Hailing from London, England, the Nova Twins were featured on our artists to watch list heading into the weekend, and they were absolutely a favourite. The duo represented female empowerment, strength, and undeniable talent. They took the stage with their guitars, distinctive rock-inspired outfits, their drummer, and an energy that commanded the entire space. Their outfits were also self-designed. Their song “Cleopatra” showcased confidence through their vocals, stage presence, and lyrics like “I’m a samurai, warrior, fighter; I’m a boss bitch. I’m Cleopatra”. Closer to the end of their set, the Nova Twins shared, “Thank you for coming to join us and enduring the heat with us. Are you f**king ready?” Other crowd favourites included “Monsters,” and they closed their set with “Glory”.

Left: Faith Nguyen for Vans Warped Tour. Right: Matty Vogel for Vans Warped Tour. Cover image: Brian Rappaport for Vans Warped Tour.

Vana, whose bio on her Instagram reads “pretty metal,” came full force with the sass, confidence, and intensity that title promises. This was her first Vans Warped Tour, and she definitely made an entrance with fans already screaming along to her songs and people crowding the barricade before she even began to perform. Her bright red hair and high energy carried through songs like “Pray,” “BEG!,” “SERPENTINE,” and more. Her laced black rocker outfit matched her charisma throughout the entire set. Not only was she singing, but she also incorporated sharp dance and kick movements that kept the crowd engaged.

HUE performed on the main stage and then gave a second intimate performance at the unplugged stage. They were also winners of the Ernie Ball Battle of the Bands, which earned them the opportunity to perform at Vans Warped Tour. HUE brought DC culture to the festival with rock, go-go, and funk rhythms. After the set, Quip had the chance to catch up with member AЯEJAY on their performance.

Orhun Uygur for Vans Warped Tour.

When asked what it felt like to bring DC culture to Vans Warped Tour, he shared, “It’s awesome. We’re authentically being ourselves, and we’re encouraging other people to authentically be themselves, and everybody’s like authentically being themselves together, enjoying it. That’s why I think it’s cool about our music, and like the DC flair that we have in our songs, like go-go and funk, it just feels good. It encourages everybody to participate.”

The takeaway that HUE wants for listeners is that “I want people to take away from our songs, from our show, from DC culture, the soul, the feel, the swing, the movement, and the swag. Just feel free to be yourself and put your own stank on it. That’s very much the HUE band experience.” 

Gym Class Heroes was another memorable set to witness at Warped Tour. Songs like “Stereo Hearts” and “Cupid’s Chokehold” had the audience singing and swaying along from start to finish. Singer Travie McCoy invited the crowd to join him in a two-step in his set, and the crowd followed his movements. He brought his signature rap voice to the stage, and the crowd gave it right back to him.

3OH!3 by Jamal Eid for Vans Warped Tour

3OH!3 performed on Sunday, and they brought nostalgia, attitude, and energy that was unlike anything else at the festival. If anyone else remembers the iPod era, or even LimeWire, you most likely had a 3OH!3 song on your playlist from their debut album WANT. The whole crowd was screaming along to every lyric and jumping up and down, with endless crowd surfing throughout. Other songs that brought back memories were “My First Kiss,” “STARTSTRUKK,” and their recently viral single “RICHMAN“. They interacted with the crowd with comedic comments and repped Boulder, Colorado, proudly. 

Their creative visuals also deserved a shoutout, in which they changed between a cabin theme, a “Welcome to Ballerado National Park” backdrop, their faces in a twilight setting, and more in true 3OH!3 personality. One of the most memorable moments came when Nathaniel Motte stopped to genuinely thank all the workers who made Vans Warped Tour happen, the backstage crew, and everyone involved. They ended with their famously known “Don’t Trust Me,” incorporating a breakdown section that had the entire crowd dancing and singing along. 

Faith Nguyen for Vans Warped Tour.

Not only was there music, but nonprofit organisations ranging from PETA to Loyal to the Craft and more had booths where attendees could learn more and get involved. There were also artist merch tents with some of the artists present in their tents, meeting and greeting fans. Skate culture is huge within the Vans Warped Tour experience, and aside from the music, festivalgoers could watch performances featuring vert ramps, Nitro Circus, and skaters and BMX riders doing tricks throughout the day.

