he moved, I was like, “Oh, I guess we’re not going to Seattle!” We ended up ending that search for employment in Seattle when he moved, and then we were like, “Ok we’ll see about Denver again.” That’s where I wanted to go, but my wife was initially not pleased about it but then she fell in love with it. We ended up moving here and it corresponded with the uptick in the activity on my YouTube channel, we took that opportunity to just kind of quit the day job. I kept my law since I applied in Colorado and did reciprocity that I didn’t have to take the Bar again or anything like that. I got sworn in as an attorney in Colorado. But I immediately went to inactive status hoping that I would never have to be a lawyer again. But I can still tell people that I’m a lawyer. I’m just not active. Anyways, another long story, but that was sort of what made me make the leap was thinking that there was enough interest where it was financially viable. It was something that I thought would be better maybe in some ways at least, less stressful. Obviously being in business for yourself is stressful and being self-employed can be stressful for financial reasons, and the actual day to day of, getting to release and work on more music. I’ve put out two videos a month every month except for the past one, but every month since I moved here. A Lawyer and A Musician Are Very Different Jobs. How Do They Compare? Mike Massé: I actually know a lot of lawyers who are musicians. I don’t know what the correlation would be, but they tend to attract the same people sometimes. A lot of people are probably like me, where it was sort of, I became a lawyer for practical reasons. But I also felt like it was something that I could handle. I have always had a sort of innate sense of justice, or maybe injustice. I don’t know how you want to say it, but where if I see something that just doesn’t seem fair to me or right. Sometimes I speak up even when I shouldn’t. I always had this inherent skill of advocacy, and I became a public defender because I really wanted to do criminal law. And to me, I didn’t even really care which side of it was on. Being a public defender appealed to me way more than being a private defence attorney, because you don’t treat your clients and because you’re on a salary. You have a different relationship with the system, I guess you could say. With the public, I hope, because you’re perceived to be doing the work that nobody else wants to do, in a way. You’re working with the people that society has kind of shunned or forgotten in some ways. You’re getting them at their lowest point, and they need a friendly face. I mean, they need help. And a lot of time, it’s about damage control. You’re trying to make sure that they’re treated fairly by the system, and they don’t get a sentence or punishment that’s disproportionate or that’s not in line with what other people are getting for the same crime. It’s not about proving them innocent it’s just about damage control. It’s trying to help give them, help them get their life back together. If this was like an anomaly in an otherwise lawful life, and you’re trying to like to help them pack stuff and get them back on their feet or if this is them crashing because they’ve been on the wrong path for a long time. Then there’re other kinds of situations, other kinds of solutions where people are going to treatment, and a lot of times you can’t keep them out of jail. You try to keep them out of prison, but you can’t keep them out of jail. And, By the Way, There Is a Difference Between Jail and Prison, Most People Don’t Realize. It’s Not the Same Thing. Oh Really? Mike Massé: When people use them interchangeably, it frustrates me. But it is like, jail is for, usually for misdemeanours for a year or less or sometimes for probation violations. Prison is for felonies, and for a year or more, parole violations or you can go back to prison. You can go to prison for probation violations too. But anyway, you’re trying to keep people out of prison, but sometimes that means they’re going to jail instead. I did that for thirteen years. It was fun. I felt like I really enjoyed the community service aspect of it where you felt like you were helping people, and these were people that I wouldn’t run into daily. I wouldn’t, we didn’t run in the same circles, and I wouldn’t see them on the street, but I would sometimes see them in court. But also, people have to realize that a lot of the time, your client one day could be the victim of your next client the next day, is what I mean. You see people in different situations. It was a stressful job, and I felt like I had kind of had it, my share of it. The longer you’re there, the more intense and serious the crimes and the cases become because you’re a more senior attorney. You’re given more responsibility. I was getting to the part where I was working some of the uglier cases that you could imagine of all crimes. If it’s ugly, I had it. It was to the point where I was like, “Do I want to become a death penalty certified?” You have to become certified to handle death penalty cases, and I was like, “Is that really the route I want to go to keep doing this?” It just didn’t feel like it was a good fit for me at the point. I felt like I needed something different. Music was sort of the complete opposite of that. Where it was like me, it became about me, hopefully not only bringing joy to other people and doing it remotely and doing it forever. I’m doing something that lasts forever, way beyond my lifetime. That’s the plan for it to last that long. It felt like it was a different calling and a different mission if you will, but to me, it was equally important and equally rewarding. When You First Started Making Music and Posting to YouTube, Did You Think That It Would Become Everything That It Is Now? Mike Massé: I guess it was a hope of mine that it would catch on in a way that there would be a sort of wider exposure. For me, the reason I thought like, “Why would anyone care about my music?” My first thought was that I thought that my arrangements would be useful to some other musicians, and that’s definitely been the case. I’ve had lots of musicians say, “Hey I steal from your arrangements, or I steal from your