In Miami, I was invited to an immersive studio experience that began with a listening session of three songs. From there, an intimate piano and acoustic version of her latest single, “Desde Que Tú No Estás,” followed by a sit-down interview with Indy. For anyone who loves culture, musicianship, and Latin rhythms, Indy Fontaine deserves a spot on your playlist.

Indy Fontaine images by Falcom Boards, courtesy of the artist.

Sarah Ruiz: What does this next chapter of new music represent for you and your listeners?

Indy Fontaine: I’m really enjoying doing tropical music. I found a very nice place, like home. “Tu Tienes Algo” is salsa. It had a great vibe, and it has been giving me so much joy that I feel like tropical music gives me so many options when writing a song. I can do bolero, bachata, salsa and that has been an exciting experience for me.

This song that recently came out is a tropical ballad. It’s more emotional; it’s talking about a very sensitive topic, and it’s about loss. It’s a little different from other songs that I have, but it’s very special to me.

Also, in the summer, we’re going to be releasing a song that is very special too, because it has the vibe that I started having this year, happiness, a good vibe, a tropical feeling that makes you want to move and have a good time with friends and family. That’s what is happening right now with Indy.

SR: Congratulations, “Tu Tienes Algo” hit the top 20 on the Billboard tropical AirPlay charts. What does that mean to you to have a song on the charts like that? 

IF: It’s something that I never even imagined. It’s very special because it’s something that I didn’t think about, and when it happened, it was a surprise for me. It means the audience is really enjoying this song, and it motivates me to keep doing this. I’m already doing it with so much love, and it means I can keep growing and doing what I love the most.

SR:  What made you want to pursue a career in music?

IF: I always knew that I loved music. I never imagined I was going to be a singer, so I started music when I was six years old at an academy. I have always loved music since I was little. I remember being three years old, dancing with the Victrola in my house. Everybody is more into the economic field, but they are all super music lovers, and they love all kinds of music. That was kind of how I grew up.

I knew I wanted to be a musician, but I never imagined I was going to be a solo singer. It was one of those things where life moves you in different ways and surprises you. I started writing, and that was what pushed me to do it, because I felt this need to share with someone and to be on stage and share all the emotion that I felt when I wrote this song. It was a nice discovery for me, and I’m really enjoying it.

SR: What inspirations lead you toward blending salsa, bachata, and tropical sounds?

IF: I started experimenting with different genres, and when I wrote “El Amor No Alcanza,” it’s a bolero, I felt a special connection with the audience. It was like a call—wow, my audience really loves tropical music. I grew up doing a lot of tropical music, and I kind of transitioned a little bit to more jazz and more R&B, but when I went back to tropical music, I felt like this is home. This feels good.

My audience is saying that they feel a stronger connection, and I think that was what led me to continue doing this kind of music and focusing on a specific genre for the songs. I feel like these songs tell you what they need. “Tu Tienes Algo” started as a tropical ballad. We were feeling like it was missing something, and we decided, let’s do it in salsa, and it felt right. I think the songs kind of tell you what they need. The beautiful thing about tropical music is that you can have bolero, bachata, salsa and you have so many options that can be right for each song.

SR: How was your experience collaborating with Charlie Cruz?

IF: It was amazing. He’s such a cool guy. It was through Guianko, who was doing the production of his song. He’s a writer, too. When we decided, like, wow, this is an amazing song, but it’s missing something, I always said, okay, let’s do it in salsa. He told me, let me send it to Charlie. I love what Charlie has done. He has always been defending the salsa genre. He has so much passion in what he does, which I love.

When Guianko sent it to him, he was like, wow, I love this song—let’s do it. We actually met at that moment in the studio. It was a great artistic chemistry, just like it looks in the video. It was so much fun. It felt like we had been together for a long time, like we had known each other for a long time, doing music. I feel like the flow was natural.

SR: You’ve been performing a lot this year. What has been your favourite performance and why?

IF: It has been just performing for people and being able to see them outside of the studio. I love the studio and being with musicians, creating. But when you go on stage, seeing people dancing to those songs, feeling it, or singing a part of the song, it is so special. It’s such a joy that I cannot pick one stage. I think they have all been special to me, just having the opportunity to see people enjoying the music and reacting to it.

SR: What advice would you give to young women aspiring to pursue a career in tropical music and performance?

IF: First is to have faith, to believe, and to be ready to work really hard. You have to work so hard and have people around you who support you, letting you know that you need to keep going when you feel like maybe you can’t do it. You have to work hard and believe in what you’re doing, and do it with passion and love.

The post Indy Fontaine talks new music, tropical roots, and her breakout chart moment appeared first on Quip Magazine.

Sarah Ruiz: What inspired you to become an artist?

Sour Beat: I started first as a producer. What made me want to do that was the DJs like Marshmello, Skrillex, and also Travis Scott. I was still producing and really into the production. I felt, after seeing so many artists and inspirations, a little push of, ‘Dang, I kind of want to do this too,’ and my dad is already an artist. I was like, ‘You know what I’m gonna do? I’m gonna try it,’ and I fell in love with it.

Now, I’m leaving the production behind and just concentrating on the singing. I have my own producer, and he follows my vision. I’m kind of producing because I’m telling him to do all these things, but I’m not really on the technical side, like moving things around and clicking the mouse. I do play the piano sometimes, like melodies, and kind of produce.

SR: What is your process for writing and creating music?

SB: I write everything I have so far. It all comes from me; I have no writers. It’s been a really nice learning experience because I have to do something totally fresh and new compared to what my dad is doing, too. It’s different because it’s reggaeton versus trap, so I feel like I can follow my own lane of trap, and then I can go into reggaeton whenever I want. It’s in my roots, that’s why. 

SR: What is it like going on tour with your father, Yandel?

SB: It’s a dream come true. To be honest, I feel like I’ve been dreaming about that since I was little. I wanted to be on stage. I have videos where I go up, I get up on stage, back then when my dad was singing with Wisin.

SR: What has been your biggest learning experience so far as an artist?

SB: I feel it’s very different doing music and getting up on stage. I felt like if I did the song, then I could simply just do it on stage. But that’s not how it is. You might do a song and get up on stage, and when you start singing, you’re like, hold up—in the studio, I can stop whenever I want. I can be like, ‘Push that in,’ and then I can go drink something, come back, and keep going. On stage, you’re nonstop. It’s like, you’re like, ‘Oh, shoot, I’m gonna have to make music, or I can actually perform.’

SR: Is there a piece of music or stage advice your father or another musical colleague has given you?

SB: Yeah, my dad tells me when he’s on stage, he treats it like he’s in a boxing ring. He’s trying to save his stamina because there are 12 rounds, so you can’t throw everything in the first round. So you’ll see him when the concert starts, even though the song is really hyped and everybody is going crazy, he’s just chilling and trying to reserve his energy so he can actually finish the concert and not get out of breath. That’s really good advice I got from him.