Vans Warped Tour is a festival that everyone should go to experience in their life. You get a mix of skate culture, rock, emo, punk, and an array of genres and bands to listen to and discover. Also, the nonstop crowd surfing and mosh pits added to the atmosphere. Some of the artists bring nostalgia with songs people have loved since they were younger, and this is also a setting for discovering new artists in the scene. Washington D.C. was a great kickoff to the Vans Warped Tour as it’s headed to Long Beach, CA; Montreal, QC; and more. The Warped Summer is just getting started.

Matty Vogel for Vans Warped Tour.

The post From Nova Twins to 3OH!3: The best moments of Vans Warped Tour D.C. appeared first on Quip Magazine.

Oxymorrons

Queens, New York’s Oxymorrons defy being put in a box, they pull from punk, hip-hop, metal, jazz, and beyond to create something entirely their own. The group includes vocalist Demi “Deee,” his brother and drummer Kami “KI,” drummer Matty Mayz, and vocalist/guitarist/bassist Jafe Paulino, and they carry the cultural richness of their Haitian, Dominican, and Jamaican roots into every performance. They’re the kind of band that represents New York with pride wherever they go, and their Warped Tour set is something to catch.

Nova Twins 

London rock duo Nova Twins, Georgia South and Amy Love, have been making waves since their self-titled debut EP in 2016, and some D.C. audiences got an early preview last year when they delivered a bass-heavy set at Tiny Desk. Since then, they have toured alongside Evanescence and earned fans in Elton John and Rage Against the Machine, and continued to use their platform to advocate for social justice. Nova Twins bring another level of talent that you must see.

3OH!3

If you had an iPod in 2008, you already know “DONTTRUSTME,” “STARSTRUKK,” and “My First Kiss.” The Boulder, Colorado duo built a fever dream of certified bangers that are just as relevant today. 3OH!3 are no strangers to Warped Tour, and they’ve graced the stages of Coachella and Reading & Leeds as well. This is a set built for crowd sing-alongs, and every song feels like a throwback worth revisiting.

Meet Me @ The Altar 

Meet Me @ The Altar is the pop-punk band the genre needed. Drummer Ada Juarez and lead vocalist Edith Victoria have crafted a sound built on sharp hooks, explosive riffs, and earworm melodies with a forward-facing punk attitude. They’ve earned major co-signs and shared stages with Green Day, and they’re heading into Warped Tour with real momentum: their new single “Strung Out” drops June 12th, just one day before the D.C. show.

HUE

Warped Tour made a point of spotlighting local talent by including HUE on the D.C. lineup, and it’s a well-deserved slot. The Washington, D.C. Battle of the Bands winners bring something truly unique to the festival: a special acoustic set that weaves together go-go, R&B, pop-punk, djent, and more. Formed by Alireza and Halluciniinja alongside drummer AreJay, a former RDGLDGRN touring member, the band has already performed at Afropunk Brooklyn, 6 Mafia in D.C., and NAMM. Their debut EP arrives May 29th, giving fans something new to dig into before the show.

VANA

New Zealand-based artist VANA blends alt-metal with electro-pop and trap-influenced production into a sound that feels genuinely singular. An outspoken advocate for female empowerment, mental health awareness, and LGBTQ+ visibility, she uses her platform to build a space where outsiders feel seen. Her debut album, due this fall, promises a dive into a dystopian fantasy world rooted in dark femininity, villainy, and the perspective of the misunderstood. Consider Warped Tour your introduction.

DC’s Warped Tour is a continuation of memories made throughout the years.  The lineup invites an array of bands and artists for the District that will have you feeling nostalgic or curious to find your new favourite band. This lineup has something for everyone. We hope a few of these artists make it onto your must-see list.

See the full lineup and buy tickets at vanswarpedtourdc.com.

Cover image: Nova Twins by Faye Strassle, Pukkelpop Belgium music festival.

The post Vans Warped Tour returns to Washington D.C. and here are some artists we can’t wait to see appeared first on Quip Magazine.

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.

Ryan Castro’s SENDÉ is a Caribbean love letter to his roots and my personal favourite album of the year. Throughout the project, he authentically blends reggae, dancehall, afrobeats and reggaeton into a vibrant kaleidoscope of sounds. The album also serves as an ode to his heritage in Curaçao, a tribute paid through his lyrics, musicality, and thoughtful collaborations. The song “BOMBASTIK<3”  was my ultimate favourite and was a high-energy collaboration with Blaiz Fiyah and Tribal Kush. This year also marked Castro’s first major headline world tour, the “SENDÉ World Tour.” I was fortunate enough to be invited, and it was my favourite concert of the year. He brought the Caribbean vibes to every city and had backup dancers to further bring the SENDÉ theme to life. Castro’s evolution is evident sonically and visually, fueled by a meaningful reconnection with his mother during the creative process. If you’re ready for a journey through the sounds of the Caribbean, this project is as much for you as it was for me.