setlists,” or borrow or whatever, and that’s awesome. I just love the idea. People send me video clips of them and their buddy doing Africa because they know how because I showed them the way. The thing about me is, as a musician, as a guitarist, I’m a rhythm guitarist, which is a kind way of saying that I have limited ability as a guitarist. If you point me and say, “Hey Mike, take a solo,” I’d say, “No!” Because of the limitations, I deal with as a player, my arrangements are within my ability. That’s appealing to a lot of other average guitar players if you will because it is accessible. It’s not like, “Oh, someday I’ll be able to play that.” It’s like, “No, this isn’t that hard.” I try to do things well and I try to do it in a way that it’s not mysterious what I’m doing. It’s obvious, if you’re a guitar player, what I’m doing because it’s like familiar no real secrets. I mean, I have occasionally gone into odd tunings like I did “I don’t care anymore” by Phil Collins. That’s an example where I created this unique tuning that just fit the song, and this higher level. But if you look at the description of the video, I tell you what the tuning is that people can figure it out themselves. I’m not trying to keep any secrets or like it’s not proprietary, it’s just a little trickier. That was my initial thought, that it might appeal to fellow musicians who like the arrangements. Then the other side, I thought people might appreciate sort of the energy and emotion I bring to it with my vocals, and my way of trying to, suggest the original singer’s vocal choices and tone without necessarily sounding like I’m doing an impersonation. I don’t want it to sound like I’m imitating somebody necessarily, but I want it to sound like if somebody likes the original song. I’m not going to give them any reasons not to like my version. That’s not always the case obviously some people just don’t get it or don’t like it. For whatever reason, they just don’t get me and that’s fine. I’m never going to reach everybody. I try to stay out of the way of a good song. And I try not to change it in any major way where it’s going to detract. I don’t have the kind of ego to think that “Hey here’s this classic song that we know these people love. I’m going to make it better.” What I mean? It’s like, really? No probably the first thing you change, you’ve already destroyed it or not destroyed it but weakened it in some way. I try not to do too many changes, but at the same time, I don’t want to feel like I’m just like robotically reproducing it either. It’s finding that kind of balance where I feel like I’m bringing something to the song that’s worth bringing. Even if people don’t hear my arrangement or my version as some sort of revelation of something new, at least it’s going to be familiar and comfortable and be like, “Oh that’s a cool acoustic version.” That has always sort of been my philosophy. From Here, Where Do You See Your Music Career Going in The Future? Mike Massé: I would like to be able to play more public gigs and not be concerned about having to work hard about getting the word out. I would like to just have a bigger audience that there are more people to draw from. I would like it to be worldwide. My biggest audience on my YouTube channel is the Philippines by like a mile. It has like outpaced the US and everywhere else. It’s all because they love my cover of “Leader of the Band” by Dan Fogelberg, and that video is by far the most popular video on my channel right now. Africa was always number one, and now Leader of the Band is like whoa. I might eventually go play in the Philippines if that continues. I would like to see the audience grow. Additionally, I would like to see opportunities to have music placed in TV shows or in films where it’s getting kind of a broader exposure. Where people are going, “Ooh wow, who was that?” And they check it out and find out it was me and I make some new fans. I have a lot of future fans out there that are just waiting to find me. That is my mission right now, is to help them find me. I get comments on YouTube all of the time just like, “Aw I just found you, where have I been?” And that kind of thing. I know there are still people out there that are finding me all of the time. They are grateful they did, and I am grateful they did too. I’m trying to facilitate that as much as possible. It would be nice to have more economic security, I mean, I’m just like everybody else. I’m doing this for a living, and I have a family to support. It would be nice if I had more resources that I invest and put into production. I could spend more on videos or I could spend more on recording or I could spend more on arrangements. With that, I could get scores done with full orchestras and I could travel with an orchestra and do orchestral shows. I really want to do a Radiohead orchestral show. I think that’s in my future, I just really need the resources to get the scores created and I could pitch it to an orchestra. If I find the right orchestra or if I find a conductor who is a Radiohead fan and they hear me sing Radiohead, they’re going to be like, “Heck, please.” I think there would be a demand for it right now, I have a local Beatles cover band. We did one show with a local orchestra of all Beatles music and those scores were created by a couple of members of the band. It was all done in-house, and that was great. That’s Really Sweet. If There’s Like a Message You Could Send To, To Say to All of Your Fans, What Would You Want to Say to Them? Mike Massé: I’m always just appreciative that I have a music stand that I’m one of them. I’m just singing the songs I hear in my head, and the fact that other people that have any kind of value or meaning to other people is such a blessing and I’m grateful for that. I’m just grateful for all the time that they’ve spent listening to my music and any efforts they’ve made to share it with their friends. That’s how it spreads. I can’t share it myself; it has to spread through other people. My efforts are just a small percentage of the actual sharing that goes on. Every time that I see that one of my videos or posts gets shared, I’m just grateful. To Learn More About Mike Massé Check Out His Website At Mikemasse.Com!