SR: Which artists or scenes have influenced your approach to Latin trap?

SB: I have a lot of guys that inspire me. They’re really underground. I would say the most famous are Playboi Carti and Ken Carson. I actually listen to way more underground artists like Osamason and more. They’re super underground, but they are also inspired by Playboi Carti. There’s a whole chain, but these are American people. I’m the only one in Latin who just wants to start this movement, so I’ll probably sign other artists that kind of follow this same line. That’s the goal.

SR: What does a typical studio session look like for you?

SB: It’s different. Yesterday, I called my producer, and I did the beat on FaceTime, and that’s one really hard way to do it, but it’s possible to do it like that. I’ll look up a song I like, I’ll get inspired by it, and then I’ll kind of take that and see it in my own way.

SR: How would you describe your music to someone who has never listened to you before?

SB: I’d say if Batman was a rapper. I kind of think about it like that. I didn’t invent this, but at least in Latin music, I’m the first one to be doing this. It’s that distorted bass with the melodies. It all sounds crunched up, low-resolution, with basic, undefined crackles through the speakers. It’s a different, futuristic sound.

SR: What are your future goals as an artist?

SB: I really want to accomplish the mosh pit community. I really want that. But in Latin music, that doesn’t exist. That’s kind of what I’m going for in my lane. And then, man, I want to perform at Rolling Loud.

The post Sour Beat is bringing mosh pit energy to Latin Music appeared first on Quip Magazine.

During the showcase, she performed “grillos,” “911,” “adulta,” among many others, showcasing her talent by engaging with the crowd and leaving us all in awe. Quip had the chance to chat with GIULIA BE about the album, storytelling, and embracing every version of herself.

Sarah Ruiz: You sing in 3 languages. What is it like creating music in these languages?

GIULIA BE: It’s pretty fun, pretty confusing at times. I have to say, my brain is always split into three depending on who I’m talking to. It’s kind of a different personality coming out depending on the language that I’m speaking. And I think that that’s what this album is about. In a way, I think that everyone who’s bilingual can kind of recognise that we’re not exactly the same. You know, we’re the same person, same essence, same soul, but not exactly the same. We manifest ourselves in different ways. I think that this album allowed me to really manifest these parts of my personality and their individual quirks, and kind of figure out which one’s more fun, which one’s more powerful, which one’s more serious, which one’s more chill, and really overflow that sentiment into the music. 

SR: You’re an actress, singer, and songwriter. How does it feel to live out your dreams across these different creative lanes? 

GB: It’s amazing. Acting kind of came as a surprise for me. I always had such a huge respect for the profession that I really wanted to make sure that I studied up before I tried it, because I didn’t want to fuck it up, truly. Netflix was kind enough to offer me the opportunity to audition [for Beyond the Universe]. I auditioned, and went to the second round and they chose me for this role. It was such a special role, and I kind of fell in love with acting through that. It’s now a part of my life that I really want to explore more. I always say that I only sing because I write, and I think that that’s because my favourite thing in the world is to be a storyteller, and acting is storytelling, but in a different way. You’re still telling a story, but you’re lending your body to someone’s very powerful story. 

SR: Some of my favourite songs you’ve released in the past are “delicia proibida” and “ tonta” – you’ve touched different genres and moods. What made you decide to create in these different genres, and what have you learned from that process?

GB: That’s an interesting question. What we did was we started off by releasing the songs that were more dancing, that were more pop, that were more radio-friendly, if you will. And eventually, as you get to know these characters more, just as you get to know a person, you start seeing their weaknesses and their vulnerabilities. And that’s kind of what we did with this album. As each character starts coming with their own music, the stories get deeper, more vulnerable, they start to cut your heart up a little more, and get more poetic. I feel like you really start seeing layers of fears and insecurities and many other different things, but in a way that it’s still profound. I think that at the same time, each of the genres made it so, like the Latina Giulia flirts with reggaeton and American Giulia flirts with disco music, and so on.

SR: What does it mean to you to be a woman in music? 

GB: Babe, it’s so fun. I love it. It’s so much harder at the same time, because we got to serve looks, we got to serve confidence, and we are still going to get second-guessed. But you know what? I think that a lot of women in this industry have been such amazing teachers to me. They’re so magical. I love the term “sacred feminine,” and I guess that applies a lot when it comes to music, when you’re able to connect with someone in this industry on a level that’s really deep. You feel seen in a way that’s very ethereal and profound, you know?  I admit, it has its hurdles, but it also has its perks, like looking cute on a Friday. Imagine having to go up on stage and, like, a black T-shirt and jeans, boring snooze fest. What are you talking about? 

SR: How do you feel you’ve grown as an artist?

GB: I’ve learned to just trust your instinct more. I think it’s kind of like a wobbly road in the beginning, when I didn’t really know anyone, I was very confident. And then once I started getting haters, and once I started getting people, talking all this shit, I really started to get a little wobbly in my confidence. I think that as I grew, as I matured, I kind of started separating what I wanted to take with me and what I didn’t. And I think that was kind of a key moment for me to really bring my confidence in a very new and almost more stable way than it was. I always say it’s a mix between being utterly delusional and really confident, and I think you kind of have to have a little bit of both in order to make it.

SR: What can we expect from your trilingual album? 

GB: Oh my God, what can’t you expect? I feel like you can expect a lot, and I will deliver a lot of different versions of myself, some of my best songs. Imagine there are songs that I wrote nine years ago and songs that I wrote five months ago. One of the reasons that I really wanted to put them all out together was truly because I needed to honour that version of myself that wrote the song so long ago. Also, be able to show people, kind of how I’ve evolved as an artist and as a songwriter throughout the years. 

Images by @christybarley

The post For GIULIA BE, storytelling comes first and in three languages appeared first on Quip Magazine.

Barefoot, dressed in a black, ankle-length, asymmetrical tube dress, with her hair pulled back into a ponytail, Anna stood alone on the dimly-lit stage, accompanied by her acoustic guitar, harmonica and a coyote vertebrae (more on that later). Looking out into a brightly lit audience, Anna Graves weaved together harmonious imagery with her guitar, harmonica and gentle voice. Graves’ set lasted for 45 minutes, and between songs like “Burn On,” “Bluebird,” “Minnesota on My Mind,” and “Hollow Bones,” the Minnesota native gave context to each tune. 

The 28-year-old songstress’ soft and melodic voice filled the room, drawing the audience into a place that evokes imagination and yearning, and while tapping into a sense of peacefulness. It’s almost as if, through her musical storytelling, she is weaving together a fairy tale of sorts. And considering that she has spent much of her life on a farm, her music celebrates the beauty that is found in nature–even the parts that don’t seem beautiful. Whether intentional or not, Anna’s music sometimes conveys how nature and the human experience tend to mirror one another. 