Eric Mura: Greg Freeman, Burnover

In a year that saw the influence of alt country take center stage in the American indie music scene, with the rise and proliferation of acts like MJ Lenderman and his work with groups like Wednesday and The Snocaps (a collaboration with Waxahatchee and her sister Alison Crutchfield) the real standout came not out of North Carolina or Alabama, but from 1,000 miles north in Burlington, Vermont. This year, Greg Freeman followed up his 2022 debut, I Looked Ou,t with a 10-track skipless album that pushed the boundaries of mainstream sound with his warbling voice and big band sound. Burnover is a steam-powered album with lyrics that overlay fire and ice one after another until the resulting pressure bursts forth in explosive avalanching crescendos. Many of the songs sing of feverish love that now sits broken in the winter snow.

Freeman prescribes for the heartache either a running appointment with your bartender, smashing the windows out of cars lining the street, or burning the furniture to keep the darkness away. The images he conveys through his thickly poetic lyrics are at once beautiful and haunting. If his lyrics are what keep you listening, is a sound that entices you to invite him in. His voice carries what sounds like a traditional country twang, singing from his nose and the back of his throat, but instead of letting his voice round out the sounds like Hank Williams would, he lets it rattle and shake around his throat. The effect is a unique, almost keening sound that lacks much predictability but keeps you hanging onto each word. His band creates an enormous sound that nearly teleports you to a barn house stage. He replaces the traditional reliance on the slide guitar with layers of horns, strings, and keys. Each song carries a familiarity of the genre it represents, but at each place Freeman and his band could find to deviate, they did. Bonus points from me as they reported that they recorded some of the tracks live as a band, and that has to be my favourite recording style on the planet. 

Danyyil Nosovskiy: ROSALÍA, LUX

LUX feels like the work of an artist fully in control of her direction. ROSALÍA embraces restraint, using space, careful phrasing and melody.  whether she is singing in Spanish, Catalan, Ukrainian or English to shape each song rather than relying on excess. The album moves deliberately, incorporating flamenco influences into modern production without overdoing it. What makes LUX my album of the year is its quiet confidence: it never demands attention, but it holds it. The more time you spend with the record, the more it reveals, proving that artistic growth does not need volume to make an impact.

Danyyil Mosovskiy: Machine Gun Kelly, Lost Americana

With Lost Americana, MGK delivers his most grounded and emotionally direct record to date. The album feels lived-in, shaped by memory rather than momentum, and it leans into storytelling with a clarity that has often been missing from his work. There’s a worn, reflective quality about youth, regret, and the search for belonging that’s a common theme in all the tracks. And it feels honest rather than performative. What sets Lost Americana apart is its sense of place and purpose, capturing an artist embracing where he’s been and choosing vulnerability over volume.

Niall Fitzgeral: Jim Legxacy, black british music

Released in July on XL (Legxacy’s debut for the label after years of honing his reputation in the London underground scene), black british music puts Legxacy firmly on the map as a leader of the next generation of rap and hip hop voices not only in the UK, but across the globe. Several tracks (“Stick”, “Father”, “06 Wayne Rooney”, “I Just banged a snus in Canada Water”) already sound like classics, toeing the line between contemporary chaos and a classic rap feel. Black british music manages to feel both extremely relevant and of the moment while also having a tinge of nostalgia throughout. The hype man doing the intros to tracks reminds of a bygone era of downloading mixtapes off of DatPiff, and the whole record has an element of taking the best of the past and pushing things forward. Legxacy has a pretty yet gritty voice. He utilises incredible samples. One could envision hearing the tracks in the grime of a basement party just as well as on the terraces of a football ground, and it would make total sense in both contexts. Incredible ad-libs throughout. black british music will continue to grow in stature as the rest of the 2020s roll by, but it already feels like an instant classic.

Kateryna Topol, Romain Garcia, EURÊKA!

