After each going off and producing solo projects, the band is back together on “EVERYONE’S A STAR!,” 5 Seconds Of Summer’s sixth project.

In my opinion, melody has always been the band’s greatest strength. You can take out many examples from their discography, from “Red Desert” to “BLENDER,” where the melodicism is just perfect — catchy, highly satisfying, yet somehow never disposable. In combination with stellar production and Luke Hemmings’ captivating vocals, the band has something great. And they continue that on “EVERYONE’S A STAR!”

However, it doesn’t quite live up to the expectations set by their past few projects. There are moments of that melodic perfection — on “Sick of Myself,” for example, there is not one less-than-earwormworthy melody — but it’s not as consistent as it has been before. On “No. 1 Obsession,” the gritty verses don’t blend well with the head-voice-heavy chorus. I do think this was intentional due to the subject matter of the song, but it doesn’t work as well as it could. Sometimes, the melodies are good, but they’re cheapened by the lyrics — the chanted “Hey / I’m not okay” of the second track on the album feels a bit too adolescent to be taken seriously.

Despite these minor criticisms, there are great songs on this record that drive it forward. “Boyband” is a compelling take on fame, with the lyrics reminding me of Lady Gaga’s “Perfect Celebrity.” “Love me when I’m skinny and we never, ever age,” Luke sings. “I’m Scared I’ll Never Sleep Again” is another album highlight, the chorus being one to linger in your head for days. “Evolve” is a strong song as well, but the spoken word bridge does take you out of it.

Only 4 days after the release of the album, the band dropped four bonus tracks in the “Fully Evolved” edition, and I’m glad they did — the songs strengthen the album greatly. “Start Over” is a highly relatable song about a relationship; “Wishful Dreaming” harkens back to “Me, Myself & I”; “Chest” is a highlight out of the whole album; and “I’ll Find You” is a beautifully tender way to close out the album.

It isn’t their best music, but 5 Seconds Of Summer has set a high bar for themselves. Overall, this album is a solid project with some great songs, and I think fans will be pleased.

Miley Cyrus has just released “Dream As One,” an original song for the upcoming Avatar: Fire and Ash movie. It’s a beautiful song, and Cyrus’s vocals are tender and raw as ever. It feels classic, revolving around old-school chords and a soaring melody. However, it does feel like something is missing.

The song never fully “takes off” in a way that feels satisfying — while it builds in the final chorus, it’s not enough. “Dream As One” could have greatly benefited from a tempo shift, possibly after the first chorus, allowing for a tender opening that launches into something grand. Unfortunately, the track falls short of this. This isn’t helped by the bridge, which consists only of Cyrus repeating the word “dream” again and again. Perhaps something of more substance would have elevated the song.

It’s unfortunate that this song likely won’t be a hit for Miley Cyrus, but she continues to make slightly confusing artistic moves — for example, releasing a one-minute song for Maybelline on Spotify. After the disappointing performance of Something Beautiful, despite its excellence in quality, I would have thought Cyrus would be driven more than ever to create something that would land with the general public, but that doesn’t seem to be her mission at the moment. And that’s okay.

After the immense success of “Until I Found You,” Stephen Sanchez is back with something new — a team-up with singer-songwriter Devi. Under the name “Dress & Tie,” they’ve just released three new songs.

On them is exactly what I come to Stephen Sanchez for — classic, old-school beauty. His debut album was centered around a 1950s conceptual love story, and it seems he’s carrying that concept with him further in the career. From the single cover, it’s clear the group is aiming to invoke this - the lettering and texture is undeniably ‘50s. The music is simple and beautiful, often centering around a strumming guitar and gorgeous melodies. It’s pleasant and easy listening, which could either benefit or hurt the group, but I believe that they’ve succeeded in what the music was meant to do. The third song, “Always Been You,” is in my opinion the most captivating of them — the melodies are undeniably stunning and classically Sanchez. The build in the final minute on the track is much needed after the simple, light nature of the first two songs — it gives a driving feeling, a sense of pulse and emotion that their love-ridden lyrics capture.

It’s a strong start for “Dress & Tie”, and I’m excited to see where they go from here.