While she is still currently touring with Jonah Kagen on the Sunflowers & Leather Tour and preparing for the release of her debut album, Anna took some time to connect with Quip Magazine to give us a glimpse into her songwriting process, self-care on the road, and her upcoming album, America’s Greatest Burnout.

Jade Newton: What helps you maintain your motivation and passion for creating and performing music? In other words, how do you avoid or handle burnout? 

Anna Graves: It’s funny because my [upcoming] album is actually called America’s Greatest Burnout. I felt as though I had been spinning my wheels in my musical career for years and getting nowhere, so it really took going back home to reground myself and rest to start making real progress. I felt like I had experienced burnout before I was even able to really get started. There is so much pressure to be excellent when it is truly excellent to just be. Once I was able to be comfortable in my own silence again, I was able to find the words I was looking for. I think it is incredibly important to recognise when your mind and body need rest and to honour that. It is the only way to have longevity in anything. 

It can be easy to get distracted in this industry and lose sight of what truly matters. When I feel disconnected or as though I’m losing motivation or passion, I bring a journal out to a remote area in nature and just give myself space to think and write. I am always able to make sense of myself in nature, and am able to realign with the “why.” I make music because it gives me joy, feeds my wonder, and has the ability to heal myself and others. We as people will always need art.

JN: How do you practice self-care on the road and during moments of writer’s block?

AG: As far as self-care on the road, I try to be around nature as much as possible. That’s always the way I’m able to recenter and ground myself. Sleep is important, and resting when your body is telling you to rest is important. Touring can be really hard on the body, so staying healthy is the number one goal. 

As far as moments of writing block, I try to tell myself that ‘if I’m having issues writing something down, I’m not meant to write that day. I’m meant to live, to experience the input of creativity rather than the output. Inspiration will always find you again. I got miles ahead of me, and I’m not worried about getting anywhere fast.’ 

JN: I know you play the harmonica and the guitar; do you play any other instruments? 

AG: I play the piano, too, however, I have always felt closest to the guitar. I feel as though it’s the way my soul can speak.

JN: Do you experiment with other sounds and genres? 

AG: I have a deep appreciation for all musical genres. I grew up listening to folk, rock, and soul, and have explored many genres myself during my musical journey. I believe that being an artist is exploring without boundaries; that’s the fun of it. I’m happy to have settled back into my roots of storytelling with my acoustic guitar, but I’m excited to see where else it will take me.

JN: Opening for Stevie Nicks was probably a fantastic experience. Tell me a little bit more about that experience, please.

AG: Getting to share the stage with Stevie Nicks, especially in my hometown, was otherworldly. I am such a fan of hers as an artist, as a person, and as a philanthropist. I will never forget meeting her and listening to her hilarious stories as she enchanted the whole room with her mesmerising aura and incredibly genuine and down-to-earth personality. She will always be my most influential artist, and I have never been so awestruck in my life.

JN: Do you compose music as well? 

AG: I tried to learn to read sheet music, but it didn’t last very long (laughs). I have the utmost respect for those who can. I have always learned by ear, but would love to push myself one day and learn to read sheet music. My writing is based on feelings and sounds that I think are interesting at the moment, and I build lyrics that fit the feeling of those melodies and chords. My favourite kind of writing is like when you cook; it’s all a process of creativity and patience, and you end up with something beautiful. 

JN: When you’re performing live, how do you tune out the “noise” and stay focused through those opening sets when the crowd isn’t responding the way you’d like or busy doing everything else but enjoying your show? 

AG: Rowdy crowds are bound to happen, but I always remember that for most people in the crowd, this is their night to escape their busy lives and have fun with their friends. I try not to take it too personally. Coming together with the crowd over lyrics and stories feels like part of the healing process for all of us. I feel profoundly connected to the audience when I sing my songs, even if there are just a few people listening. [It’s] like we are sharing every word. That feels wildly powerful to me. I have really loved Jonah’s fans, and all of the fans of previous artists I’ve toured with. I feel as though many of them really resonate with my music as well, and I’ve had a great time getting to play for them. 

JN: Oftentimes, a change of environment can have a positive effect on our creativity and creative process. Did you notice a change in your approach to songwriting when you moved back to Minnesota? And if so, what changes did you notice? 

AG: Everything changed for me when I moved back to the farm in Minnesota. I was finally able to have the space to breathe and hear my own thoughts again. And working with animals, I saw a big change in my mental health. Our dear friend runs a ranch rescue, and I was able to help foster horses that were neglected and abused. So between that and being around my family, I was able to reground and recalibrate myself. From there, inspiration flowed out of me, and I was able to play and write freely again. I found the girl inside of me that I had been missing for so long; I found my home. 

JN: What is the approach you take to songwriting? 

AG: I tend to write my best songs when it’s a feeling that’s been creeping up through my chest; almost tensing my throat until I write it down and physically sing it out. It always feels like some healing–kind of a celebration, almost. The ability to at least start the process of getting through something that’s been causing you pain, or even starting to understand what brings you the kind of joy that you can’t explain. I think by following that mentality…for me, songwriting is writing what I need to hear in the moment. And there’s a strong chance someone else out there needs to hear the same thing. 

JN: Which of your songs was the most challenging for you to write? 

AG: The most challenging songs for me to write are the ones that cause me to look inward and write about hard moments in my life; it always feels like an intense form of therapy. “Bluebird” was a great example of this for me. There was a lot of pain and hardship that went into the lyrics, but a lot of healing that came out of them. 

JN: When collaborating with another artist, I’m sure the desire is to create a cohesive work of art; how do you balance your artistic identity with theirs? 

AG: I try my best to put myself in their shoes, as I know how daunting it is to be open and vulnerable with strangers. My goal is to just be an extra source of inspiration if they need it and allow them to tell their truth. That is really all that matters. 

JN: What can we look forward to from you for the remainder of 2026? 

AG: I am really looking forward to putting out my debut album, America’s Greatest Burnout. It’s a story of picking yourself back up from the dirt with gratitude and grit, and how I found the way back to myself again. Every song on the record was a meaningful moment throughout my early journey as an artist and a young woman, and I am so excited to finally share it with the world.  

Images by Josefine Cardoni.

The post Anna Graves on healing and finding her way back home appeared first on Quip Magazine.

The duo’s music takes inspiration from nature and science, always personifying flora and fauna in one way or another. After signing to Indica Records and releasing their debut album, Two Lips, in 2023, Beau Nectar took a bit of a break but is back with a new track, “Tulip,” featuring Vox Rea. Last year, the duo have been making their presence known with awards and nominations, including Pop Artist of the Year at Saskatchewan Music Awards (2025) and Group and Pop Artist of the Year at Trille Or Awards (2025).

Kateryna Topol: Hello Marie-Clo and Émi, where are you writing to us from today?

Beau Nectar: Marie-Clo is writing from Vancouver Island, and éemi is writing from Saskatchewan!