Another signature sound release from Anjunadeep, Romain Garcia’s EURÊKA! works well from day to night, much like the infamous Millennial office-friendly club outfit, except tonight we’ll opt for a much more comfortable shoe. The album is a journey through Romain’s transformative breakthrough summer, and as far as debut albums go, this one tells a cohesive story hard to find a fault in. The sound is reminiscent to that of Ben Böhmer and Tinlicker, perfect as summer soundtracks (“Lost in Bisca,” “Next To You“) sprinkled with songs that will heat up a late-night dancefloor in euphoria-induced morning (“Eurêka!,” “Heya“).

The post On replay: Our favourite albums of 2025 appeared first on Quip Magazine.

Friday started strong with 10x Latin Grammy-nominated duo Ca7riel y Paco Amoroso, who brought their viral Tiny Desk energy straight to Miami. They’re a fun duo with contagious energy that cannot be compared to any other artist. One moment you’re singing along to the lyrics, the next you’re jumping, and suddenly Ca7riel’s twerking while Paco’s marching across the stage. Their set included hits like “Dumbai,” “Mi Deseo,” “Sheesh,” and of course “#TETAS”. The duo are performers with no playback. It was a dream to finally see them, and well worth the wait.

At the Sector 3 stage was Villano Antillano, who turned her set into a statement. Dressed in a prisoner suit, she opened with a powerful message: “I decided to show up here today dressed as a prisoner because every time I step foot in this country, that’s exactly what I feel. A prisoner of misunderstanding, a prisoner of discrimination, a prisoner of fear, at times, because most times, I don’t let fear get to me, I f** that b** up; we are gonna have a lot of fun tonight.” Representing Puerto Rico’s trans and queer community, she also reminded everyone that her music is part of a global movement, whether people like it or not. Antillano performed one of her hits, “Ride or Die,” alongside her rap-heavy singles. 

The nostalgia hit hard when Sean Paul took the stage, being the only dancehall act at the festival. Hearing “Temperature” and “We Be Burnin’” live was such a huge throwback to my elementary school days, and the whole crowd sang at the top of their lungs. He also performed his newer collaborations, such as the “Ba Ba Bad” song by Kybba, in which he brought out influencer Isabela Ladera to come dance with him on stage. Another highlight was that Sean Paul performed his notable collaborations, including “No Lie” with Dua Lipa, the “Bailando” English Remix with Enrique Iglesias, December Bueno, and Gente de Zona, adding Latin flavour. His backup dancers were on another level too, a highlight of his performance with great choreography and energy. 

At the Grand Central stage, Chuwi represented Puerto Rico proudly. If the name sounds familiar, they were featured in Bad Bunny’s “Nadie Sabe Lo Que Va a Pasar Mañana” on “WELTiTa”. The crowd waved flags, sang every line, and celebrated how far Puerto Rican music has come. With their own Tiny Desk performance now live, Chuwi is proof that the island keeps producing stars.

Later that night, I found myself at the Halo 88 stage for a B2B with Miami DJs Pressure Point and Mr. Bitch, part of a lineup curated by Pressure Point himself. It was a mix of Miami bass, trap, and a blend of genres. From the song “Knuck If You Buck” to songs by Tre Oh Fie, it felt like a love letter to Miami’s underground scene. Pressure Point celebrated his birthday during the set, and Halo 88 was a whole sonic journey that repped local sounds.

Day two began with Miami’s MOLD!, which brought punk and political energy, blending psych rock with Latin sounds while advocating for immigrant rights. Later in the evening came Turnstile, a standout surprise for me; their hardcore punk sound is electric live. A highlight of this band was when they came down to the barricade and greeted all their fans in the front row. Shaking their hands, hugging them, and thanking everyone for coming. That had been the most genuine thing I’ve ever seen an artist do.

Another standout moment from III Points was the first-ever orchestra on festival grounds. Mita Gami and Meir Briskman made their Miami debut, combining classical and electronic music together. They brought their entire orchestra, and the crowd was in awe of the violins and the live performance. This did not disappoint.

Other DJ sets I enjoyed on Saturday were Black Coffee’s set, which was out of this world. When he dropped a remix of Bad Bunny’s “NuevaYol” with his signature Afro-house touch, the crowd sang along and cheered. At the Suero area was DJ and producer Tayhana showcasing her Latin roots through Latin house and blending cumbia rhythms and more.