Mike Massé is called “The new voice of Classic rock” worldwide as a solo, duo, and a full band. His voice and musical stylings have quite a bit of versatility. If you don’t believe me, check out his YouTube and a highlight of his music below. As the new voice of classic rock, Mike Massé remakes classic rock songs while keeping them classical. Breathing new life into old music, Massé doesn’t launch the music into a new genre, key, or style like many other artists do. “I’m choosing songs that I think are great, they’re relatively perfect and that’s why they don’t need to be changed. I get many people who tell me like, “Thank you for treating it respectively or like, thank you for like not ruining this song,” Explains Massé, “I’m sort of archiving this for a new generation in some ways because I have a lot of fans who are younger that never heard the original.” Take his most prominent cover, “Africa” by Toto. Mike Masse is a known musician by his fans and other musicians with his cover of “Africa” by Toto. This classic rock song brought his music to the forefront of everyone’s mind with his cover from 2010. Check it out for yourself and you’ll know why it got him to where he is today. It is one of his top shared YouTube videos with over 13 million views. Some of those views come from a rather surprising place. Not only does his audience love the cover but so did the original artists of the song, Toto. It all started with a simple email exchange between Massé and Steve “Luke” Lukather (the virtuoso lead guitarist for Toto). Lukather was very enthusiastic about the cover and thanked Massé for covering it. People were sharing it with Toto constantly! He writes to his fans that this was an amazing moment for him to meet the band, TOTO. It didn’t stop just at a simple meeting. “I was not prepared for what happened when I met David Paich, the one who wrote ‘Africa’. I was so honoured to meet the man behind the song. But I did not expect him to seem excited to meet me or even know who I was. The greeting I got blew me away and still gives me chills to this day, just thinking about it,” Massé continues. Not only did Paich love the cover, but he mentioned that he shows it to people whenever they come over to his home. That’s an amazing achievement for an artist and their cover song. Toto isn’t the only band that has shared their love for Massé’s music. Sarah McLaughlin, Rush, Asia, Toad the Wet Sprocket, Boston, Dennis DeYoung (Styx) and Third Eye Blind have all expressed their love of his cover songs and sound in general. With over 281,000 subscribers on YouTube, it’s not a surprise that he’s been so highly acclaimed by his audience. He came from a place of music from a young age. There was a piano in his home that his sisters used to take lessons. At the time, Massé was too young. Unlike his sisters, he didn’t grow out of the instrument and instead continued to let his music talent flourish throughout his childhood. This led to him getting an electric guitar at the age of 10 and then a keyboard synthesizer in Junior High and ending with an acoustic guitar in High school. However, this didn’t lead him to a musical career early on. Massé didn’t start as a musician, but instead a public defender. In an interview with Switching Styles, Massé explains that he became a lawyer for practical reasons. “I have always had a sort of innate sense of justice, or maybe injustice. sometimes I speak up even when I shouldn’t, and so I always kind of like the inherent skill of advocacy, and so I became a public defender because I really wanted to do criminal law. To me, I didn’t even really care which side of it was on. Being a public defender appealed to me way more than being a private defence attorney. You’re working with the people that society has kind of shunned or forgotten in some ways, and you’re getting them at their lowest point, and they need a friendly face. I mean, they need help. And a lot of time, it’s about damage control. You know, you’re trying to make sure that they’re treated fairly by the system.” His cover of “Africa” was the catalyst he needed to transition from part-time musician and full-time lawyer to full-time musician. The transition between a public defender and a full-time musician was rather simple and smooth. There’s quite a bit in common between lawyers and musicians. “I actually know a lot of lawyers who are musicians. I don’t know what the correlation would be, but they tend to attract the same people sometimes,” He continues. That single cover led to increasing interest from more than just fans for his audience but professionals in the music industry. Gaining interest from a manager in Nashville, he got together with musicians and recorded a CD. Massé said, “it was a CD of covers but with a full band, like with a few musicians. It was really cool, but that guy, Richard, showed me that the industry is a good fit for me at this point. Maybe there is enough interest and maybe I can make this work.” From simple beginnings, he’s gone to great and amazing heights. He’s on tour now throughout the United States, Canada, United Kingdom, and Europe with concert stops in Miami, FL, Beaverton, OR, Denver, CO, New York, NY, London, UK, Liverpool, UK, Toronto, Montreal, St Luis, and Amsterdam. “I sing because I love it. The fact that other people enjoy hearing it, that’s my side benefit, but that’s not why I do it. I just sing, I just do it. And I think that helps. I know that it has helped people because they’ve told me.” Check out Mike Massé and his music here.