KT: You met when you both competed on a music reality TV Show, tell us about that experience, please …

BC: It was a competition for French-speaking singer-songwriters from across Canada that were living outside of Québec. Marie-Clo was representing Ontario, and Émi was representing Saskatchewan. At first, we were kind of intimidated by one another – we both thought the other one was cool and talented. In competition mode, it’s hard not to compare yourself. We weren’t friends at first, but eventually, after being one of the few left in the competition, we both started talking to each other and realised we had a lot in common. Instead of letting competition lead us, we lead with friendship and vulnerability. We both made it to the Finale together in 2017, started our own solo careers as artists, maintained a long-distance friendship, and the rest is history!

KT: Love that! And what did your music journey look like before BRBR?

BC: Marie-Clo had an extensive background in musical theatre and was starting to compose music at the time, and Émi had mostly composed as a hobby, participating in a few contests here and there, but was about to just focus on other things. Our audition for BRBR was definitely an important crossroads in both of our lives.

KT: You produce songs in both languages, does that happen naturally, or are some songs planned to be French/English?

BC: It happens naturally; we don’t really choose to write in a specific language, unless we’re specifically doing the work of translating a song.

KT: You draw a lot of your inspiration from nature, can you please speak to how that inspiration … let’s say materialises in your music?

BC: We attach human nature and feeling to encyclopedic facts. For example, we really identified with the tulip. In the 1600’s, people went to war for the tulip and could even trade their daughters for a simple bulb; that’s how valuable it was. Shortly after its fame, the tulip contracted a virus that caused its colours to go from monochromatic to multiple colours. And just like that, tulipomania was dead.

Nowadays, the tulip is portrayed as a common flower in everyone’s gardens, even though she is still absolutely beautiful. We felt it was a lesson on passing trends and how they shape standards of beauty, meaninglessly. There’s also a secondary meaning in the fact that Tulips co-evolved with humans because they spark dopamine with their colours, so they keep being planted. Tulips don’t produce fruits (despite them having pistils). Lots of historical and encyclopedic easter eggs in that song!

KT: Very cool (not the price for the daughter bit, but the rest). Do you spend a lot of time in nature?

BC: Yes, Marie-Clo has a degree in Herbalism, she lives in the forest and loves being outside in nature. Similarly, Émi loves being outside. It’s actually something that they continue to bond over, and it’s what sparked the project.

KT: Do you have a garden?

BC: Marie-Clo does, she’s really good with that. Émi does not have a green thumb!

KT: What does your creative and production process look like, and how do you collaborate?

BC: We collaborate in many different ways. If we were to simplify it, we could say that Marie-Clo brings forth a melody that Émi works off of, and Émi brings lyrics that Marie-Clo works off of. Sometimes the two meet during residencies and work together from scratch. Sometimes one of us has an almost fully formed song, and we edit together. It really depends on when inspiration strikes, and it strikes in many different ways.

KT: Remote collaboration, very cool. You recently shared a new track featuring Vox Rea, “Tulip” – how did this partnership come about?

BC: It was actually one of the first songs we ever wrote in January 2021. I flew to her house for 6 weeks during COVID, and we holed ourselves up and wrote music and came up with the collaboration. Her partner was playing on a drum machine we rented, and Marie-Clo was on the piano, and we were just jamming lyrics and melodies and “I find love in the strangest places,” which is the song’s hook, came out, just like that. It was magical. Years later, we did the Banff Center for the Arts Musicians in Residence program and met Vox Rea and kept ties since. We really wanted their rich vocals on the album in some capacity, and this song was perfect for that, so we called them up years later to record harmonies!

KT: What are your plans for 2026? Tours, new music, anywhere people can see you live?

BC: So far we’ve got Phoque Off in Québec on February 18, our album pre-launch on February 19 in Montreal, a show in Powell River, BC on March 7th, and we jet off to Wales for Focus Wales in May!

Images by Sophie Vino.

The post From competitors to bandmates with Beau Nectar appeared first on Quip Magazine.

Over the years, he’s gathered a collection of accolades, including the 2011 JUNO Award for Rap Album of the Year, and being the only artist shortlisted five times for the Polaris Music Prize for Canadian Album of the Year. Shad hosted Netflix’s Emmy and Peabody Award-winning series Hip-Hop Evolution and has also been teaching Hip-Hop-related courses at the University of Toronto and Wilfrid Laurier University.

Shad’s latest release, Start Anew, “thematically tackles our collective reluctance to break out of our comfort zones” in both playful yet provoking ways. As a true Canadian, he’s been celebrating the record with live shows across the country, concluding with a sold-out performance at Toronto’s Mod Club on February 21st.

Kateryna Topol: Hello Shadrach, how is your day going? 

SHAD: I’m well, thank you. You’re catching me at home in Toronto, just upstairs in my little office, looking out at a snowy but sunny day. 

KT: There have been a lot of those in Toronto. Your Canadian tour for Start Anew began January 17th – how are the first few days going?

SD: It’s been awesome. I’ve felt a lot of love and support. There’s been a lot of fun moments of connection, too. I like to stop the show from time to time and just chat with people in the audience and some cool moments have come out of that. One young woman in BC, for example, told me her dad brought her to one of my shows when she was a baby, and now she’s 19, jamming in the front row at one of her first concerts as an adult. Someone in Hamilton gave me a special fanzine he made for me on stage. Moments like that, between songs, have been special. And then just the good, high-energy vibes overall. It’s been encouraging for me and hopefully a positive experience for the audiences. 

KT: Those sound like wonderful tour moments! Congratulations on your latest releases, Start Anew record and “Rain” music video, stellar work. The “Rain” collaboration seems like a spontaneous one – how did you and Sam Tudor first meet? 

SD: Thanks. Sam and I have a lot of people in common. He reached out ahead of the Dawson City Music Festival that we were both playing and asked if I’d be interested in making a video up there. I was all in. It just felt like a great opportunity to create something unique for both of us. I love the video and it’s a great memory for me too. 

KT: Very cool. You have quite an impressive music career – how did it all begin? 

SD: If I were to go way back, when I was like 6 or 7 years old, my best friend and I would make up raps and skits and perform them in front of our school. No one asked us to, it was just what we did for fun. We liked to write funny, weird, hyperbolic stories and songs and perform them. There were a lot of years after that growing up when I was more into sports or whatever my peers were doing, but I think we tend to find our way back to who we fundamentally are. At least that’s what happened for me. 

KT: You studied business and art in university – was there any formal music education?

SD: No. I took Grade 10 music in high school, but I was terrible. Played percussion and was relegated to crash cymbals. And then I took 5 or 6 singing lessons in my mid-30s. Also pretty bad at that. That’s the extent of my formal music training. 