III Points really turns up for Miami and gives all music genres a stage to showcase their talent. Yes, you can rave, but then you can also enjoy a good rock band or even a Latin stage and other music to choose from. It’s a multi-genre festival that gives a space for every music fan.

The post Spotlighting Latin artists at III Points music festival appeared first on Quip Magazine.

Want a sneak peek of what to expect? Check out the festival’s Instagram post breaking down the lineup with a perfectly crafted genre Venn diagram. It’s the ultimate guide for exploring the range of genres represented this year, such as Bass, Leftfield, and Rave to Latin, Avant Pop, and more. It’s proof that III Points isn’t just for one type of music lover; it’s an experience for discovery, where you might dance to your favourite act and discover your next favourite act on the same night.

The festival will once again transform Mana Wynwood into a full-scale experience, with 10+ different stages and immersive areas taking over the neighbourhood. Each space offers something different, from cutting-edge electronic sets to live performances that make III Points a multi-sensory experience in Miami. 

III Points also keeps the Miami authenticity at its core, highlighting local talent, brands, and collectives that shape the city’s scene. This year, acts like Magdalena Bay bring that hometown essence to the lineup, alongside a curated mix of global acts.

Among the Latin acts taking the stage are Villano Antillano, marking her first U.S. performance in a while, and Ca7riel y Paco Amoroso, the Tiny Desk favourites bringing their signature energy to Miami. Rising talent Chuwi, fresh off a standout run at Bad Bunny’s Puerto Rico residency, also joins the lineup along with many more electric artists representing the new wave of Latin sounds.

Dancehall legend Sean Paul will also be turning up the Miami heat with hits like “Get Busy” and “Temperature,” promising one of the most high-energy sets of the weekend. Fans are equally hyped for sets from Dom Dolla, Black Coffee, Peggy Gou, and countless others that round out a lineup designed to keep you moving from sunset to sunrise.

And the party doesn’t stop when the festival ends. Beyond the main weekend, the III Points Satellite Program extends the energy across the city with 6 nights, 11+ venues, 80+ artists, and a 33-hour closing marathon at Club Space Miami, a tradition that has cemented the festival’s legendary after-hours reputation.

III Points isn’t just about music, it’s about experience. The festival continues to push boundaries with a mix of art, technology, and community, offering interactive installations and large-scale visuals curated by some of Miami’s most talented artists. III Points isn’t just a festival you attend, but one that you can feel an experience like no other.

More information and tickets at iipoints.com.

All images are courtesy of III Points festival.

The post Calling all music lovers and ravers, the multi-genre festival III Points Returns to Wynwood appeared first on Quip Magazine.

While in Miami, Bruses sat down with Quip Magazine to share insights about her music, life, and artistry.

Sarah Ruiz: How are you doing? 

Bruses: It’s pretty cool to be breathing, you know? It’s a summer day. This is my third time in Miami, and my favourite thing about this city are the wild animals. I love them so much. 

SR: How does it feel to be nominated for a Latin Grammy this year? 

B: It feels wild. I don’t even know why they did it, but I appreciate it. I thank the  Recording Academy – I love this. It’s just wild because I’ve been writing songs since I was ten. It’s basically all I’ve known and all I’ve ever wanted to do in my entire life. Writing is just like, it’s cliche, but it’s like breathing.  I’m really thankful and happy. My favourite part about being nominated is that I get to come and visit these cities just like Miami, that I usually would never visit because I’m from Tijuana.

SR: Let’s talk about getting signed with RCA records …

B: I just got signed to RCA this year. It just happened this year in April. I’m producing my album with them. They’re my label and it’s like everything, my life’s changed. I’ve been going to LA a lot now. I’ve been living in hotels and this is the first time that this kind of lifestyle happens to me and I’m getting used to not being home. 

SR: You recently released “I’m So Happy,” and the lyrics touch on influencers becoming artists while other talented people don’t receive the same attention. What was it like addressing that in your song?

B: There’s two kinds of creators, in my head: the ones who want to get on the music train, just because they want to make money, be more relevant or become famous, and then, there are musicians who use social media to promote in creative ways. I’m a nerd, so I have studied, and I know how to tell when someone’s being real and someone’s being kind of fake. Or when a label is signing influencers who have never written a song in their life.

