We get into the real stories behind the songs, how Stevensonville came together, and why this album hits differently from anything he’s done before. If you’re into artists who care more about great songs than trends, this conversation is for you.
👉 Album review here!
The Uni Boys return sharper and more focused, leaning fully into the sound they hinted at early on. While they share some overlap with The Lemon Twigs, Reza Martin and Noah Nash continue to carve out their own lane when mining the past. Pulling from the Nerves, The Paley Brothers, 20/20, and Milk ‘N’ Cookies. It lands somewhere between scrappy and polished, with a clear nod to late ‘70s L.A. power pop. The Uni Boys bring enough energy and conviction to make it feel fresh rather than recycled.
The production keeps things tight and direct. No filler, no gloss, just hooks and melody driving every track. This is where the Uni Boys sound most natural. There’s a balance between heartache and optimism that gives the record its staying power. The Beatlesque “You’ll Curse His Name Again” speeds along, while “I Don’t Wanna Dream Anymore” hits with a quick, upbeat punch. Both tracks feel loose and fun, like the band is enjoying every second. That energy carries through the album and pulls you in. “Abra” is a dramatic ballad with layered harmonies, while the mid tempo “Genevieve” lifts things with its brilliant chord changes and a baroque piano break. That makes this their strongest release yet. Without a doubt it makes my top ten for 2026 list. Super Highly Recommended.
Lukah Boo (aka Antonio Sáenz) is a Madrid based singer and guitarist, who’s also known with the band The Happy Losers, one of the best Spanish speaking power pop bands ever. Occasionally I listen to foreign language power pop, because I love a great hook. And Lukah does too.
The opening title track translates to “Breathing” and it begins with piano and lovely vocal harmonies. It transitions to strong melodic guitar and verses, and the joy comes through in the music. No translation needed. There are some English ballads here, “This is What It Is,” “Like Any Other,” and “A Fool,“ and they are heart felt and sound akin to Gilbert O’Sullivan. Other highlights include “Lo bien que me he portado” and “Aquella luz.” Overall an enjoyable listen, and if it had more songs like the title track, it would be even better. Check it out.
It took eight years, but Rob Bonfiglio returns with ‘The Over Under,’ his most personal solo record to date. This is a focused, melodic album shaped by decades of experience, both on stage and behind the scenes. Bonfiglio built his reputation with Wanderlust, then expanded his reach working alongside Wilson Phillips and touring with legends like Brian Wilson. That background shows up here in subtle ways. The songwriting feels confident, the performances tight, and the production is crisp without sounding sterile. While not a straight power pop record, it tends to lean into more modern rock influences from the late 80s, with the bright “Runnin’ From Me” leading the way. The standout track next is “Monsters.” It hits hard, with sharp hooks and a punchy arrangement that recalls peak-era Butch Walker. It is the kind of song that sticks after one listen.
There are also strong supporting contributions, including vocals from Lola Bonfiglio on “Blame This.” Still, this is clearly Bonfiglio’s vision. He handles most of the instrumentation himself, approaching second half of the album with synth textures and a looser groove. While the title track has a lot of neat little passages, it still needs a better hook to keep you coming back. “Fade Away” shifts into melodic Americana, lifted by some fine pedal steel guitar from Xandy Chelmis. “Wandering Eyes” carries the DNA of Matthew Sweet in its crunching chords, and “Like A Drug” is an uplifting, soothing pop gem akin to Andrew Gold. Overall a very good album, and if you followed his earlier work or missed him over the past decade, ‘The Over Under’ delivers. Highly Recommended.
It’s been nearly 14 years since Andy Goldberg has given us some new power pop. Lucky for us, his band The Honeymoon Stallions hasn’t lost a step, and ‘Bona Fide’ has him a little older, but just as melodic. “Stay A Little Longer” sets the tone right away. It’s upbeat guitar pop with a chorus that sticks after one listen. The band sounds sharp throughout, with Charlie Morgan on drums, Dean Basil on bass and backing vocals, Peter Dillon on bass, and Paul Umbach on keyboards. That lineup clicks best on “Kiss Me Quick,” where the rhythm section drives a tight, confident performance.
“Great Surrender” slows things down with a mid-tempo ballad that leans into early ‘60s influence. The melody carries the track, and the arrangement stays focused without overreaching. Elsewhere, “Strong Enough” and “Coming Around Again” tap into a Lannie Flowers-style approach, built on clean hooks and classic pop structure. Goldberg keeps his identity intact, avoiding current trends and sticking with what he does well. His songs also track a bit longer with several passing the 4 minute mark. The only drawback is the lead vocal sits a bit low in the mix at times, which softens the impact slightly. Bringing it forward would help a few songs land even stronger. Still, ‘Bona Fide‘ delivers what longtime fans expect. Highly Recommended.
What stands out is his balance of dry humor and honesty. He does not over-explain his work or chase trends. He focuses on writing songs that feel true in the moment. That approach gives ‘Eccentric’ a consistent voice, even as the themes shift. It is a reminder that strong songwriting still starts with clear thinking and personal perspective.