KT: Fair enough. Early in your career, you also won the 91.5 The Beat’s Rhythm of the Future talent competition, one of many more awards to come, but was that the one that helped you get your music career off the ground?

SD: Correct, yeah. That allowed me to record my first album because the winners got money to go towards that. It was just a little independent CD, but it allowed me to start to get out there, play shows, and eventually get signed and make more music. 

KT: Amazing. And fast forward to now, you’ve become an educator yourself, designed and taught Hip-Hop-related courses at both the University of Toronto and Wilfrid Laurier University – is that something you are still doing in 2026?

SD: Yes, I’ve had the chance to teach a couple of courses this year, which I enjoy. I’m not as good at teaching as I’d like to be, but I have a passion for encouraging younger people, sharing what I’ve learned about music, and most of all, sharing what I’ve learned about life. 

KT: I’m sure the students appreciate your insight. What have you learned about music, past and future, working with the youth at the university?

SD: One thing that’s been encouraging to see in students is that they seem hopeful. They are facing a lot of challenges that I didn’t face at their age, but they don’t seem discouraged to me. I love that. 

All images by Justin Broadbent.

KT: You’ve also worked on Netflix’s Hip-Hop Evolution series, a huge contribution to the culture, needless to say. Looking back at the Canadian hip-hop scene, has it changed a lot? 

SD: The biggest change is obviously Drake removing the ceiling for Canadian rappers. Tory Lanez, Smiley, and a couple others, have gone through that door. But still not very many. Not enough. I think there’s some things that haven’t changed about our self-perception, even in the wake of all that success. Canada has a long history with hip-hop and world-class talent but I think we still have a problem with support–from both industry and fans. 

KT: I tend to agree. And as a follow-up, in your opinion as the leading voice in hip-hop, how do you think Canada’s music future looks like?

SD: I’m not sure, but one thing I have observed in my 20 years doing this is that change in the industry is frequent and profound. Every 3 years or so, there seem to be dramatic changes. If I had to guess at what’s around the corner, I would say the independent music scene is coming back in a big way but in a new way: Artists already are increasingly less focused on blowing up on streaming services and more concerned with building sustainable, quiet careers where they connect deeply with a small audience that supports them in a variety of ways. Much like the early 2000’s, but now with a few new tools. 

KT: Interesting! And what’s next for you, after the tour, in 2026?

SD: We’ll see! I’m excited to see what kinda comes out of me next. This last album felt like the completion of a thought I’ve had for the last 8-9 years. It feels nice to be done trying to convey that and have more space to feel out what’s next. 

The post Shad on hip-hop future, today and tomorrow appeared first on Quip Magazine.

Kateryna Topol: Hello, how’s your day going?

BLONDETING: My day is going great, to be fair! I had a crazy weekend supporting Emily Makis at Quarters in Brighton and played so much unreleased music, which was very fun! 

KT: Sounds like it! Let’s get to know you better – you’re from South London, is DNB something you grew up with?

BL: YUP SOUTH EAST LDN BORN AND BRED BABY! 

I’ve always grown up around music! My mum is a dramatic soprano opera singer, my dad’s in an indie band (Sredni Vashtar), and my sister is creative too! I found my love for DNB going to raves when I was younger, and also listening to music that makes me feel! That’s something that’s really important to me.

KT: Got any stories about DNB parties you went to growing up?

BL: Ohhhhh yeahhh! So I went to this illegal rave in Milton Keynes and that was such a crazy night! So much music, so much dancing and so much love there! I actually got lost in the rave if I’m being real…. I ended up losing my mates and literally got lost in the music… So yeah, getting home that night was a bit mad, but you can always make friends at the rave, so I was ok!

KT: An adventure for sure! How did you get into music as a profession…

BL: Well… I’ve always done music and grown up around it. I went to Lewisham Music Service on Saturdays when I was younger, then went to The Brit School from year 10 to the end of school! I started producing shortly before lockdown and really finding and building my sound from then.

I’ve always loved singing and writing music, it’s something that’s really built me as a person, and helped me to deal with everything really. The first song I wrote was a diss track soooooo yeah that was fun! 

KT: How has your experience been coming up as a woman on the DNB scene, which seems to be very male-dominated (at least what we get in North America) 

BL: GIRLLLLL it’s been a bit mad to be fair…

As a female producer and a female writer in the drum and bass scene, I feel okay about it, I don’t need to prove myself to anyone, and it’s all love ’round here for me!

I can understand that as a woman in this scene, it’s quite intense, but that’s why I learnt to produce and write myself, so I can do it every day. I don’t have to rely on anyone to help me make my music, which puts me in a bit of a different situation. Yes – electronic music is very male-dominated, but I don’t feel threatened by that one bit… It makes me more motivated, and I know that I can really make a change for females in the industry, whether you’re a DJ, singer, songwriter, producer or whatever you do… we need more women in music regardless! 

All images courtesy of the artist.

KT: Congrats on your latest release, “SHE DON’T CARE,” it’s a fan track and one I’m sure many people can relate to – “pretending not to care while quietly feeling everything” – the track is inspired by your mother – would you be willing to elaborate a bit?

BL: My mum is the strongest woman I know, and has taught me so much about myself, about other people, and about how to be unapologetically myself. I find a lot of power in a strong women, and I know I’m strong because of her.

It’s very common for women to feel a lot of emotions and care too much about things that other people may not care about. For me, as a writer, and as a woman who is stuck between caring too much and caring too little, this was really interesting for me to write about.

I’ve always been told that I might be ‘too much’ for some people, but the people who get me, get me. They probably feel the same as me, and I want those women or however you identify, to feel like you’re not alone in this paradox of the world we live in today.

KT: Definitely not alone. Who are some of your musical inspirations, or female heroes in music? 

BL: I love Madonna, Rihanna, Doja Cat, Nina Simone, Amy Winehouse, Erykah Badu, Lady Gaga, Billie Eilish… the list goes on. I could really speak for days on all of the incredible women in this industry. They are also talented and have all created the space for women like me to create!

KT: Can you speak a bit to how your process works?

BL: My process for creating my music is always really different…Sometimes I’ll have a song basically written on my phone, and I work by adding elements that work with the vocals and melodies.

I love to start with a pad synth usually, and get some melodies going. Then the words just come to me! I like to create ‘ear candy’ with my production. I want to take the listener to a different space/planet with the sound I create.

I’ve recently started to work with some girlies in the DND scene, which has been so fun. I’ve been producing and songwriting for other artists.

KT: Looking forward to hearing those collabs! You’ve released quite a few singles, is an album in the works? 

BL: Ahhhh cheeky! Yes I mean… that would be amazing! I’m still an independent artist currently, and would love to create a project for my TINGS to dance to! I love releasing singles at the moment as I’m loving the way I can release what I want, when I want! 

KT: What are some of your goals heading into 2026?

BL: Some of my goals for 2026 would be performing live more, creating more music, working with more artists, just more of everything! 