From the announcement of The Life of a Showgirl in August, I was greatly excited. While I didn’t love The Tortured Poets Department, Taylor Swift promised everything that I was looking for: catchy melodies, punchy lyricism, and hard-hitting production — a return to form from previous pop albums 1989 and reputation. My expectations were high, but Taylor put them there.

Unfortunately, the album did not deliver — unless, of course, you’re talking about the millions of physical copies in variants that each received its own countdown on Taylor Swift’s page. Normally, there would be nothing wrong with this, as each person did willingly choose to spend their money on vinyls or CDs. However, the marketing tactics behind the album’s release border on manipulative — turning anticipation into commerce in ways that felt disheartening to even loyal fans. So much hype was built around Taylor’s promise of 12 “bangers” with the lyricism of folklore and the production of her classic Max Martin hits. Yet, after hearing the album, many fans were no longer excited to receive the physical product, feeling conned.

One of the biggest complaints shared among fans was how far it deviated from what seemed to be the concept of the album. In her New Heights podcast episode, Swift described the album as a “look behind the curtain” of the Eras Tour — yet, this theme is hardly mentioned on the album. More than anything, the album is a love letter to Travis Kelce — 7 out of the 12 tracks are about him. Again, there is nothing inherently wrong with that, but fans felt they had been misled.

There are also deeper, more glaring issues with the music. The lyricism is a clear regression from her past work, even from last pop record Midnights. “I’m not a bad bitch, and this isn’t savage,” she says on “Eldest Daughter,” the album’s track 5, which is usually the album’s emotional centerpiece. But the entire song feels structurally clunky and fails to resonate. There’s worse than just bad songwriting on the record though: there’s insensitivity and a great sense of being out of touch. For example, on “WI$H LI$T,” Swift claims that she doesn’t care about luxury, money, or things: “I just want you.” It’s clear, however, that this isn’t true. Taylor Swift is a billionaire. Her wealth is beyond most people’s comprehension, and her marketing tactics continue to show that she enjoys growing it. As a person in this position, it feels greatly insensitive to say this while most Americans are living paycheck to paycheck. Additionally, on “CANCELLED!” she welcomes people that have been cancelled by the media into her “underworld,” saying that it’s a “good thing [she] likes [her] friends cancelled.” This feels incredibly tone deaf in today’s climate, where many people are very justifiably cancelled for harmful behavior. To welcome them and see yourself as a safe haven for these people is very, very strange.

It’s not the only way Taylor Swift has seemed to regress when it comes to social issues. In 2020, she was taking the time to become more aware socially and fight for issues, as seen in Miss Americana. In the Netflix documentary, she says, “there’s no such thing as a bitch.” However, she uses the term to refer to other women constantly and needlessly on The Life of a Showgirl. Later in the documentary, she talks about how she wants to be able to use her platform to talk about politics and make a change in the world. But for years, she’s been virtually silent, apart from an endorsement for Joe Biden in the 2024 presidential election. Most notably, fans have been asking for her to speak up about the ongoing war in Gaza, but she’s remained silent. It speaks volumes, then, when Taylor says in an interview with BBC Radio that buying her master recordings is an issue she “actually cares about,” especially when many other pop stars have taken very clear stances in support of Palestine.

While comparing people, especially women, in the industry is often wrong, it is sometimes relevant when it comes to their actions. Again, in the case of Palestine, many pop stars have spoken up, including Dua Lipa, Billie Eilish, and Olivia Rodrigo. Rodrigo, who is very vocal when it comes to social issues, has also publicly denounced President Donald Trump twice now. During his campaign, he posted a TikTok using her song “deja vu,” and Rodrigo left a disapproving comment; soon, the sound was removed completely from TikTok. More recently, the White House administration posted a video using her song “all-american bitch,” to which she replied, “don’t ever use my songs to promote your racist, hateful propaganda.” In comparison, the White House has now posted three videos using sounds from The Life of a Showgirl, and Taylor Swift has made no comment.