It’s okay, I get it, you want to make money. You are going to put a bunch of awesome, incredible, well-respected producers and writers and just give the songs to whoever you just signed. Hopefully, teach them how to sing and create a brand. I have respect for creators/influencers who wanted to be musicians but didn’t know how, so they became creators, but they have a music background. That’s a different kind of story. 

There’s a lot of musicians out there that are so talented and looking for opportunities, and you’re going to give the opportunities to someone who doesn’t care at all. Someone who just wants the glamour – that’s not really real, it’s all a part of the plastic world.=

SR: That kind of leads into the topic of mental health …

B: I feel like, and I’m not just saying this for myself,  but we need more artists that are just straightforward. When I was younger, I needed an artist who was real. Can you imagine if anything like Bruses, or whatever was just out there in the media saying, “It’s okay that you have these mental illnesses. You can dress like this and that’s fine?” As a ten-year-old, I needed to hear that, in order to feel like I was okay. 

That’s one of the hardest things when you’re a little kid. You’re like “Wait, am I different – but in a bad way? That loneliness can be deadly. That’s what Bruses has become now and I’m so proud of it and I’m never gonna let anyone touch it. This is Bruses. This is my baby. This is my creation and those kids need to hear this. I’m not gonna let them down and I’m not gonna be singing about things that I don’t believe in. 

SR: I really admire the songs “Bestia” with Humbe and “Movie” with Gale. How did those collaborations come about?

B: For example, with Gale, I think someone introduced me to her and we went for drinks and had dinner. Then there was this beautiful moment where we were just listening to songs like Hannah Montana and Avril Lavigne. We were laughing and having the best time. That was the moment that I was like “Okay dude, we need to write a song right now,” and we wrote the song that day. We were having that moment – we were just having so much fun.

Humbe was different because we’ve known each other for a long time. We kind of met before the pandemic or during the pandemic, so it was really weird because we were like online friends. We both kind of used TikTok as a platform to promote our music. Even though our backgrounds are different, we somehow connected, with like mental shit and we became friends. I remember it was kind of the same. We had a lot of hangs, and then I went to his house in Monterrey. We were playing video games and eating chicken wings and we were like, “You know, I think it’s a moment.” That day we were like, “We should really write a song together”.  He was like, “Yeah, I feel it too” and we wrote the song that day. So I think in both cases, we both had to feel it for the song to feel real.

SR: What other goals do you have for your career? 

B: I want to buy my mom a car and a house. I know that’s money-related, but I really want to do that before she dies. She’s not that old. I’m being dramatic. But I really want to film it. Everybody wants to do that for their parents. I really wanna tour. I love touring. Making videos or directing music videos, it’s one of my favourite things as well as writing music. I also want to be selling out arenas.  

SR: Any future projects, shows, or anything that you are able to share? 

B: Well, I’m finishing my second album. I’m really excited. “I’m So Happy”  is the first single from it. It’s so different from my past album. I love a pop/ rock moment. Obviously, we’re gonna have pop/rock moments in my second album, but it’s so different. Most of this is still me, but I feel like this is more me in general. I’m experimenting with a lot more new sounds. It’s more electronic. It’s stronger. It’s chaotic. It’s all over the place. 

It talks about something really sensitive that happened. I had a car accident and it’s been seven years now. I basically died and went into a coma. I never knew how to tell this story because it’s so dramatic, so I try to make fun of it, even though it wasn’t fun. I went to a coma and that was such a trip –  being a coma. It’s going to be my coma in music form, and all the things that I was thinking, going through and hearing.

So, it’s a super chaotic album, but it also has sensitive points and very vulnerable moments – musically and lyrically. It’s one of the things that I’m most proud of.  I’m still being super raw and super honest. I’m proud of my baby and I cannot wait for it to come out.

The post Bruses reflects on Latin Grammy nominations, new music, and her artistic journey appeared first on Quip Magazine.

Sael has collaborated with notable producers and Latin artists, including multi-award-winning producer Sky Rompiendo, who signed him to his independent label, Black Koi Entertainment in 2021. He has also collaborated with Mariah Angeliq‘s on her popular certified Gold single “Perreito”. Sael has also collaborated on hits with artists like Duki, Feid, Emilia, and J Balvin, among others.

In May 2021, Sael was named Artista Radar of the Month by Spotify for the South Cone, and in early 2023 recognized as one of Pandora’s Artists to Watch 2023: Latin!. His achievements also include a standout performance at the renowned Lollapalooza Argentina festival. 