KT: That’s a good list. You’ve performed in some of London’s most iconic venues, is a global tour on the horizon? 

BL: I would totally love to do a global tour! Some of the venues that I’ve performed in are Hootananny, Brixton & Colours, Hoxton & Quarters and Volks in Brighton,

I would love to travel the world and see all my fans on the tour! The worldwide TINGS can then be a part of the BLONDETING WORLD in person!

KT: I heard you’re still rocking an old 3310 Nokia phone, how is it working!? How come you opt in for the retro tech, not one of them newest, full computer phones? 

BL: That Nokia 3310 phone is iconic. I love retro tech. I think it’s very impressive. Who knows, maybe in the future we might get more futuristic with it? But I owe a lot to vintage products, I grew up in a house full of them, my mum is a collector. I love stuff from the past and I think it’s really cool.

I had a friend make the huge phone for me, and we went around some iconic BLONDETING music video spots in London and filmed there with it! I was dancing around it, and inside it! People were so interested in what we were doing – it was so much fun! I want to take it with me everywhere

KT: That sounds like a ton of fun, the pics came out great too. Anything else music fans should know about you?

BL: Music fans and fans of BLONDETING should know that I have SO MUCH more music coming for them, I’m so excited for them to hear it. I encourage my fans to be unapologetically themselves no matter what. I have a lot of time and love for my fans. I wouldn’t be here today without them.

So as a gift from me to the TINGS, I will be releasing a lot more music in 2026.

The post BLONDETING on supporting women in DNB and making music from scratch appeared first on Quip Magazine.

Kateryna Topol: How is it going Brian?

Brian Nasty: What’s Up! I’m good, actually [smiles] it’s been a long year and I been counting my blessings. I got a show later today, so I’m drinking tea right now

KT: Nothing beats a good cup of tea. Congrats on your latest release. How did the collaboration with Lord Apex for “You Thought” come about?

BN: Wow, thank you! I mean Apex and I have been homies for a minute, and I’ve always wanted to make music with him, and so when I was making the mixtape, I guess, the opportunity presented itself, and so I hit him up. I been a huge fan of his since forever, so I’m honoured!

“Apex came through, and we hung out for a few days. We actually worked on a few songs, but I thought this was the one that felt most representative of what I have and the direction I kind of want to go in,” he shared in a press release. “That song is supposed to be an uplifting one with its message, which is ‘you thought we wouldn’t be able to do what we’re doing now, but hey, look, we’re doing what we’re doing.’”

KT: You two worked on a few songs together, are there more coming?

BN: [Laughs] Well … apparently this has been a collab the fans have been asking for from us, and I feel like there’s more versions of what our music together sounds like so … let’s leave it at that [smiles]

KT: All right, all right [smiles]. Let’s move on to Anywhere But Here With You, which seems like a rather large project with each song accompanied by a short film, performance, and visual storytelling – how long did this body of work take to make?

BN: I mean, it’s been a huge portion of my life put into making the project for sure. I’d say 5 years in total, to be honest with you. Some of the ideas date back to 2019! It took me a year and a half to just to make all the films and put it out

KT: Wow! How would you recommend fans experience this mixtape?

NB: I’d recommend hearing it live actually! Despite the music being soft and sombre, always make sure you feel the emotions and the energy behind the songs. And if it can’t be that, I’d definitely [recommend listening to it] in transit! On a walk, train, plane, bus, or car, or something. I want you to move through the emotions while literally moving.

KT: Love that. This mixtape was a way for you to understand yourself better – were you…. I guess let’s say successful with that goal?

BN: For sure, it was a lot of learning what I didn’t like, didn’t want and I had to learn it the hard way too [laughs]. Learning to make tougher decisions and being okay with those consequences, you know? Growing up, really.

KT: Looking further back into your career and relationship with music – where does this love for music stem from?

BN: I think, escapism. As a kid, I saw musicians as these larger-than-life characters who made you feel something. Whether that be seeing Michael Jackson deciding he wanted to be a dancing zombie or Kanye West wanted to be a giant teddy bear. I kind of started seeing myself as a story, and music was the best way to show the different parts of my personality. Hearing music soundtracks and understanding that if you struggled to convey an emotion, good or bad, there was most likely a song that existed for it already.

I don’t wanna say I have synesthesia, but association too. Music is a pillar in my life cause at every point in my life there’s always something new and feeling of finding a song to go along with it.

KT: Sounds a bit poetic. What else did you listen to growing up?

BN: A lot of Michael Jackson, Kanye West, Outkast, Beyonce, Outkast, Eminem, Corrine Bailey Rae Pop Music, Rap Music, Rock Music too!

KT: Was there music in your house a lot?

BN: I don’t wanna say there was. So every time I was moved by something, I was just fixated on it. Hearing soundtracks too, like Shrek, Men In Black, Toy Story Two, etc … Music is everywhere!

KT: Very true, especially with soundtracks. Did you do any music education, or are you self-taught?

BN: I’ve always been self-taught. But I want to expand my knowledge and take piano AND bass lessons

KT: Anything your fans might not know about you but should?

BN: Hmmmmmm …. I love badminton [laughs]. And I collect stamps too.

KT: Those are both great hobbies, and far enough from music to be a proper distraction, I guess. What’s next for you?

BN: Oh Man! I just did the biggest shows of my life supporting Loyle Carner this month so I can’t wait to tour again in 2026. There’s more music coming too like … I been working on my Debut album, which I’m excited about too. 2025 has been the busiest I’ve ever been musically, and I’m excited to keep that momentum going! But I’m looking forward to some real rest and give myself a reset, and take care of myself.

* * *

Stay tuned for Brian Nasty’s 2026 tour announcement.

The post Moving through emotions with Brian Nasty appeared first on Quip Magazine.

Kateryna Topol: Hello Harlee Case and Josh Smith, how is your week going?

Harlee Case: Our week’s going great! How are you? We’re on our way to Orlando, staring out of the window at any body of water, hoping to see an alligator.

KT: That sounds like a great way to kill some time! Doing well here too, thank you for asking. Let’s start at the beginning – how did this partnership come about?

Harlee Case: We’ve been friends since we were 13 and 15, and Josh actually recorded the first song I wrote in his childhood bedroom. But we didn’t start actually making music together until 8 years ago, when we formed New Constellations. We had both given up on our musical dreams but decided to try one last time together.

KT: Wow! Ok, looking back at the early days, at what point did you know music is what you wanted to do?

HC: When I learned to speak, I learned to sing. I didn’t realise it was a job you could do till I saw Jo Dee Messina at the Britt Festival. She had red hair like I did, and I remember thinking that I wanted to do that. As I got into high school, I learned guitar and started writing my own music, and quickly started playing my first shows at 14 in local bars, where I would have to be escorted off stage the moment I got down singing.