In saying all of this, I am by no means intending to draw hate to Taylor Swift — I consider myself a fan, enjoy much of her music, and follow her career. However, this last era has been disappointing in many ways, and I am not alone in believing this. Criticism is essential to growth, and I hope Swift listens — not to defend her empire, but to rediscover the artistry and awareness that once made her unstoppable.

Song of the Year

Nominees:

“Abracadabra” — Lady Gaga

“Manchild” — Sabrina Carpenter

“DtMF” — Bad Bunny

“Anxiety” — Doechii

“WILDFLOWER” — Billie Eilish

“luther” — Kendrick Lamar & SZA

“Golden” — HUNTR/X

“APT.” — ROSÉ & Bruno Mars

Who should win: “luther” — Kendrick Lamar & SZA

In “luther,” two titans of the industry came together to create something beautiful, reminiscent of 2024’s “Die With A Smile,” a duet between Lady Gaga and Bruno Mars. Lamar and SZA blend wonderfully together on the track, and it’s no wonder the two continue to work together, like on SZA’s “30 for 30” or on their “Grand National Tour” together. Additionally, the song went #1 on the Billboard Hot 100 and currently has over 1.2 billion streams on Spotify, proving its popularity and impact.

Record of the Year

Nominees:

“DtMF” — Bad Bunny

“Manchild” — Sabrina Carpenter

“Anxiety” — Doechii

“WILDFLOWER” — Billie Eilish

“Abracadabra” — Lady Gaga

“luther” — Kendrick Lamar & SZA

“The Subway” — Chappell Roan

“APT.” — ROSÉ & Bruno Mars

Who should win: “Abracadabra” — Lady Gaga

Lady Gaga’s “reheated nachos” work perfectly on this track. It’s a blend of old and new, combining dance pop with industrial production. From the rhythmic postchorus to the classic Gaga-esque chorus to the operatic vocals in the bridge, everything is well-produced and thought-through. In addition, the music video — which premiered during last year’s GRAMMYs — is one for the ages.

Album of the Year

Nominees:

“DeBÍ TiRAR MáS FOToS” — Bad Bunny

“SWAG” — Justin Bieber

“Man’s Best Friend” — Sabrina Carpenter

“Let God Sort Em Out” — Clipse, Pusha T, & Malice

“MAYHEM” — Lady Gaga

“GNX” — Kendrick Lamar

“MUTT” — Leon Thomas

“CHROMAKOPIA” — Tyler, The Creator

Who should win: Toss-up

While this year doesn’t appear particularly “stacked” in its nominees, especially in comparison to last year, I think there are three projects that are about equally deserving of the award. Bad Bunny’s DeBÍ TiRAR MáS FOToS was and is a cultural moment, garnering over 7.5 billion streams on Spotify and still pulling over 12 million daily almost a year after its release. The Puerto Rican artist has also landed the 2026 Super Bowl Halftime Show, a testament to his success. Kendrick Lamar took that same stage earlier this year, performing many of his hits from GNX. Songs like “luther” and “tv off” have become greatly popular, and the album’s dominance, especially in the earlier half of the year, gives it a good shot in the category. Lastly, Lady Gaga’s “MAYHEM.” A return to form while also diving into new territories, Gaga took over the world yet again with “Die With A Smile,” “Abracadabra,” and others from the album. Her free Copacabana concert earlier this year broke the record for the most-attended concert by a female artist in history. Overall, I think these three albums have an equal shot at winning, and they all deserve the title of Album of the Year.

Best New Artist

Nominees:

Olivia Dean

KATSEYE

The Marias

Addison Rae

sombr

Leon Thomas

Alex Warren

Lola Young

Who should win: Olivia Dean or Addison Rae

Olivia Dean has had a breakthrough year with “Man I Need,” which has spent many consecutive weeks in Spotify’s Top 10 globally, along with “So Easy (To Fall In Love)” off of her sophomore album, “The Art Of Loving.” Her breakthrough into public consciousness has been undeniable. Addison Rae also had a great year in music with the release of her debut album, “Addison.” It’s a collection of great pop songs, including “Diet Pepsi,” “Fame Is A Gun,” and “Headphones On,” and it’s clear Addison Rae has both a tasteful ear and an ambitious heart. While the odds are more in Olivia Dean’s favor, both artists are deserving of the title.