Sael’s latest single, “Úsame,” showcases his distinctive voice and creative lyricism. Written by Sael and produced by Danny Mads, the track combines classic reggaeton beats with a focus on self-realization and toxic relationships. Additionally, his EP H.10, released at the end of 2023, is a nostalgic tribute to his childhood that explores and expands the boundaries of reggaeton by incorporating elements of Reggaeton, Bachata, and more. The EP has already garnered over 12 million streams.

Quip caught up with Sael to chat about his latest release, career experiences, collaborating with J Balvin and more. Read below!

Sarah Ruiz: How has being from Argentina influenced your music and the projects you put out? 

Sael: Being Argentinian is what I like most about myself, our way of being, our customs, our origins and our music that has always transcended and adapted to any event happening, it is the meaning of having determination and knowing that there is always a way out and that if we are not doing well at a given moment it is only a matter of persistence to succeed.

SR: What is it like being a part of the Black Koi Entertainment Family?

Sael: Being part of Black Koi personally allowed me to learn that it’s not just about sitting behind a microphone and releasing music, but that behind it there is a structure where everyone takes care of me, pampers me and advises me in all aspects related to my music and my personal life. I am grateful to everyone who is part of Black Koi.

SR: What was the experience like working with J Balvin?

Sael: Working with Balvin and his team is an accomplishment that even when I was a kid I couldn’t have imagined could happen. They took me to New York and in theory I was only going to be there for 1 week, that week turned into 2 and then into 1 month, where we created over 20 songs and well, I was fortunate enough to have 3 of them that were selected where I was part of the production and songwriting. And for the future, I hope that “Rayo” will do super well and who’s to say that there isn’t something underway jointly…

SR: I listened to your new song, “Usame,” and I love it! Even before I read the press release, I could tell it had a nostalgic reggaeton vibe and beat. Then I saw in the press release it’s described as a single “to the beat of a classic reggaeton,” what made you decide to go that direction with that song? 

Sael: I’m so glad you like “Úsame”! It’s a song I wrote a long time ago, about 3 years ago, in which I was inspired by the couples that have toxic relationships and that even though they might be sharing a moment and enjoying it, a single word, action or comment can detonate a new excuse to argue, but in the end they always end up coming back for fear of change.

SR: In your career thus far, what has been the most memorable thing that has happened to you? 

Sael: The most memorable thing that happened to me in my career can be divided into two different contexts. One was being selected as the Radar artist and seeing my face in Times Square, I will never forget that moment. But on the other hand, having the opportunity to participate in J Balvin’s album is something that nurtured me a lot and opened many doors for me. Another extra fact is that thanks to Black Koi I was able to have my first show with a band, it was nothing more and nothing less than at Lollapalooza.

SR: Have there been any obstacles for you in this journey? If yes, how did you overcome that? 

Sael: Obviously, I had my biggest obstacles at the beginning when I did not have the necessary resources to be able to make my dream come true and that with time became the dream of many others. I’m sure we all face obstacles that make us either stagnate or deviate a little from the path. But the team, family and friends are what bring you back into focus.

SR: Any future projects this year that you can share with Quip? 

Sael: Regarding a project as such no, but I’m just focused on releasing my music, that people connect and feel part of it. And that they remember that nothing is impossible, that even though things are not easy, dreams can be achieved with persistence, love, friends and a pinch of luck.

The post Sael shares his experience being a part of Black Koi Entertainment & recent musical releases appeared first on Quip Magazine.

This year at the Latin Alternative Music Conference, Chicocurlyhead was named as the Discover Artist, award presented by Taylor Guitars (the awardee also gets to receive a gift from them). Each year, the LAMC highlights artists they believe are ones to watch and demonstrate unique talent. Awardees in previous years include Nathy Peluso, Buscabulla, Carla Morrison, and more. Chicocurlyhead performed twice during LAMC week  including the Indie Showcase presented by BMI and the LAMC Offsite event at Youtube Music. 

Sarah Ruiz: How does it feel to have the opportunity to perform at the LAMC? 

Chicocurlyhead: Honestly, I’m excited. I’m super grateful for the opportunity, my team, for also putting this together with the people here at the LAMC. I’m just grateful for it. 

SR: After people watch your performance, what do you want listeners to take away from you? 