Josh Smith: I’ve always been interested in music, but when I knew I wanted to be a performer was in middle school at church when a local band was playing a bunch of Good Charlotte covers. They were only a few years older than me, and it made me realise that that was an option or something attainable. I asked my mom for a guitar that Christmas.

KT: Very early on! What did you listen to most growing up?

HC: In high school, I loved John Mayer, Dido, Feist, Trishan Prettyman, and religiously listened to the OC soundtracks [smiles]

KT: I mean, naturally [smiles]. Congrats on the release of your latest song, “Believe Again” – it’s definitely a repeatable one. What’s next for you two?

HC: We spent the last few years working on an album that we were very proud of. It’s gonna be 10 new unreleased songs. We are dropping a handful of singles before that and then a full album in May.

KT: Very exciting. Not gonna lie, “Hot Blooded” has been living rent-free in my head for many months now, and it seems I’m not the only one with the track being #1 on your Spotify. Did you expect it would have such an effect?

HC: We had no idea that it would become the success that it has. This track truly changed our lives, and we are so grateful for that.

KT: What would be your dream performance venue or location, anywhere in the world?

HC: We went to The Gorge Amphitheatre in high school as well as over 10 times to see Dave Matthews Band perform. One of our biggest dreams is to open for them at the Gorge. It’s the best venue out there in our opinion [Grant County, Washington, United States].

KT: What do you like to do when performing in a new city, if there is time?

HC: The real tragedy of the tour is that we never get to spend real time in any of the cities. In between sound check and the show, we will always try to grab some local coffee and food in the neighbourhood. Even though we don’t get a lot of time in the cities, we do hang out and meet our fans after every show, so we do get a small taste of the city through the people.

KT: Any plans to tour outside of the US?

HC: Touring internationally has always been a dream of ours, so we are planning for some major tour expansion next year

KT: Excellent, looking forward to it.

Images courtesy of the band.

The post New Constellations’ Harlee Case offers us a glimpse into the band’s future appeared first on Quip Magazine.

The tour makes a series of stops across North America, activating in five major stops: Queens, NY (Sept 5), Boston (Sept 6), Atlanta (Sept 13), Austin (Sept 19), and Denver (Sept 27). Each activation includes an immersive on-site experience, encouraging concertgoers to converse, connect, and join the Belong Center movement.

Quip would like to send one lucky fan to the September 5th show in Queens, NY. Head over to the contest post to learn more or directly to Instagram for your chance to win. 

“Above & Beyond creates spaces where people feel seen, lifted, and connected – and that’s exactly what Belong Center is here to do,” shared Belong Center founder Radha Agrawal. “We’re honoured to join forces with a band whose music already brings people together, and to invite fans into a deeper experience of community while they’re already open, dancing, and alive.”

Quip caught up with Radha Agrawal, the social entrepreneur behind the early-morning sober dance movement Daybreaker, to gain a better insight into this exciting collaboration.

Kateryna Topol: Hello Radha, can you please talk about how the partnership with Above & Beyond came together?

Radha Agrawal: Daybreaker partnered with Above & Beyond a few years ago when they were launching their Flow State album. That’s when we met Paavo Siljamäki, who I learned was deeply focused on music for mental health. We quickly became friends and started collaborating. Together, we launched a Daybreaker x Above & Beyond tour across 10 cities.

Through that experience and our growing friendship, Paavo joined the board of the Belong Center, since loneliness and belonging are so close to his heart. He’s been on our board for the last year, generously championing us inside his organisation and with his partners. Thiem, Jono, and all of Above & Beyond immediately got behind us and our mission to end loneliness and build a culture of belonging for people and the planet.

It’s incredible that they’re offering us $1 from every ticket on their tour, along with two other incredible organisations. We’re deeply grateful and so excited to continue collaborating on this tour and for years to come.

KT: Can you please speak a bit about the idea behind the Belong Bench and what the initial concept was?

RA: I’ve always dreamed of creating a circular bench where people face each other rather than sitting in a straight line with no eye contact. A yellow circular bench felt especially inviting, since yellow represents joy, warmth, and childlike wonder—it radiates sunniness.

We rendered the design and then partnered with the Bjarke Ingels Group, who generously volunteered their architectural team to support us in building the first bench. While we made some concessions to keep costs down, the essence remained: a circular bench where people sit face-to-face.

Next to the bench, we added a QR code—another dream of mine. When scanned, it gives you access to resources like “20 Questions to Become Friends,” “20 Questions to Fall in Love,” “20 Questions to Rupture & Repair,” videos on connection, curated playlists, and even a place to donate to the Belong Center. The bench is not just a piece of furniture; it’s a program of content. You can sit with someone, scan the code, and instantly have tools to spark conversation and make your community just a little more approachable.

KT: A $1-per-ticket donation is helping fight the loneliness epidemic. How exactly will this be executed?

RA: So much of the loneliness epidemic can feel pathologised, like something is “wrong” with you. At the Belong Center, our mission is to end loneliness and build a culture of belonging for people and the planet through joyful interventions.

The $1 from every ticket will go directly into our Belong Circles program. We’ve created a Belong Center Blueprint—a guide we’re about to publish—that anyone can use to start a circle in their own community. These circles can be built around any interest—knitting, music, parenting, grief support, book clubs—anything that brings people together. Along with the blueprint, we’re producing a video series so anyone can launch a circle with confidence.

We’ve learned that both macro and micro communities matter. The macro community is Daybreaker and Above & Beyond—where you meet like-minded people. From there, micro friendships and smaller circles can grow. Our mission at Belong Center is to help people move from the macro to the micro—to make the invitation, not wait for it.

Every ticket purchased is fueling these programs, helping us spread circles of belonging around the world. We’re also working on a TV show about ending loneliness in a fun and engaging way—so stay tuned!

The post Radha Agrawal speaks to the Above & Beyond “Bigger Than All Of Us” tour collaboration appeared first on Quip Magazine.

From amassing 60,000 monthly listeners on Spotify, recording an AudioTree Live session on YouTube, to touring sellout shows in the U.S. and Mexico. The trio of lead singer Jesse Flores, bassist Daniel Vela and new guitarist David Garcia recently headlined Cruel Fest at Navy Pier. Now they prepare for a SoCal tour and a European tour this fall. Taking a break from practising for Cruel Fest, Jesse Flores was kind enough to invite Quip Magazine into his studio and allow us to speak with the three men about Blood Club and share their story.

Vidal Granados: Hey guys, thank you so much for taking the time out of your busy schedule to speak with me. It’s been a long time coming; I’ve been following your guy’s journey over the last 2 years. Thank you for letting me into your sanctuary.

Jesse Flores: Of course, thank you for wanting to talk to us!

VG: You are preparing to headline Cruel Fest at Navy Pier. How are you guys feeling?

JF: We’re feeling good. You just heard some of the songs, so I’m happy with our set list. We just got a new member too [David Garcia], so he’s been learning the songs and we pretty much have it down now.

