In this in-depth conversation with Australian power-pop pioneers The Wellingtons, we dig into their evolution as a band, the creative process behind their latest material, and how theyâve navigated today’s music world with that signature melodic punch on âBaby Moon.â We talk songwriting, influences, touring life, and what keeps the spark alive after all these years.
Pittsburgh-based singer, songwriter, and producer Cody Piper popped up on my radar as an artist of piano-driven pop that feels as emotionally honest as it is musically intricate. His debut album is a mix of contemplation and catharsis, displaying a songwriting instinct and style similar to Ben Folds.
Almost every song here stands out, and feels handcrafted. From the opener âRun Home,â it feels like the raw emotion and honesty of a true storyteller. The confessional âBe Quiet,â haunting âHibernating,â and âOde to a Lost Love,â speaks to Codyâs emotional anxiety. Recorded and mixed in his home studio, the record never feels small; instead, it radiates intimacy. His piano work anchors everything, on âMaybe Itâs Timeâ and âNothing To Tell Me,â brings to mind a Runt-era Todd Rundgren.
The love songs are keys throughout, âLeaking Meâ and âThings May Changeâ balance the melancholy and grace in equal measure. The arrangements have catchy hooks and delicate touches of strings, synths, and guitars, giving these songs real depth. Throughout, he avoids the trap of overproduction; this is music that values clarity over gloss, sincerity over spectacle. âRevealedâ is both intimate and ambitiousâcrafted with sweeping strings, subtle synths, guitars and heartfelt lyrics. While technically not power pop, itâs melodic as hell. Super Highly recommended.
Iâve been following Greg Popeâs career since 2008, and with ‘The Roar of Silence’ he delivers one of his strongest albums yet. From the first chords, this album feels like the work of an artist fully in command of his craftâbut still willing to surprise you.
While âWorthy Sonâ and âFallen Starâ have both compelling melodies and arrangements, but with âTrick of the Lightâ he hits gold with its shifting key in the chorus. Youâll hear classic power-pop hooks, but rarely in a predictable way. Several tracks shift gears midstream; he doesnât just repeat the chorus, he builds around it. The title track starts as an anthemic rock instrumental, then takes a different path. He does a similar thing with âItâs All Pretend.â
That chameleon-like ability to write a memorable chorus no matter where the verse goes has become something of a signature, and itâs on full display throughout this record. There are points where the momentum drags, but it has plenty of variety with the acoustic ballad âStill A Kidâ and the sea shanty âPirate Paddy.â And he goes back to the familiar riff candy that ends things with âImmovable Feast.â Longtime fans will enjoy this album overall, and newcomers will love those sharp hooks and descriptive lyrics. Highly recommended.
Novelty Island is primarily Liverpool-based songwriter and producer, Tom McConnell. Solid songwriting and great melodies are evident early on with the title track. A meticulously put-together mix of sounds with a lo-fi, dreamy vibe; very Anglo-centric and a little psychedelic. An early highlight is âNorthern Nowhereâ with echos of the Beatles in the song chorus, with its chugging baseline and layered guitars.
The trippy âSomeone Disappearingâ slows the tempo even more, with some great horns that chime in midway through. Climate anxiety is the subject of the catchy weariness of âFoam Animals,â where we are “waiting for the sky to fall downâ and similarly gloomy âIâm Glad It’s Not Sunny.â But the album isnât necessarily a downer, âApolloâ has a a playful strum, and mellow double-tracked vocals. Another standout gem is âThe Only Train Driver in England,â with its brilliant ear worm of a chorus. Overall an excellent moody headphones album, and it’s definitely highly recommended.
The Rockerati is a one-man band led by David McCarthy from Brighton, UK. His writing, guitar playing, and vocals are very similar to his personal inspiration Dave Edmunds (and in turn Chuck Berry.) In fact, from the opener âShake The Tree,â itâs a rolling, rocking good time throughout, with McCarthy burning through those deep rhythmic bass riffs.
The fast paced tempos and fuzzed out vocals certainly set a mood. While his solo breaks and composition donât reach the heights of his idol, it remains an impressive display of boogie-woogie styled rock and roll. However, I noticed that McCarthy’s vocals are never clearly the main emphasis of the songs, and many have the same tempo and vocal treatment without much stylistic variation. Thus, songs tend to blend into each other. Still, for Edmunds and Rockpile fans this will be a treat, so give it a listen.
Cheap Trick Live at The Paramount, Huntington, NY â October 21, 2025
Thereâs something truly admirable about a band thatâs been at it since 1973 and still refuses to slow down. Cheap Trick has outlasted most of their peers, and somehow, they still make it look like fun.
The classic trio ran through the hits with ease, and Robin Zander can still hit those high notes â especially on the â80s ballad âThe Flame.â Rick Nielsen, ever the showman, joked to the crowd that they were âtoo stupid to quitâ before breaking into âTwelve Gates,â a track from their upcoming album All Washed Up.
The Paramount crowd started off a little mellow but quickly found their groove, singing along to âSurrenderâ and other favorites. The sound mix was a bit muddy at times, but that didnât faze them. Zander was in great spirits, and Nielsen powered through with his usual swagger.
Sure, the guys move a little slower these days â theyâve earned it â but they still put on a show thatâs equal parts nostalgic and genuinely enjoyable. Cheap Trick might not have anything left to prove, but they keep proving it anyway.
With several tour dates left, this might be one of the last chances to see Cheap Trick in full flight. Catch them while you still can.