C: I just want them to see me as a regular human being. I want people to take my honesty away from me. How honest and how down earth I am about everything. That’s how I grew up and I think I’ll always be that way. I never got into music for fame or any of that stuff. So for me, it’s, it’s not about that. That’s not even in my top five goals for music. 

SR: I already heard your new EP, are there any artists or topics that inspired you?

C: There’s two of those inspirations, artists that I like. But the main inspiration was just me being honest, authentic, different, and expressing what’s going on in my life too. I just wanted people to hear what’s going on in my life, Chicocurlyhead’s life, in an honest, cool and diverse way for people to enjoy. 

SR: If you had to choose one song from the EP for someone to listen to, what would it be? 

Chicocurlyhead: Honestly, it would be CUPIDO TE FALLÓ, but a song that you should listen to, to really get an idea of Chicocurlyhead,  would be WASTED WEEKEND I would say. 

I mentioned to Chicocurlyhead that he is bringing something new to the music industry and stands out as someone uniquely different, to which he replied:

C: I always tell people, don’t judge a book by its cover. I was always judged growing up, obviously being black, coming from Atlanta, growing up in the Southside. People always judge you based on where you’re from. And then when they got to know me, they were like, oh, he’s a lot different than I thought. So that’s a big saying for me, is “don’t judge a book by its cover”. 

We began to talk about stereotypes and genres that Latinx artists are faced with sometimes and he shared his thoughts. 

C: Yeah, I throw a little bit of reggaeton, a little bit of Dancehall, I’m not forcing it either,  it’s also to show culture like we don’t just make reggaeton, we make other stuff too and there’s other genres. Us as Latinos, we have to show that more too, and as a culture. We lock ourselves in too much and reggaeton that people from the outside also think that’s all we do. So we have to show love to those artists too, coming up, trying to make R&B, trying to do like indie pop and whatever it is that it is like we have to show love to them too.

I think even us Panamanians know we don’t get too many artists, on that spot, like, that big. It’s very regional, most of our artists. We have Sech that really broke through and made a big highlight that there is someone coming up from Panama. Boza is doing a really great job right now too.

SR: In five years, where do you see yourself?

C: I have a lot of stuff. If everything goes amazingly great with music, I would probably be trying to somehow go pro at soccer. That’s, like, really big. That’s a far reach, but I think it’s really possible. I keep a balance between my music and soccer. Musically, definitely uniting cultures, that’s my goal. There’s still that gap between the English and the Spanish and the American culture and the Latin culture. That’s a big goal for me to bridge that gap as much as I can.

SR: If you were to perform at a specific venue or go on tour in the future, where would it be? 

C: Definitely in Atlanta, I would say the Mercedes Benz stadium. That’s a huge one. But honestly Estadio Rommel Fernández in Panama. That’s like, my bucket list, because that’s where I come from. 

SR: What inspired “Chicocurlyhead” to become your artist name?

C: There was this lady in Panama who stopped me, like, “Hey Chico Curly.” I’m guessing she was assuming that I was black, because in Panama, guys don’t have long hair because of schools and their jobs, and it’s mandatory to have your hair very low, presentable, and decent matters. I went, and I had all this hair, and then people are  just kind of staring at you. Then this one lady, I guess, had the confidence to come up and  I’m assuming, she thought I was American, so she tried to speak English, and that was way before I made music, though.

So that name, I remember, when it came time to put a name when uploading songs,  I was like, I need a name. I remembered that occasion, and I put Chico curly and I was like, that’s cool, but it’s missing something. Then I put Chico-curly-head, but like Chico space curly space head. And then I was like, nah, that doesn’t look right. And then I just bunched it out together. And I was like, Chicocurlyhead. I was like, that’s pretty cool. I like that.

SR:What is next for you? 

C: I got a nice collaboration coming up, I really do. A well -known artist and it is Afrobeats. It’s like Afrohouse, Amapiano.

SR: If you were to give your younger self advice about being in this industry and doing what you’re doing now, what would you have told yourself?

C: Believe in what you believe in and stand on what you believe in. There’s a lot of people who are gonna want you to be something that they envision in you. Somebody always has an image of you. Everybody has an image of you differently. Everybody sees you differently. So that’s how it is in his industry, everybody has a plan for you and an image for you. It matters how you see yourself and what you want to do with yourself and your image. Believe in your image and yourself and your ideas.

All images courtesy of the artist

The post Chicocurlyhead speaking about his new EP & creating music in Spanglish appeared first on Quip Magazine.