VG: You sounded great! I wanted to cheer after each song, but I knew you were locked in and didn’t want to interrupt.

Daniel Vela: [laughs] You could’ve been the echo going “Yeah!”

VG: How proud are you of your team, Cruel Management? How has it been collaborating with the other bands on the lineup?

JF: I’ve known Vincente Ramirez [manager] forever. It’s cool to grow with him. I appreciate everything he’s done. It’s cool to work with someone whom I’ve been friends with so long that I confidently tell him what I want instead of some business guy. It makes me feel comfortable asking for things and planning stuff with him, so it’s great we both have had a rise together.

As for the other bands, Vinny works with a lot of other bands for booking. We’re cool with most of them because we’re all in a friend group chat trying to support each other.

DV: We’re friends, so Vinny and Cruel Management created this environment to grow together. That’s what makes all this really fun, cause it’s not a business thing, it’s friends. I know we can go to each other and say, “Yo you’re fucking up.” (laughs)

JF: You’ve got to be able to have the freedom to say that, but also take it too. It goes both ways, or else it’s not going to work as a team.

VG: Congrats on your latest EP Sufres Porque Quieres. What has the feedback been since it dropped?

JF: It’s actually been pretty great. It’s doing better than I expected (laughs). I’m happy it’s doing well. Sufres Porque Quieres came together quick. I wrote it all in a month and a half. We were busy with tours, so I had to set time aside to write it in the spring. I gave myself a tight deadline since we had our No Llores North American tour coming up at the time, so I wanted it to give fans an incentive to listen. Plus, we also wanted to play new songs.

VG: What has the experience been like being able to travel the country as well as the globe with your art?

JF: It’s the dream! We are super grateful. A lot of it really is luck, so we’re never going to take it for granted. It is hard work though, so we don’t always get to explore the cities we’re in. It’s the van, venue, and hotel room. We love it though; I can keep going forever.

DV: Honestly, on the outside, it may seem like a vacation, but we know what we go through on the road. What makes it the best is that I’m literally experiencing it with my best friends. It makes it so easy. Touring to me is like a retreat. You see everyone’s highs and lows. If you crash out, everyone sees it. You have to get your emotions together. Whatever problems you have at home, stay at home. It’s still there, yet you’re out and away, so you have to balance everything and still stay locked in to be ready for shows. This is what we want, we are doing it, and we’re super grateful it’s all happening.

VG: What has been your favourite city to perform in?

JF: Chicago for sure is one of our favourite cities to play in! It’s cool we’ve built a fan base here that always shows support. Chicago and LA are my top two cities to play in.

DV: I agree, but I also always liked playing in Riverside, California. They always bring the energy. I don’t know, it’s just the random type of people that you may not expect to get down to our style, but they’re the most passionate. I love seeing all types of people get down with our shows there. The first time playing there, I couldn’t hear Jesse singing the song, but the crowd was screaming the lyrics. I will always remember that.

VG: Jesse, Blood Club is your brainchild. How good does it feel seeing your idea come into fruition, knowing this is just the beginning?

JF: It feels amazing. I know it sounds cliché, but I’ve always had this dream since I was a kid. I always said if I can just do tours and a lot of people show up, I’d be happy with that. We’re already at that point so anything more makes me grateful. We’re going to keep going and have a blast.

VG: David, you being the newest member of the band, how excited are you about joining Blood Club and a part of this experience?

DG: I’m in another band [Violet Waves] with my older brother, who is friends with Jesse. I met Jesse last year. Pretty much, we started playing together for a little bit, and chemistry grew with Jesse and Daniel.

JF: We needed a new member so I thought of him because we vibe together, and he plays great. Only recently did he start learning our songs, and it’s going really well. I went to his brother’s house one day, heard David play guitar and thought it sounded good and invited him over, and the rest is history.

DG: It’s crazy what if I was upstairs that day. It would’ve caused a butterfly effect; it was destiny [laughs] I love being in Blood Club, it’s great.

VG: Building off that, what makes this dynamic click between you three?

JF: I write the songs and show the guys what I got. Once I’m done, these guys come to the studio and learn all the parts; we fine-tune it for live performances. Daniel is definitely the glue guy.

DV: I try to do anything to help everyone out. Being the oldest, I feel I have to be the most mature and versatile. It’s easy because Jesse is such a good leader. He’s straight up, and gives you props. He’s doing it because he wants to grow, be better and wants the best out of you. There’s no ego. No games played, let’s fucking run it. We all play our roles and we all root for each other. With David, he’s ready to go. Jesse and me have been going strong for 3 years and our vision is for the future. David was able to step in and do his thing. It’s easy to vibe with him cause he’s ready to go.

DG: I feel like there’s a very strong brother dynamic going on here, which is why it’s worked so far.

VG: All this is an exciting experience, but can be overwhelming. Any hobbies you explore outside of music to stay engaged creatively?

JF: Personally, I handle a lot of the visual side of the band. Like music video or social media posts. I work with my videographer closely to provide feedback. I always had the dream of being a moviemaker so I like that aspect.

DV: Not really too much outside of music for me. After this last tour I finally got a routine down to keep me grounded. I wake early to go running, practice before the set and try to relax. You can get lost seeing the same people so doing my own thing before a show has helped me out.

DG: I ride my bike a lot or go for a jog. I like to draw a lot. I also just focus mainly on music. Mess around with music software on my phone. I play drums, piano, guitar, bass, and played the glockenspiel before.

VG: As we come down the stretch of 2025, what is the rest of the year looking like?

JF: Cruel Fest! We have a show in Chicago at Bottom Lounge on October 10th. Then we’re off to SoCal for a few tour dates. Then we’re off to Europe. I’m planning to write a new album for next year.

DG: It’s going to be a good time. I’ve never been on an official tour before. Going to LA then Europe, is going to be a brand new experience.

VG: Lastly, any advice for anyone trying to chase their dreams and make it in the music industry?

JF: Put in the work. I’ve wanted this since 13 and just now it’s getting traction. If you really love it, you’ll work hard at it. A lot of it is luck too, you have to put yourself in a lot of situations, you can become more lucky than someone who doesn’t do anything. Also, don’t let it get to your head; you have to treat your people well.

DV: It sounds chees,y but believing in yourself is where it all starts. Putting in the work and never giving the fuck up.

DG: Trust your ideas. That idea that keeps coming back and sticks, then get it out to the world anyway you can. Keep creating.

VG: Thank you fellas, appreciate your time and wish y’all the best on your continued success!

Blood Club’s Sufres Porque Quieres is streaming on all major platforms now and visit bl00dclub.com for upcoming tour dates.

Photos by @junnylaraa, courtesy of the band.

The post Getting to know Blood Club with Jesse Flores and Daniel Vela appeared first on Quip Magazine.