Over the past year and a half, Katy Perry has been through a lot. After two underperforming records (Witness and Smile), she was ready for a big pop comeback, and the world was begging for it. Fans longed for a return to the joyful pop perfection of hits like “Last Friday Night (T.G.I.F.)” and “California Gurls” on Perry’s own sophomore album Teenage Dream. In an attempt to capitalize on this demand, Perry released “WOMAN’S WORLD,” which was received extremely poorly: it lacked the life and personality in her early career, and its feminist message was greatly overshadowed by the involvement of alleged sexual abuser Dr. Luke on its production. Later that year, her sixth album 143 drew criticism for its AI-like lyrics and flat melodies. On top of this, her “Lifetimes Tour” has often gone viral for all the wrong reasons, and she recently split from her now ex-husband Orlando Bloom.

On Tuesday, Katy Perry announced her new single, “bandaids.” From the start, fans felt a shift from the 143 era - the aesthetic was simpler and darker. This garnered attention on social media, with many calling it her “last chance” in pop stardom. The track and music video were released on Thursday at 7 pm EST.

Though it’s not a high bar to clear, “bandaids” is a major improvement from anything on 143. The production feels greatly more authentic — while the synth and electronic elements are still there, it feels alive in a way it simply didn’t before. Lyrically, it holds more substance too: while there aren’t any groundbreaking lines, the way she details the breakdown of her past relationship is relatable and real.

“Tried all the medications

Lowered my expectations

Made every justification

Bleeding out, bleeding out, bleeding out slow

Band-Aids over a broken heart”

Her vocals also sound great. If anything is going to hit the listener with a hint of nostalgia for Perry’s zenith, it’s the way she sings on this track. Again, on 143, the passion didn’t come through in the music. But it’s back on “bandaids,” which is extremely refreshing — you can clearly hear anger and frustration in the words “It’s not that complicated / To ask me how my day is.”

While an improvement from her last project, “bandaids” is still far from perfect. Part of what defined Katy Perry’s early hits was the perfect melodicism, undeniable earworms that would stick in your head. “bandaids” isn’t quite there — the chorus, even though it does sound good, isn’t necessarily catchy in the way that all great pop songs are. Perry also isn’t known for her lyricism, but a few quick edits could have definitely been made: “Wе were perfect ‘til we weren’t / Now we’ve got too many splinters” doesn’t quite feel right.

Overall, this is a great step in the right direction for Katy Perry’s career, but it’s not quite saved yet. If this era can accomplish that is yet to be seen.

Sebastian Croft, best known for his roles in television series like “Game Of Thrones” and “Heartstopper,” has just released his debut single.

“I can’t believe a dream I had when I was 10 has come true,” the actor says in a recent Instagram post. “It’s so bittersweet that his moment is here, born from heartbreak but blooming into something wonderful.”

This bittersweet feeling is captured beautifully in “Tokyo.” The production is simple, consisting primarily of Croft’s vocals over a strumming guitar, but the track doesn’t seem to need much more. It allows him to focus on the story at hand, in which he reflects on a past relationship and where it’s left him now.

“I wanna tell you, but you’ve moved on,” he tells his ex-lover in the first verse. It’s a simple message, but one that surely many can relate to after losing contact with the person they’ve spent so much time with. Despite the melancholic lyrics, the song feels quite light, making for an extremely pleasant and easy listen. And the way Croft’s British accent comes through on the word “dance” in the chorus is undeniably charismatic.

Watch the music video here, and listen to the song on all streaming platforms.

Let me know, what are your thoughts on “Tokyo”?

Three years ago, singer-songwriter Ashe was ready to quit music. Her breakout hit “Moral of the Story” and gold-certified duet with FINNEAS, “Till Forever Falls Apart,” had thrust her into sudden fame — but after the release of her sophomore album Rae, the burnout caught up to her. She canceled her headlining tour, unsure if she’d ever return.

But artists rarely walk away from what they love completely. After therapy — and some time working with power tools — Ashe found herself wanting back in, but on her own terms. She told MTV, “I was thinking about ways that would make it the most fun for me again. And when Finneas and I have historically written together… [it was] particularly special.”

FINNEAS, Billie Eilish’s brother, producer, and frequent Grammy-winner, had been in Ashe’s corner since 2017. When she called him with an idea — “Let’s start a band, put out one album, and kind of call it a day” — he immediately agreed, saying, “This solves all my problems.” They recruited Ricky Gourmet on guitar and David Marinelli on drums and began to play. In secret, without managers or label oversight, The Favors were born.

That secrecy gave the project freedom, and you can hear it in The Dream. The album feels authentic and raw, yet structured: Ashe had been sketching a play about a fictional band, and those scenes were what shaped the record’s storyline. The result isn’t a grab-bag of TikTok-ready singles but a cohesive arc, an intentional throwback to when albums told stories start to finish. And that’s where The Dream truly shines.

“The Little Mess You Made,” the lead single off of the album, sets the tone both for The Favors and the listener. It kicks off the story’s emotional arc, with Finneas and Ashe’s characters facing off like rams butting heads in an apparent scandal that has torn the fictional band apart. “Who gets all the blame? I guess it’s up to you,” Ashe sings over echoing piano chords, a strong bassline, and a live drum beat. These were the essential ingredients to the album, Finneas told Zane Lowe. “We made it quite quickly because it’s got an old-school flair… it was like drums, guitars, bass, keyboards… once you record that, and you’ve got the song, it’s kind of like you’ve finished it. You don’t want to mess it up.”

It leads into “The Hudson,” a tender piano moment with gut-wrenching lyrics. Sonically, it evokes Fleetwood Mac’s “Landslide,” one of the many ‘70s sonic references on the album. “I don’t know where I belong / All I’ve ever known is gone / I’ve got nothing but you to lose,” Ashe and Finneas sing together in harmony. It paints a picture of the two love-torn characters apart, yet singing the same thing while looking out over the same river. It’s a cinematic design, one that easily invokes images of movies or musical theater, which is rare in pop music. Writing from characters’ perspectives freed the band from the limits of their own experiences. “At the end of the day, Ashe and I are storytellers,” Finneas told Flaunt. “I don’t want to blow up my life to write the kind of song that makes it sound like I’ve blown up my life, but I also don’t want to limit myself to writing about my nice, privileged life.”

The album contains its fair share of ballads, but one that truly stands out is “Lake George.” The song is one of four that reference New York City, with the others being “The Hudson,” “Times Square Jesus,” and “Home Sweet Home.” It opens with a beautiful piano introduction that feels timeless, then builds into the record’s emotional climax. With powerful, haunting vocals, Ashe and Finneas belt, “I’d be just about anyone else tonight… to stop loving you.” Guided by wistful strings, the characters come to terms with the feelings they struggle with throughout the course of the record. It closes solemnly with an audio recording of waves crashing against the shore, a signature Finneas touch.

The story concludes with one of the most upbeat songs on the record, “Home Sweet Home.” The disco-infused track contains funky guitar riffs and sweeping strings that immediately pick the listener up from the melancholy of the preceding songs. It brings the narrative to a head, and the characters have realized they can’t be kept apart. “I tried to warn ya / I’ve had a hard time letting you go,” the band sings. “It all comes back to you.”

The Dream is a record that feels uniquely serendipitous yet meticulously thought out. Its clear storyline sets it apart from many popular albums today and makes for an extremely rewarding listening experience. While it may not have a clear, stand-out hit that’s going to be consumed by the masses, the album is so consistent throughout that it’s near impossible to pick a favorite. Each track has something unique to offer: “Necessary Evils” features a powerful and timeless electric guitar solo; you can hear Finneas smile in the delivery of “Ordinary People”; and the bridge of “The Dream” positively soars. It’s an album that doesn’t exclude the listener in any capacity — it brings them into the room through its honest songwriting, completely live instruments, and off-the-cuff voice recordings. There’s real heart on this record, and in that lies its greatest strength. By the time the final notes of “Home Sweet Home” fade out, you don’t just feel like you’ve listened to an album — you feel like you’ve lived alongside a story. That’s a rare achievement, and it’s what makes The Dream worth returning to again and again.